college

Wade Barnes & The Bottom Line Ensemble at the Moldy Fig Jazz Club

Called, “The Future of Bebop (House of Blues, Review May 5, 2000), Wade Barnes is certainly considered by many to be one of the great drummers, and composers.  The Albany Times Union stated about his appearance at the 1997 Saratoga Jazz Festival, “Mr. Barnes has developed into a premier drummer, composer, and educator.”

Receiving a Master of Arts, in Music, Vermont College, Norwich University and two Bachelor of Arts degrees in Music, Empire State College, S.U.N.Y., and in History, Queens College, after years of study and performing in New York City, as a teenager, has facilitated a holistic conception which incorporates the entire history of American music.

Drummers, who were born in the nineteenth and early twentieth centuries such as: Cornelius Tillman; Buddy Gilmore; Paul Barbarin; Baby Dodds; and Chick Webb have been extremely influential. Notwithstanding, Wade Barnes is commonly recognized as extending the tradition of the drums, pioneered by drummers Kenny Clarke, Max Roach, ‘Philly’ Joe Jones, and Roy Haynes. It has been stated, by many, that Mr. Barnes has the “swing of Philly Joe Jones and the technique of Buddy Rich.” Although all the musicians stated above have been profound influences, Wade Barnes has incorporated the ideas of these and others, to fashion his very distinct personal sound.

Mr. Barnes is the director of The Brooklyn Repertory Ensemble (a 17 member ensemble) noted for its unique sound. In addition, he leads smaller ensembles. Two of his other regular working bands are: Wade Barnes and The Bottom Line (a ten member ensemble); and Wade Barnes and Unit Structures. Mr. Barnes, also, performed with: “Doc” Cheatham; Earle Warren; Dicky Wells; Howard McGhee; Cecil Payne; Leonard Gaskin; Joe Knight; Franklin Skeets; Candido; Albert Dailey; Billy Mitchell; Benny Powell; Jimmy Garrison; Bob Crenshaw; Archie Shepp; George Coleman; James Spaulding; Sonny Fortune; Jon Faddis among others.

Mr. Barnes has performed in venues such as: The Smithsonian Institute; The JVC Festival (in New York City and Saratoga Springs, N.Y.); Sweet Basil, Slug’s Saloon, The Village Vanguard, Small’s; Fat Cat; and The Iridium, New York City; Larry’s Hideaway, Toronto; The Rising Sun, Montreal; Snug Harbor, Satchmo Summer Fest and Club Strut, Tiptina’s, Ashe Cultural Arts Center, New Orleans.

His discography includes: Pragmatic Optimism, The Brooklyn Repertory Ensemble (360 Records); Passport To Brooklyn, The Brooklyn Repertory Ensemble (Progressive Records); The Brooklyn Four Plus One, Self-titled, (Progressive Records); The Sounds…They Show Us, The Wade Barnes Septet (360 Records); Bridgin’The Gap, The Brooklyn Conservatory Faculty Jazz Ensemble (360 Records); Deane’s Basics, Deane and The Jazz Masters (Progressive Records); In Your Eyes, Linda Presgrave (Metropolitan Records); Wild As The Wind, Pucci Amanda Jhones (CIMP Records); Fantasy For Orchestra, The Universal Jazz Symphonette (Independent).

The Brooklyn Four Plus One Inc. has been awarded grants to conduct education programs from: The Charles Evans Foundation; The New York City Council and The Department of Cultural Affairs; The Music Performance Fund; The Vermont Arts Council; Vermont College; New England Life; and The Jazz Foundation Of America. The grants were awarded to The Brooklyn Four Plus One Inc. in order to administer music education programs created by Mr. Barnes.

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WADE BARNES AND THE BOTTOM LINE ENSEMBLE
Appearing Monday nights at the Moldy Fig Jazz Club
Beginning Monday, July 11, 2011
Time: 8pm - 12am  | Cover - $5.00
The Moldy Fig Jazz Club is located at 178 Stanton Street between Clinton and Attorney.    Lower East Side, NY
Open from 5:00pm to 2:00am Sun. - Thur. and 5:00pm to 4:00am Fri. and Sat.

New Jersey 2011 Jazz Society Jazzfest

Each year since 1976, the New Jersey Jazz Society has presented Jazzfest, one of the best mainstream jazz festivals in the entire metropolitan area.  This year is no exception as this popular jazz festival presents nine hours of great music in the air conditioned comfort of two concert halls plus outdoor entertainment, a food court and vendors selling everything from hard-to-find CDs to crafts and interesting merchandise. Jazzfest will take place on the campus of the College of Saint Elizabeth in Morristown, New Jersey on Saturday, June 11th from Noon to 9:00 p.m.

The afternoon lineup includes:

· The Winard Harper Sextet with special guest Phillip Harper and a rare reunion of the renowned Harper Brothers.

· The always entertaining Jay Leonhart joined by Harry Allen on saxophone and Joe Cohn on guitar.

· The swinging sounds of the Jazz Lobsters Big Band featuring Carrie Jackson on vocals and Larry McKenna on Tenor Sax.

· And the ever popular Ken Peplowski Quartet.

In the food court, the trad sounds of Emily Asher’s Garden Party will fill the air and the virtuoso trombonist will be joined by Dan Levinson on reeds, Bria Skonberg on Trumpet, Jared Engel on Banjo and John Phillip on Sousaphone.

The evening concert kicks off at 6:00 p.m. with the exciting vocals and guitar of Allan Harris and his Quartet followed by the critically acclaimed Ellington Legacy Band under the leadership of Edward Kennedy Ellington II. The Legacy Band also includes Norman Simmons on piano and Virginia Mayhew on Tenor Saxophone. Also at the evening concert, the New Jersey Jazz Society will honor Mayor Mary Anna Holden of Madison, and Jon Brauer and Anthony Ferrara of Toyota of Morristown.

Most of the music takes place in two venues, Dolan Hall in the Annunciation Center and the Octagon Theatre right next door. As an extra bonus, there will be a variety of vendors offering a wide selection of food, hard to find records, jazz CDs, art and crafts of all kinds. Admission to the craft and food court is free.

Jazzfest is made possible through the generous support of Toyota of Morristown, RXR Realty, the Star-Ledger, WBGO Jazz99FM, Hot House Magazine, Songbirds Agency, Hullarious Productions and the Madison Arts and Culture Alliance.


SPECIAL ROOM RATE FOR JAZZFEST ATTENDEES

The Best Western Morristown Inn is the official festival hotel and offers a special discount room rate for attendees of the festival. The Morristown Inn is located just two miles from the College. For reservations, call 973-540-1700.

ORDER TICKETS BY JUNE 9 FOR SAVINGS

The College of Saint Elizabeth is on Route 124 (36 Madison Avenue) just a couple miles east of Route 287 in Morris Township, New Jersey. Tickets for Jazzfest are only $55.00 in advance, and $70.00 at the gate. New Jersey Jazz Society members enjoy a special rate available through the website. Full time students with valid ID are only $10.00 at the gate. Parking is free and train travel is easy with a station right at the college gate.  The gates open at 11:30 a.m. and the music begins at noon. For more information on tickets and directions visit the New Jersey Jazz Society website (www.njjs.org) or call the NJJS Hotline at 800-303-NJJS (6557).

Sarah Jarosz To Release "Follow Me Down" on May 17th

What Sarah Jarosz’s acclaimed debut, Song Up In Her Head, suggests, Follow Me Down—due out May 17, 2011 on Sugar Hill Records—confirms: she is constitutionally incapable of getting stuck in a rut. Her approach to acoustic music is expansive and vital; she sees no need to choose between old-timey and modern material; between picking, singing and writing; between experimenting and reviving tradition. She does all of it, and pushes it all further, on her new album.

“I definitely could have just made a record that was similar to the last one—pretty rootsy,” reflects Jarosz. “That would have been a representation of a side of me. But I have all these new sounds and ideas and I just didn’t want to hold back on this one.”

A lot has changed in the two years since the world outside the festival-going bluegrass and old-time music communities—home to many longtime Jarosz fans—was introduced to the young singer/songwriter/instrumentalist. Her music caught on quickly with audiences across the age spectrum. There have been GRAMMY and Americana Music Award nominations, a trio of Austin Music Awards, invitations to perform on “Austin City Limits” and “A Prairie Home Companion” and appearances at Bonnaroo, Newport and Telluride—and lots of digital downloading, a rarity for a roots act.

The most important difference is that Jarosz cannot be called a kid anymore. She’ll turn twenty within a week of Follow’s release. Instead of going straight to work as a full-time musician, as many before her have done, she left her hometown of Wimberley, TX—30 miles outside of Austin—and headed to Boston’s New England Conservatory to study contemporary improvisation on an elite scholarship.

“I wanted something to push me out of my comfort zone,” Jarosz says. “I wanted to be playing things that I might not normally play.” And she has had plenty of opportunities to do just that, from Jewish and world music ensembles at school to wildly unpredictable live jams with Punch Brothers and Mumford & Sons. That keen, open-minded attitude speaks volumes about her maturity.

Like her first album, Jarosz co-produced Follow Me Down with Gary Paczosa (Alison Krauss, John Prine, Chris Thile). Only this time, they had a college course schedule and high profile gigs to work around. They did a session with Punch Brothers in New York, another in Boston with her talented young trio mates Alex Hargreaves and Nathaniel Smith and several in Nashville with some of the acoustic world’s finest pickers and singers, including Bela Fleck, Jerry Douglas, Stuart Duncan, Viktor Krauss, Dan Tyminski, Shawn Colvin and Darrell Scott.

Jarosz’s growth can be felt throughout the resulting eleven tracks. The grooves are more adventurous, for starters on the first single “Come Around”.  She comments, “I know for some purists out there, it’s like, ‘Why do you have to have drums?’ For me, it’s like, ‘Why not?’” And she has explored alternative ways of using her already-strong voice (see her Radiohead cover “The Tourist” and Radiohead-inspired original “My Muse”; Bob Dylan’s folk hymn “Ring Them Bells” is the album’s other cover).

There’s no missing the breadth in Jarosz’s songwriting. She is just as comfortable penning the tragic old-timey “Annabelle Lee” - an adaptation of Edgar Allan Poe’s final poem, or a modernized Appalachian ode to secret love like “Run Away” as she is cultivating contemporary singer-songwriter introspection in a song like “Here Nor There”. But her playing—be it on mandolin, octave mandolin, clawhammer banjo or acoustic guitar—never takes a back seat. She started “Peace”—one of two instrumentals on the new album—when she was twelve, and finished it at college. And it is that hunger to let her music keep growing—along with her formidable abilities—that make Jarosz so exciting to watch.

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

Christopher Paul Stelling Reveals Strange Darkness

Brooklyn-based songwriter Christopher Paul Stelling unveiled a new live performance video for his song “The Museum vs. Jesus,” as well as a live cut of his captivating track, “Strange Darkness,” both of which premiered at Jonny Leather’s new site, Mecca Lecca. Although Stelling doesn’t have an official release out (yet), he’s been busy finishing up nearly 50 songs in anticipation of his 2011 debut- all while mesmerizing NYC audiences all summer.

Performing in the live setting is precisely where Stelling excels. As he puts it, “A recording, the way I make it, is the way I give a performance in a studio. I play to the room. I react to the environment live. At this point, I haven’t had the privilege of spending any serious amount of time in the studio. The recordings I have are all the result of one overnight recording session at a college upstate. I did 20 songs in 12-hour stretch. Recording is a privilege that costs money, and I’m broke. I look forward to trying someday, though.”

With a heartfelt voice, dynamic finger-picked guitar stylings, and a songwriting approach that combines folkloric, mythological, and religious imagery, Stelling has forged a style all his own, yet hauntingly familiar.

Check Out the Video Premiere of “The Museum vs. Jesus” HERE, and Download the New Song “Strange Darkness” HERE!

Upcoming Tour Dates

9/22 - NEW YORK, NY – Piano’s
9/25 - SOMERVILLE, MA - Bull McCabe's Pub
10/03 - BROOKLYN, NY - The Rock Shop
10/23 - NEW YORK, NY - Rockwood Music Hall (CMJ Showcase, 4pm)

THE 40th ANNIVERSARY of the Grateful Dead at HARPUR COLLEGE

1970's intense. T.C. leaves the band in late January. The band's 'busted down on Bourbon Street' on January 31st. In March they discover their manager, Mickey Hart's father Lenny, has been stealing them blind (they're already hugely in debt to the record company). Only the music is sane; they enter the studio in March and in three weeks record Workingman's Dead, fulfilling Garcia and Hunter's work of the past year. It comes out in June. They add a regular opening act, the New Riders of the Purple Sage (Garcia plays pedal steel in it), and their shows stretch ever longer. Late that month they cross Canada on the Festival Express. In September they have some spare time, and go back into the studio, producing another gem, American Beauty. In the fall they begin a long series of college concerts that will establish them (along with the two albums) in a long-term way as a touring band.

“Finally I have the quality I’ve been looking for on this famous date. There are so many outrageous things that stand out on this date, that I hesitate to list them all. There are a few places where the quality “garbles” of fades in & out, during the “Anthem” & “Viola Lee Blues”, but outside of this everything is excellent. In “Cold Rain & Snow”, Garcia tunes up several times & really gets into singing with gusto, like I’ve never heard this tune. There is a really nice riff from “Dark Star” that they do during the end of “Dancing in the Streets”. During the Acoustic Set, there is one point where Garcia & Weir lecture the noisy audience about being a more “respectable audience.”

Dick Latvala

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THE 40th ANNIVERSARY of the Grateful Dead at HARPUR COLLEGE

May 2, 1970

The Zen Tricksters Will perform the entire show forty years to the day on May 2, 2010 at Brooklyn Bowl

Tickets: $5.00

Online ticketing

Venue phone: 718-963-3369

Doors: 7:00pm | Show: 8:00pm

Brooklyn Bowl Website

Ben Harper Spring & Summer Tour Dates

Ben Harper and Relentless7 will headline this year's Campus Consciousness Tour and play a string of dates in the Southeast. Pre-sale tickets are available now at Ben Harper Tickets (password: revolution). Public on sale starts February 25 at Ticketmaster and will stagger through March 3. See Tour Dates for more info.

Created by non-profit group Reverb, Campus Consciousness Tour is half music, half environmental campaign aiming to inspire and activate students in a fun and exciting atmosphere while leaving a positive impact on each community and college that the tour reaches.

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Europe Summer Tour Dates Announced

Pack your bags! Ben Harper and Relentless7 will be performing at summer festivals and opening for Pearl Jam this summer in Europe. Dates are still being added. View the complete tour itinerary.

Jazz & Sounds Festival | Gent, Belgium

Beginning in 2010, Gent Jazz Festival, De Bijloke Music Centre, Vooruit Arts Centre, University College Ghent - Faculty of Music and the University College Ghent - Faculty of Fine Arts (KASK) will work together in the annual initiative, the Jazz & Sounds Festival. This new festival will focus on the versatility of contemporary music. The first edition takes place from March 22 - 28, 2010.

Improvisation and creation are important mainstays of the Jazz & Sounds Festival combining the interaction from and to jazz, contemporary, classical, alternative rock, electronic music, improvised music, non-western music and more. The festival offers not a linear but an organic whole of concerts each day, where several concerts and performances can coincide. Visitors will have to make choices within the programme or will be guided by the surprise of the moment.

The festival starts March 22 in the University College Ghent – Faculty of Music with Impressions of a Blue Kind, a prestigious project spotlighting students from the faculties of music of Ghent, Tilburg and Maastricht. The next day, March 23, a presentation by Eddy Van Oosthuyse is planned in the University College Ghent – Faculty of Music with soloists from the Brussels Philharmonic showcasing the role of contemporary clarinet in chamber music.

From then on the Jazz & Sounds Festival moves to Arts Centre Vooruit March 25 and 26. The first day starts with a documentary about Han Bennink. The same day Jazz & Sounds delivers a jazz and literature project by trio Ben Sluijs/Jules Deelder/Remco Campert and concerts featuring saxophone player Colin Stetson and the duo of Erik Truffaz/Malcolm Braff. The festival concludes this first day by presenting Hairy Bones with among others Peter Brötzmann and Toshinoro Kondo.

Friday March 26 in Arts Centre Vooruit finds the duo Eric Thielemans/Josse De Pauw in performance, double bass player Joëlle Léandre and the premiere of Flat Earth Society’s new venture with John Watts. Elliott Sharp’s Carbon concludes the Jazz & Sounds Festival in Arts Centre Vooruit.

March 27 and 28 the festival is hosted by Music Centre De Bijloke. Saturday starts with Cage Aria by Françoise Vanhecke. Afterwards, visitors can choose between a documentary on Charlie Haden and a creation by Sophie Allour and Jozef Dumoulin together with drummer Dré Pallemaerts. This project was crafted especially for the Jazz & Sounds Festival in collaboration with the Tourcoing Jazz Festival.

Later that day on the programme, there is Dutch cello player Ernst Reijseger, Spectra with work by Mantovani and Alexandros Markeas, a project by El Negocito Records and Foundation Logos, Fred Van Hove together with Barry Guy and Wilbert de Joode, and a presentation by the students of the University College Ghent – Faculty of Music on Julius Eastman conducted by Alexandros Markeas. Ending this festival day is an improvisation workshop by Joëlle Léandre with students of the University College Ghent – Faculty of Music and Miroslav Vitous with his Remembering Weather Report.

Sunday March 28, is the last day of Jazz & Sounds and it starts with a concert by Ellery Eskelin and his group. Following this, the students of the University College Ghent, Faculty of Music play John Cage’s Songbooks and attendees can view a documentary on photographer Leonard Herman. Continuing the programme  on  this last day, there is trombone player Wolter Wierbos, a project by El Negocito Records in collaboration with Foundation Logos, and the duo of Ben Sluijs/Tom Van Bauwel exploring the writings of Paul Van Ostaijen. Nadar, Arsis4, Peter Jacquemyn and Jan Pillaert will interpret work by Daan Janssens and Stefan Prins.  Music by Rik De Geyter performing clarinet artistry for Stockhausen’s ‘Little Harlequin’ will be also be presented. Enescu re-Imagined by Lucian Ban & John Hébert is the closing act for the first edition of the Jazz & Sounds Festival. Pianist  Lucian Ban revised the musical legacy of Romanian composer George Enesco and created a bold contemporary jazz composition. Ban gathered an impressive group of musicians from the New York jazz scene around him for this project: among others featured are John Hébert, Nasheet Waits, Tony Malaby, Mat Maneri and Ralph Alessi.

On March 22 the University College Ghent – Faculty of Music organises an Open Lab on artistic research in Music Centre De Bijloke. March 26, a panel discussion on the same subject is organised in the Bijloke. Both activities are free and were organised in collaboration with IPEM-UGent, Foundation Logos and Ghent University Association.

Students and teachers of the University College Ghent – Faculty of Fine Arts (KASK) will participate as well in this first edition. Different departments of the faculty helped to create a visual festival identity and installations which serve as communicative machines were created. The Media Art Department confronts visitors to the festival with installations in which sounds, rhythm and timbre call the tune.