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Chris Crocco's Fluidic Duo @ ArtsEcho Galleria

The Chris Crocco Fluid Trio + is the second outing by the terrific threesome fronted by the Virginia born-New York based guitarist Christopher Crocco, an imposing sequel to his impressive debut disc The Chris Crocco Fluid Trio.  As on his first album, a bassless trio outing, Crocco is joined by his longtime friend and mentor, saxophonist George Garzone and Cuban expatriate, current McCoy Tyner drummer Francisco Mela, along with the addition of the very capable bassist and frequent collaborator Peter Slavov.  In the years since the release of their first cd the music created by Crocco, Garzone and Mela has since developed into, in the words of Crocco, “this amazing sound and power,” noting that “we all seem to speak the same improvisational language.” Slavov has joined each of them on many occasions in the past, thereby making him the perfect plus to augment the Fluid Trio.

Crocco confesses that the album was recorded without a concept - just the desire to record the best performances of the new music he had composed since the band’s last effort.  “It was time,” he says, “but when I finished it was easy to see the titles, music, and overall vibe was a result of my own personal catharsis.” Much the result of his studies with Garzone, Crocco has come to realize that his musical objective is to find “the truth” within his art and hence he has abandoned many of the stock improvisatory tricks that often lead many artists (guitarists in particular) away from their own true identities. The resulting record is a more honest expression of the real Chris Crocco – a personal statement of his original music that reveals the true artist behind the music.

The opening track “Avenge” finds the full trio + quartet jumping right off to the races, playing an intricate uptempo line with a vengeance, guitar and tenor doubling the rhythmically charged melody in a manner reminiscent of the work of iconoclast pianist Lennie Tristano, while exchanging phrases with Mela’s drums. Each of the group’s member’s virtuosic capabilities are demonstrated with taste and rest.

“Heaven,” featuring the guitar-bass-drum trio of Crocco, Slavov and Mela, is a three tonic modified minor groove piece in the Coltrane tradition. More devilish than heavenly in mood, the tune’s loping tempo is exquisitely executed by Mela, whose assimilation of Elvin Jones’ asymmetrical drum patterns into his own personal polyrhythmic style makes him one of today’s truly original stick men.  Deceptively simple and restrained, the piece which spotlights the solo work of the leader and Slavov evinces a quiet intensity that is one of the hallmarks of the date.

Crocco’s “Silvia” – the sequel to his first album’s “To Silvia (Don’t Say Goodbye)” – is described by the composer as “the end of the novel.”  A feature for the full quartet, the brooding melancholy melody, at times reminiscent of Horace Silver’s “Peace,” showcases the beautiful tone of Garzone’s tenor.

“When It Is When” again features Crocco’s guitar in trio format with Slavov and Mela. A progressive groove that borrows from the standards of the leader’s generation opens with Crocco strumming a repeated lower register melodic line that iterates a matadorial strength and splendor, buoyed by Mela’s splashing cymbal work.  Chris’s solo finds him venturing into an eastern tinged abstract impressionism that hearkens to the relatively unheralded work of guitarists Gabor Szabo and Atilla Zoller.

The moody swinging “Trial of Time” marks the return of the quartet with Garzone and showcases the remarkable middle register work of tenor and guitar, with Chris shining brightly with a full rich tone and a relaxed bluesy feel. Calling the piece “a composition that relies on a pocket swing with a floater melody on the end,” he astutely notes that “time is relative and can be bent.”

“What It Is” is a straight ahead blues by Crocco played with Slavov and Mela on bass and drums. Played at a blistering tempo it demonstrates the leader’s uniquely personal voice, avoiding the clichéd improvisational devices that lead most guitarists’ solos to predictable places. The interaction between Chris and Francisco reveals the intuitively perceptive relationship built upon years of experience that allows for a disciplined freedom that leads the music to new and interesting places.

The minor melody “Spice Mine” is another Coltrane inspired Crocco composition. The dramatic Spanish tinged line opens up into inspired solo statements by the composer and Slavov, with Mela’s AfroCuban styled drumming constantly interacting to shift the contexts within which they are heard.

“Metal” is an entirely free improvised guitar-drums duo completed in just one take. Constructed from Crocco’s opening guitar vamp it features the sound of Mela’s cymbal on top of his snare, which is emphasized in the title. Chris notes that the feeling is “like when we first met.... two people playing as solid as one.”

Crocco’s “My Own Personal Wake” is an introspective piece that begins on a reflective note that recalls “Monk’s Mood.” The painterly composition unfolds over the featherlike canvas of Mela’s brushes, with Slavov’s bassline lending an Americana flavor that can be found in much of guitarist Bill Frissell’s finest work.

The closing “My Peace” is a duo between Crocco and Slavov, a configuration the two have played in frequently around New York.  Hymn like in mood it is an indication of the harmony with life that Chris found in his music.

The Fluid Trio + is an important new statement from Chris Crocco.  With the able assistance of George Garzone, Francisco Mela and Peter Slavov he demonstrates major advances in the development of his own musical voice. One that is personal, flowing and seeking nothing more than the truth.

Pittsburgh City Council Honors Gregg Gillis

Today, Tuesday, December 7, Pittsburgh City Councilman, William Peduto, presented a proclamation from City Council honoring Gregg Gillis (aka Girl Talk) for his work and support of his hometown, Pittsburgh, and declared today "Gregg Gillis Day" in the City of Pittsburgh. An official ceremony for the reading of the proclamation was held this morning at the City Council Building. It was open to the public, and aired live on City Channel Pittsburgh (Comcast channel 13 and Verizon channel 44).
Girl Talk played two sold out shows this past weekend, Friday, December 3 and Saturday, December 4 at Pittsburgh's brand new amphitheater, Stage AE. These were the first two performances at this venue.
Girl Talk's new album, All Day, is available for free download here.

Pepper New 3D Video for "Drunk Girl" Single

This week, Hawaii's reggae-punk heroes Pepper, are celebrating the release of their new, self-produced, Stitches EP out everywhere through the band's own LAW Records imprint. Mastered at Bernie Grundman Mastering by Brian "Big Bass Brian" Gardner (Blink 182, Foo Fighters, Jane's Addiction) and recorded at Total Access Studios in Los Angeles (Sublime, No Doubt, Pennywise), Stitches features two new tracks, "Wake Up" and "Drunk Girl," currently seeing heavy rotation around the country at stations such as San Diego's 91X (XTRA), San Francisco's Live 105 (KITS) and West Palm Beach's The Buzz 103 (WPBZ). Stitches also features the new track "Lonely" written and originally performed by friend Mishka Frith (support Boulder-Portland).

Always at the forefront of technology (see also the band's recent Q&A with fans via social network / online broadcast site UStream), Pepper have just completed the production of a hi-tech, one-of-a-kind new video for the EP's single, "Drunk Girl," filmed live on location at The Grove in Anaheim (also the band's recent tour kick-off event) set to premiere worldwide in the coming weeks (fans can get their hands on 3D glasses through the band's website - more details on the premiere of the 3D "Drunk Girl" video coming soon! In addition, and in support of what is arguably their best material to date, Pepper is currently on the road headlining a massive two month series of dates where they'll be joined along the way by friends and guests such as Pour Habit, Brother Ali, Fishbone, and more.

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About Pepper:

PEPPER, comprised of guitarist/vocalist Kaleo Wassman, bassist/vocalist Bret Bollinger and drummer Yesod Williams, formed in Kailua-Kona on the Big Island of Hawaii in 1997. Having grown up surfing on the island, it’s not a wonder that they would mix their rock “shock and ah” flare, along with their mellow island rhythm roots to create their own truly diverse sound. They have also been known to hypnotize fans of all walks of life with their incredibly sweet harmonies all the while keeping bodies moving on the dance floor. The trio played mostly house parties and garages before finally shipping out to San Diego, CA in 1999 to push their first studio release Give’n It.

In 2001, they entered the Volcom warehouse studio with Steve Kravac (Blink 182, Less Than Jake, MxPx) to record Kona Town, which included the hit single “Give it Up (Dirty Hot Sex)” - which has become one of KROQ’s most played songs to date. On the heels of that success, PEPPER retreated into The Hive, a completely analog studio and home of 311, with legendary producer Ron “The Saint” St. Germain (Bad Brains, Living Colour, 311, Tool, Sonic Youth, Soundgarden) to record In With the Old. When the dust settled from the flurry of large-scale tours, the band recorded the expansive No Shame (originally released by Warner Bros.), which featured a slew of exciting producers including 311’s Nick Hexum, No Doubt’s bassist Tony Kanal and current partner in crime Paul Leary of the Butthole Surfers.

PEPPER has sold over half a million records independently and founded their own record label, LAW Records - through which three other artists’ music is distributed: IRATION, Passafire, and The Supervillians. Their music has appeared in many movies (including Forgetting Sarah Marshall and Good Luck Chuck), television shows and video game soundtracks as well as having had a number of album tracks appear on Billboard’s “Alternative Songs” chart (including No Shame’s “No Control,” which peaked at 18, and “Give It Up” which peaked at 34). Their song “Your Face,” also from No Shame, is now available for Guitar Hero World Tour.

The band has also amassed a large and loyal following stemming from their non-stop touring which includes numerous rounds on the Vans Warped Tour and outings with reggae legends The Wailers, 311 and Snoop Dogg, to name a few. PEPPER has performed at several festivals including Lollapolooza, Mile High Festival, West Beach Music Festival, as well as many others. In 2008, PEPPER made the rounds through Europe twice alongside Flogging Molly in the spring and Less Than Jake in the fall. They spent their summer of that year celebrating the July release of PINK CRUSTACEANS AND GOOD VIBRATIONS, which peaked at number 11 on Billboard’s “Independent Albums” chart, by hitting up US amphitheatres with longtime friends Slightly Stoopid, and headlined the very first “Here Comes the LAW Tour” - which featured other Law Records artists, The Supervillains and Passafire. The madness continued through the spring of 2009 when PEPPER ventured out for the second time co-headlining the Jagermeister Music Tour with punk rock legends, Pennywise. In the Fall, PEPPER took the party to the streets of Los Angeles playing the second annual Sunset Strip Music Festival with rock legend Ozzy Osbourne.

After spending the early months of 2010 writing and recording new music, PEPPER spent their summer on the annual Unity Tour with long time friends 311, and The Offspring. They played twenty-five big dates including several amphitheaters and arenas. Between Unity Tour, new music, a single, “Wake Up” accompanied by a B side, ”Mirror,” which were released this past July, and plans for a 45+ major market national headlining tour this fall in support of the forthcoming release of their Sitches EP due out Oct 12, 2010, PEPPER fans are sure to get the fix they’ve been craving since 2009!

"U.K.'S MOST ORIGINAL BAND" FLIPRON

Flipron, the British quartet that has been described as "Tom Waits meets The Kinks on a carnival midway," will make their U.S. debut in September with a string of showcase dates that begin in New York at The Bitter End on September 11.  Drawing on diverse musical influences as far-ranging as 1920's Hawaiian Steel guitar rags, laid-back Western Swing, Klezmer stomps and old-time folk ballads, Flipron are known as brilliant wordsmiths and entertaining eccentrics.  Their milieu is classic rock songs that take winding, unexpected turns, as evidenced on the newly-released sampler CD, WITH BREATH BATED AND EYELIDS UNBLINKING, which was specially compiled for the U.S. shows with selections from the band's three studio albums.

Before arriving in the U.S., the band played several high profile summer shows in the U.K., including a 10-date stint at the world-renowned Edinburgh Fringe Festival and an appearance at the prestigious Glastonbury Festival that takes place annually in the band's hometown.  Flipron have played the Glastonbury Festival (this year's Festival was attended by over 150,000 people) six years in a row, with 2008 seeing them play a record 10 shows on separate stages at the event.

Signed in the U.K. to independent Tiny Dog Records and hailed by the British press as "the most original band in the UK," Flipron is a band that continually marches to the beat of their own drummer.  As example, the video for their new single, "The Coolest Names in Showbiz," was shot on location in Dorset and made for a whopping £80 using one light borrowed from videographer Alex Heath.   The video, in which members of the band tie frontman and songwriter Jesse Budd to a chair and cut off his curly mop of hair, can be viewed on YouTube. The song, which includes lyrics like "Your mouth is doing business in some well paid conversation/while a million pigeons launch in geometrical formations and hanging high above your head," is about "sacrificing an easy life to discover what you might really be capable of," according to the band.  "We at least discovered that the strutting, curly haired singer was capable of having his hair cut."  "The Coolest Names in Showbiz" is included on the BREATH BATED sampler.  It is available from iTunes and other digital outlets.

Flipron comprises Jesse Budd (vocals, guitar, mandolin, lap steel, accordion); Joe Atkinson (organ, piano, backing vocals), Mike Chitty (drums) and John Thompson (electric bass).  They are poised to conquer America with their unconventional approach to music. 

Their scheduled U.S. appearances are as follows:  September 11-The Bitter End, New York; 14-Hotel Café, Los Angeles; 16-3rd and Lindsley, Nashville; and 17--World Cafe Live, Philadelphia.

FOLK-ROCK DUO LONG WOODSON TO RELEASE 2ND CD

Folk-rock duo Long Woodson, the prolific pair whose songwriting prowess extends to book-intricate concept albums, will release its second, ROBYVILLE (Robyville Records; Sept. 21, 2010), with a show in Austin to celebrate just two days later.

Long Woodson backed by its band plays at 10 p.m. Thursday, September 23, at Saxon Pub, 1320 S. Lamar Blvd. Cover is $5; information: 512.448.2552. Matt King will play at 8 p.m. and David Beck at midnight.
ROBYVILLE details a fictional West Texas town full of misfits hiding out from mainstream America, each song written about or from the perspective of one of them. Dark lyrics, harmony hooks and gritty vocals paint a picture of survival and hope behind mandolin, Spanish and acoustic guitars, harmonica, and distorted electric guitar.
Matt Long and Gunter Woodson met at The University of Texas and played together in several Austin rock bands. After a time, the duo began to record some of the songs in what has become a growing catalog of co-written material. The result was its first concept album, the acclaimed GIRL UPSTAIRS, which was released in 2009.
ROBYVILLE promises listeners a stimulating journey and a fascinating visit with a colorful cast of characters — with “Nikki,” “Jimi,” “Creole Man” and nine more tracks.
For more information, visit www.longwoodson.com.

An Evening with Charlie Hunter, Thurs Sept 9 @ the Fox Theatre

As a young guitarist growing up in the San Francisco Bay Area, Charlie Hunter was looking for a way to stand out in the '80s. His primary influences were jazz great Joe Pass and the fluid Tuck Andress, (of the guitar/vocal duo Tuck & Patti), both six-string guitarists who were adept at blending bass notes into their standard guitar melodies to make themselves sound like two musicians at once. But Hunter wanted to take it one step further, and set out to find an instrument on which he could simultaneously function as both a guitarist and a bassist. For his self-titled 1993 debut CD, Hunter played a seven-string guitar for the duality effect, locking down the bottom with drummer Jay Lane and mixing melodically with saxophonist David Ellis. But on his trio's 1995 sophomore release, "Bing, Bing, Bing!," Hunter unveiled his custom-made Novax eight-string, the guitar that finally allowed him to realize his capacity. Designed by Ralph Novak, the instrument featured special frets and separate signals for its guitar and bass portions. Picking bass notes with his right thumb while fretting them with his left index finger (while at the same time fingerpicking guitar chords and single notes with his right hand's remaining four digits as he frets with his left hand's other three fingers), Hunter achieves the real sound of two-for-one.

Hunter played with the side group T.J. Kirk in the mid-'90s, a band that derived their name from the cover material they exclusively played: Thelonious Monk, James Brown and Rahsaan Roland Kirk. Initially wanting to call themselves James T. Kirk before being threatened by the Star Trek TV and film series, T.J. Kirk released a self-titled 1995 debut and the 1996 follow-up, "If Four Was One", before disbanding. Hunter took drummer Scott Amendola with him for his next project, an ambitious instrumental remake of Bob Marley's "Natty Dread"album in its entirety. Also featuring saxophonists Kenny Brooks and Calder Spanier, the 1997 release beat the odds by becoming arguably Hunter's best album. After Spanier died from injuries sustained from being hit by a car, Hunter moved east to New York, taking Amendola with him. Teaming with vibraphonist Stefon Harris and percussionist John Santos, Charlie Hunter & Pound for Pound's 1998 CD Return of the Candyman is dedicated to Spanier. A departure from Natty Dread, mainly due to the work of Harris, the disc featured a vibes-heavy cover of Steve Miller's "Fly Like an Eagle."

Hunter's modus operandi had now become shifting personnel changes, and in between tours he recorded a 1999 duo CD with drummer/percussionist Leon Parker and a self-titled 2000 CD that featured Parker and an otherwise ensemble cast. Hunter also contributed greatly to the 2000 comeback CD by drummer Mike Clark, "Actual Proof". Hunter concluded his run at Blue Note with 2001's "Songs from the Analog Playground", which saw him collaborating with vocalists for the first time, ranging from labelmates Norah Jones and Kurt Elling to Mos Def. 2003 found Hunter with a new label (Ropeadope) and two new bands (the Charlie Hunter Quintet) on "Right Now Move" and the beginning of Groundtruther, a partnership with percussionist/composer Bobby Previte.  They released "Come in Red Dog, This is Tango Leader" before adopting the Groundtruther moniker. For 2003's "Friends Seen and Unseen",  it was back to the Charlie Hunter Trio, with drummer  Derrek Phillips and saxman John Ellis, both members of the Quintet. By now, Groundtruther had taken on a life of its own, with Hunter and Previte joined by a rotating third member.  "Latitude" was first, in 2004 with saxophonist Greg Osby, followed by "Longitude" with DJ Logic in 2005.

In 2006, the Charlie Hunter Trio resurfaced with "Coperopolis" and almost immediately announced that it was disbanding as Ellis wanted to further pursue a solo career. What to do? Form another trio! After recruiting Erik Deutsch on keys and Simon Loft on drums, they released "Mistico" in the summer of 2007, Hunter's first album for Fantasy.

All Ages / GA  / $15.00 adv / $20 DOS

Internet 24-7 at www.foxtheater.com

Phone: During box office hours: 303.443.3399

Azar Lawrence Sextet @ Tribeca Performing Arts Center

When saxophonist Azar Lawrence first burst on to the jazz scene in the '70s he was hailed by many as the second coming of John Coltrane.  "Azar Lawrence burns like a bright, hot flame at the altar of his muse. Given the ever-present fire danger in the Southland, a fire truck should remain on call when Lawrence blows. " raves  AllAboutJazz.  BMCC Tribeca PAC’s Lost Jazz Shrines series is dedicated to bringing legendary New York City jazz clubs back into the consciousness of the world with a thorough remembrance and celebration.  Our opening night concert will be a tribute to the late Rashied Ali. Saxophonist Azar Lawrence performed there frequently, and Rashied Ali played the drums on his next release.

Azar Lawrence Sextet
Lost Jazz Shrines Series Part 1 Celebrating Ali’s Alley
May 7, 8:30PM, $25

BMCC TRIBECA PERFORMING ARTS CENTER
Borough of Manhattan Community College
199 Chambers Street
(212) 220 -1460 | www.TribecaPAC.org

Bela Fleck: An African Edification

I first became immersed into African music from the influence of an amazing musician, friend, and teacher Matt Wasowski currently with Mohammed Alidu and the Bizung Family, and Zivanai Masango and Pachedu and formerly with Jaka and Jyemo amongst other groups. Matt who plays mostly guitar, also dabbles and even builds with his students many African instruments such as the Mbira or thumb piano and Marimbas.

Anne McCue's new CD, 'Broken Promise Land,' returns to raw sound

Anne McCue describes her new album, Broken Promise Land, due out on May 18, 2010 on Flying Machine Records Records, as “a bit dirty, a bit rockin’, a bit swampy and a bit bluesy, with a touch of mysteriousness to it.”

What isn’t mysterious is McCue’s musical talent and range. She was voted the Roots Music Association’s Folk Artist of the Year in 2008, performed in a Jimi Hendrix tribute at the 2007 International Guitar Festival and was included in the Four Decades of Folk Rock box set alongside the likes of Bob Dylan and Wilco. Heart’s Nancy Wilson has described her as “my Aussie clone,” while Americana icon Lucinda Williams had this to say: “Initially, her stunning voice hooked me in. Then I got inside the songs. The first chance I got, I went to see her perform . . . I was floored! The combination of her tomboyish beauty mixed with the precision and assertiveness with which she approached the guitar, her surrounding languid and earthy vocals created an intoxicating blend.”

The new, self-produced album is one that she has long wanted to make. Combining heartfelt songwriting with gritty guitar playing, the record harkens back to McCue’s breakout Roll release, although she says that the new disc’s sound is even more raw than its predecessor. While earlier albums covered a range of roots-rock styles, Broken Promise Land focuses on McCue’s hard-charging “cosmic biker rock” sound.

The new disc lets McCue showcase her rockin’ ways and six-string virtuosity. The title track cuts loose with a blistering Hendrix-like bluesy guitar solo. The first single, “Don’t Go To Texas (Without Me),” boasts the dirty guitar sound of late ’60s English bands like the Yardbirds and the Rolling Stones, while “The Old Man Talkin’” exudes a slinky J.J. Cale vibe.

The music’s strong, visceral energy results from a strategy to record as much as possible live. “I didn’t want to have a lot of layers. I wanted it to be pretty much what I can do on stage,” McCue asserts. She sought to capture the vibe of the old Albert King albums that she loves, which were recorded in only a few days, and she included a brass section in the sessions. By recording to tape, McCue also created the textures and dimension that she admires in T-Bone Burnett’s work.

On Broken Promise Land, McCue utilized the veteran rhythm section of Bones Hillman (Midnight Oil) and drummer Ken Coomer (Uncle Tupelo/Wilco). “Bones and Ken are very developed as musicians,” she says. “It’s great to have that type of depth to the musicianship.” This powerful trio demonstrates their musical breadth throughout this disc, whether it’s building “The Lonely One” into a surging rock ballad, conjuring a spooky atmosphere in Amelia White’s “Motorcycle Dream” or roaring through a cover of Rose Tattoo’s “Rock ’n’ Roll Outlaw.”

McCue’s love for music was nurtured in Sydney, Australia, where she grew up in a house filled with music. Her father, while not a professional musician, played a variety of instruments and her mother sang in the church choir. All of her seven older siblings were heavily into music too, and sounds ranging from Billie Holiday to Led Zeppelin filled the McCue home. “Every type of music except hardcore blues,” the blues-loving McCue admits, “so I definitely didn’t get burned out on it as a child.”

Although McCue played guitar growing up, she wasn’t encouraged to be a musician. A longtime film buff, she got a degree in film studies at Sydney’s University of Technology. Her cinema studies are an influence. “To me, my songs are like short films,” she reveals, “I try to be very visual and cinematic with my music and now I am making videos for the songs too.”

After college, McCue joined an all-female band, Girl Monstar, which was very popular in the Australian indie rock scene. She later became a part of the folk-rock trio Eden AKA that performed on the Lilith Fair tour and recorded a never-released album for Columbia Records. Her ill-fated Columbia experience landed her in America, where she set up shop in Los Angeles and became a vital part of the city’s roots music scene. During her time in Southern California, she recorded two attention-grabbing albums — 2004’s Roll and 2006’s Koala Motel.
Both releases accumulated a bevy of critical accolades. Entertainment Weekly exclaimed that McCue “represents a new generation of hard-bitten, country-inflected singer-songsmiths,” while Billboard heralded her as  “the virtual definition of ‘triple threat.’ A potent singer, thoughtful songwriter and tough guitarist.” Austin Chronicle critic Jim Caligiuri noted that “these days, there are very few women working the same territory as McCue, who can combine tough and vulnerable. That she does it with poise and a self-deprecating sense of humor makes her an artist worth seeing again.”
A few years ago, McCue moved to Nashville, a place she finds quite fertile for making music. “There’s more room to think, more creative space,” she explains, “but there are so many great musicians that it really raises the bar and makes you want to get better.” Last year, she self-produced a limited-distribution acoustic album, East of Electric, on which she played a variety of instruments. A terrific example of her folkier side, it stands as a quiet side-trip to the full-bodied rock ferocity that Broken Promise Land delivers.
“This is the kind of music I love playing,” says McCue talking enthusiastically about her Broken Promise Land songs. “There’s nothing I could look more forward to than playing a whole set of bluesy, rocky, swampy music.”
See the video for McCue’s “Don’t Go to Texas (Without Me)” right here.

David Malachowski & The Woodstock Allstars

The Woodstock Allstars is a revolving group of world-class musicians and friends who have played together in various combinations and configurations, but never all at the same time. What results is an intriguing, compelling blend of blues played with a jazz sensibility and rock stance. The name is borrowed from a friend; the late Artie Traum.

Led by venerable guitarist Malachowski (Shania Twain, Savoy Brown, Commander Cody) the Woodstock based band features some of the best musicians in the world. Bassist Graham Maby and drummer Gary Burke are thought by many to be the definitive Joe Jackson rhythm section, and it was Burke, Maby and Malachowski (as leader) that formed the core of the Shania Twain Band in the mid-nineties seen by millions. Burke –now with Professor Louie & the Crowmatix-was on Bob Dylan’s Rolling Thunder Tour, and in the Rick Danko Band, Maby has also played with Natalie Merchant, They Might Be Giants and Joan Baez.

WEDNESDAY., JAN. 27
DAVID MALACHOWSKI & THE WOODSTOCK ALLSTARS: PETE LEVIN-ORGAN, GARY BURKE-DRUMS, GRAHAM MABY-BASS, MACHAN TAYLOR-VOICE, DANIEL A WEISS-PIANO, DENNIS GRUENLING-HARP, ERIK LAWRENCE-SAXOPHONE, DAVID MALACHOWSKI-GUITAR

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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