Artists

artists

ROTHBURY Adds Trey Anastasio and Unveils the Think Tank

ROTHBURY is honored to welcome Trey Anastasio to the already stellar artist lineup. ROTHBURY marks Trey's first official performance since December 2006.

Emory Joseph presents 'Fennario – Songs By Jerry Garcia & Robert Hunter'

Jer- for the Grateful Web

NYC singer/songwriter Emory Joseph pays tribute to the songwriting team of Jerry Garcia and Robert Hunter, the principal songwriters for the Grateful Dead, with his upcoming release, Fennario - Songs by Jerry Garcia and Robert Hunter (street date August 19 on Iris Records).  At the time of Garcia's passing, the Grateful Dead had been together for 30 years and were the highest-grossing touring act in the world. For Fennario, Joseph carefully selected and recorded material that had never been released on studio albums and re-interpreted some of the best-loved Garcia/Hunter material.

The wide range of music on Fennario draws from the same American palette that inspired Garcia and Hunter, from the sweet country of "It Must Have Been the Roses" to the Memphis rock and roll of "Tennessee Jed" to the Muscle Shoals soul of "Sugaree."

To produce the album, Joseph enlisted the core group of top-shelf multi-instrumentalists he'd used on his critically acclaimed debut album, Labor & Spirits: Tom "T-Bone" Wolk (Hall and Oates, The SNL Band), Duke Levine and Jon Carroll (Mary Chapin Carpenter), and vocalist Soozie Tyrell (The E-Street Band).  The album's other principles are Larry Campbell (who was coming off eight years touring with Bob Dylan and who now plays with the Dead's Phil Lesh), and drummer Dennis McDermott (Marc Cohn). Fennario's twelve tracks were recorded in five 'round-the-clock days at New York's legendary Legacy Recording Studios. There are two guest performances, bassist Lincoln Schleiffer (on "Mission in the Rain") and long-time Garcia associate, mandolinist David Grisman (on "Brown-Eyed Women").

"I produced Fennario to be something that Deadheads and non-Deadheads alike could love." says Joseph.  "I absolutely wanted it to be a respectful tribute to a beautiful working partnership, and something that could maybe help to explain to the world why so many kids spent so many years of their youth following these songs around the country and back. Fennario is a long overdue letter to Jerry Garcia and Robert Hunter for having written songs that have inspired, amazed, and informed me since I was twelve."

Track listing:

1.       Sugaree

2.       Ramble On Rose

3.       Tennessee Jed

4.       Black Peter

5.       Mission in The Rain

6.       It Must Have Been the Roses

7.       Loose Lucy

8.       New Speedway Boogie

9.       Brown-Eyed Women

10.      Loser

11.      Bird Song

12.      To Lay Me Down

Mile High Music Festival Appoints Rob Thomas as Festival General Manager

After 12 years building a career as one of Denver's most innovative music-industry entrepreneurs, Rob Thomas finds himself at the center of two of Colorado's biggest industry stories: the Denver-area's inaugural Mile High Music Festival and recent national breakout band, Colorado's own DeVotchKa.

Trey's 'Original Boardwalk Style' Streets June, 10th, 2008

"Original Boardwalk Style" will be released on Rubber Jungle Records on June 10th, 2008.

The World According to Rob Arthur

artwork by Rob Arthur- for the Grateful Web

As a musician, Rob Arthur played with Five For Fighting, Joan Osborne, Kate Pierson of the B52s, and many others.  He's currently the keyboardist/guitarist for Peter Frampton.  Most recently, he played in the house band at the Rock and Roll Hall of Fame Gala to support music education, for the 3rd year running.

I imagined, therefore, when I asked him what works of art inspired him, he would begin listing songs. Instead, he began with Venice, describing it as a masterpiece we can walk through and participate in. He seems, in fact, to see the world this way. He conveys this perception by painting what he describes as the photographs he can't take with his camera, developing them with watercolors and paper in lieu of film. The final products, he says, are snapshots of his imagination.

Not surprisingly, the lens of his minds eye not only captures what he sees but translates sounds into images as well. Fluid watercolors are manipulated in his paintings as he describes chords are manipulated in a piece of music, to effect subtle changes that culminate in powerful results.  Sometimes his brushstrokes ripple colors quietly, introspectively, like notes played in a minor key. With equal frequency, they skip a bold Charleston across the page, tracking vibrant splashes of footsteps.

For example, his portrait of Thelonious Monk exemplifies the jazz greats' music; discordant elements combine to create a cohesive whole. Dominant blues and reds are cacophonous but the picture is sonorous. When we see it, it is as though we are seeing Monks' songs where, as Arthur describes, opposites combine in free, expressive leaps, absent of boundaries. To achieve this, he poured paint onto the page, letting it bleed together in some areas, masking to prevent it from overflowing into others.

Contrastingly, he painted Sinatra in a more controlled way, using only one or two brushes. The resultant figure is cool, relaxed, yet precise, alert, as if he slid from the blank void of paper then focused with a Technicolor snap. The crooner seems, like Goyas' portrait subjects, to have been caught unawares though he is obviously posing. It is as though Arthur interrupted him mid-performance, captured his expression at that moment, and then finished the tune with his brush.

Arthur doesn't just convey integral sounds when painting musicians. He depicted Nixon bowling, for example, using a poster he saw in the movie, "The Big Lebowski" as a model. The image broadcasts the tragi-comic din of Watergate. The former president gets a ball rolling which will, of course knock down carefully stacked pins with a crashing clatter. The observer knows and hears what Nixon, at the moment of action, doesn't, that the boom of failure rather than the riot of success echoes as pins fall. His expression is fixed, serious, as though he's struggling to concentrate amidst the noise of the falling pins of players close to him, ridiculously striving to make sure his own follow.

Arthur hears the voice of places and things as well as of people and events. In his paintings of Venice, for example, water, buildings and gondolas breathe through the page in vibrant bursts. In, "In Brooklyn", slants of light hum softly as if they hope to lull the stylized corners of intrusive, jabbing buildings.

Arthur achieves this undoubtedly because, in his creative life, music and painting intersect. When I asked him which he finds more fulfilling, he said that one reminds him of the other, pointing out that the essential elements of his creative process for both are the same. Comparing executing a painting to recording a piece of music he said:

"The biggest mistake you can make is to try something five times until you get it perfect. Your first impression is usually best. It is what will communicate the most what elements of it have life. You have to be careful not to over-cook a piece, to stand back and let it sit for a second. You have to not be afraid stop before you think you're finished."

Similarly, when viewed as a whole, his work is something like a list of songs he'd choose for an album, or a set list he'd create for a gig. "People don't want to hear the same thing over and over", he said of music, "the best show or album is the one in which you express all the moods you have. Uplifting, heartfelt, silly, as long as it's honest. If you encompass everything, it makes it interesting." His paintings achieve this, communicating a wide range of emotions and experiences rather than reflecting one tone.

But, to Arthur, process is almost more important than product. It is what seems to intrigue him most in his own work and in the work of artists he admires. Something of a bibliophile, he expands and refines his painting techniques in part by reading about the creative process of others.

He has carefully examined the methods of masters like Winslow Homer, John Singer Sargent, and Edward Hopper. As he has evolves as a painter, he says he incorporates their techniques less and less consciously. Although quiet undertones of master works can sometimes be identified in his pieces, his emerging style is, like Arthur himself, fiercely individual.

His work is influenced not only by the creative processes of great painters, but those of others who have reached creative fulfillment as well. "Whenever people talk about how they put something together, they're talking about creating something", he said. "Reading about Orson Wells is as inspiring as reading about Miles Davis. They're doing the same thing essentially, trying to reach a creative goal."

If he thinks a piece looks good when he feels it's complete, he's delighted. If he doesn't, he's still delighted. Arthur pointed out that it's the innocence of discovery; the attempt to capture light, color, shape and shadow that holds him in thrall. "It doesn't help to try to be the greatest", he said. "It is more important to learn not to be afraid to not be the greatest. The point is to be an artist in life."

Rob has a new CD, Anywhere but Home, to which Peter Frampton and Allen Toussaint, along with many other talented artists, lend their remarkable talents. He's currently writing songs for the next one.

STS9 Digitally Releases 'Shock Doctrine'

photos by Amanda Bell- for the Grateful Web

This spring STS9 holed-up in their California studio space recording their much anticipated fourth album, Peaceblaster.  The album is scheduled to be released some time early this summer.  But this past week, Thursday, May 22nd, STS9 digitally released the recently recorded single "Shock Doctrine," offering a rare glimpse into STS9's new material.

"Shock Doctrine" can be downloaded for free or streamed at www.1320records.com.  It may also be downloaded as part of a podcast on iTunes www.itunes.com.  On this first-ever 1320 podcast, "Shock Doctrine" debuts as the podcasts' first track, which also features new singles from artists off the bands' self-owned label, 1320 Records, including Count Bass D, Pnuma Trio, Collective Efforts, sub-ID, Jacob Fred Jazz Odyssey, and LoPro Lounge.

Look for STS9 on tour in the coming months.  For July, touring heavyweights STS9 and Umphrey's McGee team up for what promises to be one of the hardest-hitting tours of the summer. This co-bill will feature extended sets by both bands, and will stop in Midwest and east coast cities throughout the month of July.  The tour will also offer very special late night sets by each band in select markets, including Philadelphia, Madison, Chicago, NYC, and Atlanta.

The month of August includes headlining stops in Berkeley, CA, Portland, OR and Seattle, WA for STS9, before the summer culminates with two huge shows at Colorado's Red Rocks Amphitheatre.  Their western itinerary also offers two intimate, always popular and already sold out "Fan Club" shows in San Francisco, CA and Boulder, CO.  All shows on-sale now at TicketMaster.

A complete list of STS9's summer appearances is as follows:

May 23 Summer Camp Chillicothe IL
June 07 Wakarusa Lawrence KS
June 13 Broadway Bloc Party Eugene OR STS9 PA Set w/ Pnuma and Bassnectar
July 05 ROTHBURY Rothbury MI
July 10 Willow Island Centre Madison WI w/ Umphrey's McGee
July 10 Barrymore Theatre Madison, WI (STS9 AFTER PARTY)
July 11 Live on the Levee St. Louis MO  FREE SHOW! w/ Umphrey's McGee
July 12 Westfair Amphitheatre Omaha NE w/ Umphrey's McGee
July 15 Moonlite Gardens Cincinnati OH w/ Umphrey's McGee
July 16 Innsbrook Pavilion Glen Allen VA w/ Umphrey's McGee
July 17 Promowest Pavilion Columbus OH w/ Umphrey's McGee
July 18 White River Lawn Indianapolis IN w/ Umphrey's McGee
July 19 Charter One Pavilion Chicago IL w/ Umphrey's McGee
July 19 House of Blues Chicago IL (STS9 AFTER PARTY)
July 23 Higher Ground  Burlington VT (STS9 Only)
July 24 Roseland Ballroom New York NY w/ Umphrey's McGee
July 24 Blender at Gramercy New York NY (STS9 AFTER PARTY)
July 25 Festival Pier at Penn's Landing Philadelphia PA w/ Umphrey's McGee
July 25 Fillmore at TLA Philadelphia PA (UMPHREY'S AFTER PARTY)
July 26 Bank of America Pavilion Boston MA w/ Umphrey's McGee
July 27 Pier 6 Concert Pavilion Baltimore MD w/ Umphrey's McGee
July 30 House of Blues Myrtle Beach SC w/ Umphrey's McGee
July 31 Koka Booth Amphitheatre Cary NC w/ Umphrey's McGee
July 31 Lincoln Square Theatre Raleigh NC (UMPHREY'S AFTER PARTY)
August 01 Masquerade Music Park Atlanta GA w/ Umphrey's McGee
August 02 Masquerade Music Park Atlanta GA w/ Umphrey's McGee
August 15 The Independent San Francisco, CA (fan club show) SOLD OUT
August 16 The Greek Theatre Berkeley, CA with Bassnectar and more TBA
August 22 McMenamin's Edgefield Portland, OR with special guests Blackalicious
August 23 Marymoor Amphitheatre Seattle, WA with special guests Blackalicious
September 04 Boulder Theatre Boulder, CO (fan club show) SOLD OUT  
September 05 Red Rocks Amphitheatre Morrison, CO with special guests Talib Kweli and others TBA
September 06 Red Rocks Amphitheatre Morrison, CO with special guests Ghostland Observatory and Bassnectar

Dubbed "...one of the country's most intriguing, innovative outfits around" by XLR8R Magazine, STS9 steps out this summer armed with their brand-new, highly anticipated studio album, Peaceblaster.  To be released in summer 2008 on their own label 1320 Records (www.1320records.com), the new album will feature never-before heard tracks that artfully mirror the intensity of STS9's live shows, while preserving the musical intricacies of past studio albums that critics and fans have touted. Peaceblaster  comes nearly three years after their acclaimed 2005 releases, Artifact & Artifact: Perspectives, both of which were named in iTunes list of top albums of the year.  After a flurry of industry attention, STS9 retreated from the limelight to do what they love most:  play music. On the touring front, STS9 reached number 29 on Pollstar Magazine's "PULSE Charts" of the country's top touring artists. The band has shared the stage with a diverse range of acts including James Brown, Jurassic 5, Tortoise, Digable Planets, RJD2, De La Soul, The Brazilian Girls, Prefuse 73, Blackalicious, Saul Williams, Soulive, Cut Chemist, and many others, and has played such festivals as Austin City Limits Festival, Lollapalooza, Bonnaroo, Winter Music Conference, and Vegoose Festival.  Recently, the band sold out a 4 night headlining run at Atlanta's Tabernacle, and a 2 night run at Denver's Fillmore Auditorium.

Gathering of the Vibes 2008

Featuring: Phil Lesh & Friends • The Black Crowes • The Neville Brothers • Derek Trucks & Susan Tedeschi Soul Stew Revival • Bill Kreutzmann Trio • Mike Gordon • Zappa Plays Zappa • Jackie Greene Band • Taj Mahal Trio • Dark Star Orchestra • Sam Bush Band • Assembly of Dust • Ryan Montbleau Band • New Riders of the Purple Sage • Deep Banana Blackout • Porter Batiste & Stoltz • David Gans • King For A Day • Donna Jean & The Tricksters • Strangefolk • Alternate Routes • American Babies • Master of Ceremonies Wavy Gravy a

Festival Preview: All Good 2008

Tired of missing an artist you wanted to see perform because it conflicts with another band you like?  Sick of wading through 80,000 people and not being able to see when you get there?  Wondering why Kanye is playing before your favorite jam band?  While it might not be able to solve all your festival problems, All Good Festival this year might solve some of them.

Sonic Bloom- A Conscious Alliance Benefit Festival: June 19-21

Sonic Bloom is a 3-day camping festival, connecting music, dance, art and human performance in an atmosphere designed to inspire open channels of creativity amongst everyone involved. Featuring bands such as Zilla and Lotus, groundbreaking DJ's like Bassnectar and Bluetech, and countless visual artists, participants and attendees of Sonic Bloom will together co-create a world of communal improvisation.

The String Cheese Incident: Hi Def from Red Rocks This Week

Shot in high definition, Virtual Venues Network presents a life size and on-stage premiere screening of The String Cheese Incident's final two performances at Red Rocks Amphitheatre on August 11th & 12th, 2007. On a "virtual tour" to theatres and colleges all summer long, The String Cheese Incident - Hi-Def from Red Rocks brings SCI fans together to celebrate the energy and magic of The String Cheese Incident in hometown venues everywhere.