hollywood

National Jazz Museum in Harlem May 16 - May 22, 2011

Upcoming events at the National Jazz Museum in Harlem for this week include:

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Tuesday, May 17, 2011

Jazz for Curious Listeners

Tito Puente Month: Presented by Joe Conzo and special guests

7:00 – 8:30pm
Location: NJMH Visitors Center
(104 E. 126th Street, Suite 2C)
FREE | For more information: 212-348-8300

The Jazz Years

The 60’s saw Puente fully immersed in his passion to combine Jazz and Latin music. A passion thatwas fueled by his mentors Machito and “Hall of Famer” Mario Bauza. It had been his belief that this “marriage” could become a powerful force in music, thereby enhancing the musical experience of the listener and dancer.

He teamed up with bandleader and trombonist Buddy Morrow and began a series of recording sessions where both of them performed with two full and completely different orchestras. The project culminated in the LP recording “Revolving Bandstand” under the RCA label.

With this recording, Latin Jazz received a shot in the arm. It would have a direct affect on some of the younger musicians that would be making a name for themselves in the years to come, notably, Ray Barretto, who first played with Puente in “Dance Mania” and also recorded on the “Revolving Bandstand” sessions.

Thursday, May 19, 2011

Harlem Speaks

Bennie Wallace, Saxophonist

6:30 – 8:30pm
Location: NJMH Visitors Center
(104 E. 126th Street, Suite 2C)
FREE | For more information: 212-348-8300

Tenor saxophonist Bennie Wallace made waves throughout the jazz world in the late 1970's with his debut recording, The Fourteen Bar Blues. Thereafter, with an unflagging respect and affection for classic jazz, he repeatedly represented his own progressive take on the music. His talent for composing and arranging music attracted the attention of Hollywood moviemakers in the late 1980's, which led him to spend nearly a decade in California composing and directing film soundtracks. Wallace's music has developed a more lyrical sense, yet his rhythms retained an authentic style that belonged uniquely to Wallace, according to critics. Winner of Germany's Deutscher Schallplattenpreis, the jazz Grammy equivalent, and a five-time winner of the Down Beat magazine award for Talent Deserving Wider Recognition, the full impact of Wallace's talent remained yet to unfold into the new century.

Born Bennie Lee Wallace Jr. on November 18, 1946, in Chattanooga, Tennessee, Wallace began playing clarinet in his youth from the age of 12 when a music teacher at his school started a jazz band and taught the group about great jazz musicians like Count Basie, Charlie Parker, and Miles Davis. Later, Wallace played in the high school band and added tenor saxophone to his teenage repertoire. Despite his youth, he learned his way around the after-hour jazz clubs even while he was still in high school in Chattanooga. During his late-night excursions, Wallace participated in jam sessions, playing bebop and blues most frequently. He went on to study music at the University of Tennessee and received a bachelor's degree in clarinet studies in 1968. After college during the mid 1970's, he did some composing for a German radio orchestra although his first love was jazz saxophone. Even during a stint in Hollywood during the late 1980s and into the 1990's, Wallace maintai ned to interviewer Zan Stewart of the Los Angeles Times that his horn remained the focal point of his music and of his life.

After his arrival in New York from Tennessee, Wallace spent 1973 studying the old jazz masters and their music to discover the essence of each, focusing heavily on Johnny Hodges and Coleman Hawkins. Yet despite his in-depth study of historical jazz, Wallace disliked repertory bands and eschewed revivalist groups equally. He remained committed to personal definition in everything that he performed. It became evident that Wallace moved in a direction different from the bandwagon that typified so many of his contemporaries, with his styles rooted more closely in the work of Coleman Hawkins than with John Coltrane. In 1985, Wallace signed with Blue Note Records. His debut album for that label, entitled Twilight Time, remained a favorite for many years

In 1991, in an unanticipated career shift, Wallace moved his residence to Pacific Palisades in Southern California to be near the Hollywood film industry as he became involved in composing for films. The opportunity came as a result of his 1985 Blue Note release, Twilight Time, which caught the ear of filmmaker Ron Shelton. Shelton requested that Wallace contribute to the soundtrack for the late-1980's film Bull Durham. Wallace obliged with "Love Ain't No Triple Play," written expressly for that movie. Also heard on the Bull Durham soundtrack was a reprise of Wallace's arrangement of "Try a Little Tenderness." Wallace went on to score the movie Blaze and served as musical director the film White Men Can't Jump.

During this time, Wallace worked extensively with pianist Tommy Flanagan in creating film music. Additionally, Wallace worked behind the scenes as a docent of pianist Jimmy Rowles after Wallace, having settled in California, contacted Rowles completely without introduction. Regardless, a comfortable relationship bloomed between the two, as Rowles mentored Wallace not only in the mechanics of playing the piano, but also in the fine points of harmony. In 1993, Wallace released The Old Songs, an album which represented a culmination of the wisdom and inspiration that he derived from Rowles. He’s now back on the East Coast, living with his wife in Connecticut.

Friday, May 20, 2011

Harlem in the Himalayas

Colin Vallon Trio

7:00pm
Location: Rubin Museum of Art
(150 West 17th Street)
$18 in advance | $20 at door | 
For tickets: RMA Box Office or call 212-620-5000 ext. 344

Colin Vallon, piano
Patrice Moret, double-bass
Samuel Rohrer, drums

Get an insight into the international sounds of cutting edge jazz with the music of this band, which belongs among the most remarkable and fascinating which the Swiss scene has to offer. The 29-year-old Colin Vallon has everything an extraordinary musician needs: brilliant technique, personal expression, a sense for perfect timing and a very individual, musical language which he creates through the unusual sounds from his prepared piano. Together with bassist Patrice Moret and drummer Samuel Rohrer, he has developed an exciting multiple stylistics based on modern jazz, but from which it steps out into all directions possible. The trio lives out its dramaturgically excellent compositions in sensitive interplay.

Saturday, May 21, 2011

Saturday Panels
A Tito Puente Celebration
12:00 – 4:00pm

Location: NJMH Visitors Center
(104 E. 126th Street, Suite 2C)
FREE | For more information: 212-348-8300

Join us for an afternoon with the music of the King of Timbales, Tito Puente.

El Rey de Timbales. Tito Puente more than earned first place among modern Latin jazz musicians, working continuously from 1937 to 2000, recording over 100 albums.

Puente started his professional career as a drummer in Noro Morales’ orchestra. He played briefly with Machito’s Afro-Cubans before being drafted into the U.S. Navy, where he played in a band led by famed swing band leader, Charlie Barnet. After his discharge, Puente took advantage of the G.I. Bill to study at the Juilliard School of Music, while working with a variety of Latin bands in New York.

Puente quickly became known as a sizzling arranger. Promoter Federico Pagani hired Puente after hearing him jamming with a group of players from Pupi Campo's band, and dubbed them the Picadilly Boys. Puente subsequently moved to Tico Records and changed the group's name to Tito Puente and his Orchestra. Through numerous changes in labels and musicians, Puente has been in front of his group ever since.

Puente's fame skyrocketed when promoter Max Hyman bought the Palladium dance hall and opened it as a nightclub just as the craze for dancing the mambo and cha-cha hit in the early 1950's. He recalled nearly 50 years later:

“It was the explosion of dance. Remember, the Palladium was a big dance hall. I've always maintained that without a dance the music cannot be popular. People became aware of a new dance--the Mambo--it was ‘in’ to learn to dance the Mambo no matter what part of society you came from. And so here was a place, the Palladium, where everybody could come to dance or learn the Mambo. Dance studios sent their students to the Palladium, where they could learn and see great dancers—ballet stars, Broadway stars, expert Mambo dancers—all in one place. And I geared my music to these dancers.”

Puente rode the wave on Tico, then switched to RCA for what some consider his best albums, including Top Percussion, Dance Mania, his top-seller, and Mucho Puente. In the early 1960's, he moved from cha-chas and mambos to the new pachanga style and rejoined Tico to record Pachanga Con Puente. His 1962 descarga (Latin jam) album, El Rey Bravo debuted Puente's composition, "Oye Como Va," which later became a huge pop hit for Carlos Santana. "Every time he plays 'Oye Como Va,' I get a nice royalty check," Puente said.

Puente suffered through the boogaloo craze ("Boogaloo meant nothing to me. It stunk.") and carried on into the rise of salsa in the early 1970's. He recorded several albums in collaboration with Celia Cruz, the "Queen of Salsa." In the early 1980's, he moved into more traditional Latin jazz for the Concord label, earning a Grammy award for Tito Puente and His Latin Ensemble on Broadway. Although he was criticized for leaning on a clichéd style in his performances and material, Puente rallied again in 1991 to capitalize on the popularity of Oscar Hijuelos' novel, The Mambo Kings Play Songs of Love with the album, The Mambo King: 100th Album. It was actually something like his 112th, but who was counting at that point? Ever a trend-rider, Puente made his prime-time television debut in 1995 on an episode of "The Simpsons."

In 1997 Puente recorded 50 Years of Swing, a compilation of hits that celebrate his fifty years in the Latin music industry, and in 1999, he won his fifth Grammy for Best Latin Performance for his CD, Mambo Birdland. In the late 1990's, he was designated as a "Legend" by the Hispanic Hall of Fame, inducted to the Jazz Hall of Fame, received a star on the Walk of Fame in Hollywood, and received a Smithsonian Lifetime Achievement award. He suffered a heart attack soon after his last public appearance, in April 2000, with the Puerto Rico Symphonic Orchestra at the "Centro de Bellas Artes" in Puerto Rico.

Chilly Gonzales Announces World’s First Orchestral Rap Album

Chilly Gonzales, never one to stay quiet for too long, is back with the announcement of his new album, The Unspeakable Chilly Gonzales, the world’s first all-orchestral rap album, the dramatic next step after piano-rap classics like “The Grudge” and “Crying” from his last album, Ivory Tower. The Unspeakable Chilly Gonzales will see a digital release on June 7th via Canadian tastemaker label Arts & Crafts. Gonz is giving the world a sneak preview of the ambitious album, in the form of an orchestral-rap medley, which you can download above.

Today, he brings some “Gonzpiration” to the rap game. Accompanied by Hollywood swells, tympani rolls, noble French horns, hypnotizing bells and influenced by Prokofiev, Morricone and Phillip Glass, this record is Chilly Gonzales’ professional confessional, revealing more of himself on these monologues than ever before. The arrangements found on The Unspeakable Chilly Gonzales were done by his Hollywood-film composing brother Christophe Beck, and take center stage alongside Gonzo’s eccentric personality.

After his Guinness World Record and the Locarno film festival prize-winning feature film (and accompany album) Ivory Tower, the single “Never Stop” was chosen by Apple for their iPad ad. Ivory Tower’s inter-planetary video hit “You Can Dance” helped bring the musical genius to the forefront of American culture.

Download “The Unspeakable Chilly Gonzales” Medley MP3 HERE!

Vanity Theft Announces New Single, Launches Remix Contest

Ohio’s hard-rockin’ quartet Vanity Theft has been hard at work lately- the band is fresh off a nationwide tour with Hunter Valentine, which culminated with several SXSW shows and now a four week residency at Los Angeles’ famed Club Moscow, being the first band in over four years to be invited to a residency there. Their full-length album Get What You Came For came out on March 1st via Vigilante Music/Adamant Records, and now they’re happy to share the news of a new single and remix contest for their fans!

They’ll be releasing the “Rattle Rattle” single on April 26th, which will include remixes by HOUSES, Jesse Christenson and Tiny Bill. On top of that, the band is launching a remix/mashup contest in conjunction with Laptoprockers.com.

The contest lasts from March 30-May 20th- here’s a note from Laptoprockers regarding their partnership with Vanity Theft:

“Laptoprockers are very happy to have Vanity Theft aboard for this remix contest. With five sexy songs to remix, this is our biggest contest to date! Thanks to Ableton and D16 Group Audio Software there are great prizes to win, while the best remixes are eligible for inclusion on Vanity Theft's remix album due out this Summer. Not to mention the bonus prize for the best Vanity Theft mashup! Who needs a bigger challenge for Spring?"

Here’s a little more background on Laptoprockers:

Since their inception in 2006 Laptoprockers are shaking the web with remix contests, remix contests and more remix contests. With their comprehensive remix contest listing, Laptoprockers are the longest running independent remix contest resource webwide. Other daily topics include interviews, album reviews and anything related to music (making) in the digital domain. We Are Laptoprockers!

Fans can enter the contest here, so feel free to spread the love!

Download the FREE MP3 of “Rattle Rattle” HERE | And Chrissy Murderbot’s “Limb From Limb” Remix HERE

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Vanity Theft Tour Dates:

March 30 – Hollywood, CA – Club Moscow
April 6 – Hollywood, CA – Club Moscow
April 9 – Las Vegas, NC – Bunkhouse
April 11 – San Diego, CA – Soda Bar
April 13 – Hollywood, CA – Club Moscow
April 15 – Santa Barbara, CA – Muddy Waters
April 20 – Cleveland, OH – Beachland Tavern
April 22 – Bloomington, IN – Bear’s
April 23 – Cincinnati, OH – Mainstay Rock Bar
April 28 – St. Louis, MO – Cicero’s
April 30 – Bowling Green, KY - WWHR Music Festival

Fistful of Mercy on Conan Tonight

Fistful of Mercy will be the musical guest tonight on Conan (11/10/10), making the band the third musical act of his new show. They'll be joined by some very special guests! Conan airs tonight at 11/10c on TBS, be sure to check your local listings.

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Fistful of Mercy on Tour Now

Tickets still available for select shows. Full list of dates below.

11/11/10 San Francisco, CA @ Great American Music Hall SOLD OUT
11/13/10 Hollywood, CA @ Masonic Lodge at Hollywood Forever SOLD OUT
11/13/10 Hollywood, CA @ Masonic Lodge at Hollywood Forever SOLD OUT
11/14/10 Hollywood, CA @ Masonic Lodge at Hollywood Forever SOLD OUT
11/16/10 Washington, DC @ Sixth & I SOLD OUT
11/17/10 New York, NY @ Apollo Theater Purchase Tickets
11/18/10 Somerville, MA @ Somerville Theatre Purchase Tickets
11/20/10 Philadelphia, PA @ Baptist Temple at Temple University Purchase Tickets
12/03/10 London, UK @ Koko Purchase Tickets
12/05/10 Paris, France @ La Cigale SOLD OUT
12/07/10 Amsterdam, Holland @ Paradiso Purchase Tickets
12/09/10 Milan, Italy @ Alcatraz Purchase Tickets
12/10/10 Modena, Italy @ Vox Club Purchase Tickets
12/12/10 Berlin, Germany @ Postbahnhof Purchase Tickets
12/13/10 Cologne, Germany @ Live Music Hall Purchase Tickets
12/14/10 Brussels, Belgium @ Ancienne Belgique Purchase Tickets
04/22/11 Byron Bay Bluesfest Purchase Tickets

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Fistful of Mercy interview on CNN

Yesterday, CNN posted a video feature on Fistful of Mercy telling about how the guys met and the recording process for the new album, As I Call You Down. Today, CNN added an in-depth interview with the band to the video feature. Click here to read the interview and check out the video!

Ane Brun- Releases 4 Albums, Opens for Peter Gabriel

Norwegian guitarist and vocalist, singer and songwriter Ane Brun returns to the US as part of her US Tour with Peter Gabriel.   Ane will be releasing FOUR beloved albums including: Spending Time with Morgan, Duets, Sketches and Live in Scandanvia.
Ane will be warming the stage for Peter Gabriel across the US along with playing in his band.
On April 27th, Ane will release her currently unavailable in the US catalog via Amazon.com.  These fan faves will be available @ all digital retail outlets on May 5th.
Ane will be the main support in the US for Peter Gabriel on his amazing "New Blood" tour including gigs at:  Radio City Music Hall & the Hollywood Bowl.
Tour Dates:
April 28- Montreal- Bell Centre w/ Peter Gabriel
April 29- Montreal- Bell Centre w/ Peter Gabriel
May 02- New York- Radio City w/ Peter Gabriel
May 03- New York- Radio City w/ Peter Gabriel
May 07- Los Angeles   Hollywood Bowl w/ Peter Gabriel
May 8- Los Angeles- Largo- SOLO
May 10- NYC- Bowery Ballroom- SOLO

Collectors' Choice introduces CCM Live label: J. WInter, Hot Tuna, Poco. J. Denver

Collectors’ Choice Music, the label that’s come to be known for compelling and often unexpected CD reissues, has announced the launch of Collectors’ Choice Music Live, a new label devoted to releasing great live performances, most of which have never previously been commercially available.

The series will launch April 20 with the release of four CDs: Johnny Winter And’s Live at the Fillmore East 10/3/70; Poco’s Live at Columbia Studios, Hollywood 9/30/71; Hot Tuna’s Live at the New Orleans House, Berkeley, CA September 1969; and John Denver’s Live at Cedar Rapids, 12/10/87.

According to Collectors’ Choice Music GM Gordon Anderson, “After some 15 years of reissuing albums and compiling artists, we’re convinced that some of the biggest remaining veins of gold in the vaults are the live shows that a lot of labels recorded of their artists in their prime, particularly those who made their reputation with improvisational prowess and/or ever-changing set lists. These first four releases on our new Collectors’ Choice Music Live label certainly fit that description.”

Johnny Winter And — Live at the Fillmore East 10/3/70: To commemorate the release of his Johnny Winter And album, Texas blues guitarist/singer Johnny Winter played some shows at New York’s Fillmore East, some of which were compiled on 1971’s Live Johnny Winter And, a classic live album of the era to which this release makes a nice bookend. He had just formed a new band consisting of former member of the McCoys (“Hang on Sloopy”) including Rick Derringer on guitar, bassist Randy Jo Hobbs, and drummer Randy Zehringer. Although the McCoys were none too familiar with Winter’s work, they proved quick studies and entered the studio to make the album Johnny Winter And within three weeks. The New York Times reviewed the Fillmore show, citing “a considerable improvement over Winter’s previous band. Winter and [Derringer] played solos back at each other, simultaneously and in alternation.” The live album contains the Winter hit “Rock and Roll Hoochie Coo” and his take on Bob Dylan’s “Highway 61” alongside  blues classics “Rollin’ and Tumblin’,” “It’s My Own Fault” and “Good Morning Little Schoolgirl.”

•Poco —Live at Columbia Studios, Hollywood, 9/30/71: In the fall of ’71, Poco was arguably the most popular of the first generation country-rock bands. By then, their album Deliverin’ had cracked the Top 30 and Poco thanked its label, Epic Records, with a private showcase at the CBS Records’ Hollywood studio.  “We just set up as we would have for a small club,” recalls frontman Richie Furay, whose bandmates included guitarist/singer Paul Cotton (from the Illinois Speed Press), bassist Tim Schmidt (later of the Eagles), pedal steel player Rusty Young and drummer/vocalist George Grantham. By this time, Poco was evolving from country-rock towards an edgier rock sound. Says Furay, “Though we were innovators of the L.A. ‘country-rock’ sound, we weren’t going top be pigeonholed into being a one-sound band.” The 14 songs they performed for label employees that day were a solid cross-section of tunes that had appeared on its first four albums including the medley “Hard Luck Child/Child’s Claim to Fame/Pickin’ Up the Pieces,” plus “I Guess You Made It,” “A Man Like Me,” “Ol’ Forgiver,” “Heart That Music,” “Hurry Up,” “You Are the One” and more — an hour of music in all.

Hot Tuna: Live at the New Orleans House, Berkeley, CA September 1969: Hot Tuna was, of course, the blues band-within-a-band side project of Jefferson Airplane’s Jorma Kaukonen and Jack Casady that outlasted the parent band and continues to this day. Interestingly, the duo’s first commercial album, which made it to #30 on the Billboard pop album chart, was recorded live at Berkeley’s New Orleans House, but a lot more material was taped than was released. Much of it is issued for the first time on this 68-minute CD, which consists entirely of previously unreleased recordings. Explaining why they recorded their debut album was recorded live, Kaukoken says, “We tend to go places . . . and you lose a bit of that when you work in the studio. And it was cheaper too!” Of the 13 songs on this CD, six — “Death Don’t Have No Mercy,” “Winin’ Boy Blues,” “Uncle Sam Blues,” “I Know You Rider,” “Don’t You Leave Me Here” and “How Long Blues” — were included on the first Hot Tuna album, though the versions here are selected from different performances than the ones used on that LP.  Other songs include Blind Boy Fuller’s “Keep On Truckin’,” Rev. Gary Davis’ “Keep Our Lamps Trimmed and Burning” and “Candy Man,” and Blind Blake’s “That’ll Never Happen No More.”

John Denver: Live at Cedar Rapids, December 10, 1987: What is the sound of an audience eating out of the palm of a performer’s hand? Utter silence. And that’s what was heard during the two-hour-plus Iowa concert that comprises this two-CD set.  By 1987, Denver’s days as a Top 40 hitmaker were a decade in the past, but he remained a solid concert draw as a beloved, thoroughly American artist with a permanent place in the history of pop. It says much about Denver’s songwriting that, with the exception of half a dozen songs on which he’s accompanied by string quartet, he delivers two hours of solo music just his voice and 12-string guitar. The hits are here but so are new songs, some early-repertoire nuggets and a well-chosen cover or two.  Included are “Farewell Andromeda (Welcome to My Morning,” ”Take Me Home Country Roads,” “Rocky Mountain High,” “Annie’s Song,” “Love Is the Master,” “Mother Nature’s Son,” “Blow Up Your TV (Spanish Pipe Dream),” “Shanghai Breezes,” “Ohio” and more.

Blues Traveler's New Album 'North Hollywood Shootout,' Streets 8/26

John Popper- for the Grateful Web

After selling ten million records worldwide, six gold or platinum albums, and 2,000 shows in front of three million fans, Grammy Award-winning Blues Traveler ventured out of its creative comfort zone to explore some adventurous new horizons for its new album (and Verve Forecast label debut). The resultant North Hollywood Shootout is a landmark in the quintet's large and widely loved body of work, demonstrating the enduring strengths of the band's songwriting while capturing the spontaneous spirit of their legendary live shows.
 
According to frontman and harmonica slinger John Popper, "We're still trying to cultivate what we're individually good at into something that's bigger than the sum of its parts. When we're all playing and it's working, it becomes this separate entity, and that's still the thing that we're chasing."

North Hollywood Shootout — produced by Grammy Award winner David Bianco, whose diverse resume includes work with the likes of Tom Petty & the Heartbreakers, Ozzy Osbourne, Mick Jagger and Teenage Fanclub — draws its curious name from the fact that the band recorded the album in the NoHo district of Los Angeles. Street date is August 26, 2008.
 
Such memorable tunes as the uplifting road-trip anthem "You, Me and Everything," the playfully romantic "Love Does," and the elegant, evocative "Orange in the Sun" boast infectious melodic hooks while showcasing the interactive instrumental chemistry that originally endeared the band to its rabidly devoted fan base.
 
The new material also makes a strong case for the introspective side that's always been a key element of lyricist Popper's persona. The heart-tugging lyrics of the opening track, "Forever Owed," were inspired by the singer's recent USO trip to Afghanistan and Iraq, while the poignant "Borrowed Time" is a bittersweet meditation on mortality and transience, inspired both by the recent passing of bandmates Chan and Tad Kinchla's father and by Popper's feelings for his beloved and aging dog. The album's biggest sonic curveball is its closing track, "Free Willis, Ruminations from Behind Uncle Bob's Machine Shop." The six-minute spoken-word  sound collage finds the band jamming over an insistent drum beat, while actor Bruce Willis, a longtime friend and fan, delivers a colorful freeform monologue/rant.
 
As guitarist Chan Kinchla explains, "On the last few records, we concentrated so much on the crafting of the songwriting and arrangements that we started losing some of the live spontaneity that the five of us created onstage. So on this album, instead of doing the usual pre-production process, where we really worked out the songs before taking them into the studio, we decided to go straight into the studio and do songwriting there. We recorded all the parts as we were working them out, and then built the songs from there."
 
North Hollywood Shootout also found the band ceding more authority to Popper to create the melodies that carry his lyrics. "The main thing that we wanted to emphasize on this record was melody, and I think that aspect of it turned out very well," Popper states. "The guys took a real risk in trusting me to run with that."
 
"I think you have to be constantly reinventing things and discovering new aspects of what you do in order to keep things fresh," Kinchla adds. "This lineup (John Popper, Chan Kinchla, Brendan Hill, Tad Kinchla and Ben Wilson) has been together for eight years. We've spent a lot of time sorting out everyone's role and learning how to listen to each other and get out of each other's way. It's funny, but right now the band is feeling a lot like it did in the early days, when we were just playing for the sake of playing, and we were hitting on all cylinders and the communication was fresh and alive. The shows have been really kicking, and the new songs have been going over great."
 
And speaking of live dates, Blues Traveler is on the road now through the end of the year in support of the new album. The dates:
 
appearing with Live and Collective Soul:
Sun., July 13 LOS ANGELES, CA Greek Theater
Tue., July 15 MESA, AZ Mesa Amphitheatre

Blues Traveler:
Fri., July 18  MINNEAPOLIS, MN Aquatennial Block Party
Mon., July 21 VALPARAISO, IN Porter County Fair

appearing with Live and Collective Soul:
Tues., July 22 DULUTH, MN Bayfront Park  
Thu., July 24 ROCHESTER HILLS, MI Meadow Brook Music Festival  
Fri., July 25 WEST BEND, WI Washington County Fair  ("Mini Takes the States Festival")

Blues Traveler:
Sat., July 26 ELKHART LAKE, WI Road America Race Track

appearing with Live and Collective Soul:
Sun., July 27 FLORENCE, KY Turfway Park  
Tue., July 29 COLUMBUS, OH Lifestyle Communities Pavilion  
Fri., Aug. 1 HERSHEY, PA Hershey Park Pavilion

Blues Traveler:
Sat., Aug. 2 ELGIN, IL Elgin Festival Park  
Sun., Aug 3 CHICAGO, IL Grant Park - Lollapalooza

appearing with Live and Collective Soul:
Tue., Aug. 5 BALTIMORE, MD Pier Six Concert Pavilion  
Wed., Aug. 6 WALLINGFORD, CT Chevrolet Theatre  
Fri., Aug. 8 PHILADELPHIA, PA Festival Pier at Penn's Landing  
Sat., Aug. 9  GILFORD, NH Meadowbrook U.S. Cellular Pavilion  
Tue., Aug. 12 LOWELL, MA Lowell Memorial Auditorium
Wed., Aug. 13 WESTBURY, NY Capital One Bank Theatre at Westbury  
Sat., Aug. 16 CARY, NC Booth Amphitheatre at Regency Park
Sun., Aug. 17 ATLANTA, GA Chastain Park Amphitheatre

Blues Traveler:
Thu., Aug 21  JACKSON, WY  Center for the Arts
Fri., Aug. 22  PARK CITY, UT  Jazz Festival at Deer Valley Resort
Sun., Sept. 28 AUSTIN, TX Austin City Limits Festival

Particle in Hollywood

- for the Grateful Web

Almost an afterthought to a long weekend in 2000, Particle was born on a boat cruise in the San Francisco Bay to commemorate what ended up being Phish's first hiatus.  The then-unnamed Particle ended up surprising everyone on the boat cruise with their fresh sound and original compositions. 

Six years later, the band has evolved into something almost completely different than what was heard on that night in 2000.  However, many things have remained the same.  Eric Gould's bass and Darren Pujalet's kick drum still drive the heart of this band.  And Steve Molitz's keyboards and electronic toys remain the heady spice to the beat they lay down.  Perhaps the most consistent factor in Particle's six years of evolution is the crowd.  Resembling a party more than your average show crowd, it seems everyone is separated by no more than a degree or two of separation, where hugs and high-five greetings are given out like LSD at a Merry Prankster party.

Guitarist Ben Combe rounds out the new incarnation of Particle and he brings a bag of tricks new to Particle altogether.  Not only is he a very capable guitar player with excellent listening skills, but he brings a new flair that Particle has shied away from for most of their existence: Vocals.  This opens up a whole new door for the band, not only in original compositions, but also in the songs they can now cover.

Saturday night brought an abundance of both as the band debuted a new song named "Control/Escape," as well as a first time covers of Herbie Hancock, Newcleus and Egyptian Lover.   The band also surprised their fans with the Groovaloos dancers, a break dancing trio who brought their amazing break dancing moves from the stage to the crowd and back to the stage again, once again making the evening seem more like a party than a concert.

It wasn't until the beginning of the second set when the band reached deep into their ever expanding catalogue and played a staple of their live show "The Elevator."  But regardless of whether they were laying down one of the five new songs they debuted, or playing an old staple like "The Elevator," the large crowd remained glued to the stage and dancing like a scene out of Matrix: Reloaded. 

The Particle experience has evolved into a full body assault.  Rounding out the fast paced dance music and the amazingly talented Groovaloos dancers was artist Jeremiah Harrison (http://phalonart.com/ ), who had a dozen or so large paintings on display under black lights in the venue.  Not content to just play music for dancing drunkards, Particle seems intent on making every show a special occasion with visual, audio and mental stimulation.

By the end of the encore, which included a Pujalet drum solo, the exhausted and sweaty crowd was treated to an announcement by Gould that for the first time in their history, Particle would be playing their New Year's at home here in Los Angeles, CA.  Stay tuned to www.particlepeople.com for more announcements.  If their anniversary show is any indication, it should be a raging party.

10.13.06 Fonda Theater - Hollywood, CA

I: Sun Mar 11, Howl At The Moon > Control/Escape*, Rockit**^ > Egypt, Egypt**^^ > Planet Rock**^^^ > Jam On It**^^^ > Axel F**, The American Dream

II: The Elevator, Vital Things***, Robots > Six Long Weeks > Eye Of The Storm > Key Loop

E: Drum Solo > Walking By^^^^

*new song; 1st time played
**w/ Groovaloos dancers breakdancing both on stage and
in the crowd with the Particle People
***Bad Shoe original; 1st time played in Particle
^Herbie Hancock cover; 1st time played; w/ Chameleon
tease
^^Egyptian Lover cover; 1st time played
^^^Newcleus cover; 1st time played
^^^^After the music stopped, Eric thanked his
bandmates, the crew (past and present), the artists
who have contributed to Particle's world and the
Particle People. He then announced that Particle
would be playing in Los Angeles for New Years Eve.