DOCSLIB.ORG

Is This Jazz?: Newport Jazz Fest '18 Review,EDM Event Preview: Tight Crew's Block Rockin Beats,Getting Down and Dirty At

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Is This Jazz?: Newport Jazz Fest '18 Review,EDM Event Preview: Tight Crew's Block Rockin Beats,Getting Down and Dirty At Jazz Insights: Bonnie Mann Three years ago we lost one of jazz’s popular cabaret singers. Eighty-five year old Bonnie Mann (Boncorsi Wotherspoon) was born in Pawtucket. Known for her big- band style singing she regularly could be found throughout Rhode Island with many of the great performing jazz and dance groups. Bonnie sang at the old King & Queens’ Restaurant on Mineral Spring Avenue with, at the time, the young Mike Renzi and others. Her beauty, style and professional voice continually captured local audiences. Her renditions of early American Song Book compositions became favorites among her loyal following. She was a constant worker for the Providence Musician’s Union and was known by musicians state-wide. Her friends numbered in the hundreds. In her later years she performed quite regularly with the late Mac Chrupcala and his several jazz groups. Bonnie kept singing with her heart to her very end; she died in January 2015. The jazz industry in Rhode Island will not forget the late Bonnie Mann.and her dynamic jazz singing voice. Ball Drop Beat Drop: More fun than should be allowed Much like the extra dry champagne served on the holiday, New Year’s Eve traditions can be a bit stale. Interested in switching it up? Then head to Platforms Dance Club in Providence on December 31 to ring in the new year at Tight Crew (TC)’s Neon Masquerade Ball! You may want to buy your tickets now, because this limited-ticket event will feature 16 DJs from all over the US, fire performances, a heated outdoor tent and a game room! So pick out a cute outfit and get plenty of rest, because the event runs from 6pm to 3am. Headliners include Ducky (LA, dubstep), Lady Faith (LA, hardstyle) and DJ Venom (RI), who will be spinning a special freestyle set. Since this is a TC party, event-goers can plan on stopping by the free kandi-making and fresh fruit areas. As for the midnight countdown, attendees will be treated to a larger-than-life neon orgy of colorful lights, sounds and confetti cannons. “We have never done a masquerade ball before. This will take a classic, timeless New Year’s theme and put our blacklight immersive neon twist on it. It is a fun layout for a party; the main room will be amazing and the second room is going to be a 30-by-60 heated tent outside,” says Keith Woods, co- founder of TC. “There is also a game room and entire room for vendors,” he added. This will be TC’s second event at Platforms (the first was Yoshi’s Island earlier this year), and it’s a great location for the celebration. “The outdoor area will have a full concert sound system and lighting rig as well as lots of neon artwork and fire performers outside the tent,” Woods explains. According to Woods, TC’s New Year’s resolution is, “to provide an all-inclusive, non-judgmental community space for anyone with an open mind and continue to give a stage for all forms of dance music popular and underground. We are excited to ring in the new year with the tight Crew family. Join us, we want to be your friend.” Admission to Tight Crew’s Neon Masquerade Ball is 18+ (21+ to drink). Tickets are tiered, meaning the sooner you get them, the lower the price! Tickets are available at tightcrew.net Keep on Moving: Time Keeps on Slipping: Check out these shows to close out the year, and feast your eyes on a few 2019 predictions At the end of the year it is natural to look back on what transpired, but here at The Motif, we keep on moving forward. At first I was a little apprehensive about offering predictions for music in 2019 considering the differences in genres. To say music is going to be more political, electronic or whatever is difficult because people are always doing whatever one can dream of. But then, after some tequila, the hot takes just kept coming through my crystal ball and wouldn’t stop, like that thing in Jeepers Creepers. Here are a few of them. I predict 2019 will be a huge year for the band Asia that did the ’80s hit “Heat of the Moment.” Everyone deserves a second moment, and it’s been 30-plus years for Asia — they are due! I believe the original and deceased members of the Ramones will agree to reunite as holograms to headline Coachella; however, due to internal bickering between the holograms, they will break up before they get through the count in to the opening of “Durango 95.” Burrillville will emerge as the center of hip- hop. Sean Spicer will move back to Rhode Island and start a black metal band with Allan Fung and Lincoln Chafee. Cat Country 98.1FM radio will become more tolerable by changing their programming to feature more cats and less country. I feel like both Tone Loc and William Hung are due for a comeback. I sense that 2019 will be a huge year for yacht rock DJs. It will be the year that John Fuzek does a column that doesn’t start with “Okee dokee.” Classical music will go grunge. The Kinks will once again talk about reuniting … next year. Keep On Moving columns will include more lists because they are quick reads and easy to understand. The Big Hair Sluts will be the next big band from Rhode Island. Steve Smith (from Steve Smith & The Nakeds) will find a better local beer to sponsor him. The point? In the words of Joe Strummer, “The future is unwritten,” so sharpen your pencils. Top 5 Ways to ring in New Year’s Eve: 5) New Year’s Eve Reggae Bashment at Alchemy in Providence. 4) Empire Revue’s 6th Annual Dance Party featuring The Empire Revue and Superchief Trio at AS220 in Providence. 3) Nate Cozzolino & The Lost Arts, The Atlantic Thrills, Harvey Garbage, Green Sabbath, and The Benjis are at Dusk in Providence. 2) EARTHKRY, Chachi Carvalho & The International Players, and The Gnomes with DJ Paulie Danger spinning between sets at the Parlour in Providence. 1) The Silks and Eric And The Nothing bring the retro rock ‘n’ roll to The Met Cafe in Pawtucket. I&R – Reconnecting with Josh Cournoyer Native Rhode Islander Josh Cournoyer moved to Nashville a few years ago and given his destination, it is not surprising he is still making music. The former frontman of Northern Lands, among other bands, has a new project called I&R that is releasing their second single, “Addendum,” on online streaming services on December 28. I&R will be celebrating the single’s release with a show the next night at the Columbus Theatre. I&R’s full-length debut, Bankrupt City, is finished and will be coming out next year. Cournoyer shared the record with me and is it mean to say how surprised I was by how much I liked it? The flow of “Addendum” reminds me of Springsteen sans E Street Band spiked with a southern twang. The first single, “Venice,” wrestles with finding one’s place in the world and spirituality in a world littered with sidewalk messiahs and the unasked for plastic Virgin Mary that mysteriously shows up on your lawn. Lyrics like, “I fought a little battle to get a break from these wars” capture the disillusion with the modern illusion. I’ll talk more about the rest of the album when it’s coming out, but it’s like hitting a Vegas buffet where you got everything from rockers (title track and “Silhouette”) to the string- colored acoustic majesty of “Manifesto” where Cournoyer offers his support with “if you want to burn down the patriarchy tonight, the least I can do is pass you the light.” As for what is I&R, Cournoyer tells me, “I&R was always meant to be a collaborative. The connective thread would be the songs and stories, but I wanted to bring in a variety of players for both the studio and live setting to help translate the music. The idea was that no project’s lineup, in my almost 20 years of being in bands, has ever persisted for more than a few years, but the benefit to that is being able to play with a diverse group of musicians and approaches to creativity. I&R as a name very much has a reason, and a specific one at that, but I love the idea that people can project their own ideas to the meaning onto those letters, much the way people project their own meaning onto the songs.” In addition to working with some acclaimed producers and engineers, Cournoyer collaborated with friends from home including MorganEven Swain (The Huntress and Holder of Hands and Brown Bird). Cournoyer relays: “We were joined there by MorganEve Swain; she’s handling second vocal duties on ‘Addendum’ and also contributed the strings on ‘Venice.’ MorganEve has been a pretty consistent part of our live contingent as well; she added so much depth to the record, and working with her has been a blast.’’ I&R, John Faraone, and Mountainess will be playing the Columbus Theatre on December 29. The other top 5 shows to catch before the calendar turns to 2019 are all bangers: 5) Fungus Amungus does a reunion show with Cosmic Factory at The Met Cafe on December 28. 4) Grinchfest 2.0, featuring sets by Karma Rocket, Foxx Doll, Jets Can’t Land, Sick Pills, and David Tessier All-Stars, are at Askew on December 21.
Load more

Recommended publications
  • New Harmonies
    Dear Teacher: Welcome to New Harmonies: Celebrating American Roots Music, an exhibition organized by the Smithsonian Institution’s Museum on Main Street program and brought to you by your state humanities council. These materials and activities were compiled to help your students observe, imagine, learn & contribute to the discussion of American roots music during their visit to the exhibition. While it’s desirable to participate in each step, it’s certainly not required. In fact, each individual piece will provide your students with thought-provoking questions and activities. You can easily customize lessons or even develop your own methods of exploring roots music! The lesson plans that accompany New Harmonies will help you create a meaningful experience for your students. Each includes Pre-visit, Visit, and Post-visit activities. All the lessons can be adapted for younger or older audiences, so evaluate each lesson before selecting activities for your students. The Pre-visit step is designed to be simple, to introduce the students to the exhibit topic, and to be easy to implement. This step is intended to stimulate the students’ curiosity and help students gather information for use in visit and post-visit activities. The Visit step is focused on information gathering. This is a time for the students to explore and read the exhibit content, enjoy audio samples, and utilize interactive components. The activity worksheets included in this section will help students gather enough information to apply their knowledge in a later classroom activity. With all activities and worksheets, students can work individually or in groups. The Post-visit step consists of ideas and activities to implement after your return to the classroom.
    [Show full text]
  • Austin City Limits Showcases the Best in Americana with the Lumineers and Shovels & Rope
    Austin City Limits Showcases the Best in Americana with The Lumineers and Shovels & Rope New Episode Airs October 19 on PBS Austin, TX—October 17, 2013—Austin City Limits (ACL) celebrates the best in Americana music today, with The Lumineers and Shovels & Rope making their ACL debuts. Denver's Lumineers perform their breakthrough hits including “Ho Hey” and “Stubborn Love” while Charleston, South Carolina's Shovels & Rope perform songs from their acclaimed debut O' Be Joyful. The new episode, part of ACL's just-launched Season 39, premieres October 19th. ACL airs weekly on PBS stations nationwide (check local listings for times) and full episodes are made available online at acltv.com immediately following the initial broadcast. The episode offers a deeper look at two acts that have been receiving well-deserved attention in the roots revival movement. Leading off the hour is The Lumineers, a folk-rock trio that play traditional but original heart-on-the-sleeve music. Of the band The Austin Chronicle writes, “There's nothing precious or affected here, just three dedicated artists opening their hearts.” The young group's breakthrough hit “Ho Hey” was one of the most-played songs of 2012, earning them a performing slot on 2013's Grammy Awards telecast, in addition to two Grammy nominations for Best New Artist and Best Americana Album. The Lumineers' uplifting ACL debut is filled with heart-swelling stomp-and-clap acoustic rock, classic pop and front-porch folk. Their set includes an inspired take on a Dylan classic, while the tambourine driven beat of “Ho Hey” brings the crowd to its feet and the performance closes with a crowd sing-along on “Stubborn Love”.
    [Show full text]
  • Folk Music 1 Folk Music
    Folk music 1 Folk music Folk music Béla Bartók recording Slovak peasant singers in 1908 Traditions List of folk music traditions Musicians List of folk musicians Instruments Folk instruments Folk music is an English term encompassing both traditional folk music and contemporary folk music. The term originated in the 19th century. Traditional folk music has been defined in several ways: as music transmitted by mouth, as music of the lower classes, and as music with unknown composers. It has been contrasted with commercial and classical styles. This music is also referred to as traditional music and, in US, as "roots music". Starting in the mid-20th century a new form of popular folk music evolved from traditional folk music. This process and period is called the (second) folk revival and reached a zenith in the 1960s. The most common name for this new form of music is also "folk music", but is often called "contemporary folk music" or "folk revival music" to make the distinction.[1] This type of folk music also includes fusion genres such as folk rock, electric folk, and others. While contemporary folk music is a genre generally distinct from traditional folk music, it often shares the same English name, performers and venues as traditional folk music; even individual songs may be a blend of the two. Traditional folk music Definitions A consistent definition of traditional folk music is elusive. The terms folk music, folk song, and folk dance are comparatively recent expressions. They are extensions of the term folk lore, which was coined
    [Show full text]
  • This Is How We Do: Living and Learning in an Appalachian Experimental Music Scene
    THIS IS HOW WE DO: LIVING AND LEARNING IN AN APPALACHIAN EXPERIMENTAL MUSIC SCENE A Thesis by SHANNON A.B. PERRY Submitted to the Graduate School Appalachian State University in partial fulfillment of the requirements for the degree of MASTER OF ARTS MAY 2011 Center for Appalachian Studies THIS IS HOW WE DO: LIVING AND LEARNING IN AN APPALACHIAN EXPERIMENTAL MUSIC SCENE A Thesis by SHANNON A.B. PERRY May 2011 APPROVED BY: ________________________________ Fred J. Hay Chairperson, Thesis Committee ________________________________ Susan E. Keefe Member, Thesis Committee ________________________________ Patricia D. Beaver Member, Thesis Committee ________________________________ Patricia D. Beaver Director, Center for Appalachian Studies ________________________________ Edelma D. Huntley Dean, Research and Graduate Studies Copyright by Shannon A.B. Perry 2011 All Rights Reserved ABSTRACT THIS IS HOW WE DO: LIVING AND LEARNING IN AN APPALACHIAN EXPERIMENTAL MUSIC SCENE (2011) Shannon A.B. Perry, A.B. & B.S.Ed., University of Georgia M.A., Appalachian State University Chairperson: Fred J. Hay At the grassroots, Appalachian music encompasses much more than traditional music genres, like old-time and bluegrass. While these prevailing musics continue to inform most popular and scholarly understandings of the region’s musical heritage, many contemporary scholars dismiss such narrow definitions of “Appalachian music” as exclusionary and inaccurate. Many researchers have, thus, sought to broaden current understandings of Appalachia’s diverse contemporary and historical cultural landscape as well as explore connections between Appalachian and other regional, national, and global cultural phenomena. In April 2009, I began participant observation and interviewing in an experimental music scene unfolding in downtown Boone, North Carolina.
    [Show full text]
  • Life After Zouk: Emerging Popular Music of the French Antilles
    afiimédlsfiéi L x l 5 V. .26 l A 2&1“. 33.4“» ‘ firm; {a , -a- ‘5 .. ha.‘ .- A : a h ‘3‘ $1.". V ..\ n31... 3:..lx .La.tl.. A Zia. .. I: A 1 . 3‘ . 3x I. .01....2'515 A .{iii-3v. , am 3,. w Ed‘fim. ‘ 1’ A I .«LfiMA‘. 3 .u .. Al 1 : A 1. n- . ill. i. r . A P 2...: l. x .A .. .. e5? .ulc u «inn , . A . A » » . A V y k nu. z . at A. A .1? v I . UV}, — .. .7 , A A \.l .0 v- ’1 A .u‘. s A“. .4‘ I . 3...: 5 . V ruling I“. " o .33.): rt! .- Edit-{t . .V BAWAfiVxHF.‘ . .... .(._.r...|vuu\uut.fi . .! $43: This is to certify that the thesis entitled LIFE AFTER ZOUK: EMERGING POPULAR MUSIC OF THE FRENCH ANTILLES presented by Laura Caroline Donnelly has been accepted towards fulfillment of the requirements for the MA. degree in Musicology Ankh-7K ’4“ & Major Professor’s Signatye 17/6 / z m 0 Date MSU is an Affinnative Action/Equal Opportunity Employer LIBRARY Michigan State UI liversity PLACE IN RETURN BOX to remove this checkout from your record. TO AVOID FINES return on or before date due. MAY BE RECALLED with earlier due date if requested. DATE DUE DATE DUE DATE DUE 5/08 K:/Prolecc&Pres/ClRC/DateDue.indd LIFE AFTER ZOUK: EMERGING POPULAR MUSIC OF THE FRENCH ANTILLES By Laura Caroline Donnelly A THESIS Submitted to Michigan State University in partial fulfillment of the requirements for the degree of MASTER OF ARTS Musicology 2010 ABSTRACT LIFE AFTER ZOUK: EMERGING POPULAR MUSIC OF THE FRENCH ANTILLES By Laura Caroline Donnelly For the past thirty years, zouk has been the predominant popular music in the French Antilles.
    [Show full text]
  • 1 a Conversation with Anne Mccue by Frank Goodman
    A Conversation with Anne McCue by Frank Goodman (Puremusic 10/2002) Must be over a year now that I first saw Anne play at Billy Block’s Western Beat Roots Revival. She came on right after this other Australian act, an absolutely blazing guitarist named Geoff Achison. Most people would have been a little daunted at the prospect of hitting the stage of a packed jaded room after a smoldering and razor sharp Blues rock trio just blew the roof off the joint. But not Anne McCue, apparently. She’s played in some pretty hot trios herself, after all. But we didn’t know that, or anything else about her, aside from her also being Australian. But she was tall (actually, I thought she was, but she was wearing huge heels and her musical presence was looming in the stage lights) and kind of heavenly looking. Rarely would one see a solo acoustic act in this show, and Frank the soundman was not usually very kind to acoustic guitarists, in my opinion. Often they could simply not be heard. But this evening a mighty sound was heard, and everybody looked, and everybody listened. Predictably, I ran her down later and introduced myself, and secured a CD for review. Not long after that, I heard she’d been back in town, and played the cool little room known as The Basement, and that Lucinda Williams had been in attendance. That’s the thing about Nashville gigs—there are frequently none too many people in the audience (a lot of shows going on, and a rampant “seen it already” attitude is common), but one of the people there might well impact your life one way or the other.
    [Show full text]
  • Japanese in the Samba”: Japanese Brazilian Musical Citizenship, Racial Consciousness, and Transnational Migration
    “JAPANESE IN THE SAMBA”: JAPANESE BRAZILIAN MUSICAL CITIZENSHIP, RACIAL CONSCIOUSNESS, AND TRANSNATIONAL MIGRATION by Shanna Lorenz B.A., Reed College, 1995 M.A., University of Pittsburgh, 1999 Submitted to the Graduate Faculty of Arts and Sciences in partial fulfillment of the requirements for the degree of Doctor of Philosophy University of Pittsburgh 2007 UNIVERSITY OF PITTSBURGH SCHOOL OF ARTS AND SCIENCES This dissertation was presented by Shanna Lorenz It was defended on November 27, 2007 and approved by Bell Yung, Professor, Department of Music Mary Lewis, Professor, Department of Music Hermann Herlinghaus, Professor, Hispanic Languages and Literatures Dissertation Director: Andrew Weintraub, Associate Professor, Department of Music ii Copyright © by Shanna Lorenz 2007 iii “JAPANESE IN THE SAMBA”: JAPANESE BRAZILIAN MUSICAL CITIZENSHIP, RACIAL CONSCIOUSNESS, AND TRANSNATIONAL MIGRATION Shanna Lorenz, PhD University of Pittsburgh, 2007 This doctoral dissertation is an ethnographic study of musical culture among Japanese Brazilians in São Paulo, Brazil. Specifically, the study explores how the musical culture of this community has changed in recent years as a result of the dekasegui movement, the migration of hundreds of thousands of Japanese Brazilians who have traveled to Japan since 1990 in search of work. In order to explore these questions, I conducted fieldwork between May and November of 2003 on three musical groups, Zhen Brasil, Ton Ton Mi, and Wadaiko Sho, each of which have found different ways to invoke, contest, and reinvent their Brazilian and Japanese musical heritages. By exploring these groups’ musical practices, texts, dance, costumes, and discourses of self-definition, this study offers insight into shifts in the ethnic self-definition and racial consciousness of the Japanese Brazilian community that have taken place as the result of face-to-face contact between Japanese Brazilians and Japanese under the conditions of contiguous globalization.
    [Show full text]
  • 37Th Annual Summer Arts & Music Festival
    Happy Reggae! After many rivers crossed, we at the Mateel French’s Camp property in Jack’s honor (and with But while music often gets the focus, it is Community Center give great thanks in welcoming all permitting hurdles behind us), things have truly ultimately the experience that matters most. you to the 29th annual Reggae On The River! come full circle, the way it was intended. And we, When diverse people come together to share in turn, are ready once again to step it up, and to in a weekend of incredible vibes, the magic of Bringing it home to French’s Camp, a venue that has do it in a way that honors our past and improves it community happens, and this is what keeps served as the festival’s spiritual nexus since 1984, for the future- a mantra we call “back to the future.” people coming back to Reggae On The River. when Jack Arthur (our local version of Woodstock’s The experience is heightened when you know Max Yasgur) first took a risk and offered his land Similarly represented in our approach to artist your patronage is also supporting a variety of for this now-famous fundraiser. Initially presented scheduling, we shine light from the roots to the fruits important non-profit organizations working as a benefit to rebuild the community center after with foundational groups like The Meditations, who hard to make our world a better place. an arsonist’s fire burned its original Fireman’s played the very first ROTR, to Chronixx and Kabaka Hall location, throughout the years Reggae On Pyramid, two of the hottest artists in Jamaica for And this is why we do it- to sustain ourselves, to The River has continued to serve as the primary their first-ever Cali performance.
    [Show full text]
  • Jamaican Canadian Music in Toronto in the 1970S and 1980S
    Jamaican Canadian Music in Toronto in the 1970s and 1980s: A Preliminary History by Keith McCuaig A thesis submitted to the Faculty of Graduate Studies and Research in partial fulfillment of the requirements for the degree of Master of Arts in Music and Culture Carleton University Ottawa, Ontario May 18th, 2012 ©2012 Keith McCuaig Library and Archives Bibliotheque et Canada Archives Canada Published Heritage Direction du Branch Patrimoine de I'edition 395 Wellington Street 395, rue Wellington Ottawa ON K1A0N4 Ottawa ON K1A 0N4 Canada Canada Your file Votre reference ISBN: 978-0-494-91556-1 Our file Notre reference ISBN: 978-0-494-91556-1 NOTICE: AVIS: The author has granted a non­ L'auteur a accorde une licence non exclusive exclusive license allowing Library and permettant a la Bibliotheque et Archives Archives Canada to reproduce, Canada de reproduire, publier, archiver, publish, archive, preserve, conserve, sauvegarder, conserver, transmettre au public communicate to the public by par telecommunication ou par I'lnternet, preter, telecommunication or on the Internet, distribuer et vendre des theses partout dans le loan, distrbute and sell theses monde, a des fins commerciales ou autres, sur worldwide, for commercial or non­ support microforme, papier, electronique et/ou commercial purposes, in microform, autres formats. paper, electronic and/or any other formats. The author retains copyright L'auteur conserve la propriete du droit d'auteur ownership and moral rights in this et des droits moraux qui protege cette these. Ni thesis. Neither the thesis nor la these ni des extraits substantiels de celle-ci substantial extracts from it may be ne doivent etre imprimes ou autrement printed or otherwise reproduced reproduits sans son autorisation.
    [Show full text]
  • Folk Fest Press Release
    FOR IMMEDIATE RELEASE: June, 2018 Contact: Greg Schmitz [email protected] (605-261-7414) • 2018 Sioux River Folk Festival Line-up Announced for August 3rd, 4th & 5th. South Dakota Friends of Traditional Music (FOTM), a nonprofit group dedicated to preserving and promoting traditional music for generations of South Dakotans, has announced the line-up for its 39th Annual Sioux River Folk Festival on August 3rd, 4th, & 5th. The festival is held at Newton Hills State Park (6 miles south of Canton, SD) and the line-up includes: Trout Steak Revival (Denver, CO), The Railsplitters (Boulder, CO), Honeysuckle (Boston, MA), The Rough & Tumble (Nashville, TN), Jackson’s Flatboat (Farmington, NM), Kristian Bugge, Jamie Fox & Dwight Lamb; with Jill Groth calling square dance (Denmark/Montana/Iowa), Jim Groth (Sioux Falls), Dakota Roots Revival (South Dakota), Matt Fockler (Sioux Falls), Gerry & Martha Stai (Sioux Falls/Inwood, IA), Trap Kit (Rapid City), and the Winner of the Strawbale Winery Rib Challenge and Folk Off held the week before on July 28th. And…Don’t miss The Red Willow Band at the 6th Annual Folk Off and Rib Challenge. Workshops will be presented by the musicians from 10:00 AM to Noon on Saturday, and a yoga workshop will be led by Mary Lou Greenway on Saturday morning at 10:00 AM. Performance times and dates will be available at http://www.fotm.org/festival.html and at https://www.facebook.com/pages/South-Dakota-Friends- of-Traditional-Music/295637052444. Find festival photos at: https://www.flickr.com/photos/157911527@N06/ in the SD Friends of Traditional Music collection and on both Facebook pages.
    [Show full text]
  • Annette Conlon's Folk U Series Brings Local Folk Music to The
    The LA Beat Los Angeles-based Entertainment, Dining, Health, and Arts Annette Conlon’s Folk U Series Brings Local Folk Music to the Vampire Lounge in Beverly Hills Posted on August 15, 2017 by Ed Simon Folk singer/songwriter and musician Annette Conlon is as principled about her music as she is about veganism and Americana. Now she is allowing others to experience her musical feelings as well as that of other folk artists at her new residency, Folk U, a monthly series that she will be hosting at the Vampire Lounge and Tasting Room in Beverly Hills. “I’ll be bringing in my favorite folk artists to perform in one of Beverly’s Hill’s most unique venues…a Vampire Bar,” says Conlon, who is set to embark on her second Compassionette U.S. Tour beginning September 1. “Where better to play traditional and rural music passed through the ages in oral tradition? From contemporary to roots revival and American folk music, we hope to explore it all,” concludes Conlon. The Folk U residency featuring some of Los Angeles’ best folk artists will be held every fourth Tuesday. The first show will be held August 22, with Conlon’s guest artists Olivia Brownlee, The Fruit Flies and Little Lonely. Subsequent shows will be held September 26, October 24 and November 28. Husband Doug Conlon will accompany Annette, playing mandolin, banjo, and guitar, while providing background harmonies. Annette Conlon’s musical journey has taken her through many places, as evidence by the songs on her critically acclaimed debut solo album Life, Death and the Spaces Between.
    [Show full text]
  • Merlefest Offering Even More This Year
    2 • MerleFest • Wilkes Journal-Patriot • April 2014 MerleFest offering even more this year MerleFest is always a great value with Creekside Stage, including “Memories of many of the top artists in multiple musical Doc and Merle” with T. Michael Coleman, genres, but this year it has even more. David Holt, Sam Bush, Peter Rowan, Rich- MerleFest 2014 has more performers than ard Watson and others; ever - over 130 appearing on 13 different • Dr. Ralph Stanley with Ricky Skaggs stages during the course of the four-day and Jim Lauderdale on the Watson Stage festival (April 24-27) at Wilkes Community Saturday; College in Wilkesboro. • Keller Williams and Larry and Jenny There are also more special collabora- Keel on Saturday on the Hillside Stage; tions of artists planned this year, not to • Keller Williams on the Watson Stage mention the ones that occur spontaneously. Friday night with the Travelin’ McCourys; The MerleFest Midnight Jam in the Walker • the Waybacks will again host the Hill - Center on Saturday night of the festival isn’t side Album Hour on Saturday. Every year, new, but it’s always the festival’s biggest a revered or iconic album is performed (but melting pot of talent. not announced in advance) from start to Participants in this year’s Jam, hosted finish. Many surprise guests will join in again by Scythian, include Keller Williams, the performance. Nora Jane Struthers and the Party Line, Other highlights, day by day, include: Peter Rowan, Frank Solivan and Dirty • Thursday, performances by the Carolina Kitchen, Steep Canyon Rangers, Della Mae, Chocolate Drops, Holly Williams, Scyth- 1430 Second Street 1838 Winkler Street Moore Brothers, Steel Wheels, Donna the ian, The Duhks, Junior Sisk and Ramblers North Wilkesboro Wilkesboro Buffalo, I Draw Slow, Waybacks, Pete and Choice, Josh Farrow and others.
    [Show full text]