takes

EOTO Kicks Off Fall Tour With Free Live Download

2011 marks the fifth anniversary for the nationally touring outfit  EOTO. The project that started as a late night experiment has grown into a full-fledged headlining machine complete with all original HD eye candy. To celebrate their success, the band is releasingtheir highly sought- after performance from the 2011 SONIC BLOOM festival for free download. Coincidently, this will be the bands 400th live release since their 2006 inception. With performances booked around the country and special VIP events planned for fans along the way, there is no doubt that EOTO will be closing out the year with a bang.

After a highly successful summer filled with headlining festival appearances, EOTO will embark on a large national tour with dates booked across the country including stops in Missouri, Oregon, Colorado, Nevada, Washington, Florida and California in just the first 30 days of the tour. This will mark the beginning of another iron-man tour season for the duo that puts their skills to the test each night with 100% live improvised electro, house, glitch hop, and dubstep. What exactly does 100% live and improvised mean? There are no pre made loops, no computer sequences in the background and absolutely no electronic karaoke going on here.  It’s all created and remixed live on stage by this talented duo for a dance party like no other!

Featuring Michael Travis and Jason Hann, EOTO is a musical anomaly. The project combines their shared knowledge of real world instruments with their love for electronic music and the technology it takes to produce many genres of music live on-the-spot. Not just a DJ and not just some band, EOTO takes all of the elements, throws them in a mixer, and creates a style of music that is uniquely all their own. But it’s not just the act of performing and producing cutting edge music without rehearsal or even song names, it’s the intensity and veracity for which they perform. EOTO clearly takes a ‘no holds barred’ approach whenever they take the stage.

EOTO will be performing in select cities scattered across the country this fall with tour dates booked in every corridor of the US. The band will also be arranging VIP parties for their fans along the way including late night and pre-show opportunities. To check out more about the band or for ticketing information check out www.eotomusic.org or to get a copy of the free live at SONIC BLOOM release check it out.

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TOUR DATES:

8/5/2011       Rhinofest Music Festival         Plainfield, VT
8/9/2011         Blu Nightclub  Stateline, NV (Tahoe Area)
8/13/2011       The Crossroads           Kansas City, MO
8/18/2011       Praire Grass Music Festival    Houston, MN 55943
8/19/2011       Green Mountain Eco FestivalMissouri Ozarks, MO
8/20/2011       Sunseekers Ball Music & Arts Fest New Brunswick, Canada
8/21/2011       Mountain Stomp-Prindell Creek Farms          Tidewater, OR
8/27/ - 8/28/2011       State Bridge Riverside AmphitheaterBond, CO
8/31/2011       Burning Man Festival  Black Rock, NV
9/9/2011         Werk Out Festival       Bellefontaine, OH
9/16/2011       Mishawaka      Bellvue, CO
9/17/2011       Wonk Fest-The Quarry            Everson, WA
9/22/2011       Blackwater Music Festival      Live Oak, FL
9/23/2011       Earthdance Music Festival      Vallejo, CA
9/24/2011       Kountz Arena   Bozeman, MT 59718
9/27/2011       Bourbon Theatre         Lincoln, NE
9/28/2011       Majestic Live   Madison, WI
9/29/2011       Eagles Ballroom          Milwaukee, WI
9/30/2011       Roy Wilkins Auditorium          St. Paul, MN
10/1/2011       U.S. Cellular Coliseum            Bloomington, IL
10/2/2011       Bluebird Nightclub      Bloomington, IN
10/3/2011       Bell's BreweryKalamazoo, MI
10/4/2011       Blind Pig          Ann Arbor. MI
10/6/2011       Royale BostonBoston, MA
10/7/2011       Toad's Place    New Haven, CT
10/8/2011       Port City Music Hall    Portland, ME
10/9/2011       Pearl Street     Northampton, MA
10/13/2011     Jillian's of Albany        Albany, NY
10/14/2011     Brooklyn BowlBrooklyn, NY
1/9/2012         JamCruise       Ft. Lauderdale  |  Labadee  |  Haiti |  Jamaica

Concord Original Jazz announces six new reissues

Concord Music Group will release six new titles in the Original Jazz Classics Remasters series on June 14, 2011. Enhanced by 24-bit remastering by Joe Tarantino, generous helpings of bonus tracks (many of them previously unreleased), and new liner notes that provide historical and technical context, the series showcases some of the most pivotal recordings of the past several decades by artists whose influences on the jazz tradition is beyond measure.

The six new titles in the series are:

  • Chet Baker: In New York
  • Ornette Coleman: Something Else!!!
  • Thelonious Monk: Thelonious Alone in San Francisco
  • Cannonball Adderley with Bill Evans: Know What I Mean?
  • Bill Evans Trio: Explorations
  • Ella Fitzgerald and Joe Pass: Easy Living


“These six releases bring us to 20 titles altogether since the launch of the series in March 2010,” says Nick Phillips, Vice President of Catalog and Jazz A&R at Concord Music Group and producer of the series. “Each occupies an important place in any quality jazz collection.”

Chet Baker: In New York

Recorded in September 1958 for Riverside, Chet Baker’s In New York features saxophonist Johnny Griffin, pianist Al Haig, bassist Paul Chambers and drummer Philly Joe Jones. In addition to the half-dozen tracks from the original album, the reissue includes a bonus seventh track — “Soft Winds,” a blues composition written by Benny Goodman and Fletcher Henderson.

The recording provides a glimpse of the trumpeter “coming off a run of popularity, critical praise, and commercial success the likes of which few musicians have known,” according to the new liner notes by Doug Ramsey. By the late ’50s, Baker had won numerous awards throughout the decade for his instrumental work, and was even regarded as a romantic idol for his singing.

“Baker had been somewhat pigeonholed as a West Coast cool jazz artist,“ says Phillips, “but this recording illustrates that he was right at home playing with New York musicians — who dealt with their own stereotype of being harder edged and more aggressive. On this recording, they all seem to meet effortlessly somewhere in the middle.”

Of the ongoing tug-of-war between Baker’s artistic successes and his personal battles with substance abuse, Ramsey adds: “It will be a long time before Chet’s struggles with his demon are forgotten, but one day when the headlines have finally disappeared, the beauty of his music will still be shimmering in the air.”

Ornette Coleman: Something Else!!!

Recorded at Contemporary’s studios in Los Angeles in February and March 1958, Ornette Coleman’s Something Else!!! features Don Cherry on pocket trumpet, Walter Norris on piano, Don Payne on bass, and Billy Higgins on drums. The first of two albums that Coleman recorded for Contemporary, Something Else!!! marks the saxophonist’s debut as a leader. “He was a very influential but at times controversial artist,” says Phillips. “Right out of the gate he was doing something that was just so different from what people were used to hearing,” says Phillips.  ”Although structurally-speaking, the music in this recording is based on established song forms, you can hear very clearly that Coleman is starting to break free of the limitations of conventional harmony.”

Neil Tesser writes in his new liner notes that Coleman traced jazz back to its roots to rid the music of its increasingly elaborate harmonic structures and other constraints. “Without the limitations imposed by such harmonic patterns, his band would freely travel into, out of, and between musical keys,” says Tesser. “As Ornette said in the original notes, ‘I think one day music will be a lot freer. The pattern for a tune, for instance, will be forgotten and the tune itself will be the pattern . . .’ When he recorded Something Else!!! that day was still a little ways off. In these performances, you hear him in the last throes of unshackling the past.”

Thelonious Monk: Thelonious Alone in San Francisco

Recorded on Riverside in October 1959, Thelonious Alone in San Francisco was a sequel of sorts to Thelonious Himself, recorded two years earlier. In addition to the album’s 10 original tracks, the reissue includes an alternate take of “There’s Danger in Your Eyes, Cherie.”

“With Thelonious Alone in San Francisco, Monk proved that his earlier success as a solo artist was not a fluke,” says Tesser in his liner notes for the reissue. “And in rejecting all the ‘rules’  for playing without accompaniment — as he’d rejected so many rules before — Monk expanded the entire concept of the solo piano idiom. Without Monk’s recordings as bedrock, it’s hard to imagine similarly intimate (though otherwise quite different) solo albums that would eventually come from Bill Evans, Herbie Hancock, Keith Jarrett, Chick Corea or even McCoy Tyner.”

For as unique as Monk’s style was, “he stayed pretty consistently within that style throughout the remainder of his career,” says Phillips. “That’s not to imply that there was any lack of creativity on his part. Within the unique style that he established, there was so much to explore and develop. But he still sounds unmistakably like Thelonious Monk, no matter what chapter of his career you listen to.”

Cannonball Adderley with Bill Evans: Know What I Mean?

Know What I Mean? was recorded between January and March 1961, with bassist Percy Heath and drummer Connie Kay supporting the saxophonist and pianist. The reissue includes three bonus tracks that are alternate takes of “Who Cares?,” “Toy” (previously unreleased), and “Know What I Mean?”.

“This album takes two artists who were part of the legendary, historic 1958 Miles Davis Sextet and pairs them together,” says Phillips. “The modal approach that Evans was pioneering in the context of that 1958 group reveals itself in some of the material that he and Cannonball are playing on this album.”

Orrin Keepnews, who produced the original recording sessions, writes in his new liner notes for this OJC Remasters reissue, “One of the many advantages of working with a man like Julian Adderley was that he was totally stubborn about pursuing an idea he believed in. And, quite simply, he thoroughly believed in the validity of an album based on his moving very much in a Bill Evans–influenced direction.

In his liner notes to the original recording, Joe Goldberg observes that while not all of the selections are ballads, an “aura of relaxation” permeates the recording. “In this instance it can be recognized as simply a matter of four highly skilled artists away from their usual tasks and delighting in one another’s musical company,” he says. “Nothing more really need be said about the results of their meeting than that the feeling of delight comes through.”

Bill Evans Trio: Explorations

Recorded in New York in February 1961 for Riverside, Explorations was the last album this version of the Evans trio would make in a recording studio. Bassist Scott LaFaro and drummer Paul Motian also appear on Sunday at the Village Vanguard and Waltz for Debby — both live recordings, released later in 1961 — but LaFaro died in a car accident shortly after the live sessions. This reissue features four bonus tracks, including previously unreleased alternate takes of “How Deep Is the Ocean?” and “I Wish I Knew.”

“Evans’ sound and approach was his own by ’61,” says Ashley Kahn in his new liner notes. “His piano style had fully matured, as had the interplay of the trio . . . Upon entering Bell Sound’s studio on February 2, 1961, producer Orrin Keepnews immediately noted the three had ‘made giant strides towards the goal of becoming a three-voice unit rather than a piano player and his accompanists.’”

What’s more, the disparity of styles between the unreleased alternate takes and their counterparts that made the final cut on the original record “illustrates that jazz masters like these are real improvisers,” says Phillips, “and no two takes are ever going to sound the same — because no two moments in jazz are ever the same.”

Ella Fitzgerald and Joe Pass: Easy Living

Recorded in Los Angeles in 1983 and 1986, Easy Living was one of a series of Ella Fitzgerald–Joe Pass collaborations on Pablo throughout the ’80s. In addition to the original album’s 15 tracks, the reissue also includes two previously unreleased bonus tracks — alternate takes of “Don’t Be that Way” and “Love for Sale.”

Easy Living and the other collaborations between these two veterans “worked on many levels,” says Tad Hershorn in his liner notes for the reissue. “As her voice aged and deepened, Fitzgerald discovered partial remedies in her phrasing, choices of keys and the pleasing maturity that now enveloped her still youthful voice. Pass was the perfect foil to display her diminishing resources to their best and most emotive advantage. Ella was known to incessantly toy with songs in her restless artistic striving, so one can perceive the music she made with Pass as a direct extension of her creative method. The leanness of their music underscores that even this late in her career, Ella Fitzgerald retained her bonafides as a singer for whom words did matter: not every song was merely a vehicle for her to bat notes out of the park. The allure was in the quiet majestic intimacy that focused an audience’s attention on full absorption of the musings of joy, wistfulness, and melody.”

The level of confidence with which each of these two musicians performs on this recording is hard to miss.  “The fact that Ella could walk into the studio with a bunch of lead sheets,” says Phillips, “and they could do a little rehearsal on the spot, figure out the best key for her, and he could just play it in any key behind her — all of that takes some phenomenal musicianship . . . They have a very conversational, relaxed sensibility about them, and both musicians seem very much at ease performing together and recording together in the studio.”

Concord Original Jazz Classics titles announced for March 15

Concord Music Group marks the first anniversary of its highly successful Original Jazz Classics Remasters series with the reissue of four new titles on March 15, 2011. Originally launched in March 2010, and enhanced by 24-bit remastering by Joe Tarantino, the series showcases some of the most pivotal recordings of the past several decades by artists whose influence on the jazz tradition is beyond measure.

The four new titles in the series are:

  • Art Blakey’s Jazz Messengers: Ugetsu
  • Ella Fitzgerald and Oscar Peterson: Ella and Oscar
  • Thelonious Monk: Monk’s Music
  • Cal Tjader/Stan Getz Sextet


“In keeping with the philosophy behind the series, we continue to showcase the best – and in some cases, the most influential — recordings by some of the most legendary artists in jazz,” says Nick Phillips, Vice President of Jazz and Catalog A&R at Concord Music Group and producer of the Original Jazz Classics Remasters series. “After 14 titles in a span of 12 months, there’s obviously no lack of high caliber artists and excellent material in the Concord vaults to draw from.”

Art Blakey’s Jazz Messengers, Ugetsu

Recorded live at Birdland in New York City in June 1963 for Riverside, Ugetsu features trumpeter Freddie Hubbard, tenor saxophonist Wayne Shorter, trombonist Curtis Fuller, pianist Cedar Walton and bassist Reggie Workman — a crew heralded as “one of the top three or four lineups Blakey ever led,” according to Neil Tesser, who wrote the new liner notes for the reissue. The CD ends with four bonus tracks, including a previously unreleased cover of George Shearing’s 1949 bop classic, “Conception.”

“There’s something special about Art Blakey and his band live, and this album is certainly no exception,” says Phillips. “That’s partly because this was the natural environment in which these guys were working night after night in the clubs. There are certain things that can happen in a live jazz recording that don’t always happen in the more artificial environment of a recording studio.”

Tesser notes that the recording marks the first appearance of iconic tunes that would remain in the Messengers’ repertoire long after their composers left the band, including Shorter’s “One by One” and “On the Ginza,” Fuller’s “Time Off,” and Walton’s title track. “Blakey almost never took an extended drum solo with the Messengers,” says Tesser. “He didn’t need to. He stamped every gig, every phrase, practically every note from his sidemen with the unerring judgment and bold panache of his colors and accents.”

Ella Fitzgerald and Oscar Peterson, Ella and Oscar

Ella and Oscar was recorded in May 1975 for Pablo and produced by jazz impresario Norman Granz, who’d founded the label just a couple years earlier. The album is a series of duets that enlists the aid of bassist Ray Brown on four of the original nine tracks. Brown also appears on two of the four previously unreleased bonus tracks included in the reissue.

“The selections that make up Ella and Oscar, as well as the casual ambience of the exchange between singer, pianist, and bassist Ray Brown . . . beckons the listener to enjoy this meeting of musical minds that could have taken place in Ella’s living room in Beverly Hills or Oscar’s home in Mississauga, Ontario, rather than in a recording studio,” says Tad Hershorn, who wrote the new liner notes for the OJCR reissue. “The interaction between Fitzgerald, Peterson, and Brown accomplishes two ends. It reveals the creative improvisational process while delivering a finished definitive product destined to linger in the annals of jazz vocals. The spare directness of these recordings lay bare the emotions contained in the songs themselves with few frills.”

The bonus tracks are alternate takes that “underscore the fact that both artists were true masters of the art of jazz improvisation,” says Phillips. “The alternate takes don’t sound like the master takes. Each performance is fresh, and each captures that spontaneity and that in-the-moment creativity that are hallmarks of the greatest jazz artists and timeless jazz recordings. Nothing is done by rote.”

Thelonious Monk, Monk’s Music

Recorded in New York in June 1957 for Riverside, Monk’s Music surrounds the pianist/composer with a stellar crew: trumpeter Ray Copeland, alto saxophonist Gigi Gryce, tenor saxophonists John Coltrane and Coleman Hawkins, bassist Wilbur Ware, and drummer Art Blakey.

“What makes this one of the most fascinating recordings of Monk’s career is the complexity of the material combined with the caliber of the musicians on hand to play it,” says Phillips. “You have John Coltrane and Coleman Hawkins, two all-time legends of the tenor saxophone, playing Monk’s music side-by-side. That in and of itself makes this a very special recording. They’re two artists with very different styles, and two artists who have had a profound influence on legions of other saxophonists.”

Monk’s Music was the haymaker in a one-two-three combination of albums, all recorded in 1957, that made it a breakout year for Thelonious Monk,” says Ashley Kahn, author of the new liner notes for the reissue. “A solidly balanced recording that highlighted Monk’s growing status as the pre-eminent composer of the modern jazz scene, it featured a septet that drew on an unusual mix of soloists and a solid rhythm team. It also stood out as being the first recording released that was conscious of Monk’s increased popular appeal.”

Heralded by Downbeat as one of the top five albums of 1958, Monk’s Music “remains one of Monk’s most cherished recordings: coherent, organic, and fully realized,” says Kahn.

Cal Tjader / Stan Getz Sextet

A study in serendipity, Cal Tjader / Stan Getz Sextet was recorded for Fantasy at the Marines Memorial Auditorium in San Francisco in February 1958. The two leaders are backed by pianist Vince Guaraldi, guitarist Eddie Duran, bassist Scott LaFaro, and drummer Billy Higgins.

There are no bonus tracks, and for good reason, says Doug Ramsey, author of the new liner notes. No evidence exists in the Fantasy/Concord vaults of alternate takes or outtakes from this session. “What we have here is 43 minutes and 51 seconds of perfection,” says Ramsey, “a demonstration that six masters who have never before played together as a group can produce timeless music in the common language of jazz.”

Duran, the sole survivor of the 1958 sessions, concurs: “There was no rehearsal before the date, no alternates, no second takes. It went very smoothly. It just kind of fell into place. The feeling was happy and relaxed.”

“From the LP era, there are many examples of indifferent recordings by makeshift bands – jam sessions filling out the 12-inch vinyl with endless choruses,” says Ramsey. “In this joint venture, planning, preparation, six major talents and a spontaneous compatibility bordering on magic made the Tjader-Getz collaboration a classic. It’s good to hear it again.”

Fleck, Harrison, Wooten Adore Jake Shimabukuro

Critics have raved about the artistry Jake Shimabukuro displays on 'Peace Love Ukulele' (out January 4th from Hitchhike Records). The New Yorker said that "in his hands... the ukulele becomes a source of beauty, power, and inspiration."

Jake's fellow musicians agree. Here's what some of them had to say:

"The way Jake plays the 'ukulele is amazing and beautiful... he's a special musician." - Bela Fleck

"To say that Jake is incredible is not enough. He is much more than that. His music takes you on a journey. He plays with so much expression, feeling, and soul; it's like he's an old man in a young man's body. It only takes one listen to understand exactly what I'm saying." - Victor Wooten

"George felt liberated playing the uke and loved it because it made everyone smile. I especially love Jake's versions of George's songs." - Olivia Harrison

"It gives me a great deal of satisfaction to know that I was able to contribute in some way to the rest of the world hearing Jake play. From the moment I first heard his amazing style and watched the audience reaction in a club on the waterfront in Honolulu, I knew he was a unique and universal talent. We all at Mailboat Records are proud and excited to be distributing his latest release, and it gives me another good excuse to get back to Hawaii for 'business' - work, work, work..." - Jimmy Buffett

“Instrumentalists with a truly unique voice on their instrument come around very rarely. It was such a welcome gift to the world when Jake came on the scene... someone whose mastery of the ukulele is eclipsed only by the sheer joy he spreads in playing it. Jake Shimabukuro is without a doubt, one of a kind!” - Dave Koz

Listen to the hard driving "Bring Your Adz" from 'Peace Love Ukulele' here.

Kristy Lee Announces NYC Debut

After tearing up the South on her latest tour, Kristy Lee takes the phrase of "Go Big or Go Home" to heart for her New York City debut.
On Thursday, December 2nd, 2010 Kristy Lee will go on a 1-Night Only THREE Performance Bender to show NYC music lovers her Folk-Soul Spunk with two acoustic sets, & one guest appearance.
WHO IS KRISTY LEE?
That mighty rumble you hear coming out of Alabama is none other than Kristy Lee. Her voice like thunder, rolling in before a sweet southern rain, instantly washes the world away. Kristy Lee's unique rhythms are absolutely nourishing, clean, pure, and unapologetic. This woman means it when she takes her voice out to play! This Alabama girl can pack a house in any state. Tough luck sticking her in a category, because when it comes to writing songs, she has no limits!
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KRISTY LEE TOUR DATES
Nov 18: Club Tribute - New Orleans, LA
Nov 19: Sue Ellen’s - Dallas, TX
Nov 20: Sadie's Nightclub - Lafayette, LA
Dec 2: The Bowery Electric - New York, NY [7PM]
Dec 2: Joe's Pub [guest musician during BITCH's show] - New York, NY [9:30PM]

Dec 2: Rockwood Music Hall - New York, NY [12AM]

Sidi Touré Releases New Album, 'Sahel Folk'

Sidi Touré, born in 1959 in the ancient town of Gao, Mali, made his first guitar as a child, constructing it from his wooden writing slate. Growing up, Sidi Touré faced a conflict between the inexorable pull of music and the expectations of family and society, plus the significance and onus of a past that came with being born into a noble family. The Touré family had been sung about, and sung to, by traditional griots for centuries, but until Sidi Touré challenged the rules as a small boy, the Touré’s did not sing. Despite his family’s disapproval, Sidi became the lead singer of his school’s band, and then became the youngest member of Gao’s regional orchestra, the Songhaï Stars, who played bi-annual festivals like the Bamako Biennale and toured both regionally and nationally. After winning the award for best singer twice, he took the band to the northern regions of Mali and to Niger, and toured much of the western Sahel region. Throughout his time making music, Sidi’s sound has both captured and challenged his roots. His music moves from the translucent swaying takamba to the trance inducing Holley, while the lyrics often address many non-traditional issues. Sidi has a critical mind and his songs have a purpose.

At its heart, Sahel Folk, Thrill Jockey’s debut release with Sidi Touré, is an album of friends reuniting around a glass of tea. It’s Sidi Touré’s second album, but the first time most of his collaborators have been documented. Chronicled in a live “field-recording” style at Sidi’s sister’s house, the simplicity of the takes highlight the beauty of the songs and the skill of the players. Each track on the album is a duet recording of Sidi and one friend, a product of a very specific two-day process. On the first day, the friends would meet, play, and choose a song over a glass of tea. On the second day they would record the song, allowing themselves just two takes to retain the spontaneity of the recording and reunion. It was the original intent of Covalesky, the album’s producer, to create an historical document about the traditions of Gao, and to mix the audio of Sidi and his friends’ songs with street recordings and interviews. However, once the recording started, everything changed. Covalesky puts it best when he says “In the face of such beauty and power delivered so simply by Sidi Touré and his friends, there was nothing to add. Everything was there.”

Thrill Jockey Records is honored to be releasing Sidi Touré’s second album, Sahel Folk, due out January 25, 2011.

Umphrey's McGee live webcast on Oct 3, new logo will be unveiled

Umphrey’s McGee and Martin Sexton perform a double-header concert webcast on Sunday Oct. 3, live from the soundstage of Ex’pression College for Digital Art in Emeryville, CA.

The concert is hosted by CreativeAllies.com, an online design community that lets anyone submit art in official design contests for high-profile artists including M.I.A., OK Go, Amanda Palmer, Jack Johnson and Thievery Corporation.

Sexton takes the stage first at 7 p.m. PT/ 10 ET, followed by Umphrey's McGee at 8 PT/11 ET. Umphrey’s McGee’s official new logo, chosen from entries in a Creative Allies logo design contest, will be revealed live during the webcast.

The webcast is filmed by students at Ex’pression College for Digital Art and simulcast on Ustream.

View the webcast here.

View the 300+ entries in the Umphrey’s McGee logo design contest at www.creativeallies.com

Matt White Releases "It's the Good Crazy"

On his sophomore record, singer/songwriter and piano phenom Matt White is bringing the “good crazy”—his second album is a combination of propulsive piano playing and sly lyrics that takes listeners on a wild romp through the Big Apple and beyond. It’s The Good Crazy is out now via Ryko Records.
The album is highlighted by tracks like the first single, “Falling in Love (With My Best Friend),” a pop fueled love letter showcasing Matt’s vocal range as he reaches infectious falsettos. During "She's On Fire," Matt's robust baritone takes over on the sensual and soulful slow down, while "Taking On Water" dives deep into meandering emotions with an epic melody. The resulting album is an eclectic and intoxicatingly addictive mix of sounds and passion.
Working with a dedicated team of producers, including David Baron and Henry Hirsch [Madonna, Lenny Kravitz, Mick Jagger], Matt took an old school approach to his new material.  For much of the album, Matt, Baron and Hirsch retreated to a church in Woodstock, NY to record on the same board that Led Zeppelin II was recorded on and tracking to what might be one of the last 3M tape machines left in existence.  Breaking away from modern trends, Matt recorded the entire album on analog tape, allowing any and all happy accidents to stay in the songs.
"All of the albums I love were done that way. With tape, there’s a depth in the sound wave that you can't capture digitally. There were no computers, no Pro Tools and no room for error. If I screwed up, it's on there," says Matt.
Since debuting in 2007, Matt's music has been featured in numerous films, TV shows and commercials including What Happens In Vegas, Shrek, The Third, McDonald's, The Hills, Brothers and Sisters and One Tree Hill.  The singer/songwriter has toured and performed alongside everyone from B.B. King and Sheryl Crow to John Mayer and Counting Crows.  In addition, his "Songs Of Freedom" became the theme for Gap's "Vote For" campaign, airing on a special electoral episode of The Oprah Winfrey Show.  His debut album Best Days also hit #4 on Billboard's New Artist chart and received acclaim from RollingStone and Details. Selling 400,000 digital downloads, he's cultivated a diehard fan base that has remained loyal since he first hit the music scene.

Shinobi Ninja Takes off from Brooklyn to Babylon

In anticipation of the release of their forthcoming album in Spring 2010, SHINOBI NINJA, the party rocking beasts from Brooklyn NY, have just launched a dangerously addictive video for their single “Brooklyn to Babylon” directed by Evan Savitt (Lady Gaga, Saint Motel), one of New York’s most sought after, up-and-coming directors. Shinobi Ninja drummer Terminator Dave expresses “this video represents exactly what the song and band is about - frenetic energy that demands your attention to its emotion, feel, and arrangement. It’s bright, colorful, eccentric and fun which are all the elements we bring to our shows!”

SHINOBI NINJA are the super group for the 21st century, composed of six colorful, vibrant New York City musicians and performers from different corners of the music world. With their debut EP Brooklyn to Babylon, and their own revolutionary video game, Shinobi Ninja Attacks, Shinobi Ninja will jump start the party, wherever you are!

Onstage and on-line, Shinobi Ninja have built themselves a devoted following, garnering much-deserved attention from the music world. With their must-see live gigs, their party-in-a-box debut EP, interactive video game and forthcoming full length album, Shinobi Ninja are always going the extra mile to make you part of the excitement. And you’ll find the band’s irresistible funky rock hooks, energetic performance style and fun loving attitude will make you want to join the revolution.

Railroad Earth Takes the Both Coasts on Fall/Winter Tour

It’s no surprise that the band Railroad Earth took their name from Jack Kerouac’s flowing prose-poem, October in the Railroad Earth. Interspersed with memories of the past and the present, the story weaves a complex tapestry of impressions and reflections, all underlining the American history of the workingman. Much like Kerouac, Railroad Earth’s music captures the grit and soul of rural and urban America and translates it into something deeper than just music.

The six-piece ensemble crafts each song artfully, like a storyline in a novel about travel, wonderment, tragedy, and heartbreak. With the unusually soulful and deep writing and vocal delivery of principal songwriter, Todd Sheaffer, combined with instrumentation so colorful you might find them on the Appalachian Trail, Railroad Earth is bringing their slice of American culture on a hefty fall/winter tour spanning both coasts and every major market in between.

Mixing an unlikely blend of instruments to make up their well-traveled sound, the project features Todd Sheaffer (Lead vocals, acoustic guitars), Tim Carbone (Violin, vocals), John Skehan (Mandolin, vocals), Andy Goessling (Acoustic guitars, banjo, dobro, mandolin, flute, pennywhistle, saxophones and vocals), Carey Harmon (Drums, hand percussion, vocals) and Johnny Grubb (Upright bass).

In their relatively short tenure, the band has released five critically acclaimed albums and amassed an impressive national following with sold-out shows from coast-to-coast. They’ve also graced the main stages of some of the country’s most prestigious festivals, including; Bonnaroo, Austin City Limits Festival, Telluride Bluegrass Festival, Rothbury and the 10,000 Lakes Festival. And this past September, Railroad Earth performed for the first time at the legendary amphitheater, Red Rocks, in Morrison, CO. Yet, Railroad Earth remains surprisingly grounded and continues to stick close to their musical roots and influences – always striving to keep the next show is as inspired as the last.

Beginning in late September, Railroad Earth will be doing a series of short tours with pivotal performances in various parts of the country. But unlike the speed trains in Kerouac’s novels, this Railroad Earth is in no hurry “to get there fast”.