music

The Deep Dark Woods to Release The Place I Left Behind

The Deep Dark Woods wake the ghosts of Appalachia with their prairie gothic pyre-side tales. On their new record, The Place I Left Behind, the band finds continuity in themes of temporal and geographic alienation, neglected inward trails, and the scars of abandoned intimacies.

Buoyed by the success of working with mastermind recording engineer Darren Van Niekerk, on their self produced CBC Songquest single “Charlie's (is Coming Down)” the band decided to approach their new album the same way. Recorded in Halifax with Van Niekerk behind the board once again, The Deep Dark Woods’ first self produced album allowed them to experiment in the studio as never before. Toying with numerous reverbs, vintage amps, instruments and mellotron, they also tried some never before played versions and arrangements of some of the album's songs. While more physically and mentally exhausting than previous albums, it turned out exactly the way the band wanted it to and the reward is their most realized album to date.

The record opens with a song about Saskatoon’s rougher edges. “West Side Street” is a study in contrasts – finespun vocals and a gently rolling melody cushion the gloomy story. “The Place I Left Behind” is loosely based on an old folk standard. Gorgeously morose, the title track confirms that The Deep Dark Woods capture lonesome yearning at its loveliest. “Sugar Mama” is a sweet and lively invitation to tap toes and shake off the blues; a seeming coming-of-age story is treated with playful banjo and an airy gait.

A rainstorm over the desert of modern music, The Place I Left Behind offers murder ballads alongside scrappy rockers, lovesick hymnals and slow-dance waltzes. The album illuminates folk traditions without stripping the shadows of roots music history. The Place I Left Behind echoes with traces of time and space that are never fully abandoned or forgotten.

The Place I Left Behind will be released on Six Shooter Records in Canada on August 2nd and Sugar Hill Records in the US and worldwide on October 18th.

Thomas Dolby's first new studio album in 20 years

Thomas Dolby, the iconic ’80s star whose smash hits “She Blinded Me With Science” and “Hyperactive” helped define the MTV generation/revolution, will break his 20-year silence with a new release later this year titled A Map of the Floating City. The album, featuring appearances by special guest artists Mark Knopfler, Regina Spektor, Natalie MacMaster, Bruce Woolley and Imogen Heap, will be available on October 25, 2011 on Lost Toy People Records as a regular and hi-res download, as a physical CD, and in a special Deluxe Edition featuring a second disc of instrumentals and bonus tracks.

The five-time Grammy®-nominated British artist quit the music business in the early ’90s and spent many years in Silicon Valley, where his tech company Beatnik Inc. created the ringtone synthesizer embedded in more than three billion mobile phones shipped by Nokia, Motorola, Sony Ericsson and others. Now retired from Beatnik, Dolby has returned to his native U.K. and is busy recording an album of brand new songs in a renewable energy-powered studio he built aboard a 1930s lifeboat in the garden of his beach house on England’s North Sea coast.

Of the album, which is divided into three parts, Dolby says, “The new songs are organic and very personal. A Map of the Floating City is a travelogue across three imaginary continents: In Amerikana I’m reflecting with affection on the years I spent living in the U.S.A., and my fascination with its roots music. Urbanoia is a dark place, a little unsettling . . . I’m not a city person. And in Oceanea I return to my natural home on the windswept coastline.”

“I marvel at the new landscape of the music business — distribution via the Internet and recording technologies I barely dreamed of when I started out,” he continues. “But this album does not sound electronic at all. I have zero desire to add to the myriad of machine-based, synth-driven grooves out there. The Net has made a music career approachable for thousands of bands — but I hear too few single-minded voices among them, so I’m returning to what I do best, which is write songs, tell stories.”

To help tell his stories, Dolby has enlisted an impressive cast of guest musicians. Legendary guitarist Mark Knopfler helps drive the epic “17 Hills,” a song about a pair of hapless lovers and a jailbreak. Natalie MacMaster, the Cape Breton fiddler, adds spice to two songs. Scottish singer Eddi Reader takes a front seat on the ethereal “Oceanea.” Bruce Woolley (Camera Club) plays theremin. And Regina Spektor has a cameo as an East European waitress on “Evil Twin Brother.”

The innovative transmedia game The Floating City, co-created by Dolby and based on his song catalog all the way back to the 1980s, is currently in full swing and is proving highly addictive for thousands of regular players. The winning “tribe” will be treated to a private concert performance of the new album in its entirety. Thomas Dolby will shortly announce a string of concert dates in the U.S. and U.K. in support of the album.

Nashville's Coolest Cat Kenny Vaughan to release V - 9/13

Sugar Hill Records is proud to announce the September 13th release of V, the long-awaited solo debut from Nashville’s not-so-secret weapon: Kenny Vaughan. Since first arriving in Music City in the late ‘80s from his home state of Colorado, Vaughan quickly set himself apart as a different breed of guitar-slinger—technically assured and, more importantly, armed with a deeply felt reverence for a wide range of musical traditions encompassing vintage country, classic pop, hard bop, and beyond. The ten tracks that comprise V dip toes in all of these waters, forming a handy crash course in the trademark wit, flash, and unfailing musicality that has kept Kenny Vaughan so in-demand for the past quarter-century.

Starting in 2001, Vaughan has been a member of Marty Stuart’s Fabulous Superlatives, a multi-faceted outfit capable of delivering anything from rollicking bluegrass to classic honky tonk to simmering gospel soul. Aside from one track featuring Vaughan’s Nashville-based organ trio, the Fabulous Superlatives back him throughout V, which opens with the show-stopping Superlatives rave-up “Country Music Got a Hold On Me” and continues through an eclectic program that touches upon western swing (“Hot Like That”), evocative low-twanging instrumentals (“Minuit Sur La Plage,” “Mysterium”), Rockpile-inflected country-pop (“Things I Do”), and even a bit of gutbucket swamp-funk featuring the Oak Ridge Boys (“Okolona, Tennessee”), before concluding with a righteous gospel shuffle, “Don’t Leave Home Without Jesus.”

Recipient of the 2006 Instrumentalist of the Year award from the Americana Music Association, Vaughan is one of the most prominent guitarists of today’s ongoing roots music renaissance. An early pupil of fellow Coloradoan (and fellow eclectic roots alchemist) Bill Frisell, Vaughan has since performed and recorded with an array acclaimed artists, including Lucinda Williams, Kim Richey, Rodney Crowell, Tim O’Brien, Jim Lauderdale, Elizabeth Cook, Greg Garing, and too many more to list. Equally comfortable on stage or in the studio, Vaughan can be relied upon for hot, twitchy country leads, bittersweet melodic jangle, and everything in between—all dispatched with the utmost taste and subtlety.

And, as V so aptly demonstrates, Kenny Vaughan is no slouch as a frontman, either. His songs and singing are charmingly conversational, with no shortage of memorable hooks and clever verbal volleys. His cohorts in the Fabulous Superlatives (including bossman Marty Stuart on guitar and mandolin) offer honest, road-tightened support that is honest and heartfelt. Sterling confirmation of the potential implied by each sideman gig, session, and walk-on, V may have been a little too long in arriving…but, after all, Kenny’s a busy guy.

Leftover Salmon 2011 New Years Run!

Leftover Salmon is pleased to announce a special four night run on the west coast to ring in the new year. First hitting California with performances at the Belly Up in Solana Beach, then a night at the historic Great American Music Hall in San Francisco. After that it's off to the Pacific North West for two nights at the Roseland Theater in Portland, OR! This is sure to be a special and historic run.

Pre-sale fan ticketing goes on sale this Tuesday July 26th at 10am PST!

To purchase tickets and for more information go to www.leftoversalmon.com or click on the links below.

The Belly Up- Solana Beach, CA- December 28 (tickets)

Great American Music Hall- San Francisco, CA- December 29 (tickets)

Roseland Theater- Portland, OR- December 30-31 (tickets)

Della Mae To Release Debut Album

Della Mae, the all-woman bluegrass quartet out of Boston that brings acoustic grit and twang to town with no apologies, will release its debut full-length album in September.

Della Mae features the 2009-2010 National Fiddle Champion Kimber Ludiker, powerful mandolinist Jenni Lyn Gardner, seasoned bassist Amanda Kowalski, and the sweet, sultry vocals and driving acoustic guitar of Celia Woodsmith.

The band will release its debut full-length album, I BUILT THIS HEART, in September, with all-star guests Alison Brown, Laurie Lewis, Brittany Haas (Crooked Still) and Emma Beaton (Joy Kills Sorrow). The album was produced by Austin Nevins (Josh Ritter) and engineered by Erick Jaskowiack. Advance copies are for sale at upcoming shows.

Vintage Guitar magazine describes Della Mae’s sound as “straightforward, expertly executed music that stays true to its inspirations.” The band’s musical style seamlessly blends years of experience with traditional mountain music and modern singer-songwriter sensibilities. With award-winning instrumental abilities and a reputation for energetic live performances, the four women of Della Mae are turning heads.

In the words of master mandolinist Mike Marshall, “These gals can get down and aren’t messing around.”

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Della Mae’s Upcoming Schedule:
July 23: Club Passim, Cambridge, Mass. ( Laurie Lewis & Tom Rozum open)
July 30: RockyGrass Bluegrass Festival, Lyons, Colo.
August 12-13: Saddleback Mountain Bluegrass Festival, Saddleback, Maine
August 27: Newport Art Festival, Newport, R.I. (More info TBA)
November 5-6: Laurie Blue Bluegrass Festival, Prince Edward Island, Canada
December 1-18: Bluegrass Jamboree, Germany & Switzerland

Asleep At The Wheel @ Boulder Theater | 7/24

Can a wheel reinvent itself while it’s still rolling?

Sounds like an impossible task -- but you never want to say “impossible” to Asleep at the Wheel, the famed western-swing, boogie, and roots-music outfit that’s, amazingly, still on the upswing. That’s saying something, too, considering the group’s been around for nearly 40 years, turning out an incredible 25+ albums while playing an unrelenting schedule of one-nighters that would make a vaudevillian dizzy.

“In terms of how many people we played for, what we accomplished, and how much money we made – well, we didn’t make any money – this year was absolutely our best year ever,” says Wheel founder and front man Ray Benson with a chuckle.

And even as the Wheel rolled on, the reinvention had begun. You could see and hear it in their live shows, where new vocalist Elizabeth McQueen invited comparison with the classic female vocalists of the band’s earlier era, and fiddler-singer Jason Roberts gave the band a second male lead voice to complement Benson’s immediately identifiable baritone.

These days, the reinvented Wheel is also rolling down a couple of new avenues. One involves to the critically acclaimed musical play, A Ride With Bob, which stars Benson as himself -- encountering the ghost of Bob Wills on a tour bus – Roberts as the young Wills, and McQueen as Minnie Pearl and other famed entertainment figures, with the rest of the band members featured as well. Originally designed as a one-off celebration of Wills’ 100th birthday in ’05, A Ride With Bob quickly took on a life of its own and, notes Benson, “it’s absolutely a part of what we do now.” Another success has been the adaptation of the Wheel’s repertoire for pops symphony. Performances with Dallas, Austin, Fort Worth & Amarillo symphonies have drawn record crowds.

The Wheel’s new look is also spotlighted in several new discs – the first called, appropriately enough, Reinventing the Wheel. The 12-cut celebration of American – particularly Southwestern – music features guest appearances by gospel’s Blind Boys of Alabama (with a splendid reworking of the old Wills tune “The Devil Ain’t Lazy”) and banjoist Rolf Sieker, along with lead vocals by McQueen and Roberts as well as Benson, whose voice has been synonymous with Asleep at the Wheel for decades.

The second is 2009’s Willie and the Wheel; a collaboration with Willie Nelson that was originally envisioned by famed producer Jerry Wexler in the 1970s. Unfortunately before they had a chance to cut it, Nelson had left Atlantic Records. But over the ensuing decades Wexler kept the idea alive and even gave Ray his entire collection of western swing vinyl that included his notes on song choices and treatments. In late 2007 the idea was revived and Jerry and Ray reconnected by phone. Always the producer with a vision, Jerry was involved in every way. He insisted that some of the tracks should include horns as well as a return to traditional fiddles and lap steel guitar associated with western swing. As the sessions concluded and Willie finished his vocals the tracks were sent to Jerry. “To my delight and relief,” says Ray, “he loved them.” In fact, Wexler heard most of the finished tracks prior to his passing in August 2008. "Jerry wanted us to do this album and I'm glad we got to do it for him, “says Willie Nelson. “And that he heard it before he passed on."

The success of the Willie and the Wheel album release was quickly followed up by a tour and even a taping of the 35th anniversary of Austin City Limits for PBS (for broadcast in Fall of 2009), a fitting double-bill as Willie had taped the pilot and Asleep at the Wheel appeared in the very first regular episode of the legendary live music television program.

And now in contemplating the 40th anniversary of Asleep at the Wheel in 2010, Ray remains focused on the original concept. “I carried the load for many, many years, but I’ve always just wanted to have a band, as opposed to Ray Benson and Asleep at the Wheel,” Benson explains. “That’s what we had in the ‘70s – a band, a revue kind of deal, which was the whole concept. But trying to replace a Chris O’Connell was very difficult. And then Elizabeth walks up, and boom – here’s my girl singer. And then I kept pushing Jason, both through the play and through the band, saying, `Man, you’ve got talent. You can sing. You’ve got the golden ear – just apply it to your singing and songwriting.’”


Roberts, who’s been the Wheel’s full-time fiddler since early ’96, welcomed the opportunity to be a part of the revamped, revue-style Wheel. “I think everybody got a chance to put their two cents in, and bring to the table what they had, ” he adds. “God bless Ray Benson for allowing us to do that..”

Adds McQueen, “One of the things about Asleep at the Wheel is that they always have great musicians. That’s what they’re known for. So for them to ask me to join and then to keep me in the band, and to let me step out a little more and stand in the shoes of Chris O’Connell and Maryann Price, who were amazing singers – that’s an incredible honor. It’s above and beyond my greatest expectations.”

So, whether your next encounter with Asleep at the Wheel is at a dance or concert, or backing up Willie Nelson via the new disc, or at a live production of A Ride with Bob, you’ll be witnessing something very special -- a band that’s not only been entertaining audiences with its own genre-busting music for four decades, but also a group that’s never been afraid to try something new -- including a reinvention, inspired by the past, that rolls joyously toward a long and shining future.

More Info / Buy Tickets

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Date/Time: July 24, 2011, 8:00 pm

Audience: All Ages

Seating: All Seated Reserved/GA

Ticket Availability: Yes

General Admission: $32.00

Reserved Tickets: $37.50

Gold Circle: $48.50

MTO Plays SLY: Steven Bernstein's Tribute to Sly & The Family Stone

New York City's favorite "little big band," Steven Bernstein's Millennial Territory Orchestra, cracks open wide the monumental songbook of Sly & The Family Stone on its third studio album, MTO Plays SLY, due September 27 from Royal Potato Family. For this freewheeling and jubilant 13-track tribute, MTO is propelled by a dynamic cast of special guests, including vocalists Antony Hegarty, Dean Bowman, Martha Wainwright, Sandra St. Victor and Shilpa Ray, organist Bernie Worrell, guitarist Vernon Reid and remixer Bill Laswell. By re-imagining the music of Sly Stone through the filter of their own "downtown NYC" aesthetic, Bernstein and company illuminate the melodic and harmonic sophistication of Sly's timeless body of work, while upholding the Day-Glo soul and psychedelic funk that's the backbone of classics like "M'Lady," "Everyday People" and "Family Affair."

"I've been thinking about Sly's music for a long time. He represented endless possibilities by bringing creative freedom and experimentation to popular music. Sly took the whole of American sounds: blues, gospel, rock, jazz, country and gave it a fresh look through his own rose colored glasses," explains Bernstein. "Harmonically, rhythmically, linguistically, socially -- he broke ground on all fronts.  Sly was multiculti before we even knew that was a possibility.  The biggest lesson I've received from him is that it's all part of the musical gumbo and it's up to each individual to create their personal combination."

Steven Bernstein's Millennial Territory Orchestra is: Steven Bernstein (trumpet and slide trumpet), Curtis Fowlkes (trombone), Doug Weiselman (clarinet and tenor saxophone), Peter Apfelbaum (tenor and soprano saxophone), Erik Lawrence (baritone and soprano saxophone), Matt Munisteri (guitar and banjo), Charles Burnham (violin), Ben Allison (acoustic bass) and Ben Perowsky (drums).

In addition to MTO, Steven Bernstein fronts Sexmob and leads The Levon Helm Band horn section. Over a distinguished 30 year career, he's performed and arranged for the likes of Lou Reed, The Lounge Lizards, Sam Rivers, My Morning Jacket, Rufus Wainwright, Elton John and Marianne Faithful among numerous others.

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The track listing for MTO Play SLY is:

1. Stand (featuring Sandra St. Victor, Bernie Worrell and Vernon Reid)
2. Family Affair (featuring Antony Hegarty)
3. Sly Notions
4. Que Sera, Sera (featuring Martha Wainwright)
5. M'Lady (featuring Dean Bowman)
6. You Can Make it If You Try
7. Everyday People (featuring Shilpa Ray)
8. Bernie Interlude (featuring Bernie Worrell)
9. Skin I'm In (featuring Sandra St. Victor)
10. Sly Notions 2/Fun (featuring Dean Bowman)
11. Time (featuring Dean Bowman and Vernon Reid)
12. Thank You For Talkin' To Me Africa (Bill Laswell mix translation)
13. Life

Singer-Songwriter Justin Hines Triumphs With US Debut

Optimism permeates throughout Days to Recall, Justin Hines U.S. debut album to be released August 2nd on Decca. The Canadian singer/songwriter’s collection of heartfelt songs about life and love showcase his considerable talents, and his will to overcome insurmountable obstacles.  The CD coincides with a PBS special of Hines in concert -- taped at Toronto’s Royal Cinema with special guests Ron Sexsmith, Natalie MacMaster, Donnell Leahy, Sierra Noble and The Canadian Tenors -- slated to air multiple times across the U.S. during Public Television’s August pledge drive.

Justin Hines has thrived all his life against odds that would daunt someone with a less indomitable spirit.  Hines has Larsen Syndrome, a joint dislocation condition that confines him to a wheelchair.   He admits his condition has provided challenges, but primarily sees the good it has brought him and the inspiration he can provide others.  “There have been so many blessings. It’s afforded me so many other opportunities. It’s a bit of an attention grabber,” he says. “But then my job is to keep people interested, and keep their attention with my music.”

Highlights on Days To Recall include the first single, the instantly catchy “Tell Me I’m Wrong,” a duet with fellow Canadian/actress Jill Hennessy on the plaintive, “Why Not Love Me” and the uplifting “Say What You Will.”  The latter track took on a life of its own after a South African video featuring the Most Rev. Dr. Desmond Tutu was used as part of a campaign to build 20 schools in 11 days.  Hines performed in South Africa this spring and saw the schools that will educate more than 22,000 students.

To hear “Tell Me I’m Wrong,” click here.

Music was integral throughout Justin’s young life.  He doesn’t remember it, but his mom tells him he wrote his first song when he was seven. In his late teens, he decided to teach himself how to play piano as a way to better express himself.  “I’d done a lot of writing with other people. The most frustrating thing was I could hear the song in my head, but I was relying on other people to write chords since I didn’t play anything,” he says.

Even though Justin grew up singing in church, the realization of pursuing his musical dreams happened at the most unlikely of places— at a Toronto Raptors’ basketball game in his hometown 15 years ago.  A then 14-year-old Justin won a vocal competition to sing the National Anthem at the game — both the Canadian and American -- and his world opened up before him. “In that moment, it all seemed possible,” he recalls. Thrown in the deep end, Hines has performed professionally ever since and realized he could not only survive, but succeed.

To watch the Justin Hines EPK click here.

DeVotchKa at Boulder Theater | 10.29.11

97.3 KBCO & Z2 Entertainment are proud to present DeVotchKa at the Boulder Theater for the annual Halloween show on Saturday, October 29th, 2011. Tickets go on sale Friday, July 22nd for $42.00 General Admission.

With the release of the band's fifth album, "100 Lovers" (Anti- Records, 2011), the band headed back to the romantic influences of the Arizona desert with producer Craig Schumacher (Calexico, Neko Case) to create a compendium of short stories inspired by the varied moments the band experienced since the release of A Mad & Faithful Telling.

Like many bands, DeVotchKa spent their early years traveling the highways and byways searching for gigs and a musical direction. As time went on, the band began to foster important musical collaborations with the unequivocal Calexico and the seminal gypsy punks Gogol Bordello.

The band from Denver has now headlined large venues and performed at practically every major music festival, from Coachella to Lollapalooza. After years of toiling in obscurity, the band was selling out shows from the Fillmore in San Francisco to First Avenue in Minneapolis, with breakout performances at Bumbershoot and Austin City Limits Music Festival. The love spread to Europe and each year, DeVotchKa plays a number of European and American festivals, including Glastonbury and a return to Bonnaroo.

"100 Lovers" is the album DeVotchKa had always wanted to make. "How it Ends" was recorded and mixed in only nine days. On "A Mad and Faithful Telling,” the band had more time and conducted complex arrangements and experimental recording techniques. For "100 Lovers", DeVotchKa spent over a year defining their sound, taking multiple trips to the desert studio to craft twelve new recordings. The final product is the bands strongest album to date, filled with songs fans will love, songs to draw in new listeners, and exciting numbers that fit nicely into their rousing live sets. With the new album, DeVotchKa have achieved success carving their own singular sound out of the worlds of rock, opera, theater, dance, and film.

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DeVotchKa

Boulder Theater

Saturday, October 29th

Doors:  8:00 pm

Show Time:  9:00 pm

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.