Artists

artists

Umphrey's McGee Presents "Terror-Torium" on Halloween

photos by Amanda Bell- for the Grateful Web

Umphrey's McGee pays tribute to Halloween and to classic American horror films with TERROR-TORIUM, a fright-filled evening of music, costumes and décor taking place at Denver's Fillmore Auditorium on October 31st. Fans are encouraged to dress as their favorite horror movie character and partake in a costume contest, with the winner taking home tickets to every Fillmore show for one year. Denver's own Kinetix will open the show.

The ascension continues for Chicago's Umphrey's McGee, not only in terms of their commercial success but in creative accomplishment and instrumental achievement as well.  Their performance on Live at the Murat (SCI Fidelity), their first official live release, is as impressive as anything they've recorded to date, with the power and finesse, the yin and the yang, that have come to characterize their by-now classic material.

Recorded in Indianapolis in April 2007 and produced by longtime "sound caresser" / honorary seventh member Kevin Browning, the two-disc set features fan favorites like "Push the Pig," "The Triple Wide," "In the Kitchen," and "Nothing Too Fancy" along with rare tunes like the set-ending "Padgett's Profile" and the brief but torrid "Angular Momentum," centered on the combo of drummer Kris Myers and guitarist Jake Cinninger.  The band also dusts off tunes like "Hajimemashite" from '98s Songs for Older Women, and the Yes meets Little Feat-influenced "40's Theme," a live favorite for the band and its fans.

Throughout the show, UM's invention brings the progressive instrumental chops of Zappa and the stylistic savvy of Steely Dan.  It is innovative without being indulgent, exhilarating without losing control, and there are plenty of improv passages that keep the band and their fans off-balance.  Clearly, logging 120 gigs a year, "live" is where UM lives.

The current list of confirmed tour dates is as follows:

October 04 Liberty Hall Lawrence KS
October 05 Granada Theater Dallas TX
October 06 Stubb's BBQ Austin TX
October 14 The Echo Project Fairburn GA
October 16 Toad's Place - Lady Byrd Hat Building Richmond VA
October 17 Nightclub 9:30 Washington DC
October 18 Magic City Music Hall Johnson City NY
October 19-20 Nokia Theater Times Square New York NY
October 22 Harro East Ballroom Rochester NY
October 24-25 Higher Ground Ballroom Burlington VT
October 26 Orpheum Theatre Boston MA
October 27 House of Blues Las Vegas NV
October 28 Vegoose Las Vegas NV
October 31 Fillmore Auditorium Denver CO
November 09 IU Auditorium / Univ. of Indiana Bloomington IN
November 10 Eagles Ballroom Milwaukee WI
November 15 Amos' South End Charlotte NC
November 16 City Hall Nashville TN
November 18 Bear Creek Music Festival Quincy FL
November 29 Orbit Room Grand Rapids MI
November 30 Lifestyle Communities Pavilion Columbus OH
December 01 Michigan Theatre Ann Arbor MI
December 13-17 Caribbean Holidaze Runaway Jamaica
December 29-31 The Aragon Ballroom Chicago IL
March 16-18 Jam in the Dam Amsterdam Netherlands

Live at the Murat is the latest feather in the cap of the dazzling sextet.  They followed their highly touted spring 2006 studio release Safety In Numbers with the magical odds and sods The Bottom Half in the spring of this year.  The album, with its outtakes, alternate versions, and other nifty bits, reached #26 on Billboard's coveted "Heatseakers" Chart and received high marks from the music press.  HARP magazine recently noted "…[The Bottom Half delivers] creamy studio work infused by diabolical skill."  Also in 2006, Umphrey's McGee sold out shows in theaters coast to coast, appeared at Lollapalooza and Bonnaroo, and made their late night TV debut on ABC's "Jimmy Kimmel Live."  Booked by the Monterey Peninsula Booking Agency, the band recently sold out three nights at Chicago's Aragon Ballroom, two nights at Irving Plaza, San Francisco's Fillmore Auditorium, and the list goes on, as does Umphrey's McGee.

Leftover Salmon Holiday Shows

photo by Mike Moran- for the Grateful Web

We have some fresh Leftover Salmon news for ya'll. First we are about to launch our new website but for all of you on our email list, well you can have a sneak preview at www.colfaxonline.net/salmon. This is still in a work of progress and will be evolving over time. We hope to have it live to the general public by this weekend. Please enjoy what it has to offer so far.

We also have downloads available from 3 of our 5 performances this summer. These are all high quality multi track recordings. Anyone who missed this summers' shows can now have the opportunity to hear what went down and what's to possibly come. For those of you that were there can hear how much fun we all had! These are available by Clicking Here.

Finally and most important some live Salmon, yes that's right some LIVE Leftover Salmon! We are excited to announce two more shows before the end of the year. We will be celebrating the last weekend of 2007 with 2 intimate performances in Colorado. There will be one show in Denver and the other one in Boulder. We are really looking forward to playing in Boulder where it all began so many years ago!

Tickets for these shows will go on sale Wednesday October 3rd on our fan ticketing (Click Here). These tickets are available to the fans on our email list only, until the new site launches! The remaining tickets will be available starting Saturday October 6th. For the Ogden you can purchase online at www.ticketmaster.com and the Boulder Theater tickets can be purchased online at www.bouldertheater.com  or at the Boulder Theater Box Office.

After a great summer and playing at some of our favorite festivals and of coarse Red Rocks, it's going to be a real treat play indoors at these intimate Colorado venues.

Just Like Old Times for Panic in Memphis (09/21/07)

photos by Amanda Bell- for the Grateful Web

Widespread Panic made their return to Memphis, this time with a new twist, a new guitarist and a few old tricks up their sleeve.

This year's Fall Tour-opening run marked the band's first shows in this melting pot of American Music since the end of July, 2006, and a few changes were apparent this time around.  

Not only was this their first time playing the new downtown FedEx Forum, only a stone's throw from world-famous Beale Street, but it was new guitarist Jimmy Herring's first Memphis Panic shows since he joined the band at this time last year.

The band's last shows at their old home, the dark, dingy and loveable old space ship that was MidSouth Coliseum, were also two of the final three shows for former guitarist George McConnell, who had replaced founding member Mikey Houser just before his death from pancreatic cancer on August 10, 2002. McConnell quit last summer's tour after the next day's show in St. Louis, once he confronted the rest of the band regarding rumors of his lame-duck status.

But in a new venue, with a new guitarist, the same old road warriors lit the same old town on fire, showing the versatility that has made them a stalwart of consistency for over twenty years.

This show had a little bit of everything you could ask for from a Panic show.

There was the bouncy, happy sound, exemplified by the show opening trio of A of D, Space Wrangler and Walkin' (For Your Love). It was Herring's first try at the instrumental A of D, a song not played since longtime producer John Keane and Houser's old guitar tech Sam Holt shared the lead spot to help the band finish last summer's tour, before Herring was hired for fall. Wrangler and Walkin' got the band warmed up and the crowd in the mood and ready to keep singing along with front man and resident preacher John Bell.

Another bit of joy marked the opening of the second set, with the instrumental Party at Your Mama's House showcasing Herring's growing sense of comfort with his new band in the form of a very patient jam. Bell also chimed in throughout with nice work on the slide, which is pretty much the only time during a show you can easily hear his instrumental contribution. But, hey, they don't pay the man to play the guitar.   

But that wasn't all this show had in store.

There were the hard rocking foot-stompers. The upbeat Tie Your Shoes followed Walkin', and gave the crowd a usual second set piece of sandwich bread in the first set. The song allowed both the rapid-fire notes of Herring and the rolling bass line of Dave Schools to shine.

More songs in this vein would follow the rest of the night, from the dark rollercoaster of funk that is Pigeons in the first set to their heavy take on the traditional blues of Junior in the second set.

One of the hardest rockers came in the person of Glory, making its first appearance in a set in nearly six full years. And the band nailed this version, appropriately providing a rare surprise for the fans in a town with its own special place in Panic lore.

And while Herring continues to find his comfort zone with this group, there are still noticeable growing pains. It seemed as though he approached shows in the spring as a contest to see how many notes he could play during solos, this Eddie Van Halen-esque style being a stark contrast to the floating, psychedelic sound of Houser. He began picking his spots a little better over the summer, but he overdid it a bit this time on songs like Big Wooly Mammoth and Surprise Valley.

The rest of the band had their moments, too. One can expect some hiccups during tour openers, and this Friday in Memphis was no different. Schools started early for the encore, Imitation Leather shoes, before becoming visibly agitated. Bell appeared to sound unsure of himself as he began the vocals to Climb to Safety, which led to a slightly disjointed beginning. And a second set drop back into Chilly Water from You Got Yours was a bit sloppy.

But, as it is with most Panic shows, the good far outweighed the bad inside the Forum.

The highlight of the first set came with the jam out of Rebirtha, into the fan favorite Ribs and Whiskey. The former ended with lots of funk and great work from Herring, before dissipating into easily one of the longest, most patient Ribs intros that this reviewer has heard, with Herring accented nicely by great slide work from Bell, both flowing over Todd Nance's steady kick drum.

More exemplary jamming followed in the second set, first with the opener, Party, and then with one of the funkiest versions of Climb to Safety you will ever hear. Keyboardist Jojo Hermann carried the jam with his clavinet, riding on top of a funky bass line from Schools that reminded one of their cover of Solid Rock, and song from Bob Dylan's Christian revivalist period. It was a wonderful change of pace for a song too often mailed in with little variation within the jam.

Hermann was not done there, however. His next standout moment would begin a stretch of the show that exemplified why fans still come back to Panic after all these years, because they feature a dark, evil edge to their sound that is truly unmatched by anyone else in the scene.

A drum intro from Nance and percussionist Sunny Ortiz led into an especially sinister version of Dr. John's I Walk on Guilded Splinters, featuring Hermann putting the fear into the crowd with a mix of funky Hammond B-3 and chaotic piano. The jam also featured outstanding work by Herring and a lot of call-and-response between the two of them.

Guilded segued nicely into a Chilly Water sandwich, the meat being more loud, dark, thunderous rock in the form of You Got Yours. The band followed this with the unquestionable highlight of the evening, Colonel Bruce Hampton's Time is Free, which Herring effectively carried on his back with one stretch of psychedelic shredding after another, helped by Bell's growling vocals and rambling raps. 

The set very well could have ended after Chilly Water, and probably should have ended after the marathon version of Time is Free, but Herring jumped right into the roaring stomp of Neil Young's classic, Mr. Soul, finally ending a monster second set and leaving much of the crowd exhausted, undoubtedly nursing sore arms from constant fist-pumping.

The crowd hardly seemed bothered by the short encore, but, after the previous stretch, who could blame them?

After all, once Imitation Leather Shoes gave them time to catch their breath, the debauchery of Beale Street awaited them outside the Forum's doors.

09/21/07 FedEx Forum, Memphis, TN

1: A of D, Space Wrangler, Walkin' (For Your Love), Tie Your Shoes > Pigeons, Blue Indian, Rebirtha > Ribs and Whiskey, Big Wooly Mammoth

2: Party at Your Mama's House > Junior, Glory, Smoking Factory, Surprise Valley > Climb to Safety, Guilded Splinters > Chilly Water > You Got Yours > Chilly Water, Time is Free > Mr. Soul

E: Imitation Leather Shoes 

Langerado Announces Dates & New Location

Now in its sixth year, the Langerado Music Festival has established its place as the unofficial kickoff to music festival season.  For the sixth annual Langerado Music Festival, organizers are taking it to the next level and moving the event to the expansive Big Cypress Seminole Indian Reservation.  Since the inaugural event in 2003, Langerado has grown enormously from 3,500 in attendance at Fort Lauderdale Stadium, to 2007's hugely successful event at Markham Park, where turnout reached 15,000 people per day.

Ben Harper News

photos by Amanda Bell- for the Grateful Web

Ben Harper will play the LATE SHOW WITH DAVID LETTERMAN, MONDAY, OCT. 1 Tune in Monday, October 1st to the "Late Show with David Letterman" to see Ben Harper and the Innocent Criminals perform "In the Colors." Airs 11:35 PM PT/ET on CBS.  Check local listings for details.

LIVE AT LOLLAPALOOZA 2007 TRACK ON ITUNES "Say You Will" from Ben Harper & The Innocent Criminals' 2007 Lollapalooza performance is now available on iTunes!

"GOIN' HOME: A TRIBUTE TO FATS DOMINO" IN STORES NOW

Icons from every genre of music have joined together for this double CD set to benefit the Tipitina's Foundation.  Ben Harper and the Innocent Criminals are joined by The Skatalites on the track "Be My Guest."  This stellar tribute will help raise desperately needed funds specifically earmarked for instruments to be donated to New Orleans' public school children as well as creating a community center in the still ravaged Lower 9th Ward.  Get the complete track list and purchase info at: http://www.vanguardrecords.com

LIVE TRACKS FROM "LIFELINE" TOUR STREAMING WEEKLY!

We are proud to deliver exclusive live cuts from Ben Harper and the Innocent Criminals' North American "Lifeline" tour every week for the next 2 months!

Check them out in the BHIC Radio and accompanying nightly concert photos in the Tour Archive and Photos sections.

SAN DIEGO, OAKLAND #2 ADDED TO "LIFELINE" TOUR

Thanks to high demand we've added two more shows to the "Lifeline" Tour!  On Saturday, November 17th BHIC will circle around back to Oakland for another night at the Paramount, and then will end the tour at San Diego Civic Theatre on Sunday, November 18th.

San Diego is on sale now and Oakland goes on sale at 10am PDT on Sunday, September 30th.  Tickets available via Ticketmaster.

See Tour Dates for additional information.

OUTSIDE MAGAZINE 30TH ANNIVERSARY COVER SHOOT

Check out the Outside's 30th Anniversary Cover Shoot featuring the music of Ben Harper and the Innocent Criminals at www.outsideonline.com/anniversaryicons

Kan'Nal News & Upcoming Shows

photos by Amanda Bell- for the Grateful Web

Kan'Nal has been hard at work adding songs finalizing their new CD. Kan'Nal knows this new album will reach many people from many cultures so they thank you for your patience. In the meantime, please join the dancers and musicians of Kan'Nal as they continue to contribute to the artistic and healing communities of the Denver Boulder area with exciting performances throughout October.

Everyone is showing their support for the kind generous owners of Herbs and Arts in Denver this Thursday, Oct. 4 at Quixotes, next door to Cervantes. The Cosmic Puppy Costume Party starts at 9 pm with live music and djs. All the money from the $10 cover goes to the shop owners to help heal an injured Tucker, the famous flying dog of Herbs and Arts.

LUNAR FIRE IN DENVER... 

FRI/SAT Oct 5/6 - Outdoors @ 7th and Santa Fe

Denver City Arts Week kicks off a Super First Friday with (full fire) Lunar Fire shows from 8-10 pm both Friday and Sat. All performers are participating free of charge in support of the Santa Fe Arts District. So bring extra support cash to tip the fire dancers, buy cds, and purchase hand crafted masks and crowns from Tiffany of Artsmyths (802 Santa Fe). Plus take home an amazing work of art by Stevon Lucero (CHAC Gallery 772 Santa Fe).

SAT OCT 27 - Mercury cafe - 2199 California Street  Join us for The Ultimate Witches Ball.  Doors 9pm, Cover $15. For more info (303)294-9281.

In Boulder, Colorado come participate in a Journey to the Underworld for the Wizards and Warriors amongst us Oct. 31, 7pm start. Featuring Lunar Fire (6 members of Kan'Nal) Buddha Bomb, GSP, Tuatha, & The Didgeridoo Experiment. Presented by Lunar Fire, The Dreamtime Festival, Gypsy Nation, The Gemini Project and Herbs & Arts. A gathering of the TRIBE.  For more info/tix check the link:  http://www.inticketing.com/evinfo.php?eventid=18782 

Kan'Nal's lead guitarist, Tierro, is now offering his audio production skills to the public in Boulder CO. This is a rare opportunity to work with Tierro on your musical project. Let his 20 years of experience and easy going yet professional attitude take your recording project to the next level.

*Rock, pop, electronic, classical, folk, tribal

*Audio landscapes for your web site

*CD audio mastering

*Recording strategies to fit your budget

*In-house grand piano

*5.1 surround

*Customized original compositions

For a free consultation on your next project contact: Tierro@Kannal.org

Tierro in the studio with European recording artist KIM CURLY.

The Kan'Nal family thanks you. They have big plans and lots of surprises coming up (and yes the new CD) so stay tuned!

Keller Williams & The WMD's Embark on East Coast Tour

Keller Williams has been called guitar's mad-scientist, a one-man-band for the new millennium and dozens of other clever sobriquets dreamed up by fans and music journalists trying to get a handle on his uplifting and ever-shifting style of music. Williams is considered by some but not by himself, to be a master of the acoustic guitar, known for his ability to solo over layers of spontaneously created loops. He is a generous performer who plays down to earth acoustic music that defies any effort to find a convenient pigeonhole.

STS9 Reaches New Heights in Lawrence (9.18.07)

Photos by Barry Brecheisen- for the Grateful Web

The members of Sound Tribe Sector 9 seem to have a special affinity for the people of Lawrence, KS.

The band has made consistent stops in Lawrence since 2002, making it a stronghold of support in the Midwest long before their almost meteoric rise in popularity has had them in demand across the region over the last few years. They were part of the inaugural Wakarusa there in 2004, made a last-minute appearance in 2006 and would have played in 2005 were it not for the death of bassist David Murphy's grandmother.

But this time around marked a new achievement for STS9, as they moved up Massachusetts St. from their usual stop at the Granada Theater to the larger Liberty Hall. This move seemed inevitable given the success they have enjoyed. What came as a surprise to everyone, however, was that the Tuesday night show sold out right before show time.

The kids of Lawrence and the surrounding region had come out in droves to see the show, and the band did not disappoint, delivering a high-energy set that left the packed house little time to catch their breath.

Sector 9's sound has changed over the last couple of years, and the feel of their shows has changed along with it. The newer songs reflect a shift from a more laid-back, spacey, jazzy approach to a more in-your-face edge. STS9 is more of a rock band now than they have ever been, and their recent writing style reflects this, but they still make every effort to appease the older fans with rare bustouts and longtime favorites.

This show offered an excellent mix of these two facets of their sound, but maintained an air of the all-out funky, rocking throwdown dance party that Sector 9's shows have become.

The upbeat Tooth, a new composition, set the tone for a first set that emphasized the band's newer sound, with a heavier backbeat accompanied by keyboardist David Phipps' synth-rich melody. The old favorite, Grow, got the crowd fully into the flow of things with its slow-building, spacey jam.

The highlight of the first set, Abcees, gave the crowd a glimpse of the band's versatility and offered the best of both worlds, flowing from a funky dub sound reminiscent of the favorite King Pharaoh's Tomb, then building to a crescendo with a fast trance beat before dropping back into the funk and setting the crowd on fire.

The rest of the set went back and forth in a similar fashion. The slow, hypnotic bounce of the older Warrior was followed by the almost abrasive, slightly robotic drone of 1103. Surreality>EB showcased drummer Zak Velmer's reputation as a human metronome, his fast-paced jazz style accented by guitarist Hunter Brown's floating guitar line. The glitchy funk of One a Day sent the crowd into setbreak on a high note and set the stage for the second set.

Set two opened with a nasty double dose of the reworked Monkey Music and The Rabble, two songs which define the in-your-face funk style of the new STS9. The former showcased the band's ability to go from funk to trance and back at the drop of a hat, carried by the rhythm section of Velmer, Murphy and Lerner, who, along with a more distorted guitar part from Brown, have given the song a heavier edge in recent years, an update from the jazzier vibe of older versions. The Rabble followed that with heavy funk in the vein of the new fan-favorite, Aimlessly.

The pattern of alternating old and new continued with one of the band's workhorse songs, the danceable GLOgli, followed by the stop-start funk of Hi-Key, with Velmer relying heavily on his arsenal of cymbals and Brown using a tone reminiscent of seventies funk.

The rare Water Song was a highlight of the set, flowing from funk to hypnotic trance and back again, done only as STS9 can: heavy and thick in parts, while spacey and ethereal in others. You Don't Say followed with more slow funk, setting the stage for a wonderful change of pace to close the set.

Breathe In could be described as the quintessential Sector 9 song, and is very special for STS9 fans. Murphy gave a speech thanking Lawrence for supporting the band over the years and selling out their first show at Liberty Hall. It was only fitting that Breathe In come next, serving as the musical thank you to the crowd.

There truly is not a more uplifting song in the band's catalog. The first part provided a musical ebb and flow, the jam rising and falling as Phipps and Brown built and released tension along Velmer's backdrop. The second half began with a long slow build into a crescendo, carried by Phipps' beautiful piano melody. This piano is the essence of the song, and it remains constant as the rest of the band allows the song to build and disintegrate. Picture the tide of the ocean creating waves, which crash down on the audience only to slowly recede before building and crashing again.

Breathe In was the perfect end to a great set, and the old-school rock of 4 Year Puma gave the crowd a chance to let loose one last time before spilling back onto Mass Street, fully spent but still all smiles.

9.18.07 Liberty Hall, Lawrence

Set I: Tooth, Grow, Abcees, 1103, Warrior, Surreality>EB, One a Day

Set II: Monkey Music, The Rabble, GLOgli, Hi-Key, Water Song, You Don't Say, Breathe In
Encore: 4 Year Puma

Grateful Dead Experience Comes Alive at UMass Amherst

- for the Grateful Web

Scholars, fans, artists, performers and members of the extended Grateful Dead family will gather at the University of Massachusetts Amherst in November for the first major university conference on the enduring legacy of the Dead experience.

Unbroken Chain: The Grateful Dead in Music, Culture and Memory, being held at November 16-18 at UMass Amherst, will bring together more than 50 presenters for 20 panel sessions ranging from music composition and improvisation to an examination of the band's business model – as well as a musical performances, gallery exhibits, and presentations. Unbroken Chain is being presented in conjunction with a semester-long graduate History seminar entitled American Beauty: Music, Culture and Society, 1945-95; and an undergraduate course entitled How Does the Song Go: The Grateful Dead as a Window into American Culture.

Among the Unbroken Chain panelists are "Mountain Girl" Carolyn Garcia, first wife of guitarist Jerry Garcia and a central figure among the Merry Pranksters who populated the early Grateful Dead scene; David Gans, host of the Grateful Dead Radio Hour for the past 20 years; Grateful Dead midi wizard Bob Bralove; and Dan Healy, who designed and built the "Wall of Sound," famed enabler of the Dead's improvisational style.

Plenary addresses will include a keynote by Dennis McNally, longtime Dead publicist and author of Long Strange Trip: The Inside History of the Grateful Dead.  McNally earned a doctorate in History at UMass Amherst in 1978.

"The academic world is not as removed from so-called reality as people think, especially those in the academic world," said McNally recently. "In the rock & roll world, there are pockets of meticulous intelligence and literacy, people like Jerry Garcia and (bassist) Phil Lesh."

The event also represents an unprecedented collaborative opportunity for scholars from more than a dozen disciplines in the humanities, social sciences, engineering and business, many of whom have come to identify their work as part of the emerging area of "Dead Studies."  This kind of collaboration emphasizes academic rigor and a traditional multi-disciplinary perspective, according to University of South Carolina oral historian Nicholas Meriwether, author of All Graceful Instruments: The Contexts of the Grateful Dead Phenomenon, recently published by Cambridge Scholars Publishing.

"Ultimately," says Meriwether, "the Dead phenomenon suggests a new way of looking at yourself, of what we are capable of in a modern Western Society that appears increasingly fragmented, media-drive, manipulated and alienating. . . In an era in which academics are increasingly aware of the need to collaborate across disciplinary lines, a topic with as broad-based an appeal as the Dead phenomenon should be fascinating – and welcome."

Among the other scholars taking part are Rebecca Adams, author of Deadhead Social Science: You Ain't Gonna Learn What You Don't Wanna Know; David Dodd, editor of The Complete Annotated Grateful Dead Lyrics;  UMass English professor Nicholas Bromell, author of Tomorrow Never Knows: Rock and Psychedelics in the 60s; and UMass Professor of Comparative Literature David Lenson, author of On Drugs.

Also making rare appearances are several seminal figures in the evolution of Dead scholarship, including ethnomusicologist Fred Lieberman and psychologist and chaos theorist Stanley Krippner.

John Mullin, Dean of the UMass Amherst Graduate School – which is sponsoring the event along with the Department of History and UMass Amherst Outreach – said that Unbroken Chain can be a model for future academic-community collaborations.

"Is it possible that we'll take a hit for focusing this kind of intellectual talent on what Jerry Garcia himself called 'just a dance band?'" said Mullin.  "Perhaps, but universities like ours need to be courageous in propelling serious scholarship in new directions, and in reaching out to communities far and wide. When we are timid in academia, we miss real opportunities. We hope that The Grateful Dead is the just the beginning."

Gallery sessions and discussions will feature the work of photographers Herb Greene, Susanna Millman and Lloyd Wolf, as well as poster and album cover artists Mikio Kennedy and Mike Dubois. In addition, original prints of Jerry Garcia's artwork will be displayed and available for purchase. Among the films being screened will be Deadheads: An American Subculture and a digitally re-mastered Sunshine Daydream, an until-now unreleased documentary on the August  27, 1972 benefit concert at Ken Kesey's farm in Oregon.

The weekend will include performances by the American Beauty Project ensemble, doing the music of acclaimed Dead albums Workingman's Dead and American Beauty, and Dark Star Orchestra, whose rhythm guitarist Rob Eaton and keyboardist Rob Baracco will take part in several of the panel discussions. The Dark Star performance at the UMass Amherst Fine Arts Center on Saturday evening will feature special guests and the work of Peak Experience Productions.

A maximum of 375 registrations for Unbroken Chain: The Grateful Dead in Music, Culture and Memory are now being accepted.

v  Information on registration and accommodations is available at www.umassconnections.com/unbrokenchain

v  Tickets, sold separately, for performances by the American Beauty Project and Dark Star Orchestra are available at http://umafacweb.admin.umass.edu/Online .

 

A full program, background and additional contacts are attached, and are available at http://www.umassconnections.com/unbrokenchain.

The Ryan Montbleau Band Supports Rex Foundation w/ New CD

Photo by Ryan Laurey- for the Grateful Web

The Ryan Montbleau Band announces fall CD release tour and designates the Rex Foundation as beneficiary of the tour.  Boston-based Ryan Montbleau Band is one of the most talked about young bands on the touring scene today. Through performing 200+ dates a year over the last three years, they have developed a passionate, coast-to-coast fan base that spans the gamut of fans of roots, Americana, R&B, soul, jam music, folk and blues. Their new independent release-Patience on Friday-is due on October 9, and is expected to help the band reach a broader national audience, thanks to the overwhelming response to the band since their first album came out 18 months ago. In that time they have developed one of the strongest MySpace presences to be found amongst independent artists (nearly 600,000 plays), and enjoy strong showings in press and at independent radio. Robust concert attendance, CD sales and free downloads (their December 30, 2007 show from Albany, NY has been downloaded over 20,000 times from www.Archive.com) have fueled nationwide interest in the band, and new fans and old will be pleased to see an ambitious coast-to-coast tour schedule for the Fall and well into 2008.

In addition to their commitment to music, the Ryan Montbleau Band wants to demonstrate their care for the greater good. The Rex Foundation is honored to be selected as the designated beneficiary of the Northeast Fall CD release tour to be the vehicle for the Ryan Montbleau Band's community giving, whereby specified shows will have a designated amount per ticket sold contributed to the Rex Foundation.

Check out the Ryan Montbleau Band website to learn more about the Band and their new CD - Patience on Friday-as well as the tour schedule and how to purchase tickets.

The Grateful Dead was always known for generosity and the performance of numerous benefits. In the fall of 1983, the Rex Foundation was established as a non-profit charitable organization by members of the Grateful Dead and friends to further this tradition. The Rex Foundation enabled the Grateful Dead to go beyond responding to multiple requests for contributions, and proactively provide extensive community support to creative endeavors in the arts, sciences, and education. The first benefit concerts for the Rex Foundation were held in the spring of 1984 at the Marin Veteran's Memorial Auditorium. Since 1984 the Rex Foundation has granted $8.2 million to some 1,000 recipients.

With the death of Grateful Dead lead guitarist Jerry Garcia in 1995, the Rex Foundation lost a friend and board member. With the cessation of Grateful Dead touring, Rex lost its main source of funding, and until now has limited its grant making to three annual awards. Current board members have reaffirmed the importance of the Rex Foundation and their desire to have the foundation once again carry out its mission in full force.

The Rex Foundation aims to help secure a healthy environment, promote individuality in the arts, provide support to critical and necessary social services, assist others less fortunate than ourselves, protect the rights of indigenous people and ensure their cultural survival, build a stronger community, and educate children and adults everywhere.

Continuing to embody the spirit of generosity and concern that evolved in the culture surrounding Grateful Dead concerts, the Rex Foundation is on a new path that seeks to include and engage many people. With activities that honor the spirit of community, service and creativity, Rex is building the funding necessary to carry out our mission. Thanks to the resounding response of so many generous supporters, since December 2001 we have granted $832,000 to 149 programs, across the United States and internationally. We plan to multiply our grant making each year so that we can once again support many grassroots programs across the United States and beyond that might otherwise be overlooked by mainstream funders, yet work in innovative and bold ways to bring about helpful solutions to challenging situations. Please visit Fostering the Power of Community, Service and the Arts to see how Rex views its work in relation to social change.

• We respect traditional wisdom cultures.

• We respect individual rights and differences.

• We are willing to take risks and trust people.

• We help people who are helping others and are trying to make a difference.

• We help people develop bold new solutions to problems.

• We benefit the broader community and the broader good.

• We practice inclusiveness and open-mindedness.

• We support organizations committed to grassroots action.

• We seek to identify entities doing good work that might otherwise be overlooked.

• Our support helps beyond direct funding by boosting the visibility of the recipient's work.

• We want to be a catalytic agent of change, where our involvement helps leverage greater impact.

• We are non-partisan.

• We promote an active, informed citizenry.

• The Foundation is an efficient conduit for supporting the community.

• Being part of the Rex Foundation is enjoyable.

• We carry on the best of the spirit of the 60's to create a more harmonious world.

We encourage your tax-deductible donations to help support Rex's work. We are also pleased to keep you up to date on upcoming benefit concerts and other activities that support Rex. Thank you for considering a gift to Rex and letting us know how you would like to stay connected. Please join our mailing list and make a donation.

The Rex Foundation has no paid board members. Virtually all of our grant recipients are selected through the personal knowledge of our decision makers – as a result, grant requests are not solicited. We have no application forms and no published guidelines. Grants are made once or twice a year, and our report is published annually.

The Rex Foundation is named after Rex Jackson, a Grateful Dead roadie and later road manager until his untimely death in 1976.