horns

Will Hoge Set To Release NUMBER SEVEN On 9/27!

Critically acclaimed Nashville singer/songwriter Will Hoge’s seventh studio album, aptly titled NUMBER SEVEN, is set to be released on Sept. 27 on Ryko.  Its eleven songs survey the struggles of the heart that are Hoge’s songwriting stock in trade while revealing enticing range and freshness on the sonic front. Acting as his own producer for the first time, Will says this album feels truer to his personal vision than any he’s made.

“We took a lot of time in making this album,” explains Hoge.  “We started laying down tracks in my living room, then stepped away from it for about six months.  We were able to come back, re-record and scrap some other stuff and I believe we came out with a much better record because of it.  It afforded us the ability to take a long hard look at ourselves and what we were doing musically.”

The lead single, “When I Get My Wings,” is set to impact radio on Mon., Aug. 1 and highlights Hoge’s full-throated Otis Redding-style vocal with a heavenly host of Memphis-inspired horns.

NUMBER SEVEN follows up on Hoge’s 2009 release THE WRECKAGE, which was hailed as “welcome and worth the wait” by USA Today,  “triumphant” by the BBC and American Songwriter noted that the “eleven tightly crafted songs retain the artist’s self-assured, Southern swagger.” The long time road warrior is planning a rigorous touring schedule with upcoming headlining dates this fall. Details and ticket information will be announced in the coming weeks.

For updates and more information, visit www.willhoge.com.

The Motet: Funk Is Dead @ Boulder Theater

Z2 Entertainment is proud to present The Motet:  Funk Is Dead Performing the music of the Grateful Dead at the Boulder Theater on Monday, October 31st. Tickets go on sale Friday, June 17th at 10:00am.

The Motet is extremely excited to announce that for Halloween 2011 they will be paying tribute to the music of one of the most influential rock bands of the last 40 years: THE GRATEFUL DEAD!

How does the Grateful Dead’s sound fit into the energy and vibe of a Motet Halloween show?  They will be taking the challenge of reworking those epic and timeless songs with the energetic afro-funk grooves that you come to expect from The Motet…..hence the title “Funk is Dead!”

In addition to the slamming rhythm section of Dave Watts (drums), Garrett Sayers (bass), Joey Porter (keys), Ryan Jalbert (guitar), Scott Messersmith (percussion) and Dan Schwindt (guitar), they will be bringing in 3 of their great vocalists:  Jans Ingber, Paul Creighton and Kim Dawson.  Also, they will be showcasing a trio of horns (who’s ever played the Grateful Dead with a horn section?!):  Gabe Mervine (trumpet), Matt Pitts (tenor) and Pete Wall (bari)>

The boys are certain that these are going to go down in Motet Halloween history as some of the most exciting and creative shows they have ever put together!! Make sure to get your tickets soon so you don’t find yourself at the concert with your finger in the air looking for a funky miracle!

For more information please visit www.themotet.net

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The Motet Presents Funk Is Dead

Boulder Theater

Monday, October 31st

Doors:  8:00 pm

Show Time:  8:30 pm

Labor Records reissues Heiner Stadler’s album Tribute to Bird and Monk

A truly groundbreaking landmark recording, Tribute To Bird and Monk, was widely lauded when it was first released in 1978 – credited as one of the best and most unusual albums of that year by Neil Tesser in a Jazz Magazine article that noted the record’s “tough, bright, innovative resiliency” and earning the coveted five star (highest) rating in a Downbeat review by critic Jerry de Muth (who called the two LP set “a brilliant mixture of arranged and free jazz”) and garnering arranger-producer Heiner Stadler a place in the magazine’s Annual Critic’s Poll as a Talent Deserving Wider Recognition.  More than thirty years later, the album originally released on Tomato Records, is a coveted collectors item whose importance has only been compounded with time, while Stadler’s pioneering conception continues to be a talent very much deserving of wider recognition.  Now reissued as a compact disc on his own Labor Records imprint, it is likely that Stadler’s unique talent will again be heard as deserving increased attention and the music will once more be praised on a level comparable to when it first appeared. The considerable artistic success of Stadler’s pioneering project can be credited as much to his visionary assembling of a truly distinctive ensemble to perform his inventive orchestrations, described by de Muth as “far more than arrangements,” noting that “recompositions would be a better term.”

In selecting veteran cornetist Thad Jones, a Monk alumnus and one of the most renowned arrangers of his day, to be an important member of the band filled out by much younger musicians who were closely associated with more modernist, even avant garde aspects of the jazz genre, Stadler imbued the date with an intriguing traditionalist facet at atime when tradition and innovation were virtually at war.  Tenor saxophonist George Adams, most recognized for his work with Charles Mingus made him at home in both camps, but his fierce uninhibited sound was certainly heard as being outside the mainstream.  The youngest member of the group, trombonist George Lewis as a member of the Association for the Advancement of Creative Musicians was clearly recognized as a member of the avant garde.  Stadler’s choice of rhythm section mates could be considered most astute, with multitalented pianist Stanley Cowell as one of the few players of his instrument to find a place in the post Ornette realm of forward looking modernism. Virtuoso bassist Reggie Workman, a veteran of Coltrane’s innovative band and  then a member of Max Roach’s creative quartet was extending both the range and the role of the bass.  While Lenny White, known for his pioneering fusion work on Miles Davis’ Bitches Brew and Chick Corea’s Return To Forever, proved to be a propulsive force, capable of swinging with fiery power.  The addition of percussionist Warren Smith on tympani for a pair of tracks further contributes to the band’s uncommon sound.

In his introductory comments for the reissue Tribute To Bird and Monk (prefacing the late Robert Palmer’s original liner notes) Jazz Journalist Association President Howard Mandel observes,  “By casting a unique sextet of New York City’s best improvising instrumentalists to explore the potentialities and retain the essences of music by two great jazz modernists composer-producer Stadler proved prescient. In 2010 tribute projects proliferate, though few take the dramatic leaps to create new art from indestructible aspects of established creations that Stadler’s does.” With remixed sound by the brilliant engineer Malcolm Addey listeners can now appreciate more the nuances of Stadler’s polytonal arrangements and the soloists’ daring improvisations on the six tracks split evenly between Monk and Parker compositions.

As Palmer points out in his liner notes (now reprinted) Parker’s opening “Air Conditioning” begins, “deceptively as it turns out, with a unison theme statement in C.”  Deceptively, as it is, because Stadler’s “polytonal manipulations on the theme …especially evident in the horn backgrounds that frame the solos.”  Each of the sextet members improvise boldly with Jones kicking things off with one of the date’s most conventional statements, followed by Lewis who pushes things a bit further out, preceding Adams who gradually takes things into space, with the ensembles raucous backgrounds deftly referring to Parker’s melodic line.  Cowell’s outing is particularly adventurous, proving himself to be one of the very few keyboardists who wasable to interpolate the vocabulary of Cecil Taylor into the more traditional language of bebop.  Workman, whopowerfully pushes the unit throughout, acquits the bass as an instrument quite capable of holding its own in the spotlight, while White solos musically, hearkening to Max Roach’s work with Bird.

Drums dramatically open Monk’s “Ba-lue Bolivar Ba-lues-are,” followed by Workman’s vigorously bowed bass and the horn section’s statement of the theme, which begins ominously before morphing into a carnival-like mood reflecting the composer’s sly sense of humor. Cowell, the lone remaining soloist, improvises lengthily here – referencing Monk frequently, occasionally with verbatim phraseology -- as horns enter and exit at odd intervals chime in with backgrounds transcribed from Monk’s original piano solo with Cecil Bridgewater (subbing for the snowbound Jones) playing with free spirited assurance.  Palmer notes the performance seems to be a particularly radical recomposition with each phrase of the theme voiced polytonally and separated from the next by a free collective improvisation, with Stadler’s score warning “don’t improvise too long in order to avoid losing the continuity of the melody.”

Parker’s ” Au Privave” features the trombone of George Lewis whose years of experience playing numerous uptempo Bird songs with Anthony Braxton finds him well prepared for his exemplary work here.  Adams plays the opening theme over Workman’s bass walking (in a different key) joined shortly thereafter by the horns. Lewis improvises marvelously, following Stadler’s instructions to vary his tempo, playing either slightly faster or slower than half time, while the rhythm sections plays in the set tempo.  The result is in Palmer’s words “constantly shifting mosaic of tempos … and each tempo swings.”

Workman and White open up Monk’s “Straight No Chaser” before the horns begin playing fragments of the well known melody with the various separate components linked by collectively improvised horn ensembles. Jones solos first, playing with an inspired abandon Palmer described at the time of the original release as “his most exciting and creative recorded work in years.”  Cowell again proves himself to be one of the most creative soloists of his generation improvising in tandem with the primordial Workman in a manner recalling Monk, while White’s drums run the gamut from New Orleans to out(er space) in a rhythmic duel with the horns’ staccato background. Workman’s extended unaccompanied bass solo brings the horns back in and the bassist walks things to a close

“Misterioso,” the final Monk exploration again begins with a Lenny White solo, his drums here joined by Warren Smith’s tympani, as various members of the ensemble play fragments of the bluesy theme to frame their percussion discussion, with Cowell’s piano clearly drawing the line between Monk and Cecil Taylor.  Workman’s bass is in the spotlight again, displaying a vast sonic array with incredible pizzicato and arco sections that are sensitively backed by the rest of the band on a truly masterful interpretation of the Monk classic engendered by Stadler’s daring arrangement which concludes with a return to the percussion section’s buoying of the theme.

Parker’s “Perhaps” ends the date on one of its lighter notes, with brass playing the not so widely known Bird line to open things up for Adams’ breathy flute as the rhythm section swings over Workman’s fast walking bass, joined intermittedly by trumpet and trombone, breaking up thetempo before Adams lets loose on tenor playing with a full emotional range -- from terrifying to tender -- that leads to a final ensemble statement of the theme with an almost conventional tone that offers an unexpected final relief.

The durability of this music, as daringly modern todayas it was when it was made more than three decades ago, stands as a tribute not just to Charlie Parker and Thelonious Monk, but also to Heiner Stadler, whose sympathetic vision of the two great composer’s creativity has brought their sound into the future while paying homage to the tradition from where it sprang.  As Mandel notes, “Tribute is a fair indication of Stadler’s powers. In it, he demonstrates that Bird and Monk wrote immutably multi-faceted music from which inspired individuals can generate kaleidoscopic variations, and that their music has inspired him to stretch form in a manner indisputably wed to content. There is no higher tribute than an artist making something new and enduring out of sources he admires and acknowledges.” This is the splendor Heiner Stadler provides to us with his Tribute to Bird and Monk.”

Wires Under Tension Announce Debut Album, 'Light Science'

For nearly thirteen years Christopher Tignor lived in the 3-story commercial space in Greenpoint, Brooklyn where he conceived and practiced with his band Slow Six. In 2008, thanks to a tipped off fire marshal, a move was inevitable, and the walls had to come down. Drastic measures would be necessary in order to keep making music on his own terms - living completely immersed in his studio and practice space. Step one was relocating to the Mott Haven neighborhood of The Bronx. Far removed from an overwhelming hipster scene he had never connected with, he found himself surrounded by the working-class grit and intensity typically associated with The South Bronx. The new musical landscape Wires Under Tension creates uncannily echoes this transition.

Charged with the desolation of a Mad Max dystopia, the songs on Wires Under Tension's debut Light Science form a narrative in motion from lightness to darkness. The band's name reflects the duo's ongoing struggle to balance this tension as they wrestle with an unpredictable and unforgiving machine of their own making. Wordless voices of the horns and violin feel like lightning riding a stormy sea of drums and drones. That lightning illuminates the duo's muscular rhythms, formidable dynamic, and unique musicianship. As they beckon us into their storm, they seem to effortlessly sidestep the cliches found in much of today's instrumental music, delivering exciting and mysterious gems from their unique netherworld.

Light Science will be available digitally through all major retail outlets December 7th

Soulive w Shady Horns + Benevento/Russo Duo @ Studio at Colton

duoSince forming Soulive in 1999, guitarist Eric Krasno, organist Neal Evans and drummer Alan Evans have developed a reputation as one of the most sought after instrumental soul-funk trios around, a hard-touring live act that's thrown down everywhere from small rock clubs to opening arena shows for the Rolling Stones. The musical relationships that Soulive has developed, from Chaka Khan, to Dave Matthews, Talib Kweli John Scofield, Derek Trucks, Susan Tedeschi, Robert Randolph, Joshua Redman, and so many others, speak volumes about how versatile these talented musicians are. Jazz, hip-hop, rock, soul, funk, R & B, Blues - musically, there is not much Soulive hasn't done. Joining the funk powerhouse for a very special performance will be the raging horn section of Lettuce, The Shady Horns, and emerging soul vocalist Nigel Hall.

Following the funky beats of Soulive will be a performance by the essentials of the jam band scene, the Benevento/Russo Duo. The Benevento/Russo Duo formed in 2002 when Joe Russo was offered a Thursday night residency at New York City's Knitting Factory. He enlisted childhood chum Marco Benevento and the two performed as an organ and drum combo for $50 each. With hardly any written material at first, the Duo made a virtue out of necessity by converting loose sketches into 20-minute improvisations. From the very beginning, the group proved that they could also handle instrumental revisions of Led Zeppelin or Radiohead songs with equal skill and audacity. Far from its initiation, when the Benevento/Russo Duo was conceptualized for economy, these days the band remains a twosome of pure artistic desire.The Benevento/Russo Duo was the winner of New Groove of the Year in 2005, at the 5th Annual Jammys. They are an indie-rock band that jams. They are a jazz-combo that rocks.

Don't miss a night of exceptional musical performances at The Studio at Colton Theater!

And remember, this year the Backbeat Jazzfest Series will be offering music lovers and the musicians they love smoke-free environments at all shows.

Advance tickets are $25 and can be purchased at www.backbeatpresents.com or www.ticketweb.com.

Additional details and information about the events can be found at www.backbeatfoundation.org or by visiting the Foundation's Myspace and Facebook. Additional information and updates about the series can be found at the Backbeat Jazzfest Series 2009 group page.

For information about Soulive please visit www.royalfamilyrecordings.com
or www.myspace.com/soulive. Additional information about the Benevento/Russo duo can be found at www.beneventorussoduo.com. For information on Nigel Hall please visit www.nigelhallmusic.com.

The Louisiana Campaign for Tobacco-Free Living (TFL) and the Louisiana Department of Health and Hospitals Tobacco Control Program (LTCP) coordinate their efforts in tobacco prevention and control by providing statewide coordination of existing tobacco control initiatives, funding innovative community programs for tobacco control, and improve the overall health and quality of life in Louisiana. For more information visit, www.tobaccofreeliving.org.