Ctba Newsletter 0406
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Brotherhood" “Timeless, Deeply Soulful and Uplifting Gospel-Drenched Blues, Street Corner Doo-Wop, Ballads, R&B, Country and Funk.” –NEW YORK TIMES
New from THE HOLMES BROTHERS ! brotherhood" “Timeless, deeply soulful and uplifting gospel-drenched blues, street corner doo-wop, ballads, R&B, country and funk.” –NEW YORK TIMES “Fervent, inspired and joyful blues, R&B, soul, roadhouse rock and gospel… beautiful harmonies, true magic.” –NPR Over the course of a 30-year career, with ten acclaimed albums and thousands of live performances, revered roots trio The Holmes Brothers—Wendell Holmes on guitar, piano and vocals, Sherman Holmes on bass and vocals, brother-in-spirit Popsy Holmes on drums and vocals—have garnered heaps of critical praise and countless loyal fans. They have created a timeless blend of blues, soul, funk and country, highlighted by their heavenly gospel-inspired vocal harmonies. Brotherhood is a testament to the uplifting musical The band’s new Alligator Records album, Brotherhood, power that comes from the close-knit, fraternally produced by Glenn Patscha (Ollabelle, Marc Cohn), telepathic relationship of The Holmes Brothers. The Chris Bruce (Me’Shell NdegéOcello, Seal) and Hector album is full of deeply soulful performances, from the Castillo (Brazilian Girls, David Bowie), is another rocking Wendell original Stayed At The Party to the stellar chapter in their storied and still-evolving sweet harmonies of Ted Hawkins’ I Gave Up All I Had, history. It’s their most bluesy album yet, with the to Sherman’s intense Passing Through to the doo-wop band digging deep to deliver roadhouse wisdom, late- splendor of Popsy’s falsetto vocals on the Stax classic My night doo wop, soulful R&B and a proto-rock ‘n’ roll Kind Of Girl. -
Songs-Of-Protest-2020.Pdf
Elliott Forrest Dara Falco Executive & Artistic Director Managing Director Board of Trustees Stephen Iger, President Melanie Rock, Vice President Joe Morley, Secretary Tim Domini, Treasurer Karen Ayres Rod Greenwood Simon Basner Patrick Heaphy David Brogno James Sarna Hal Coon Lisa Waterworth Jeffrey Doctorow Matthew Watson SUPPORT THE ARTS Donations accepted throughout the show online at ArtsRock.org The mission of ArtsRock is to provide increased access to professional arts and multi-cultural programs for an underserved, diverse audience in and around Rockland County. ArtsRock.org ArtsRock is a 501 (C)(3) Not For-Profit Corporation Dear Friends both Near and Far, Welcome to SONGS OF PROTEST 4, from ArtsRock.org, a non- profit, non-partisan arts organization based in Nyack, NY. We are so glad you have joined us to celebrate the power of music to make social change. Each of the first three SONGS OF PROTEST events, starting in April of 2017, was presented to sold-out audiences in our Rockland, NY community. This latest concert, was supposed to have taken place in-person on April 6th, 2020. We had the performer lineup and songs already chosen when we had to halt the entire season due to the pandemic. As in SONGS OF PROTEST 1, 2 & 3, we had planned to present an evening filled with amazing performers and powerful songs that have had a historical impact on social justice. When we decided to resume the series virtually, we rethought the concept. With so much going on in our country and the world, we offered the performers the opportunity to write or present an original work about an issue from our current state of affairs. -
Reunion: a Portrait of Jim Lauderdale at Exit/In on the Venue's 43Rd
Burr / Reunion / !1 Reunion For Versatile Veteran, Heart’s Where the Home Is Jim Lauderdale sidles onto the stage at Exit/In, his broad smile and spangled garb shimmering alike as the sparse crowd gathered at his feet whistles and hoots. Their ogling of the long-haired, guitar-wielding man before them invites a half-baked comparison to traveling salesmen settling in for a highway-exit lap dance and the subsequent allaying of the day’s harsh impotence, an inchoate inkling which is put on ice after one peripheral glance at the milieu and Jim’s lack of nipple pasties. For a 43rd anniversary concert — the venue’s, not the performer’s, though Jim has swum circles around the clubs and back-alleys of New York’s and Nashville’s music scenes for near as long — the turnout is scant, a reality only partially shrouded by the effusive reception showered on Jim by the group of loyalists in attendance. “How are y’all doing?” Lauderdale asks the crowd. Helen of Troy he is not — his hair girds a visage which, especially around his glinting eyes, betrays the passage of time like a just- overripe peach — but tonight, he is the one who launches a storied conduit into the future’s belligerent uncertainty. “Glad you could make it out tonight,” said Lauderdale. “It’s good to be back for the birthday celebration.” From here, Jim knows the drill. * * * Exit/In was opened in 1971 by Owsley Manier and Brugh Reynolds; as noted by the venue’s website, it is “one old, dark, loud piece of Nashville rock stuck right in the middle of the Burr / Reunion / !2 Music City,” a history-steeped mainstay amidst a countrified minefield of melodic glories and discordant despairs. -
Flatpicking Guitar Magazine Index of Reviews
Flatpicking Guitar Magazine Index of Reviews All reviews of flatpicking CDs, DVDs, Videos, Books, Guitar Gear and Accessories, Guitars, and books that have appeared in Flatpicking Guitar Magazine are shown in this index. CDs (Listed Alphabetically by artists last name - except for European Gypsy Jazz CD reviews, which can all be found in Volume 6, Number 3, starting on page 72): Brandon Adams, Hardest Kind of Memories, Volume 12, Number 3, page 68 Dale Adkins (with Tacoma), Out of the Blue, Volume 1, Number 2, page 59 Dale Adkins (with Front Line), Mansions of Kings, Volume 7, Number 2, page 80 Steve Alexander, Acoustic Flatpick Guitar, Volume 12, Number 4, page 69 Travis Alltop, Two Different Worlds, Volume 3, Number 2, page 61 Matthew Arcara, Matthew Arcara, Volume 7, Number 2, page 74 Jef Autry, Bluegrass ‘98, Volume 2, Number 6, page 63 Jeff Autry, Foothills, Volume 3, Number 4, page 65 Butch Baldassari, New Classics for Bluegrass Mandolin, Volume 3, Number 3, page 67 William Bay: Acoustic Guitar Portraits, Volume 15, Number 6, page 65 Richard Bennett, Walking Down the Line, Volume 2, Number 2, page 58 Richard Bennett, A Long Lonesome Time, Volume 3, Number 2, page 64 Richard Bennett (with Auldridge and Gaudreau), This Old Town, Volume 4, Number 4, page 70 Richard Bennett (with Auldridge and Gaudreau), Blue Lonesome Wind, Volume 5, Number 6, page 75 Gonzalo Bergara, Portena Soledad, Volume 13, Number 2, page 67 Greg Blake with Jeff Scroggins & Colorado, Volume 17, Number 2, page 58 Norman Blake (with Tut Taylor), Flatpickin’ in the -
Austinmusicawards2017.Pdf
Jo Carol Pierce, 1993 Paul Ray, Stevie Ray Vaughan, and PHOTOS BY MARTHA GRENON MARTHA BY PHOTOS Joe Ely, 1990 Daniel Johnston, Living in a Dream 1990 35 YEARS OF THE AUSTIN MUSIC AWARDS BY DOUG FREEMAN n retrospect, confrontation seemed almost a genre taking up the gauntlet after Nelson’s clashing,” admits Moser with a mixture of The Big Boys broil through trademark inevitable. Everyone saw it coming, but no outlaw country of the Seventies. Then Stevie pride and regret at the booking and subse- confrontational catharsis, Biscuit spitting one recalls exactly what set it off. Ray Vaughan called just prior to the date to quent melee. “What I remember of the night is beer onto the crowd during “Movies” and rip- I Blame the Big Boys, whose scathing punk ask if his band could play a surprise set. The that tensions started brewing from the outset ping open a bag of trash to sling around for a classed-up Austin Music Awards show booking, like the entire evening, transpired so between the staff of the Opera House, which the stage as the mosh pit gains momentum audience visited the genre’s desired effect on casually that Moser had almost forgotten until was largely made up of older hippies of a Willie during “TV.” the era. Blame the security at the Austin Stevie Ray and Jimmie Vaughan walked in Nelson persuasion who didn’t take very kindly About 10 minutes in, as the quartet sears into Opera House, bikers and ex-Navy SEALs from with Double Trouble and to the Big Boys, and the Big “Complete Control,” security charges from the Willie Nelson’s road crew, who typical of the proceeded to unleash a dev- ANY HISTORY OF Boys themselves, who were stage wings at the first stage divers. -
SARAH JAROSZ Stretching Bluegrass Boundaries—And Shrugging Off the ‘Child Prodigy’ Tag
JULY/AUGUST 2011 ISSUE MMUSICMAG.COM SPOTLIGHT Scott Simontacchi SARAH JAROSZ Stretching bluegrass boundaries—and shrugging off the ‘child prodigy’ tag Sarah JaroSz iS enJoying With her time divided between touring a moment of rare respite in the midst of and studies at Boston’s new england an extensive summer tour. “it’s been pretty Conservatory of Music, Jarosz concedes that rigorous, but it’s been good,” says the Texas finding opportunities to write new material native with a sigh. The fresh-faced 20-year-old has been a challenge—and has accordingly is clearly more than up to the demands of seen fit to express herself through an eclectic the road—but as evidenced on Follow Me choice of covers. Follow Me Down finds Down, her new sophomore album, Jarosz’s her tackling Bob Dylan’s “ring Them Bells” JULY/AUGUST 2011 abilities on guitar, banjo, piano, mandolin and radiohead’s “The Tourist,” the latter of and vocals belie her years. Touted as a which evolved out of an impromptu jam with M MUSIC & MUSICIANS child prodigy since her early teens, Jarosz Punch Brothers mandolinist Chris Thile. MAGAZINE shrugs off the label. “i don’t know if i am “i feel lucky to have grown up listening to or not,” she says. “i think it had more to different styles and not being closed off to any do with being surrounded by so many of particular genre,” she says. my heroes and being able to learn from Jarosz has come a long way since them at an early age.” her breakthrough performance at the 2007 indeed, Jarosz’s grammy-nominated Telluride Bluegrass Festival. -
Soundbyte September 2014
September 30, 2014 Vol 1 | Issue 6 In This Issue Legendary Artists Show Support for Turtles Victory 1 On the Hill & In the Know 2 In the Valley Below is On The Rise 3 SoundExchange Sponsors Americana Music Festival 2014 5 SoundExchange Rockin @ Lockn’ — 2014 Lockn’ Music Festival Recap 5 SoundExchange Collects Royalties from Around the World 6 Events 7 Legendary Artists Show Support for Turtles Victory In September, the 1960s band The Turtles won a critical legal victory in their lawsuit against Sirius XM. The Turtles sued because Sirius XM has taken the position that it doesn’t need permission — and therefore doesn’t need to pay for use of — pre-1972 recordings protected under state law, even though it does pay for post-1972 recordings that are protected by federal law. This relates to an issue that SoundExchange has long been fighting — the failure of some large digital radio services to pay for the use of such vintage recordings. We think Sirius XM’s position is wrong as a matter of law, and definitely wrong as a matter of justice! The California federal court agreed with our view of the law and sided with The Turtles in their lawsuit. As SoundExchange President and CEO Michael Huppe said in a statement, we believe that “all sound recordings have value, and ALL artists deserve to be paid fairly for the use of their music.” 1 www.soundexchange.com Now, legendary artists like Martha Reeves, T Bone Burnett, Mark Farner (Grand Funk Railroad), and Richie Furay (Buffalo Springfield) are sharing in this sentiment and praising The Turtles for taking up this cause. -
John Zorn Artax David Cross Gourds + More J Discorder
John zorn artax david cross gourds + more J DiSCORDER Arrax by Natalie Vermeer p. 13 David Cross by Chris Eng p. 14 Gourds by Val Cormier p.l 5 John Zorn by Nou Dadoun p. 16 Hip Hop Migration by Shawn Condon p. 19 Parallela Tuesdays by Steve DiPo p.20 Colin the Mole by Tobias V p.21 Music Sucks p& Over My Shoulder p.7 Riff Raff p.8 RadioFree Press p.9 Road Worn and Weary p.9 Bucking Fullshit p.10 Panarticon p.10 Under Review p^2 Real Live Action p24 Charts pJ27 On the Dial p.28 Kickaround p.29 Datebook p!30 Yeah, it's pink. Pink and blue.You got a problem with that? Andrea Nunes made it and she drew it all pretty, so if you have a problem with that then you just come on over and we'll show you some more of her artwork until you agree that it kicks ass, sucka. © "DiSCORDER" 2002 by the Student Radio Society of the Un versify of British Columbia. All rights reserved. Circulation 17,500. Subscriptions, payable in advance to Canadian residents are $15 for one year, to residents of the USA are $15 US; $24 CDN ilsewhere. Single copies are $2 (to cover postage, of course). Please make cheques or money ordei payable to DiSCORDER Magazine, DEADLINES: Copy deadline for the December issue is Noven ber 13th. Ad space is available until November 27th and can be booked by calling Steve at 604.822 3017 ext. 3. Our rates are available upon request. -
Voices in the Hall: Sam Bush (Part 1) Episode Transcript
VOICES IN THE HALL: SAM BUSH (PART 1) EPISODE TRANSCRIPT PETER COOPER Welcome to Voices in the Hall, presented by the Country Music Hall of Fame and Museum. I’m Peter Cooper. Today’s guest is a pioneer of New-grass music, Sam Bush. SAM BUSH When I first started playing, my dad had these fiddle albums. And I loved to listen to them. And then realized that one of the things I liked about them was the sound of the fiddle and the mandolin playing in unison together. And that’s when it occurred to me that I was trying on the mandolin to note it like a fiddle player notes. Then I discovered Bluegrass and the great players like Bill Monroe of course. You can specifically trace Bluegrass music to the origins. That it was started by Bill Monroe after he and his brother had a duet of mandolin and guitar for so many years, the Monroe Brothers. And then when he started his band, we're just fortunate that he was from the state of Kentucky, the Bluegrass State. And that's why they called them The Bluegrass Boys. And lo and behold we got Bluegrass music out of it. PETER COOPER It’s Voices in the Hall, with Sam Bush. “Callin’ Baton Rouge” – New Grass Revival (Best Of / Capitol) PETER COOPER “Callin’ Baton Rouge," by the New Grass Revival. That song was a prime influence on Garth Brooks, who later recorded it. Now, New Grass Revival’s founding member, Sam Bush, is a mandolin revolutionary whose virtuosity and broad- minded approach to music has changed a bunch of things for the better. -
Why Am I Doing This?
LISTEN TO ME, BABY BOB DYLAN 2008 by Olof Björner A SUMMARY OF RECORDING & CONCERT ACTIVITIES, NEW RELEASES, RECORDINGS & BOOKS. © 2011 by Olof Björner All Rights Reserved. This text may be reproduced, re-transmitted, redistributed and otherwise propagated at will, provided that this notice remains intact and in place. Listen To Me, Baby — Bob Dylan 2008 page 2 of 133 1 INTRODUCTION .................................................................................................................................................................. 4 2 2008 AT A GLANCE ............................................................................................................................................................. 4 3 THE 2008 CALENDAR ......................................................................................................................................................... 5 4 NEW RELEASES AND RECORDINGS ............................................................................................................................. 7 4.1 BOB DYLAN TRANSMISSIONS ............................................................................................................................................... 7 4.2 BOB DYLAN RE-TRANSMISSIONS ......................................................................................................................................... 7 4.3 BOB DYLAN LIVE TRANSMISSIONS ..................................................................................................................................... -
THE JOHN BYRNE BAND the John Byrne Band Is Led by Dublin Native and Philadelphia-Based John Byrne
THE JOHN BYRNE BAND The John Byrne Band is led by Dublin native and Philadelphia-based John Byrne. Their debut album, After the Wake, was released to critical acclaim on both sides of the Atlantic in 2011. With influences ranging from Tom Waits to Planxty, John’s songwriting honors and expands upon the musical and lyrical traditions of his native and adopted homes. John and the band followed up After the Wake in early 2013 with an album of Celtic and American traditional tunes. The album, Celtic/Folk, pushed the band on to the FolkDJ Charts, reaching number 36 in May 2015. Their third release, another collection of John Byrne originals, entitled “The Immigrant and the Orphan”, was released in Sept 2015. The album, once again, draws heavily on John’s love of Americana and Celtic Folk music and with the support of DJs around the country entered the FolkDJ Charts at number 40. Critics have called it “..a powerful, deeply moving work that will stay with you long after you have heard it” (Michael Tearson-Sing Out); “The Vibe of it (The Immigrant and the Orphan) is, at once, as rough as rock and as elegant as a calm ocean..each song on this album carries an honesty, integrity and quiet passion that will draw you into its world for years to come” (Terry Roland – No Depression); “If any element of Celtic, Americana or Indie-Folk is your thing, then this album is an absolute yes” (Beehive Candy); “It’s a gorgeous, nostalgic record filled with themes of loss, hope, history and lost loves; everything that tugs at your soul and spills your blood and guts…The Immigrant and the Orphan scorches the earth and emerges tough as nails” (Jane Roser – That Music Mag) The album was released to a sold-out crowd at the storied World Café Live in Philadelphia and 2 weeks later to a sold-out crowd at the Mercantile in Dublin, Ireland. -
COLIN LINDEN from Canada to Nashville
The Phenomenal RUTHIE FOSTER HADDEN SAYERS Breaking Free ANSON FUNDERBURGH Is Back COLIN LINDEN From Canada To Nashville NUMBER ONE www.bluesmusicmagazine.com US $5.99 Canada $7.99 UK £4.60 Australia A$15.95 COVER PHOTOGRAPHY © SCOTT ALLEN / VIVIDPIX 4 BLUE NOTES NUMBER ONE From The Publisher 5 RIFFS & GROOVES 6 RUTHIE FOSTER From The Editor-In-Chief Timeless Voice by Tim Parsons 20 DELTA JOURNEYS “Rock Stars” 11 HADDEN SAYERS 22 AROUND THE WORLD Back To The Blues “Good Night, Ann Rabson” by Phil Reser 24 Q&A 14 The Many Facets Of with Michael Hill ANSON FUNDERBURGH by Grant Britt 27 BLUES ALIVE! Damon Fowler 17 COLIN LINDEN Ronnie Earl Guitar Master 30 REVIEWS by Larry Nager New Releases and Box Sets 70 LEGACIES 72 DOWN THE ROAD A S P A L S R A G I A © Y H P A R G O T O H P PHONE TOLL-FREE 866-702-7778 EMAIL [email protected] WEB bluesmusicmagazine.com GuitarDMasterEEP ROOTS COLIN LINDEN’S Journey from Howlin’ Wolf to Hollywood by Larry Nager WHO YOU THINK sideman deluxe flying under the radar for pre-war blues to his eerie recreation Colin Linden is depends on which side in his trademark black hat and shades. of Skip James’ “Hard Time Killing Floor.” of the border you call home. In his native Specializing in the bluesier side of He toured arenas with the O Brother Canada, he’s long been known as one Americana, he can be heard on spinoff tour Down From The Mountain of the world’s premier blues and roots wide-ranging, high profile projects and put in a year backing Country Music guitarists and producers, lending his including the O Brother Where Art Thou? Hall of Famer Emmylou Harris.