furtado

String Cheese Incident Launches Archival Series

Today, The String Cheese Incident releases the first installment of their brand new live archival series, Rhythm of the Road, which will highlight the band’s most celebrated concerts with re-mastered limited edition releases. Titled Rhythm of the Road: Volume 1, Incident in Atlanta – 11.17.00, this first offering on the historic show’s ten-year anniversary.

2000 was a big year for SCI as they became a true touring force, settling into larger venues for the first time, including Red Rocks in Colorado, The Warfield in San Francisco, and New Orleans’ Saenger Theatre. The band finished off a long East Coast fall tour with three nights in Athens and Atlanta, GA, and it’s the middle night on 11.17.00 that fans still talk about as one of the best in the band’s career. With special guest Tony Furtado on banjo for several songs and featuring covers of Led Zeppelin, Talking Heads, John Coltrane, Peter Rowan, and Peter Gabriel, as well as bluegrass standards and a host of SCI originals, this show is the perfect way to kick off The String Cheese Incident’s archival series “Rhythm of the Road.”

Incident in Atlanta features the entire 11.17.00 performance, lovingly remastered from the original 24-bit multi-track master tapes and made available on CD, download (MP3, FLAC) and, an SCI first, 24-bit FLAC download. It will be released on November 9th in stores, through SCI Merchandise, and www.LiveCheese.com.

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Track List for Rhythm of the Road: Volume 1, Incident in Atlanta – 11.17.00 is as follows:

Set 1: Smile, Joyful Sound > Orange Blossom Special*, Barstool, Pygmy Pony,
Missing Me > Ramble On

Set 2: Outside And Inside, Impressions > Glory Chords Jam > Midnight
Moonlight*, This Must Be the Place (Naive Melody) > Miss Brown's Teahouse,
Wake Up, Black Clouds*

Encore: The Old Home Place*, Shenandoah Breakdown*, Shakin' the Tree*

* featuring Tony Furtado on banjo and guitar

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This year, after a three-year hiatus from the touring circuit, The String Cheese Incident played just a few select shows that sold out in minutes. By all accounts, the epic performers were well worth the long wait. Refreshed and inspired and still making music on their own terms, SCI seems to be once again reinventing the music industry model. Stay tuned for announcement of the band’s highly anticipated 2011 plans.

Furtado's New Album 'Thirteen' Available Now!

Tony Furtado- for the Grateful Web

From the very first moments of "Used," which opens Tony Furtado's new album, Thirteen (available now on Funzalo Records), it's clear that the prodigious instrumentalist turned singer/songwriter is a man on a mission. This bracing rocker, with its galloping ZZ Top groove and restless Tom Petty vibe, establishes the album's interlocked themes of "good luck/bad luck/no luck" (as Furtado puts it) on both the personal and political levels, while a phalanx of fretted instruments provides a thrillingly visceral reminder of Furtado's prowess as an ax wielder of the first order.
 
On Thirteen, this rapidly maturing artist fulfills the immense promise of his 2004 breakthrough These Chains, his initial foray into songwriting and singing. While Furtado's 2005 outing, the literally solo Bare Bones, pushed the technical envelope as he recorded his own one-man tour, the expansive Thirteen reveals an artist with a great deal on his mind and a full arsenal of skills with which to express his thoughts and feelings in a captivating way. "These Chains was my first serious attempt at songwriting," says Furtado, "so it was a trial by fire, with a bit of experimentation. This time I had the chance to go deeper."
 
Recorded to 16-track, two-inch analog tape during the summer of 2006 at Tucson's Wavelab Studios (a favorite venue for Calexico, Neko Case, M. Ward, Iron & Wine and other cult heroes), the album features an all-star cast including keyboardists Sean Slade (whose production credits include Uncle Tupelo and Radiohead) and Jim Dickinson (producer of the seminal Ry Cooder albums that inspired Furtado to take up the slide guitar), bassist Dusty Wakeman (whose resume includes three previous Furtado LPs, Dwight Yoakam and Lucinda Williams), drummer Winston Watson (who has played with Dylan and Giant Sand) and Wavelab's own Craig Schumacher (Calexico, Case, Iron & Wine), who produced and engineered.
 
Furtado admits the gathering of heavyweights gave him pause going in. "At first I was worried that it might be a clash of the titans," he admits. "But after we got together and started talking about the material, hanging out and playing, my fears quickly dissipated. Plus, that studio is packed with old instruments, and all the guitars hanging on the walls create a sonic aura. There are some bizarre instruments there that I threw on the tracks."
 
On this project, Furtado's playing and the considerable acumen of his all-star studio band was fully focused on the 10 Furtado originals and three well-chosen covers that comprise Thirteen. The dreamlike "California Flood," which is "wrapped around old memories of weekends on a boat in the Sacramento Delta," deals in vividly metaphorical detail with a child's struggles to understand the mysterious workings of the adult world. For "Another Man," a bitter breakup song he confesses was based on personal experience, Furtado references the blues epic "When the Levee Breaks" (famously rendered by Led Zeppelin), in effect splitting the distance between emotional tumult and self-mocking irony.

Furtado started the faux-confessional "The Alcohol" while living in L.A. and reading a lot of Charles Bukowski. "It's like a love song to drinking, almost," he jokes. "I noticed I was drinking more when I was reading Bukowski. And one night, after I came home from a drinking session on Ventura Blvd., I wrote a couple verses and a chorus. Months late, after I moved to Portland, I hammered out the rest of it with [acclaimed Nashville-based singer/songwriter] Amelia White."
 
The album's title song and centerpiece is far more solemn. "Thirteen Below" recounts the January 2006 Sago mine disaster, which trapped 13 men, only one of whom survived. "I've heard so many mining songs in my folk history, and I've sung so many topical songs in the past, that writing and singing it felt natural to me," Furtado notes. By giving the song the textures, cadence and language of Appalachian traditional music, the artist places the Sago disaster in its proper historical context while also giving it the universal resonance of tragedy. Similarly, "Hurtin' My Right Side" is a modern-day take on another roots idiom with which Furtado is thoroughly familiar – prison work songs and field hollers. He adapted the traditional piece, which he describes as "spellbinding," expanding it with a bridge and chorus.
 
Embracing female harmonies further enrich the overarching humanity in Furtado's understated, quintessentially Californian singing. The blended voices bring an intriguing new dimension to Furtado's renditions of the thematically apt "Won't Get Fooled Again" from the Who and "Fortunate Son" from Creedence Clearwater Revival. Further, given Furtado's thematic focus on luck in both the personal and political realms, these songs, which he'd discovered as a boy while working through his parents' record collection, lock right into place. A third cover, Furtado's whimsical take on Elton John's "Take Me to the Pilot," allows this musically and conceptually dense song cycle to catch its breath before soldiering on.
 
Most of the songs took shape during an intensive period of reflection and creative outpourings in Furtado's present home in Portland. "The past year has been an interesting time of growth for me," he explains. "When I first moved back, I knew I wasn't going to be hitting the road for a while, so I set up a couple of local weekly gigs to try out new songs and keep my chops up, and I also got some watercolors and taught myself to paint. I used to be a sculptor, so I got a bunch of clay, set up a little shop in my basement and started working that side of my brain. At the same time I was reading poetry and fiction, and I got an iPod and filled it up with music from the Kinks, the Who, Tom Waits, the Band and Elliott Smith, whose music had a big influence on me – the abstract quality of his lyrics but also the catchy, Beatlesque melodies. And every day I'd pick up the guitar to see what would come out. I ended up having a lot of songs to choose from." He chose them wisely.
 
Furtado, who grew up in Pleasanton, Calif., in the East Bay, took up the banjo at 12 and was hailed as a prodigy at age 19. As he was cementing his reputation as a banjoist extraordinaire, Furtado was also developing himself into an equally virtuosic slide guitarist. And now, with Thirteen, this restless artist makes an exponential leap into the wide-open spaces of mythopoetic America, a terrain inhabited by such personal heroes as Cooder, the Band, Creedence, Petty and Waits. No two ways about it – this heartfelt, multileveled work completes Tony Furtado's ascent from the folk circuit to the big leagues.

Tony Furtado Returns To The Boulder Theater

As the temperature falls and we add another layer to our Colorado uniform, it certainly feels like that time of year when tradition runs deep. The return of Tony Furtado to the Boulder Theater kept in traditional stride as he remained true to his Thanksgiving Day appearance and brought his genre bending songs to the familiar Boulder audience. Those of us present Friday night were fed a healthy serving of some good ol' fashioned Rocky Mountain pickin' turned electric.

Tony came in tow with his banjo and guitar back from his new home in Portland and managed to scrounge up some familiar Boulder musicians, The Tony Furtado Band. Tonight the band featured Matt Spencer on bass, Christian Teele on drums, Ross Martin on electric guitar and Tony on banjo, guitar and vocals.

The crowd spiritedly welcomed Tony and the band to the stage and the dance floor came alive. Tony Furtado and his banjo stylings present themselves as country rock songs with a tinge of bluegrass - or country songs with a dab of rock depending on what side of the Mississippi you grew up on. In actuality though, the music is best left unlabeled and should merely be absorbed for its truly original compositions and melodic jams. The electric banjo work is subtle, yet intricate, and you can feel Furtado's inspiration in each pluck. His songwriting skills seem acute as ever and Tony's acoustic guitar diligence showcases his years of creative experience and exploration. A student turned master of the slide guitar, Furtado was mainly picking and strumming this evening and why not when it sounds/feels so good.

Matt Spencer had a noteworthy bass solo that smoothly bounced back into a full band swing and the crowd was also treated to a cover of Tom Petty's Runnin' Down A Dream. It's also a pleasure to hear Ross Martin on some electric guitar. He plays a very meandering, almost whispering lead that is a distinct departure from when he picks on his acoustic.  The crowd participated in an impromptu sing along during a re-vamped version of the story of Stagger Lee as Tony and Ross volleyed solos and the entire band seemed to be having fun while the audience fed off the energy.

The night proved to be a festive evening of familial celebration and musical jubilation. From old classics to zestful covers, The Tony Furtado Band played a solid set of eclectic songs to an obviously appreciative Boulder Theater crowd.

Tony Furtado at the Boulder Theater Soon

Tony @ friends coming to Boulder!- for the Grateful Web

Tony's playing the Boulder Theater November, 25th.  Their location is 2032 14th Street ~ Boulder CO ~  and their phone is: 303.786.7030

Doors: 8pm ~ Show time: 9pm  $17

For more info: www.bouldertheater.com

Appearing with Tony: local heroes Drew Emmitt Band featuring Bill Nershi.

Grateful Web's review of the show will be posted soon...

Tony Furtado lines up some Coloroado dates

- for the Grateful Web

OUT NOW!  The new cd by TONY FURTADO BARE BONES on Funzalo Records

Recorded live on tour at the behest of Tony's fans! Gripping solo acoustic performances by this master stringbender and gripping singer/songwriter.  (www.tonyfurtado.com)

Tony's on tour now, swinging through Colorado soon.

Thursday June 9
Cervantes' Masterpiece Ballroom

2637 Welton Street

Denver CO

303 297 1772

http://www.cervantesmasterpiece.com/

Support act: Newcomers Home

Doors 8pm / Show time 9pm / Tony on stage 10:30pm Tix: $10 advance - $12 day of show

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Friday June 10

Riverwalk Center
150 W. Adams Street

Breckenridge CO

970 453 3187

http://www.breckenridgemusicfestival.com/

Doors 4pm / Show time 4:30pm / Tony on stage 6:45pm Free show

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Saturday June 11
State Bridge Lodge

127 Through Road HCR 2

Bond CO  

970 653 4444

http://www.statebridge.com/

Doors 5pm / Show time 7:30pm / Tony on stage 9pm Tix: $10 general admission

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Thursday July 14
Jazz Aspen Summer Concert Series

Fanny Hill
Snowmass Mountain

Snowmass Village CO

http://www.stayaspensnowmass.com/p-free-summer-concerts.php#cback
http://www.jazzaspen.com/template.cfm?include=Snowmass%20Free%20Series

Doors 5:30pm / Show time 6:15pm / Tony on stage 6:15pm FREE CONCERT SERIES!

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News you can use :

- Furtado did a 3 week tour opening for Gregg Allman & Friends this spring.

- Last year's Funzalo release, THESE CHAINS, is a finalist in the Indie Acoustic Project's "Best CDs of 2004" Awards (see www.indieacoustic.com for more info).

- #5 most added at Americana radio

"There are times on Tony Furtado's new live solo cd, BARE BONES , that you'd swear there are two guitarists."
- Traverse City Record Eagle

"'The live solo show is basically what you hear on the album.  I'll do solo stuff based around old folk tunes, and I intersperse banjo in there.  It becomes this American roots vibe.'  That vibe has made the just-released BARE BONES CD a hit with audiences and has kept Furtado on the road, where he revels in his craft."
- The Grand Rapids Press

"Blending acoustic slide guitar with woodsy tales of the everyday, Furtado's mix of technical virtuosity and warm storytelling soul was a perfect warm-up for Allman and his friends."
- Glide Magazine

Tony Furtado - 'Bare Bones' -

Tony Furtado- for the Grateful Web

String-bender extraordinaire Tony Furtado is a road dog. Playing an average of 300 live dates a year, from the western ski resorts in the winter to the summer festivals throughout the Midwest, through gritty Chicago and glitzy New York, to New England seaside towns and up and down the West Coast, Furtado's passion is playing his music live and bringing it out there to the people. Accordingly, he's wooed music lovers and won fans all over kingdom come. Which brings us to BARE BONES – a sampling of live solo acoustic shows that Tony recorded himself during some gigs last summer. Considering he'd just done a studio recording within the past year, he wasn't necessarily due for a new record. But his extensive solo touring had left folks wanting more of the same, and Furtado fans both new and old started asking for a recording that captures what he does best – play his heart out on stages in clubs, at festivals and just about everyplace in between.

BARE BONES is all Furtado. The songs here are not only performed (and most of them written) by Tony, but also recorded on the spot and engineered by the guitarist/singer/songwriter as well. And talk about baptism by fire: Furtado learned how to use the recording gear at these very shows. Dusty Wakeman, an accomplished musician and studio guru in his own right (Lucinda Williams, Dwight Yoakam, Anne McCue), did the mixing and editing at his Mad Dog Studios in LA. Dusty has worked with Tony before, producing his records and playing in his road band, and here again he captures the flavor and flow of Tony's live show, letting the performances shine through and stand on their own without adding unnecessary studio gimmickry or polish. What Tony played and what the fans witnessed is what you get, and the passion and camaraderie come through loud and clear.

The songs themselves are a great representation of crowd-pleasing fan favorites. From Furtado originals ("These Chains," "Can You Hear the Rain") to traditional songs with new arrangements by Tony ("Rove Riley Rove," "Oh Berta Berta") to collaborations like the Furtado/Jules Shear-penned "Standing in the Rain" and finally, to perfectly suited covers (Tom Petty's "Running Down a Dream," the Beatles' "I Will"), this album is a personal nod to the wishes of his fans, a way to relive the live show experience which brought them together to begin with.

Furtado started playing the banjo at about 12 years of age; by the time he was 19, he had established himself as a gifted musician. As he solidified his chops and sound by playing constantly, he was also raking in top awards for his banjo playing. But Tony started to feel constrained by his instrument as his musical sensibilities broadened. He wanted to write songs that had lyrics and also wanted to try his hand at singing them, so he applied his considerable prowess to mastering the guitar and writing and singing his own material. His last studio effort, 2004's THESE CHAINS, was the product of an established artist's conscious expansion of his boundaries, and truly a joy to behold.

BARE BONES is a reflection of Tony's boundless enthusiasm playing music for folks and traveling far and wide to do it. His tours have included stints with the likes of Gregg Allman, Taj Mahal, Alison Krauss, Derek Trucks, Eric Johnson, String Cheese Incident and many others. Whether or not you've seen him live, you'll want to catch a performance as soon as you can. In the meantime, check out this recording and you'll get the next best thing to a Tony Furtado show.