miller

Boulder Roots & Blues Summit

These are just a few of the names that will play the First Annual Boulder Roots & Blues Summit, May 13-15, in historic Boulder, Colorado. The Fox & Boulder theaters are excited to host a taste of the roots & blues between two venues for three days of live music by some of the finest musicians in the industry. Join us at the Boulder Theater each day for the early shows, and then move to the Fox Theatre for the late-night shows.

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The initial lineup is as follows:

Friday, May 13:

Lucinda Williams w/ Lionel Young at the Boulder Theater

Vieux Farka Toure and William Elliott Whitmore at the Fox Theatre

Saturday, May 14:

Leon Russell w/ Janiva Magness at the Boulder Theater

Davy Knowles with Hazel Miller Blues Band & Taylor Scott and Another Kind of Magic at the Fox Theatre

Sunday, May 15:

Sheryl Crow at the Boulder Theater

VIP Roots & Blues Summit Pass available Now for $325:

- Receive entry to all shows at the Fox & Boulder Theater May 13 – 15

- VIP Entrance to all shows

- Reserved seating for all shows at the Boulder Theater

- Reserved balcony for all shows at the Fox Theatre

- Limited edition 1st Annual Roots & Blues Summit silk screen poster

- Limited edition 1st Annual Roots & Blues Summit t-shirt

More Info / Buy Tickets

Hit by a Train -- the Old 97’s in Boulder

I left the Boulder Theater with both ears ringing thoroughly and my head in a satiated state of buzz, and in fact I was bone sober (as far as intoxicants are concerned).

Old 97's @ Boulder Theater | 1/27/11

Since the Old 97's roared out of Dallas more than fifteen years ago, they have blazed a trail through alt-country and power-pop, led by the piercingly observant lyrics of lead singer Rhett Miller. Each new Old 97's record is hotly anticipated, and rightfully so: "Blame It On Gravity," from 2008, contained some of the band's most deeply felt and passionately played songs. But in a career full of high-water marks, "The Grand Theatre Volume 1″ is perhaps the most ambitious and accomplished set of recordings yet.

The album, the band's eighth, began to come together last year, when Miller was on a solo tour of Europe with Steve Earle. "When I started in this band, I wrote on the road constantly," Miller says. "But I was 23 then, so everything was new to me. Over the years, those strange and wonderful things have begun to feel more commonplace. On the familiar highways, in familiar hotels, it's pretty easy to turn into a zombie. But on this tour, I was in England and Ireland and Scandinavia, places where I haven't spent very much time in, and because of that things seemed somehow fresh. I felt recharged."

The result was a set of songs rooted in specific locations. "The title track, which I wrote in Leeds, is like a series of postcards that try to capture the moment of falling in love; it begins in the Grand Theatre, which is a historic venue there, on the elevator. There's another song, "Every Night Is Friday Night (Without You)," that I wrote, or at least started to write, while I was walking around in Soho. And a song like "The Dance Class" wouldn't have happened if I wasn't in Birmingham, trapped in a hotel, looking out at streets that were bleak and gray except for a dance studio across the way. I imagined an agoraphobic who sees a beautiful girl in that studio and fantasizes about being freed by her." Miller's portraits of love and loneliness are paired with some of the sharpest music the band has ever produced, from the propulsive celebration of "Every Night Is Friday Night (Without You)" to the manic (and almost panicked) energy of "The Dance Class."

More Info / Buy Tickets

Old 97's w/ Langhorne Slim @ Boulder Theater

Since the Old 97's roared out of Dallas more than fifteen years ago, they have blazed a trail through alt-country and power-pop, led by the piercingly observant lyrics of lead singer Rhett Miller. Each new Old 97's record is hotly anticipated, and rightfully so: "Blame It On Gravity," from 2008, contained some of the band's most deeply felt and passionately played songs. But in a career full of high-water marks, "The Grand Theatre Volume 1″ is perhaps the most ambitious and accomplished set of recordings yet.

The album, the band's eighth, began to come together last year, when Miller was on a solo tour of Europe with Steve Earle. "When I started in this band, I wrote on the road constantly," Miller says. "But I was 23 then, so everything was new to me. Over the years, those strange and wonderful things have begun to feel more commonplace. On the familiar highways, in familiar hotels, it's pretty easy to turn into a zombie. But on this tour, I was in England and Ireland and Scandinavia, places where I haven't spent very much time in, and because of that things seemed somehow fresh. I felt recharged."

The result was a set of songs rooted in specific locations. "The title track, which I wrote in Leeds, is like a series of postcards that try to capture the moment of falling in love; it begins in the Grand Theatre, which is a historic venue there, on the elevator. There's another song, "Every Night Is Friday Night (Without You)," that I wrote, or at least started to write, while I was walking around in Soho. And a song like "The Dance Class" wouldn't have happened if I wasn't in Birmingham, trapped in a hotel, looking out at streets that were bleak and gray except for a dance studio across the way. I imagined an agoraphobic who sees a beautiful girl in that studio and fantasizes about being freed by her." Miller's portraits of love and loneliness are paired with some of the sharpest music the band has ever produced, from the propulsive celebration of "Every Night Is Friday Night (Without You)" to the manic (and almost panicked) energy of "The Dance Class."

More Info / Buy Tickets

Old 97's at the Boulder Theater

Old 97’s make their triumphant return on October 12th with The Grand Theater Volume One, their eighth studio album, from New West Records.  The band, who Rolling Stone says have “evolved…into master-class rock & roll songwriters,” recorder over two dozen brand new songs during the studio sessions and will be releasing a second volume in 2011.  The 12 song album was once again produced by Salim Nourallah (the band’s previous release, Blame It On Gravity) and engineered by Jim Vollentine (Spoon).  Legendary for their blistering live performances, the Old 97’s spent a week of pre-production recording the new songs completely live at the nearly 100-year old (and reportedly haunted) Dallas venue Sons of Hermann Hall.  The band set up on stage like they normally do during concerts, so it was instantly conducive to whether or not certain new songs would translate well in a live atmosphere.  After deciding what new songs make made the cut for proper recording, the band moved the production to Treefort Studios in Austin, TX.  Basic tracks for these studio sessions were recorded mostly live, resulting in an album that is as vibrant, immediate and sweat drenched as their praised live show.  Frontman Rhett Miller stated, “The Old 97’s have hit a great stride, found our second wind.  I feel like we found the secret to capturing the live energy people rave about after they see us play.”

The Grand Theatre Volume One was predominantly written during Rhett Miller’s 2009 solo tour abroad.  The lyrics are filled with character studies while the sound – expertly rounded out by band members Murry Hammond, Ken Bethea and Philip Peeples – is Garage-Rock=meets-60’s-British Invasion without abandoning the classic 97’s sound.  Rhett Miller offered, “The Grand Theatre centers around a suite of songs I wrote during a month-long tour of England, Ireland and Scandanavia.  Opening for the great Steve Earle meant watching a master Texas songwriter at work and I soaked up these strange surroundings and turned them into songs.  I was writing at a furious cli in the midst of the most intense kinds of planes, trains and automobiles.  I can see an epistolary strain running through the songs.  All my years of Anglophillia make these fell like a collection of love letters, or a collection of letters home.  I wrote the title track in the dressing room of Leeds’ Grand Theatre.”

The album’s first single, “Every Night Is Friday Night (Without You)” is an exuberant rocker.  “Like a lot of songs on The Grand Theatre, “Every Night…” is more complicated than it first appears.  The speaker has some issues.  What can I say?  The Old 97’s have been making anger and depression sound fun since 1993” said Miller. “Champaign, Illinois” re-imagines Bob Dylan’s classic Highway 61 Revisited track, “Desolation Row” with brand new lyrics by Rhett Miller.  Miller said, “The one song on the record that dates further back is ‘Champaign, Illinois.’  A few years ago, during a long, late-night drive through Southern Illinois, I kept myself awake by rewriting the lyrics to ‘Desolation Row.’  I played it around live a little, but never recorded it for fear of repercussions from Dylan’s legal team.  When the 97’s were putting this record together, we kept bringing “Champaign” up with a sort of bittersweet longing, sad that we would never be able to use it.  Finally, it occurred to me, “Why not?”  Through a series of phone calls, Dylan’s manager approached the legend with a live recording of the tune from the old Café Largo in Hollywood.  I couldn’t believe it when word came back through the channels that Dylan liked the tune but wanted to read they lyrics.  I never typed faster.  Apparently, Dylan liked it enough that, not only did he approve the release, but he wanted to split the publishing 50/50 with the band.  A co-write with Bob Dylan, even in absentia, is an enormous honor.  What a cool dude.”

An Old 97’s record would not be complete without songs from bassist Murry Hammond.  He has two strong contributions on The Grand Theatre Volume One, “You Smoke Too Much” and “You Were Born To Be In A Battle.”  Like Miller’s songs, Hammond has a highly literate style yet harkens back to an older school of writing, which creates a balance on the record.  Speaking of the record, Hammond stated “I’m a big 60s garage punk fan, and my favorite moments on this record have a thick vibe in that direction…while I’m proud of my stab at 60s Johnny Cash in ‘Born To Be In a Battle.’ I’m just as thrilled as the way the bass generally bubbles all over the place and the background and harmony vocals swim in the old plate reverb.  It gives me that same smile I get listening to my heroes the Zombies, Chocolate Watchband, Syd Barrett, etc.  I’m proud of how the band can be garage and raw but very Technicolor at the same time.  This is one of my top favorite records of ours.”

Old 97’s

Boulder Theater

Thursday, January 27th

Doors:  8:00 pm

Show Time:  9:00 pm

All Ages

The Contribution: The Supergroup Releases Debut Album

Which Way World – the new release recorded by supergroup collective The Contribution - is the kind of debut album that only seasoned musicians can produce. Featuring the stellar contributions of Tim Carbone - violin, vocals (Railroad Earth), Jeff Miller - guitar, mandolin, vocals (New Monsoon), Phil Ferlino - keyboards (New Monsoon), Keith Moseley - bassist (The String Cheese Incident) and Jason Hann - percussion (The String Cheese Incident), the americana-tinged music on Which Way World is full and free-wheeling, offering exceptional chops that never overshadow the stand-out songwriting.

The Contribution releases Which Way World on March 30th, 2010 (SCI Fidelity Records); the album will be available digitally everywhere and on CD (the disc includes bonus video footage shot during the recording process) at www.thecontribution.net.

The idea for The Contribution was first hatched by Carbone, Miller, and Ferlino at a festival in the Pacific Northwest in 2005. According to Carbone, “[After] many days lost in creativity beneath the mighty redwoods, [we] emerged into the California sunshine with ten songs.” The contributions of Moseley and Hann from The String Cheese Incident were welcomed on board shortly thereafter, and the full studio line-up for the supergroup was solidified.

The Contribution plays only two shows in support of the album’s release – April 1st at the Bluebird Theatre in Denver, Colorado and April 3 at the Great American Music Hall in San Francisco, California. Show details are as follows:

Thursday, April 1st @ 9PM
Bluebird Theatre
w/ White Water Ramble
3317 East Colfax Avenue, Denver
Tickets: $20.00/ Ages 16+ Welcome
For more information contact 303-830-8497
or visit: bluebirdtheater.net

Saturday, April 3rd @ 9PM
Great American Music Hall
859 O'Farrell Street, San Francisco
Tickets: $20.00, $44.95 with dinner/All ages Welcome
For more information contact 415-885-0750 or visit:
gamhtickets.com


About the Players

Tim Carbone - New Jersey’s Tim Carbone is best known as a member of Railroad Earth. For The Contribution, Carbone lends his mood-altering violin work, as evident on the upbeat country-ish song “Steady Rise,” and his voice blends perfectly with Miller’s on such songs as “Samsara.”

Jeff Miller - As a member of the San Francisco-based New Monsoon, Miller has issued five studio albums since 2001. Miller’s penchant for alternating between guitar and mandolin, and his smooth vocals, are highlighted throughout Which Way World’, including the album’s first track, “The Closer.”

Phil Ferlino – Phil Ferlino is also a member of San Francisco’s New Monsoon. Handling all things keyboard-related, Ferlino’s playing in The Contribution reflects whatever the song calls for - as evidenced by such standouts as “Time Was Only Yesterday” (which contains organ (which contains organ playing reminiscent of the Band’s classic material) and “Wind Me Up” (which puts Ferlino’s stately piano lines up-front).

Keith Moseley – Moseley’s two-decade music career has been spent largely as bassist with The String Cheese Incident. In addition to his work with SCI and now, The Contribution, Moseley has played and recorded with multi-instrumentalist Keller Williams, including the 2006 live tribute to the Grateful Dead, Rex (Live at the Fillmore).

Jason Hann – Jason Hann joined The String Cheese Incident in 2004 as the band’s percussionist. Hann is extremely well-versed at his craft, having studied music in such exotic countries as Ghana, Haiti, and Korea. In addition to SCI, Hann has played with a slew of renowned musicians (such as R&B legend Isaac Hayes), has released his own solo album (2005’s ‘Rhythmsphere Vol. 1 - Djembe Furia’), and is a member of the electronic/experimental project, EOTO, with SCI band mate Michael Travis.

Steve Miller W/ The Les Paul Trio

THE IRIDIUM JAZZ CLUB WILL CONTINUE TO CELEBRATE LES PAUL THE MAN, HIS MUSIC AND HIS LEGACY EVERY MONDAY NIGHT WITH THE LES PAUL TRIO.  Tonight will feature: STEVE MILLER WITH THE LES PAUL TRIO at the Iridium Jazz Club

The Les Paul Trio consists of:  LOU PALLO – GUITAR, JOHN COLIANNI – PIANO, NICKI PARROTT – BASS

A portion of door proceeds will be contributed to the Les Paul Foundation.

Upcoming shows include:

NOV 16 STANLEY JORDAN WITH THE LES PAUL TRIO 8 & 10PM
LOU PALLO – GUITAR, JOHN COLIANNI – PIANO, NICKI PARROTT – BASS

NOV 17 JUDY BARNETT'S JAZZ-A-TERIA 8PM-10PM

NOV 18-22
PHAROAH SANDERS BAND FEATURING RAVI COLTRANE

IRIDIUM JAZZ CLUB
1650 BROADWAY (CORNER OF 51ST)
NEW YORK, NY 10023
RESERVATIONS: 212-582-2121
HTTP://WWW.IRIDIUMJAZZCLUB.COM/
SETS AT 8:30 & 10:30PM (UNLESS OTHERWISE INDICATED)
LES PAUL TRIO SETS REMAIN AT 8:00 & 10:00PM