Bad Philosopher    $10
Aug
22
8:00 PM20:00

Bad Philosopher $10

Bad Philosopher is an electric jazz trio based out of Madison, WI whose performance consists of original compositions fusing elements of both classical, pop, funk and jazz music with extended improvisations. The unorthodox background and approach of each member makes this trio unique. Multi-award winning 6-string electric bassist Josh Cohen uses tapping techniques to fulfill the role of both bass player and guitarist in one instrument, creating polyphonic textures that seamlessly interweave their compositions. The three-time concerto award winning pianist/keyboardist Jason Kutz, known for his ability to traverse both classical and jazz styles, employs his virtuosic technique and highly developed musical sensibilities to add rich layers of chordal harmony and melodic content. Finally, drummer Chris Di Bernardo, armed with an in-depth knowledge of jazz and popular music and road tested experience with the critically acclaimed Madison reggae band Natty Nation, provides an infectious rhythmic underpinning, supporting the band while serving up a plethora of diverse percussive improvisations connecting the music to its African roots. Having formed less than one year ago, Bad Philosopher is already performing regularly and will begin recording their debut album in the summer of 2019.

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Paul Cebar Tomorrow Sound   $15   Advance tickets available
Aug
23
8:00 PM20:00

Paul Cebar Tomorrow Sound $15 Advance tickets available

Click for tickets https://www.brownpapertickets.com/event/4260919

Paul Cebar Tomorrow Sound are the latest in Fresh Venerable. Benefitting from years of unassuming and understated hipness, they bring forth a funky, lyrically charged racket that sits comfortably with soulful sounds the world over.

Intricate but free-swinging, explosive yet intimate, fresh and green as grass.

Taking cues from the dance bands of western Louisiana (and his native Midwest,), the streets (and 45s) of New Orleans, touring African and Caribbean combos and the soul, funk & blues of his youth coupled with early , teeth-cutting experience in the verbal hotbeds of  the coffeehouse scene, Cebar is a masterful synthesist of rhythmic culture

Tomorrow Sound are an elite crew of offhand adepts who bring plenty of their own wood to the fire. Drummer Reggie Bordeaux, casts his nets with a mystifying subtlety bringing his own fleet-footed refinement and grease. Multi-instrumentalist Bob Jennings, lends his bandleader the luxury of implying a much larger ensemble with his multi-hued contributions on keys and reeds. Bassist Mike Fredrickson (a distinguished singer-songwriter in his own right) anchors and prods with the best of them.

Paul Cebar cut his teeth musically in the coffeehouse folk scene of the mid-70s in Milwaukee. First paying gigs took place in late 76 with an emphasis on solo recasting of small combo jump-blues and other early R&B. Upon graduation from New College in Sarasota, Florida, with a thesis addressing rhythm & blues varieties featuring a hearty emphasis on Louis Jordan and Buddy Johnson, Cebar dedicated himself to trodding the boards in earnest and spent substantial amounts of time testing the waters out New York way while exploring band dynamics with a soul and New Orleans-minded crew called the R&B Cadets back home. The Cadets ranged about from 1980 to 1986 and featured the grand original tunes of John Sieger alongside the winning assortment of B sides and obscurities that were the fruits of Cebars research. Concurrently, he kept alive the spark of his solo work with a small group which came to be known as The Milwaukeeans. Throughout the early 80s, this combo featured Rip Tenor on tenor sax, Alan Anderson on upright bass, Robyn Pluer on vocals and Paul on acoustic guitar and vocals, and drew most of its repertoire from 30s, 40s and 50s jazz and R&B.

With the demise of the Cadets in mid-1986, Cebar and Pluer, Tenor and Anderson welcomed drummer Randy Baugher and early Cadet saxophonist/vocalist Juli Wood to a new dance-floor fortified version of The Milwaukeeans which reflected Pauls ongoing and deepening fascination with African, Latin American and Caribbean rhythm & blues analogues. Rambling about the Midwest for the remainder of the 80s with occasional forays east and south, The Milwaukeeans began to rely more and more upon the original material that began to emerge in the aftermath of years of interpolation and grappling with favorites.

The first studio album, That Unhinged Thing, which was culled from a number of years of recording, finally saw the light of day in 1993. It sparked a wider itinerary in the touring department, with initial forays to the west coast and Canada, as well as returns to the east and south. Following the release of the record and six months of touring, founding member and estimable vocalist Robyn Pluer left the band to attend to le private life.

Rebuffing the command of the record label, Shanachie, that he add a female vocalist, Cebar and cohorts ventured forth into the storm without a label umbrella for what turned into two years of enthusiastic touring with much attendant hand-wringing. Finally, they landed on the shores of a little label that could (for awhile), Dont Records, a Milwaukee-based, heart-driven indie. In the summer of 95, they set about making Upstroke for the Downfolk, while upon its release in the fall of that year began to make inroads at adult album alternative radio outlets nationwide. The single Didnt Leave Me No Ladder ushered the fellows to a new level of visibility and the vans rolled on.

A six-song EP, I Cant Dance For You, followed in the spring of 96 and was superseded by The Get-Go, a full-length recording released in the fall of 97. Radio support was more sporadic, though the fan corps kept growing. But halfway through 98, Donts distributor declared bankruptcy and its inventory was impounded. With its merchandise out of reach, Dont found it increasingly difficult and ultimately impossible to carry on.

In 2001, 15 1/2 years into the dance band incarnation of The Milwaukeeans, the fellows presented, Suchamuch,a long-requested live album recorded at Martyrs in Chicago and continued to offer their multifarious wares to all and sundry. The present day incarnation of Tomorrow Sound took shape with the arrival (8 years back) of bassist, Mike Fredrickson, joining 22 year veterans Reggie Bordeaux on drums and Bob Jennings on saxophones and keyboards.

The peripatetic pageant continues unabated with renewed focus on the song  in the context of the increasingly forceful rhythmic exploration that is at the heart of Cebars quest. Stripping back to 4 pieces has opened up space for the understated command of Bob Jennings keyboard and saxophonic thinking. Field Marshall Cebars pithy guitar musing comes to the fore building upon the muscular rhythmic lattice laid by Reggie and Mike. With an ever-deepening appreciation for the funk and the polyglot rhythmic conception that is their trademark, Paul Cebar Tomorrow Sound said More! More! More! in 2004. Way to thrive in 2005! Dipped their wicks in 2006, Partied like 11 in 2007, and have their wild heads on straight in 2008. Fine fine Fine into 2009! funked it again and again and again and again in 10, made like 2107 in 11, and have packed up the worry they shelved in 12, incorporated the added vim they were flirtin with in 13 and are full-on sportin A-team in 18

Presently spreading the word with their gangling, headlong and insouciant record,FINE RUDE THING, Paul Cebar Tomorrow Sound want and need you to come on out and help them get down.

Many musicians have graced the stage with Paul in the course of the aforementioned wander. Hed like to thank them all again for the loving spirit they brought to bear on the music. A partial list would include: Rip Tenor, Alan Anderson, Robin Pluer, Guy Hoffman, Juli Wood, Randy Baugher, Peter Roller, Tony Jarvis, Greg Tardy, Mac Perkins, Paul Scher, Michael Kashou, Michael Walls, Ethan Bender,Patrick Patterson, Romero Beverly and the present day crew, Bob Jennings, Reggie Bordeaux,and Mike Fredrickson. Viva le Musicianers!!!!!!!

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Chloe Louise & The North Code   $7
Aug
24
8:00 PM20:00

Chloe Louise & The North Code $7

Chloe Louise has a talent for telling stories in song. “But talent is for winning talent shows”, you say; “anyone can win a talent show. Why is Chloe so special?”

It’s true. Talent is not unique.  You need the hard work, vision, dedication, and love to push beyond the limits of mere talent. In this respect, Chloe’s drive, her focus, is singular.

Chloe wraps all the tragedies and victories of her life, great and small, into a catchy parcel of pop music, packed inside a box of country-and-western, and tops it with a bow made of soul. There’s also little hip-hop and R&B bows, and another sparkling bow made of Big Band and swing. Ok, so — there are like, a lot of bows in this metaphor.

Her influences are vast, that’s what I’m saying…she’s even got a song about that.

Chloe Louise sings about her life: the heartbreaks, the triumphs, the heartbreaks, and the space between.  Did we mention heartbreaks? She calls her band The HeartBreak Club for a reason. The nuance of her songs, and the honesty with which she and her band perform them, will be what draws you in close. When you step away, changed, covered in glitter, maybe you feel like everything is a bit more of OK. Maybe you find yourself humming or singing Chloe’s songs out of nowhere. In the dark of night, maybe you wake with a refrain running through your head. That’s what they mean when they say a song is infectious. Sing it in the car, in the shower; once Chloe Louise grabs hold of you, there’s no question that you will be singing it.

The North Code is an indie folk band based in Madison, Wisconsin. Our debut album, In My Head, is now available on all streaming services!

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Jig Jam - Advance Tickets $15 - Door $20
Aug
29
8:00 PM20:00

Jig Jam - Advance Tickets $15 - Door $20

Ticket Link https://www.brownpapertickets.com/event/4290091

JigJam are a multi-award winning quartet from the heart of the midlands in Ireland. Blending the best of traditional Irish music with Bluegrass and Americana in a new genre which has been branded as 'I-Grass' (Irish influenced Bluegrass), their onstage energy along with their virtuosic musical ability has captivated audiences throughout the world.

"Here's an Irish band that's going to impact the world as hard as Clancy Brothers or U2 if they get only half a chance." MIDWEST RECORDS

Jamie McKeogh, Cathal Guinan and Daithi Melia all hail from Tullamore, Co.Offaly with Co. Tipperary born Gavin Strappe completing the quartet. All four members grew up immersed in Irish traditional music and culture which is reflected by the band collectively achieving over twenty All-Ireland titles at Fleadh Cheoil na hÉireann competitions. They have now developed their own unique style of music influenced by American Folk music whilst staying true to their Irish roots. Described as 'The best Irish group so far in bluegrass' this sharply dressed outfit deliver an energy-fuelled, foot-stomping live performance. All multi-instrumentalists, JigJam interchange between banjos, guitars, fiddles, mandolins and double bass onstage which creates an experience which is pleasing to both the eye and the ear.

JigJam have recorded two studio albums (OH BOY! 2014 & HELLO WORLD 2016) to critical acclaim as well as a live album (LIVE IN TULLAMORE 2017). They have made a huge impact on the Irish American circuit performing as a headline act at all the major festivals including the world-renowned Milwaukee Irish Fest as well as touring various parts of the UK and Europe.

"The words sparkling, innovative and infectious come first to mind, beyond that you get into an unadulterated display of accomplished musicianship, skill and talent'." FOLKWORDS

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Sugar Maple welcomes the Old Fashioned Aces   $8/advance   $15/door
Aug
30
8:00 PM20:00

Sugar Maple welcomes the Old Fashioned Aces $8/advance $15/door

Brown Paper Tickets https://www.brownpapertickets.com/event/4308453

Blake Miller & the Old Fashioned Aces are breathing new life into an old sound. Its traditional Cajun music in a traditional setting, but more than that, its a powerhouse trio having fun. Whether they appear as an acoustic trio or a full electric band, finer musicians playing Cajun music cannot be found. In a world where it seems everyone is continually stretching the boundaries of Louisiana French music, the Aces nest comfortably inside the well worn tracks of Cajun Music. From old fiddle tunes, to classic dance floor packers, to bilingual country classics, their music is comfort food for the Cajun music fan.

Grandson of well known accordion builder Larry Miller, Blake has been surrounded by Cajun music and culture his entire life. Hailing from the small town of Iota Louisiana, Blake, a fluent french speaker and songwriter, managed to acquire a degree in Francophone studier from The University Of Louisiana at Lafayette and in the mean time founded the popular young Cajun band The Pine Leaf Boys and became a member of the premiere Louisiana roots Band The Red Stick Ramblers. He has also served stints in just about every other cajun/creole band of note including Balfa Toujours, Les Malfecteurs and Cedric Watson & Bijou Creole bringing his strong cultural identity and accomplished musicianship to the world. Now plays with the world traveled Revelers for the past 4 years singing and playing his own songs on fiddle and accordion.

Originally from a small town in Wisconsin, Amelia was exposed to many forms of traditional music at an early age. She grew up listening to her dad sing, play guitar, piano, and fiddle. Fate took her to Minneapolis for college, where there were regular Cajun dances. She got hooked! Mentored by a few of the stalwart musicians of the Twin City music scene, Amelia started learning French, playing and singing. Two bands resulted: Ana and the Bel-tones and Millie and the Mill City Heavyweights. In 2014, Amelia decided to move to the source of it all - Lafayette, LA. There she has been soaking it all in, ever expanding her love for the culture. In addition to playing cajun music, she plays old-time guitar and loves to dance. When not playing music, she is a wedding florist.

AJ Srubas is originally from Green Bay, WI where he grew up playing Irish music in a family band. After graduating high school, he went to study fiddle in Ireland for a few months but upon returning home he was introduced to old-time music when his older brother started to learn claw hammer banjo. Before he knew it, he was completely hooked. AJ now lives in Minneapolis, Minnesota and has been playing old-time music for the last decade. He plays old-time fiddle in Steam Machine and Cajun fiddle and pedal steel guitar in the New Riverside Ramblers. When not playing music, he is an apprenticing violin bow maker and organizer for The Monday Night Square Dance and other Minnesota festivals. AJ teaches private lessons and has taught at the Central Rockies Old-time Music Association's summer festival, Berkeley Old-time Music Gathering and many Minnesota Bluegrass and Old-time Music Association events.

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Sponsored by BlueStem Jazz - Vincent Davis Trio with Isaiah Collier -  $15 - Advance Tickets Available
Aug
31
8:00 PM20:00

Sponsored by BlueStem Jazz - Vincent Davis Trio with Isaiah Collier - $15 - Advance Tickets Available

Advance Tickets Link https://www.brownpapertickets.com/event/4299420

Vincent Davis, born in Chicago is an internationally acclaimed jazz percussionist, composer and teacher. The seed of music was planted in Davis early, growing up in a home filled with the influences of rock, jazz and gospel. In 1979 Davis left Chicago to attend the Milwaukee Conservatory of Music, where his love of jazz and skill at drumming further bloomed and flourished. It was here that Davis met his mentor Manty Ellis. Davis trained and studied with Ellis, primarily focusing on Jazz trap drumming.
Since 1985, he has belonged to groups of Roscoe Mitchell as his Note Factory and its trio with Harrison Bankhead and Jaribu Shahid , with whom he also toured several times in Europe and Asia and performed at international festivals such as the North Sea Jazz Festival . He is also on Mitchell's album Songs in the Wind and This Dance is for Steve McCall as well as sound recordings ofJodie Christian and Scott Fields and founded the ensemble Laws of Motion . He also starred with Matthew Shipp , Arthur Blythe , David Murray , Joseph Jarman , Marilyn Crispell , Von Freeman , Hamid Drake , Corey Wilkes , Ed Wilkerson and many other musicians. In the field of jazz Davis participated in thirty recording sessions from 1988 to 2009.

Isaiah Collier is a musical virtuoso in the truest sense of the phrase he began playing saxophone at age 11, and his intuitive proficiency earned him attention early on. He plays his influences, which he describes as a “sonic time machine; you can’t really put a time or destination on it.” In terms of where he plans to take his music, Collier says, “I reach backwards and I reach forwards simultaneously when creating art and what is ahead of me is the past.”

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Raine Stern Band   $10
Sep
5
8:00 PM20:00

Raine Stern Band $10

Raine Stern known for her virtuosic blues guitar playing, soulful vocals, heartfelt lyricism and highly developed songwriting will be premiering for the first time at North Street Cabaret with original compositions from her upcoming album as well as performing blues songs we all know and love. At 20 years old she has already made a compelling impact on the Madison music scene, winning multiple awards including the 2016 MAMA award for guitarist of the year.

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Fareed Haque & Goran Ivanovic   $20   Advance tickets available
Sep
7
8:00 PM20:00

Fareed Haque & Goran Ivanovic $20 Advance tickets available

https://www.brownpapertickets.com/event/4202679

Inspired by the rhythms and melodies of flamenco, jazz, classical, rock and the Balkan region, this performance features the unrivaled guitar artistry of two of the finest players of their respective generations. Their music is carefully balanced between blazing virtuosity and sheer beauty.

Goran Ivanovic and Fareed Haque recorded two CDs together, Macedonian Blues and 7 Boats, to great critical acclaim, even getting the nod as top best acoustic guitar albums 2004 from acoustic guitar magazine. Both have both been so busy that they have not been able to play again together for years.

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Wisconsin Fellowship of Poets - "WE LIVE"  Poetry reading  & Poetry Open Mic
Sep
11
7:00 PM19:00

Wisconsin Fellowship of Poets - "WE LIVE" Poetry reading & Poetry Open Mic

Featuring former Milwaukee Poet Laureate Dasha Kelly Hamilton and Sun Prairie poet Poetic Ye. Poems of defiance and positive change in these troubling times.

Join us for an evening of poetry featuring former Milwaukee Poet Laureate Dasha Kelly Hamilton, a Creative Change Agent with two collections of poetic work published, Hershey Eats Peanuts and Call It Forth and Poetic Ye (pronounced "Yay"), author of Throwing Rocks At The Pen, an anthology of poetry chronicling the path from crime to self-freedom. They will share poems of defiance and positive change as we struggle in these tumultuous times. There will be an Open Mic following the featured readers. Open Mic sign-up will begin at 6:30 p.m. Free. Sponsored by the Wisconsin Fellowship of Poets (www.wfop.org).


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Betsy Ezell Quintet    $10
Sep
14
8:00 PM20:00

Betsy Ezell Quintet $10

The Betsy Ezell Quintet returns to the North Street Cabaret with new original music and new arrangements of well known standards. They approach the vocal jazz as a conversation between all the voices -- those sung and those played. Each player brings unique expertise, from Latin music to gospel, blues to Americana, all adding to the richness of the sound. The Betsy Ezell Quintet will feature Betsy Ezell (vocals), Becca May Grant (keys), Richard Hildner (guitars), Matt Rodgers (bass), and Chris Sandoval (drums).

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Big Sandy & His Fly-Rite Boys    $14   Advance tickets available
Sep
19
8:00 PM20:00

Big Sandy & His Fly-Rite Boys $14 Advance tickets available

https://www.brownpapertickets.com/event/4201860

Over the last three decades, Big Sandy and his Fly-Rite Boys have kept up a constant cycle of traveling back and forth across the lower 48, then hopping across the pond to Europe and beyond. They bring with them a brand of American music that has earned them an induction into the Rockabilly Hall of Fame, several national television appearances, guest spots on The Grand Ole Opry, and a slew of adoring fans.

"I truly love being out on the road, and I feel blessed to have the opportunity to sing my songs all over the world," said Sandy. "But when I'm away from the U.S. for too long, it's like I need a recharge... like I need a solid dose of everything Americana. Give me a Chuck Berry song while rolling down the interstate, or a truck stop conversation with a waitress who once danced with Lefty Frizzell, and I'm good for another three thousand miles".

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Big Sandy & His Fly-Rite Boys    $14   Advance tickets available
Sep
20
8:00 PM20:00

Big Sandy & His Fly-Rite Boys $14 Advance tickets available

https://www.brownpapertickets.com/event/4201860

Over the last three decades, Big Sandy and his Fly-Rite Boys have kept up a constant cycle of traveling back and forth across the lower 48, then hopping across the pond to Europe and beyond. They bring with them a brand of American music that has earned them an induction into the Rockabilly Hall of Fame, several national television appearances, guest spots on The Grand Ole Opry, and a slew of adoring fans.

"I truly love being out on the road, and I feel blessed to have the opportunity to sing my songs all over the world," said Sandy. "But when I'm away from the U.S. for too long, it's like I need a recharge... like I need a solid dose of everything Americana. Give me a Chuck Berry song while rolling down the interstate, or a truck stop conversation with a waitress who once danced with Lefty Frizzell, and I'm good for another three thousand miles".

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One for the Foxes      $10
Sep
26
8:00 PM20:00

One for the Foxes $10

Dave Curley, Tadhg Ó Meachair & Joanna Hyde form an exciting and dynamic transatlantic trio that presents a rousing blend of Irish and American folk music, having already won over audiences on both sides of the ocean. The group is made up of Dublin’s Tadhg Ó Meachair (Goitse), Galway’s Dave Curley (SLIDE) and Denver, Colorado’s Joanna Hyde (The Hydes), and features a mix of Irish and American folk music and song – both traditional and newly-composed – presented in an energetic and engaging manner. Their performances strike a tasteful balance between the stories found in ballads across both sides of the Atlantic and the respective instrumental music traditions of these places. Award-winning instrumentalists each in their own right, Dave, Tadhg & Joanna take a unique twist on the diverse strengths of their individual backgrounds, weaving between traditional melodies, their own compositions, and songs from the broader folk canon. The results are highly personalised and thrilling in their daring and forthright grasp of the material. Through a shared deep-rooted passion for Irish traditional music, this trio highlights the vital role of Irish traditional music as an origin of many American folk musics, and explores how those styles can interact with one another in a manner both eclectic and grounded.

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Rachel Baiman    $10   Advance Tickets Available
Sep
27
8:30 PM20:30

Rachel Baiman $10 Advance Tickets Available

Brown Paper Tickets https://www.brownpapertickets.com/event/4295591

Rachel Baiman’s June 2017 label debut Shame was featured on NPR’s “Songs We Love”, called a “Rootsy Wake-up Call” by Folk Alley, and described by Vice’s “Noisey” as “flipping off authority one song at a time.” Now Baiman has announced Thanksgiving (out November 2 on Free Dirt Records), a self-produced four-song EP, featuring her live trio as well as special guests including Molly Tuttle and Josh Oliver

Thanksgiving is a collection of music to inspire an introspective holiday spirit.  The songs center around themes of Indigenous Rights, home and homelessness, and love in hard times. “Thanksgiving has always been one of my favorite holidays,” says Baiman. “But two years ago in November, the fight against the Dakota Access Pipeline was in full swing, and it just got me thinking about how the relationship between indigenous and white people in this country has hardly changed at all over the years. The irony of Thanksgiving being celebrated right as people were being arrested and sprayed with water guns for protecting their right to clean water really hit me”.

The EP opens with the jovial sounding “Tent City” which features  a hard-driving bluegrass band. However, the slaphappy sound becomes erie as the lyrics sink in , The song is  from the perspective of a man who has fallen from his picturesque middle class lifestyle into homelessness and addiction. Yet the matter-of-fact delivery huamizes his story and gives context to a character who might otherwise be treated as a statistic.

The collection is not all doom and gloom, however, as the first two darker tracks are followed by the cheerful John Hartford number “Madison Tennessee. “I’m getting married this year,” says Baiman, “My fiance and I recently moved out to Madison and have been fixing up a little cabin on the river. I spend so much time traveling, it’s an amazing feeling to finally put down some roots and work on creating a magical and inspiring space. This Hartford tune makes me feel giddy about home and for me thats what Thanksgiving is all about.” “Madison Tennessee” features bluegrass guitar virtuoso and Americana Music Association “Instrumentalist of the Year” Molly Tuttle, who toured in a duo with Baiman in 2018.

“Times Like These, the EP’s final track, features guitar player and singer Josh Oliver, another of Baiman’s frequent musical collaborators. Ending on an uplifting note, the song is a testament to the good that gets us through the bad. “Open the window / And let in the breeze / Darling I need you / Living in times like these,” sing Baiman and Oliver in emotive harmony. Oliver’s beautifully tragic voice hits the listener like teardrops on a page.


Baiman’s Thanksgiving is an intriguing follow up to Shame, allowing her a chance to stretch out stylistically, moving effortlessly between bluegrass, to bolk, old-time and country. The bittersweet lyricism she’s become known for conveys the push and pull of hardship and hope we often feel during the holiday season.

Raised in Chicago by a radical economist and a social worker, Baiman was surrounded by social justice issues her entire life. “If I wanted to rebel against my parents I could have become a finance banker or a corporate lawyer” she says of her childhood. While her classmates went to church or temple on Sunday mornings, Baiman attended the Ethical Humanist Society of Greater Chicago, a non-religious community formed around discussions of morality and current events. “That was always a tough one to explain at school” she says with a laugh.

As a teenager, Baiman found music to be a welcome escape from worrying about global politics. “I often found the constant discussion of seemingly unsolvable problems to be intense and overwhelming, and when I moved to Nashville to pursue music it felt like something positive, beautiful and productive that I could put into the world. Now that I’ve had some years to devote to music,”—Baiman has been recording and touring internationally for the past 4 years with 10 String Symphony, and has played fiddle for numerous other artists including Kacey Musgraves and Winnipeg folk band Oh My Darling—“I find it hard to escape from the values that I grew up with, and I feel compelled to write politically, to speak out about things that I’ve experienced or seen. Songwriting is a unique opportunity to do that, because it avails a more emotional vehicle for discussion. I love the political tradition of folk music, from Woody Guthrie to Tupac, and my hope is that this record adds another voice to it.”


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2 Broads 1 Band    $10
Sep
28
8:00 PM20:00

2 Broads 1 Band $10

Singers Lo Marie and Carolynn Schwartz Black are bawdy, sultry, and sweet, singing all your favorite Jazz standards, some as solos and some as duets. With their similarities as well as their obvious differences, the two ladies put on quite an entertaining show. They are backed by some of Madison’s finest musicians.

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Bad Philosopher    $10
Oct
3
8:00 PM20:00

Bad Philosopher $10

Bad Philosopher is an electric jazz trio based out of Madison, WI whose performance consists of original compositions fusing elements of both classical, pop, funk and jazz music with extended improvisations. The unorthodox background and approach of each member makes this trio unique. Multi-award winning 6-string electric bassist Josh Cohen uses tapping techniques to fulfill the role of both bass player and guitarist in one instrument, creating polyphonic textures that seamlessly interweave their compositions. The three-time concerto award winning pianist/keyboardist Jason Kutz, known for his ability to traverse both classical and jazz styles, employs his virtuosic technique and highly developed musical sensibilities to add rich layers of chordal harmony and melodic content. Finally, drummer Chris Di Bernardo, armed with an in-depth knowledge of jazz and popular music and road tested experience with the critically acclaimed Madison reggae band Natty Nation, provides an infectious rhythmic underpinning, supporting the band while serving up a plethora of diverse percussive improvisations connecting the music to its African roots. Having formed less than one year ago, Bad Philosopher is already performing regularly and will begin recording their debut album in the summer of 2019.


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Rare Element    $10
Oct
4
8:00 PM20:00

Rare Element $10

The new Madison, Wisconsin based horn band, RARE ELEMENT performs high-energy instrumental funk music in a truly unique manner. The band’s highly talented roster coupled with it’s creative and intricate arrangements make Rare Element a must-see act.
Chad Whittinghill (trumpet, flugelhorn) and Bryan Husk (tenor, baritone sax) first met in 2003 as members of the urban neo-soul band, VIBE SYNDICATE. Unbeknownst to them, they would spend the next 16 years playing side by side at hundreds of shows with some of Wisconsin’s finest funk and blues bands. For years, they honed their skilled working together with CLYDE STUBBLEFIELD's weekly Funky Monday shows. Later, the two would team up with Hammond B-3 ace Jimmy Voegeli and his blues supergroup, THE JIMMYS
A while later, they crossed paths with Nat McIntosh (trombone) and the horn section was born. Nat is a long-time member and composer for the phenomenal YOUNGBLOOD BRASS BAND. Over the years, they shared a common goal to create a band where this horn section could be pushed to it's limit. Finally, in 2018, a roster of highly skilled musicians was assembled to make this goal a reality
They named that band...RARE ELEMENT.
Todd Phipps (keyboards, B3 organ) of THE BLUE OLIVES (and many other bands) was the first join. Longtime Madison talent, Joe Niesen (guitar), also got in early. Joe liked what he heard and recruited quietly infamous bassist, Brett Farrey, formerly with SMOKIN’ WITH SUPERMAN.
The critical piece of the puzzle was finding the right drummer to keep it funky. Enter Mark Marsh, 2016 WAMI (Wisconsin Area Music Industry) Award Winning Drummer of the Year. Mark brings relentless energy and deep groves to every performance.

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The Collection    $10/Advance   $13/Door
Oct
10
8:00 PM20:00

The Collection $10/Advance $13/Door

https://www.brownpapertickets.com/event/4286478

Entropy / entrp/ noun. lack of order or predictability; gradual decline into disorder.

On the surface, the name of NC band The Collections new album, Entropy, may seem deceptive. Over the four years since the release of their chamber pop, 25-piece ensemble debut, Ars Moriendi, the band shed enough weight to become an efficient touring band, garnered praise from NPR and American Songwriter, toured nationally with bands like The Oh Hellos and Lowland Hum, and performed dynamic sets at CMJ and New Music Seminar as an official Top 100 Artists On The Verge.
The trimming-of-the-excess was soon mirrored in vocalist David Wimbishs spirituality, resulting in the bands 2017 follow-up, Listen To The River, The Collections first member-arranged group of songs. Inspired by Herman Hesses Siddhartha, and the poetry of Rumi, the album took a step off of the fence walked between faith and doubt on Ars Moriendi, landing distinctly on the side of doubt. The constitutive single, Sing Of The Moon, received over 3 million streams between Youtube and Spotify, the release tour brought hundreds of people to venues across the country, and The Collection was featured at Wild Goose Festival, and Switchpoint Conference alongside PRIs Marco Werman.
Even Entropys debut single Beautiful Life, which PopMatters called, symphonic, poetic wonderment, seems to be about finding order by watching the natural world. Beneath the surface of all of this, however, is another story.
During the recording of Listen To The River, then-married band-members David and Mira Joy ended their marriage. Though committed to finishing the project peacefully together, the next months were a chaotic chain of events that left them with a totalled car, no house, no work, few friends, and the dwindling commitment of some bandmates.
Starting over alone in a new city, Wimbish began to write for a new solo project, freed from the assumed expectations of fans and band-members. The result was the most focused, honest, and intimate batch of songs the 27 year old songwriter had written, lyrically and musically. As the writing progressed, and the band had to stare its impending death in the eyes, a solid and enduring core emerged. Members Hayden Cooke (Bass), Joshua Ling (Harmonium/Guitar/Vocals), and Graham Dickey (Horns/Bells) lent their performances to David Wimbishs (Vocals/Guitar/Keys/Strings) fleshed out songs, birthing The Collections 3rd full-length record from the ashes of the unfinished solo project. With the addition of husband-and-wife Joshua Linhart (Drums) and Sarah McCoy (Keys/Synth/Vocals), the band finally found its firm footing.
And that is where the story of Entropy is revealed: Though meant to document Davids lifes gradual decline into, and subsequent recovery from, disorder, the album became a living testimony to The Collections own experience of entropy. Now, with the wisdom of hindsight, the band is back and focused, with a passion for sharing what theyve learned: that on the other side of disorder lies a new sense of beauty.

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Corky Siegel’s Chamber Blues with Tracy Nelson   $35  Advance tickets available
Oct
11
8:00 PM20:00

Corky Siegel’s Chamber Blues with Tracy Nelson $35 Advance tickets available

https://www.brownpapertickets.com/event/4217767

Two extraordinary powerhouses come together for a night of dazzling musical fireworks with riveting blues harp from one of the country's best, Corky Siegel, who will be joined by the compelling twice Grammy nominated country-blues vocalist, Tracy Nelson.

Siegel has earned an international reputation as one of the world's great blues harmonica masters. He is a composer, blues pianist, singer-songwriter and winner of the Lila Wallace national award for chamber music composition, the Illinois Arts Council Fellowship Award for Music Composition, a Chicago Lifetime Achievement Award, and a place in the Chicago Blues Hall of Fame.

Nelson is a fierce singer of truth and a fountain of the deepest heartache, she is an ultimate communicator and has regularly dissolved audiences across decades of performing. She is one of the few female singers who has had hit records in both blues and country genres, with Grammy nominations for both her country and blues efforts. Tracy’s signature song, “Down So Low,” has been covered by Etta James, Linda Ronstadt, Dee Warwick, and Cyndi Lauper.  Her duet, “ After The Fire Is Gone," with mega-country star Willie Nelson, was nominated for a Grammy Award

A 19 year old Tracy Nelson, the founder of Mother Earth, and a 23 year old Corky Siegel, a founder of the Siegel-Schwall Band, first met in 1967 in the hey-day of the rock revolution and San Francisco's “Summer of Love". They shared stages with their peers, Janis Joplin, Jimi Hendrix, Jeff Beck and Sly and the Family Stone, and countless legends at San Francisco’s premier rock palaces, the Filmore, the Avalon Ballroom and Western Front. Corky and Tracy reconnected again in 2004, while touring and recording as part of an “all-stars” blues band, The Chicago Blues Reunion.  The project’s only CD, “ Buried Alive in the Blues," received four stars from Rolling Stone Magazine’s founder, David Fricke, and was called “One of the last of the real deals,” by Joel Selvin - San Francisco Chronicle.

Corky Siegel’s Chamber Blues is celebrating more than 30 years of performances bringing this original genre to prestigious festivals and concert halls internationally including :  The Aspen Music Festival, Canada’s Banff Centre, the Montreal International Jazz Festival, Blues Sur Seine Festival, France, The Grand Teton Music Festival, Chicago’s Symphony Center, and in January 2019, to Mexico's Teatro Angela Peralta Opera House, and the internationally acclaimed Noche de Primavera Festival of Mexico City in March of 2019.  Their most recent recording, “Different Voices,” received Downbeat Magazine’s 2017 Editor’s Pick, calling Siegel: “ A national treasure."  

“Corky Siegel is a phenomenon on harmonica.” - Washington Post

“Tracy Nelson proves that the human voice is the most expressive instrument in creation.”
~ Rolling Stone Magazine / John Swenson 

CHAMBER BLUES: “A significant step forward into new dimensions of feeling, content, and technique - A classification shattering mix.” - Jazziz Magazine

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Immigré    $10
Oct
12
8:00 PM20:00

Immigré $10

Swirling, ostinato guitar patterns, deep, funky bass lines, and a monstrous percussion section lay the foundation for the searing melodies of the horn section, accentuated by pulsing electric piano comps. The sum total is a sound so massive, a beat so infectious, that audiences can’t sit and watch. The dance floor draws them in while the groove takes hold.

In case you haven’t caught this 10-piece Afrobeat ensemble before, if you frequent live shows around Madison, chances are good you’ve heard some of Immigré’s musicians with other groups in town. Featuring players from bands such as Youngblood Brass Band, Tani Diakite and the Afrofunkstars, The Mustache, and The Big Payback, these guys have been bringing the funk to dance floors across the Midwest for years. Now, with Immigré, the notorious Afrobeat sound has descended upon Wisconsin in a big way.

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Leroy Jones - The New Orleans Tribute    $20/Advance - $25/Door
Oct
18
8:00 PM20:00

Leroy Jones - The New Orleans Tribute $20/Advance - $25/Door

Brown Paper Tickets link https://www.brownpapertickets.com/event/4311265

Backing Mr. Jones will be Madison musicians: Darren Sterud, Jordan Cohen, John Christensen and Dave Stoler.
The legendary jazz trumpeter Leroy Jones is known to music lovers as the "keeper of the flame" for traditional New Orleans jazz and to critics as one of the top musicians ever produced by the Crescent City.
"The mission of the Leroy Jones Quintet is to expose audiences everywhere to the authentic music of New Orleans, the music of Louis Armstrong, Buddy Bolden, Danny Barker and all the other greats who have helped create the rich gumbo that is the sound of New Orleans," he says, "while putting our own more modern stamp on it."
Jones himself, a native of New Orleans, whose playing has been described as a blend of Louis Armstrong and bebop virtuoso Clifford Brown, has been a critical figure in the history of New Orleans music.
A member of the New Orleans Jazz Hall of Fame, he was leader at the tender age of 12, of the seminal Fairview Band, a brass band whose alumni have included some of the best known musicians in New Orleans. It was the Fairview Brass Band which is widely credited with restoring interest in the brass band tradition of New Orleans. Today, in fact, New Orleans has more brass bands performing than at any time in the city's history an achievement that can be traced back directly to the Fairview Band and its successor the Leroy Jones Hurricane Brass Brand.
A regular at Preservation Hall in New Orleans and a featured performer in the Harry Connick Orchestra, where his playing and singing have made him a crowd favorite, Leroy has performed on every continent and in every major U.S. city at prestigious theaters, festivals and jazz clubs like the Village Vanguard in New York City. His television appearances include The Tonight Show, Good Morning America, Late Night with David Letterman, The Today Show, Arsenio Hall, Conan O'Brien and Oprah Winfrey. He is also a regular at the world famous New Orleans Jazz and Heritage Festival, as well as French Quarter Fest and the Satchmo Summerfest.
He has also appeared on the soundtrack of the smash hit movie "Sleepless in Seattle" starring actor Tom Hanks.
Leroy has released a series of highly regarded CDs including "Props for Pops" his tribute to Louis Armstrong, "Back to My Roots," "Mo' Cream from the Crop", "Soft Shoe" and "Sweeter Than A Summer Breeze". He has appeared on numerous recordings with other artists such as Dr. John, the Preservation Hall Jazz Band, Anders Osborne, Chuck Carbo, Spirit of New Orleans, John Boutté, Lillian Boutté, Paul Sanchez, Danish Radio Big Band, Guillaume Nouaux and many, more others.
"The Leroy Jones Quintet sound sums up all those great experiences and influences," says Leroy, "and gives me a chance each night to make sure that the great music of New Orleans is performed authentically and with great respect for the artists who came before me. Not in an old-fashioned way, but with a modern swing that comes from my love of bebop and other forms of modern jazz."
A typical set list for the Leroy Jones Quintet includes traditional numbers like "Bourbon Street Parade," "Sleepy Time Down South," "Basin Street Blues," "Do You Know What it Means (to Miss New Orleans)," "Dinah" and "When My Dreamboat Comes Home" along with his own compositions like "Soft Shoe" that are played and sung impeccably by Jones with the kind of swing that only a musician with his pedigree can deliver consistently night after night.

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LEROY JONES - THE NEW ORLEANS TRIBUTE $20/ADVANCE - $25/DOOR
Oct
19
8:00 PM20:00

LEROY JONES - THE NEW ORLEANS TRIBUTE $20/ADVANCE - $25/DOOR

Brown Paper Tickets link . https://www.brownpapertickets.com/event/4311265

Backing Mr. Jones will be Madison musicians: Darren Sterud, Jordan Cohen, John Christensen and Dave Stoler.
The legendary jazz trumpeter Leroy Jones is known to music lovers as the "keeper of the flame" for traditional New Orleans jazz and to critics as one of the top musicians ever produced by the Crescent City.
"The mission of the Leroy Jones Quintet is to expose audiences everywhere to the authentic music of New Orleans, the music of Louis Armstrong, Buddy Bolden, Danny Barker and all the other greats who have helped create the rich gumbo that is the sound of New Orleans," he says, "while putting our own more modern stamp on it."
Jones himself, a native of New Orleans, whose playing has been described as a blend of Louis Armstrong and bebop virtuoso Clifford Brown, has been a critical figure in the history of New Orleans music.
A member of the New Orleans Jazz Hall of Fame, he was leader at the tender age of 12, of the seminal Fairview Band, a brass band whose alumni have included some of the best known musicians in New Orleans. It was the Fairview Brass Band which is widely credited with restoring interest in the brass band tradition of New Orleans. Today, in fact, New Orleans has more brass bands performing than at any time in the city's history an achievement that can be traced back directly to the Fairview Band and its successor the Leroy Jones Hurricane Brass Brand.
A regular at Preservation Hall in New Orleans and a featured performer in the Harry Connick Orchestra, where his playing and singing have made him a crowd favorite, Leroy has performed on every continent and in every major U.S. city at prestigious theaters, festivals and jazz clubs like the Village Vanguard in New York City. His television appearances include The Tonight Show, Good Morning America, Late Night with David Letterman, The Today Show, Arsenio Hall, Conan O'Brien and Oprah Winfrey. He is also a regular at the world famous New Orleans Jazz and Heritage Festival, as well as French Quarter Fest and the Satchmo Summerfest.
He has also appeared on the soundtrack of the smash hit movie "Sleepless in Seattle" starring actor Tom Hanks.
Leroy has released a series of highly regarded CDs including "Props for Pops" his tribute to Louis Armstrong, "Back to My Roots," "Mo' Cream from the Crop", "Soft Shoe" and "Sweeter Than A Summer Breeze". He has appeared on numerous recordings with other artists such as Dr. John, the Preservation Hall Jazz Band, Anders Osborne, Chuck Carbo, Spirit of New Orleans, John Boutté, Lillian Boutté, Paul Sanchez, Danish Radio Big Band, Guillaume Nouaux and many, more others.
"The Leroy Jones Quintet sound sums up all those great experiences and influences," says Leroy, "and gives me a chance each night to make sure that the great music of New Orleans is performed authentically and with great respect for the artists who came before me. Not in an old-fashioned way, but with a modern swing that comes from my love of bebop and other forms of modern jazz."
A typical set list for the Leroy Jones Quintet includes traditional numbers like "Bourbon Street Parade," "Sleepy Time Down South," "Basin Street Blues," "Do You Know What it Means (to Miss New Orleans)," "Dinah" and "When My Dreamboat Comes Home" along with his own compositions like "Soft Shoe" that are played and sung impeccably by Jones with the kind of swing that only a musician with his pedigree can deliver consistently night after night.

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Juliet Simmons Dinallo and Michael Dinallo    $10
Oct
24
8:00 PM20:00

Juliet Simmons Dinallo and Michael Dinallo $10

Juliet Simmons Dinallo and Michael Dinallo are following in the rich tradition of Nashville husband/wife musical duos – Johnny Cash and June Carter Cash, Susanna and Guy Clark among others. They are currently touring together supporting Juliet’s new album Dream Girl

“Juliet Simmons Dinallo draws on a variety of influences - Shelby Lynne, Dusty Springfield and Emmylou Harris all play out among them - but given her sweet caress and compelling stance, it's all but impossible to think of anyone other than Dinallo herself when listening to this utterly alluring album. In short, consider this an album for the ages.”- Lee Zimmerman, Country Standard Time

Singer-songwriter Juliet Simmons Dinallo - Boston Roots and Cowgirl Boots. All the way from Nashville to Memphis, and beyond, Dream Girl is the evolution of Juliet Simmons Dinallo’s singing, songwriting, and journey that began with 2013’s No Regrets on Tree-O-Records. Born in North Carolina, Juliet grew up in Maine and came of age as a musician in Boston. Juliet studied music at the Berklee College of Music, where she landed a spot on the world-renowned Berklee Gospel Choir. She recently moved to Nashville, and these experiences have influenced her songwriting, singing and performance style, giving everything she does a unique expression. 

"The only question is why has it taken multi-talented Michael Dinallo 30 years to finally come out with a debut? Crooked Road Songs is, in a word, spectacular. The man knows how to put a record together. He’s done so producing Eddie Floyd on Stax and the Charlie Rich tribute album last year, both projects brimming with ideas, alacrity and total joyousness. Rock on, dude. I’m a fan." - Mike Greenblatt, Goldmine

Producer-guitarist-songwriter Michael Dinallo grew up in Ohio then moved to Boston to attend Berklee College of Music. As bandleader for The Radio Kings, who made two records for Icehouse Records in Memphis (including Live at B.B.King’s), and The Mercy Brothers, he has traveled the world. Turning to producing artists in the early 2000’s, Michael has produced Norwegian singer-songwriter William Hut’s gold and platinum awarded album Nightfall along with two number one singles for Universal Music Group. He continued his affiliation with Memphis by producing Eddie Floyd’s return to Stax Records Eddie Loves You So and Feel Like Going Home: The Songs of Charlie Rich for the Phillips Family and Memphis International Records. His most recent project is Juliet Simmons Dinallo’s Dream Girl on BFD/Sony RED. Since relocating to Nashville, Michael has started the popular musical revue Crooked Road Songs (based on the idea of his 2017 EP Crooked Road Songs on Black Rose Records) and received Best of 2018 honors in The Nashville Scene.

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Eilen Jewell   $20   Advance Tickets Available
Oct
26
8:00 PM20:00

Eilen Jewell $20 Advance Tickets Available

Brown Paper Tickets https://www.brownpapertickets.com/event/4311328

By turns personal and political, pissed off and blissed out, Jewell’s first album of original material since 2015 expands brief moments of joy into lifetimes, and distills epic sentiments and persistent doubts into succinct songs. Yet rather than pulling artist and listener this way and that, the tensions within and between these 12 tracks propel her eighth studio album forward as a remarkably cohesive full-length.

The disc kicks off with Crawl, a rollicking country rocker that revels in indecision, pitting the terrifying urgency of now against nostalgic longing:

I want to crawl right out of my skin
Go back in time, cake walk in red fringe
I want solitude, don’t want to be alone
Want to put down roots, want to be a rolling stone

Ive been writing bits of that one for close to eight years now, says Jewell. Ive felt that polarity in my life a lot, ever since I can remember, and I wanted to capture that discomfort and angst. Putting it into words and music felt cathartic. Now, whenever I feel that tug-of-war, I can sing my song about it.

Witness sits at another end of the spectrum, a celebratory sunset burnished with honesty and understated brass, written quickly in a Central Idaho cabin. I was still a relatively new mother, and experiencing this frequent opening of my heart, realizing that it had been clenched like a fist for so long. Little ones have this way of disarming us, and so do little moments that startle you, like a beautiful sunset or a bird song ... but that openness is always there. You dont have to seek it out, you just have to choose to open yourself up to it.

Agitated by the state of the world, Eilen gave herself permission to tiptoe into protest music on Gypsy, too. 79 Cents (The Meow Song) skewers sexism and discrimination with pointed humor, while Beat the Drum lifts up a rallying cry to fellow travelers struggling to maintain hope in the face of adversity. Startled by backlash from both sides when she casually spoke some common sense about the Chief Executive in a recent interview, she decided to speak out rather than shut up. I dont see politics as separate from the rest of life. Theyre intertwined. This is personal, especially in the past few years.

Further testing her limits, Jewell played electric guitar on Gypsy, the first time shes recorded on the instrument. That posed its own set of challenges, she admits. Playing it on stage, where theres more room to have things sound not exactly the way you want them, is one thing, but in the studio Id think Is this really the way I want to portray this song? Not only did certain sounds elude her, so did the words to express precisely what she was seeking. I lacked the vocabulary, but its great to feel humbled in that way. You realize that the world of music is so vast that even one aspect can represent a lifetime of learning, and thats what makes it so cool.

Longtime fans who love Eilen Jewell in classic country mode will delight in These Blues and You Cared Enough to Lie." She describes the latter, the sole cover on Gypsy, as one of many songs I wish Id written. Even so, her foray into the music of Idaho legend Pinto Bennett felt as intensely personal as any original.

Pinto was playing every Saturday at a local dive bar that Id always been too afraid to go into, one of those real beauties with no windows, the kind of place that makes you think, If I go in there, the needle will scratch across the record and everyone will stare. Instead, prompted by a friend who was playing drums in Bennetts band, Jewell and her husband, Jason Beek, found themselves returning week after week to learn more from the hard-living Nashville veteran.

"The first time I heard Pinto play 'You Cared Enough to Lie,' I looked at the steel player, and he looked at me, and he tapped his head with a finger, then pointed at me and mouthed You have to cover that, she remembers. Which is so funny, because Id just thought the same thing. (The affinity proved to be mutual: Jason produced Bennett's latest album, The Last Saturday Night, with Eilen providing guest vocals.)

Long hailed for her ability to interpolate different genres into her own sound, Jewell manages to make the distinct songs of Gypsy play well together, without compromising their individuality. By the same token, shes rarely seemed more willing to let different facets of her personality and talent shine through.

I always try to be honest when I make an album. Is this really what I want to say? Is that how I want to say it? With time and experience, trust in her own ideas and abilities continues to escalate. Writing still doesnt feel like an easy process, but after 13 years, its a bit more second nature. Gradually, shes accepting that all her feelings are valid, even if they sometimes seem at odds.

I often resent that feeling of being pulled in different directions, but without that pull, life is like a guitar string that's not taut, she concludes. A loose string makes a terrible sound.

As the reigning Queen of the Minor Key, Jewell leads a tight quartet that blends influences of surf-noir, early blues, classic country, folk, and 1960s era rock n roll. For well over a decade, theyve toured relentlessly for legions of fans from Boston to Boise and Madrid to Melbourne, playing large festivals, theaters, rock clubs, and coffeehouses. The group has shared stages with the likes of Lucinda Williams, Loretta Lynn, Mavis Staples, Wanda Jackson, George Jones, Emmylou Harris, and Blind Boys of Alabama. Eilens fans have marveled at her warmth and onstage humor alongside her beautiful songs and fiery performances. In addition to six of her own full-length albums, Jewell has released two albums with her country-gospel side-project, the Sacred Shakers; a tribute album to Loretta Lynn titled Butcher Holler; and a recent album of rare blues covers, Down Hearted Blues.

The Los Angeles Daily News said, "Sometimes as darkly damaged as Lucinda Williams, at others as defiant and teasing as prime Peggy Lee and always authentically Americana in the Gillian Welch tradition ... She's mighty good.

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Madtown Mannish Boys .  $10
Nov
1
8:00 PM20:00

Madtown Mannish Boys . $10

The Madtown Mannish Boys are a Madison-based Blues band who are steeped in Chicago-style Blues, including artists like Muddy Waters, Junior Wells, Otis Spann, Paul Butterfield, and Little Walter. They perform with raw exuberance and driving rhythms that make you want to boogie. Some of their tunes are harmonica-driven, played with gritty fervor and intense energy. Others are soulful ballads, heavily influenced by the likes of Otis Redding and Sam Cooke. This mix of styles and genres makes for an entertaining and dynamic show that you won’t want to miss.

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Trio Soleil       $5
Nov
7
8:00 PM20:00

Trio Soleil $5

We play delightful French tunes with a Django feel,  soulful Jazz standards from the Great American Songbook, uptempo New Orleans-influenced covers of Lucinda Williams, Tom Waits and other greats, tender ballads that will make you weep (well, they make US weep), and a smattering of delightful original tunes folks seem to love.

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Sugar Maple Series presents Ray Bonneville    $18/Advance   $25/Door
Nov
15
8:00 PM20:00

Sugar Maple Series presents Ray Bonneville $18/Advance $25/Door

https://raybonneville.com/home

Acclaimed raconteur Ray Bonneville strips his bluesy Americana down to its essentials and steeps it in the humid grooves of the South, creating a compelling poetry of hard living and deep feeling. His ninth release, At King Electric, delivers more than his trademark grit and groove. Songs such as “The Next Card to Fall” and “Codeine” gleam with intimate narratives of characters reaching for hope and wrestling with despair. Rich guitar and harmonica lines resonate over spare but spunky rhythms, while Bonneville’s deep, evocative voice confesses life’s harsh realities. 

Jim Withers (Montreal Gazette) describes his sound as “folk-roots gumbo… a languid Mississippi Delta groove, seasoned with smooth, weathered vocals and a propulsive harmonica wheeze.” Whether performing solo or fronting a band, playing electric or acoustic guitar, Bonneville allows space between notes that adds potency to every chord, lick, and lyric. Thom Jurek (Allmusic.com) remarks, “With darkness and light fighting for dominance… he’s stripped away every musical excess to let the songs speak for themselves.” 

Often called a “song and groove man,” Bonneville has lived the life of the itinerant artist. From his native Quebec, he moved to Boston at age twelve, where he learned English and picked up piano and guitar. Later, he served in Vietnam and earned a pilot’s license in Colorado before living in Alaska, Seattle, and Paris. Six years in New Orleans infused his musical sensibilities with the region's culture and rhythms. And then, a close call while piloting a seaplane proved pivotal: After two decades working as a studio musician, playing rowdy rooms with blues bands, and living hard, Bonneville’s lifetime of hard-won experience coalesced into an urge to write his own music. 

Ray recorded his first album, On the Main, in 1992. He’s since released nine albums, earned wide critical and popular acclaim, and won an enthusiastic following in the U.S., Canada, and Europe. His awards include a prestigious Juno, the Canadian equivalent of a Grammy, for his 1999 album, Gust of Wind. In 2012, Ray won the solo/duet category in the Blues Foundation’s International Blues Challenge. His post-Katrina ode, “I Am the Big Easy,” earned the International Folk Alliance’s 2009 Song of the Year Award, placed number one on Folk Radio’s list of most-played songs of 2008, and was recently covered by Jennifer Warnes for the BMG label. 

Other notable artists who have recorded his songs include Ronnie Hawkins (“Foolish”) and Slaid Cleaves (“Run Jolee Run”). Ray has shared the bill with blues heavyweights Muddy Waters, B.B. King, Dr. John, J.J. Cale, and Robert Cray, and has guested on albums by Mary Gauthier, Gurf Morlix, Eliza Gilkyson, Ray Wylie Hubbard, and other prominent musicians. He has performed at renowned venues around the world, including South by Southwest, Folk Alliance, and Montreal International Jazz Festival, and plays over 100 shows per year across the U.S., Canada, and Europe. When not on the road, he resides in Austin, Texas.

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Dobet Gnahoré     Advance/$20  - Door/$25
Aug
16
8:00 PM20:00

Dobet Gnahoré Advance/$20 - Door/$25

Brown Paper Ticket Link : https://www.brownpapertickets.com/event/4289909

You Tube link : https://www.youtube.com/watch?v=ythVjqTJq0E

Africa has its internationally acclaimed female voices and the voice of Dobet Gnahoré has made its mark there. With “MIZIKI”, the voice of the multi-talented Ivorian singer resonates African sounds mixed with samples of electronic music, a subtle blend revealing a musical style which echoes her own character – freedom. The freedom to make a fifth album in which modernity feeds on tradition and heritage. Inspired by her travels all around the world (more than 800 concerts since 2004), Dobet shares a new and hitherto unsuspected side of her personality. It took four years to compose “MIZIKI”, probably her boldest, most personal album and one which pays homage to the two principal causes she supports: a rich, generous and unified Africa and the strength of African women. In her words and on stage, Dobet, the standard-bearer of a new generation of daring and determined Africans, celebrates the valiant and kind woman.

Songwriter, composer and performer, Dobet entrusted the production of “MIZIKI” to Nicolas Repac (Arthur H, Mamani Keita, Republica Ideal de Acapulco). This album is the result of the fusion of their two identities: Dobet loves the music of Africa (Yemi Alade, Miriam Makeba, Brenda Fassie) but is equally enthusiastic about Björk or Christine and the Queens… a fact which Nicolas Repac clearly took on board. Faithful to the languages of Africa – Côte d’Ivoire has 72 dialects – for this album – possibly her best yet - she concentrates on Bété, her mother tongue. Dobet Gnahoré has definitely reached a turning point and has left labels behind to express her frankest and most sincere emotion more precisely. “I want to make people dream while remaining a free artist”. Mission accomplished, enchantment and melody in the lead. She was born far from the city and at the age of six in Abidjan she once again met her father, a recognised master percussionist who had helped set up the village of Ki Yi M’bock where he then lived. Place of a Utopian experiment, we work from five in the morning, studying music, dance and theatre, everything needed to become a complete artist. People of all nationalities meet there and African stars come to breathe and emulate its atmosphere: Ray Lema, Youssou N’Dour, and Lokua Kanza are frequent visitors. Dobet soon realised that here was where she would learn about life. She attended school in that unique place and learned through working and watching. Her meeting with the guitarist Colin Laroche de Féline did the rest, leading her to singing and taking her to France in 1999.

Inspired by exceptional encounters such as Angélique Kidjo and Lokua Kanza, Dobet started modelling and fashioning her voice, described as “rather special, very strong, capable of expressing the highs and lows ...” and came to the attention of the Belgian label Contre-Jour for which she made four albums. After several tours in the United States (where she performed at Old Town School of Folk Music and University of Washington) and performing all over the world, she confesses “When I’m not travelling, I get depressed”. In 2010, through the voice of India Arie who changed her song “Palea” to “Pearls”, she won a Grammy Award. In the same year, the Guardian newspaper described her performance as “the WOMAD festival’s best act”. The girl from Ki Yi M’bock continued her ascent with “MIZIKI”, for the first time affirming her role as a composer. Starting with the melody, she delivered little musical phrases which went straight to the heart. “I compose alone because I want to marry my creation so as to give it to the public”. Not descending into dance music and not forgetting tradition, but with Nicolas Repac’s support, she issued an album which is more electronic with its samples and sonorities. The roots of “MIZIKI” lie in the “ball of fire” which burns within her. Her words are simple, direct and therefore universal. “Akissi“ speaks of the rebel she will always be, “Miziki“ of her love for music, “La clé“ [“The key”] of a lost love (and a new one found), while “Education” is essential for emancipation.

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Piper Road Spring Band    $15
Aug
10
8:00 PM20:00

Piper Road Spring Band $15

Piper Road Spring Band was born into the age of rock & roll with individual backgrounds diverse as classical, cowboy, folk, blues and Dixieland. Influenced by some live performances of Doc Watson and Bill Monroe and the Nitty Gritty Dirt Band release of "Will The Circle Be Unbroken" in the early 1970's, they put away the electric amps and guitars and developed a unique acoustic/bluegrass style. They never completely abandoned their musical roots and have blended Irish fiddle tunes with American country, big band, novelty and space-aged Grateful Dead inspired jams.

The band continues to swing! With their strong bond of friendship, commitment to quality musicianship and continuing support of a strong fan base, Piper Road invites you to join them as their show hits the road. The current Piper Road roster has accumulated over 100 years of experience performing together.


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Harmonious Wail   $10 - Advance tickets available
Aug
3
8:00 PM20:00

Harmonious Wail $10 - Advance tickets available

Harmonious Wail are purveyors of Americana infused Gypsy Jazz that continues to take their listeners on a ride via the music of the Hot Club sounds of Paris to the deepest blues of the Memphis Delta to the folk scenes across “every town” America. The Wail are sublime entertainers, great educators and they’ve mastered the art of lifting spirits.

Harmonious Wail is Sims Delaney-Potthoff, a mandolin virtuoso, bandleader, vocalist and master of all things behind the curtain, Maggie Delaney-Potthoff, vocalist extraordinaire whose percussive instrument of choice is a cardboard box, but who also has a knack for exploring the musicality of almost any household object, and Jeffo Weiss, a master bassist who dazzles and mesmerizes on both upright and electric 5-string bass.

Every performance is played from the heart and infused with the perfect balance of ingredients that firmly proves that music truly does make the world a better place. The Wail celebrates 10 recordings in their 30 years of existence and is currently kicking off their 4th decade recording a new CD that teams them with a group of Gypsy Jazz All-stars.

https://www.brownpapertickets.com/event/4261024

Their gracious approach to music translates beautifully in any outreach program. They have honed their skills to provide excellent educational programs tailored to fit groups of varying skill and age. Popular

topics have included; ”the instrumentation of Gypsy Jazz”, “how to succeed in the music biz”, and Maggie’sMethod™ “If You Can Speak You Can Sing”.

Not only a touring band the ever reaching Harmonious Wail has enriched their lives working with National Public Radio by performing on multiple shows and even donating songs to use in annual fundraising campaigns. They have founded multiple charitable organizations placed music in film and recently received the 2017 Musicnotes Outstanding Musical Career Achievement Award.

As stewards of the Gypsy Jazz genre, they founded and have grown the Midwest Gypsy Swing Fest over the last decade and have begun to take the show on the road as a special concert package bringing amazing musicians from around the world together and placing them in front of concert audiences throughout the US.

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Tony Castañeda Latin Jazz with Tommie Matioli   $10
Jul
27
8:00 PM20:00

Tony Castañeda Latin Jazz with Tommie Matioli $10

The Tony Castañeda Latin Jazz Sextet has been honoring and keeping alive the latin jazz tradition for over 10 years, playing the music of what some call the Golden Age of Latin Jazz. (1940's-1960's) Constantly searching for the obscure gems of that era, the band felt a responsibility to present these treasures to a new audience with new vigor and life! The Afro-Cuban Jazz arrangements of that period are outrageously timeless and remain on a par with any jazz music coming out today. 

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Rachel Baiman    $10   Advance tickets available
Jul
24
8:30 AM08:30

Rachel Baiman $10 Advance tickets available

ticket link https://www.brownpapertickets.com/event/4295591

Rachel Baimans June 2017 label debut Shame was featured on NPRs Songs We Love, called a Rootsy Wake-up Call by Folk Alley, and described by Vices Noisey as flipping off authority one song at a time. Now Baiman has announced Thanksgiving (out November 2 on Free Dirt Records), a self-produced four-song EP, featuring her live trio as well as special guests including Molly Tuttle and Josh Oliver

Thanksgiving is a collection of music to inspire an introspective holiday spirit. The songs center around themes of Indigenous Rights, home and homelessness, and love in hard times. Thanksgiving has always been one of my favorite holidays, says Baiman. But two years ago in November, the fight against the Dakota Access Pipeline was in full swing, and it just got me thinking about how the relationship between indigenous and white people in this country has hardly changed at all over the years. The irony of Thanksgiving being celebrated right as people were being arrested and sprayed with water guns for protecting their right to clean water really hit me.

The EP opens with the jovial sounding Tent City which features a hard-driving bluegrass band. However, the slaphappy sound becomes erie as the lyrics sink in , The song is from the perspective of a man who has fallen from his picturesque middle class lifestyle into homelessness and addiction. Yet the matter-of-fact delivery huamizes his story and gives context to a character who might otherwise be treated as a statistic.

The collection is not all doom and gloom, however, as the first two darker tracks are followed by the cheerful John Hartford number Madison Tennessee. Im getting married this year, says Baiman, My fiance and I recently moved out to Madison and have been fixing up a little cabin on the river. I spend so much time traveling, its an amazing feeling to finally put down some roots and work on creating a magical and inspiring space. This Hartford tune makes me feel giddy about home and for me thats what Thanksgiving is all about. Madison Tennessee features bluegrass guitar virtuoso and Americana Music Association Instrumentalist of the Year Molly Tuttle, who toured in a duo with Baiman in 2018.

Times Like These, the EPs final track, features guitar player and singer Josh Oliver, another of Baimans frequent musical collaborators. Ending on an uplifting note, the song is a testament to the good that gets us through the bad. Open the window / And let in the breeze / Darling I need you / Living in times like these, sing Baiman and Oliver in emotive harmony. Olivers beautifully tragic voice hits the listener like teardrops on a page.


Baimans Thanksgiving is an intriguing follow up to Shame, allowing her a chance to stretch out stylistically, moving effortlessly between bluegrass, to bolk, old-time and country. The bittersweet lyricism shes become known for conveys the push and pull of hardship and hope we often feel during the holiday season.

Raised in Chicago by a radical economist and a social worker, Baiman was surrounded by social justice issues her entire life. If I wanted to rebel against my parents I could have become a finance banker or a corporate lawyer she says of her childhood. While her classmates went to church or temple on Sunday mornings, Baiman attended the Ethical Humanist Society of Greater Chicago, a non-religious community formed around discussions of morality and current events. That was always a tough one to explain at school she says with a laugh.

As a teenager, Baiman found music to be a welcome escape from worrying about global politics. I often found the constant discussion of seemingly unsolvable problems to be intense and overwhelming, and when I moved to Nashville to pursue music it felt like something positive, beautiful and productive that I could put into the world. Now that Ive had some years to devote to music,Baiman has been recording and touring internationally for the past 4 years with 10 String Symphony, and has played fiddle for numerous other artists including Kacey Musgraves and Winnipeg folk band Oh My DarlingI find it hard to escape from the values that I grew up with, and I feel compelled to write politically, to speak out about things that Ive experienced or seen. Songwriting is a unique opportunity to do that, because it avails a more emotional vehicle for discussion. I love the political tradition of folk music, fr

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Mike Cammilleri Organ Trio   $10
Jul
20
8:00 PM20:00

Mike Cammilleri Organ Trio $10

The Mike Cammilleri Organ Trio will release their debut EP album, “Bar Open,” at the North Street Cabaret on Saturday July 20th. The EP is five cover songs from the 1979-1989 era the band adapted to the organ jazz genre. Old schoolers will recognize Stevie Wonder’s “Master Blaster,” which the band moved from the original reggae groove, to an appropriate 60’s groove similar to Killer Joe. If you do a Stevie Wonder tune, it is law that you also do a Michael Jackson tune, so the band turned “Workin’ Day and Night” into a boogaloo. In order to chill the mood, the band stopped in 1984 for Christopher Cross’ “Sailing.” This song’s beautiful groove and chord structure lent itself to showcasing the expansive sound of the Hammond Organ and Leslie speaker. As the yacht rockers say, All aboard. The most recent hits both come from 1989. Bobby Brown’s “Every Little Step,” and Jane Child’s “Don’t Wanna Fall In Love” both give the band a chance to get funky, but seamlessly weave back into swing for the soloists.

CD's will be available at the show, or you can purchase now on Bandcamp: https://mikecammilleriorgantrio.bandcamp.com/releases

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Ted Hefko & The Thousandaires    $10
Jul
19
8:30 PM20:30

Ted Hefko & The Thousandaires $10

Ted Hefko and The Thousandaires bring original stories to life with the spontaneity of jazz, the bare-bones sensibility of early folk and the vibrancy of New Orleans. Ted Hefko and The Thousandaires encompasses the full range of his musical experiences and talents, with Ted strumming a guitar while he sings his original lyrics before switching to tenor sax or clarinet for his solos.

After several years living in Brooklyn, writing, touring and recording, Ted is happy to once again reside in his musical home: New Orleans, Louisiana. His latest album Gas Station Guru is playing all over North America and the English speaking world. 

Born in Madison, Wisconsin, Ted Hefko moved to New Orleans on a Greyhound Bus when he was 18 and fresh out of high school. He chose to travel by bus to buy himself a little time to make the adjustment and also so he could pack more. His luggage totaled two guitars, a saxophone, cooking utensils, books, cassettes, and a pin-striped suit. He dreamed of a city on the water, full of music, and the sweet safety and serenity of the thick New Orleans air about him. He rode next to a Memphis call-girl, nearly twice his age, who entertained him with stories of the ins and outs of the business as they rode. Ted began writing song lyrics when he was in second grade and picked up the guitar a couple years later along with any instrument he could get his hands on. Wanting to dig a little deeper into modern jazz at The University of New Orleans, he chose saxophone over guitar as his primary instrument. That choice led to ten years of working as a freelance horn player in New Orleans and New York, before song writing and the guitar called him back. 

The musician's internship is long and tortured, but it is all these adventures and mis-adventures that add character to a young player. The proposition, in the late 90's, was to drive across this great country in a van, living off sandwiches and bar menus. The pay was abhorrent but the scenery was rich whether driving route 66 through the painted desert or Colorado's Rabbit Ears Pass in a blizzard. Ted toured nationally with jazz-jam band, idletime, from 1998 through 2001 opening for acts such as The Funky Meters, Leftover Salmon, Leo Neocentelli, Derek Trucks, Rebirth Brassband, and North Mississipi Allstars. The group released “Time Stops...” on Louisiana RedHot Records in 2000, featuring two of Ted's originals. 

In 2003, Ted moved to New York with plans of working as a horn player for hire and boning up on his modern jazz chops in the Big Apple. It quickly became apparent that his biggest asset was his experience in New Orleans and the modern jazz scene was not really where his passions lay. The more that he led his own groups and the more that he sang, the more his fortunes improved. He began with a couple of sets worth of traditional New Orleans standards and some of the modern jazz tunes he was shedding. Freed from the confines of learning songs for jam sessions and sideman work, he took a closer look at piedmont blues numbers, great Ellington songs — just about anything he’d heard that struck his fancy.



In 2009, after recording many demos of standards, Ted finally released his first all original album,Egyptland, a collection of scenes and stories set in New Orleans. Recorded in both New York City and Austin, Texas, the album featured a variety of musicians playing a wide variety of original songs in a wide variety of settings. He took this collection in for mastering with the legendary engineer, Gene Paul. As he looked about the room at the gold and platinum records by Aretha Franklin, Roberta Flack and The Average White Band, Gene began to ask him about his recording process and miking, especially vocals. Ted soon found himself taking vigorous notes and already looking forward to bringing in his next album.

Having whet his appetite with his first release, he was ready to create a more cohesive album, in one studio with one rhythm section, within a season.If I Walked On Waterfeatured the extremely talented line-up of Moses Patrou on drums and percussion, Luca Benedetti on guitar and Scott Ritchie on upright bass and received rave reviews in both the US and Europe.

With this success, Ted was itching get out on the road and promote the music. He purchased a vintage GMC Safari van for this purpose and roped a few unsuspecting musicians into getting aboard. The van broke down just a few hours outside of the city limits, but they soldiered on and the tours got better. It was with this band that he recordedDistillations of The Bluesduring a stop in New Orleans.

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Kevin Gordon Trio   $10  Advance tickets available
Jul
18
8:00 PM20:00

Kevin Gordon Trio $10 Advance tickets available

https://www.brownpapertickets.com/event/4201704

Kevin Gordons Louisiana is a strange place. Its a place where restless teens road trip
to where the highway dead-ends at the Gulf of Mexico; a place where prisoners who are
in for life compete in a rodeo while the town watches; where a character can get lost in
the humid afternoon and where religion may not signify hope; and where rivers, never
far away, carry secrets behind levees. One of the things I like about it and am mystified
by is that what passes for normal in Louisiana would not make the grade elsewhere, he
says.

The kicker? All of these postcards are based on true stories. Its a place that hes been
exploring for twenty years now, on the eve of the release of his astonishing new album
Tilt & Shine on Crowville Media. It is work that has earned him fans like noted author
and Elvis Presley biographer Peter Guralnick; New West Records artist Buddy Miller;
journalist, songwriter, and Country Music Hall of Fame staffer Peter Cooper; Todd
Snider; head of the Americana Music Association Jed Hilly; and Lucinda Williams, with
whom he dueted on the song Down To The Well (which was featured prominently on
an Oxford American compilation).

https://www.brownpapertickets.com/event/4201704

Before you even hear his vivid lyrics, you start feeling the sound of that 56 Gibson ES-
125 tuned down to open D, often with the tremolo flowing like a river, and an
unstoppable groove distilled from swamp blues and Sun Records. His MFA from the
Iowa Writers Workshop allows him to capture it with a degree of precision. As the New
York Times put it in its headline of a feature on Kevin, A Musician Or A Poet? Yes to
Both.

Kevin sums it up, There are so many stories in north Louisiana and its a place that
nobody pays attention to. For me, you can feel the arc of time passing there. Im captivated by
the power of strong memoriesthose films that run continuously in your mind, if you let
em. With Tilt and Shine, those movies translate into rock and roll poetry.

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Chris Duarte Group    $10
Jul
16
8:00 PM20:00

Chris Duarte Group $10

https://www.brownpapertickets.com/event/4209717

To classify Chris Duarte simply as a Blues Man is an understatement.  In his own words, rockin blues or punk blues describes him best.  Ferocious blues also fits.  Legend has it that Chris will play so hard that his fingers bleed in a set.  The legend is true.  Photos attest.
Chris Duarte is a road warrior playing more than 150 dates a year.  As well, Chris has headlined major festivals and clubs throughout the US, Canada and Europe.
Chris is a savant, a sorcerer of tone, a master at channeling the spirits and sounds of great musicians of our past, while remaining completely recognizable in his own sound.  He has shared his stage with many of the greatest musicians of our time as well as the multitude of young lions and local musicians he meets on the road.  From his many years as a side man in Austin, he easily changes roles from front to side, graciously allowing all to share the conversation of the jam.
Chris Duarte’s music is ever changing.  In many interviews, he has said Music must evolve.  His own early offerings often become magical journeys into changing tempo and jazzy interludes before returning to their core.  With such a vast catalog of recordings, there are no two shows alike.  Every set list is different, and each song may be offered distinctly, based on the feel of a show and the audience.  For those reasons, loyal fans often return to a Chris Duarte show again and again, and always walk away awed and satisfied to have witnessed such a legendary, but humble guitarist.
The Chris Duarte Group emerged on the scene out of Austin, Texas in the early 90s and gained notoriety after wowing a packed room of industry insiders at the South X Southwest convention. In the wake of Stevie Ray Vaughans passing, Duarte quickly gained a National reputation as young man imbued with a playing style comparable at times to the late guitarist. After fielding interest from a number of labels, Duarte signed to Silvertone Records and his debut album Texas Sugar/Strat Magik reportedly sold in excess of 100,000 units in the United States, no small feat for a blues/rock guitarist. This coupled with Duarte’s strong commitment to touring, was the impetus for Chris winning the Best New Talent in Guitar Players 1995 Readers Poll. He also finished fourth in the magazines Best Blues Guitarist category that year behind legends Eric Clapton, Buddy Guy and B.B. King.

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Raine Stern Band   $10
Jul
6
8:00 PM20:00

Raine Stern Band $10

Raine is an innately talented artist who writes, arranges, and produces her own work. Her sound hits hard because she pours her guts into every aspect of her art. Her reputation has gained her much acclaim in the local music industry and collaborative opportunities with local rock, R&B, gospel, pop, EDM, and funk artists. 

Her signature throaty grit balanced with a bit of sweet upper octave airiness invites her audiences to join her on the journey. One minute her old soul beckons you, the next minute you join the joy of her youth. Her lyrics resound with vulnerability, ache, angst, and strength while her remarkably clean guitar solos shred and shock your system, exposing emotions you never knew were in you to feel. In one show you will want to confront your ex, save the world, party with your best pals, and fall deeply in love. You don’t just see a Raine Stern show, you feel it. Find her, strap in, and surrender to the ride.

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 Max Hatt - Edda Glass      $10 Advance - $15 Door
Jun
28
8:30 PM20:30

Max Hatt - Edda Glass $10 Advance - $15 Door

Advance Tickets Link https://www.brownpapertickets.com/event/4220284

"Beautiful... #chills"

— Ann Powers, NPR Music

Max Hatt / Edda Glass have "an incomparable spook” (Nashville Scene) and "a unique sound" (Larry Groce, NPR), comprised of Glass's unmistakable voice and Hatt's lyrical guitar. Originally based in Montana, their award-winning Jazz Americana and wistful interpretations of Brazilian Bossa Nova have taken them all the way to New York City's Lincoln Center, DC's Kennedy Center, NPR Mountain Stage, Sundance Film Fest and Wilco's Solid Sound Festival. Praised for her "impeccable vocal command" (PopMatters) and compared to a gamut of singers from Astrud Gilberto to Billie Holiday, Glass's voice is ultimately "one of a kind...you cannot confuse her with another artist" (New York Theatre Guide). Hatt's equally distinctive guitar work combines the harmonic innovations of jazz with the melodic resonance of folk, creating music that's "subtly poignant, elegantly funky, and haunting without trying to be" (Nels Cline, Wilco). Together, Max Hatt / Edda Glass evoke a world that stretches from the beaches of Rio de Janeiro to the prairies of the American west, telling stories of little people on great plains, and leaving audiences with a feeling both light and deep. Also available with a full band.

READ FULL BIO | BRAZILIAN JAZZ PROJECT | WORKSHOPS

SHORT BIO: Max Hatt / Edda Glass's award-winning Jazz Americana and Brazilian Bossa Nova has "an incomparable spook" (Nashville Scene) and "a unique sound" (NPR).  Telling stories of little people on great plains, the duo evokes a world that stretches from the beaches of Rio de Janeiro to the prairies of the American west, leaving audiences with a feeling both light and deep. As heard on NPR Mountain Stage, NYC's Lincoln Center, DC's Kennedy Center, and Wilco's Solid Sound Festival.

BLURB: Max Hatt / Edda Glass's award-winning Jazz Americana and Brazilian Bossa Nova has "an incomparable spook" (Nashville Scene) and "a unique sound" (NPR). As heard on NPR Mountain Stage, NYC's Lincoln Center, DC's Kennedy Center, and Wilco's Solid Sound Festival.

press

“Unique voices and rare musicians” 

— Eric Funk, MT-PBS host and internationally renowned composer 

"This Jazz Americana duo portrays true elegance."



"Max Hatt/Edda Glass create exquisite, evocative music as they journey through the landscape of jazz and folk with Hatt's atmospheric guitar playing and the landscape of the West with Glass's literate lyrics." 

— John Platt of WFUV

“…like hand-printed photographs that speak and sway, the material is hypnotic…" 

— Lizz Wright

“Mesmerizing… cinematic folk-jazz” 

— ASCAP’s Playback Magazine at Sundance Film Festival

“Edda Glass's voice must be heard to be believed.” 

— Nels Cline (Wilco) 

"Max Hatt’s tone has an incomparable spook...Edda Glass’ primal singing and skywide-on-a-stormy-night lyrics left me breathless. " 

— Nicole Atkins, Nashville Scene 

“I was mesmerized from the first moment I heard them. They have the ability to create a deep sonic landscape with only voice and guitar, with songs that posses a mysterious and soulful magic"  

— Pat Sansone (Wilco)

Max Hatt and Edda Glass ... are constantly, bravely reinventing themselves... pioneering more deeply into original material, music that I can say without reservation will be substantive and important. [...] Many are the musicians who adhere more closely to the mainstream, aligning their original music with that which has a track record of being entertaining. Few are those who insist that original music is an art, avoid the commodity and immediate gratification that comes from creating that which has proven to be sellable. I am always inspired by visionary charismatics who possess both the courage and the perseverance to pursue their art against the odds, trusting that their labors are not in vain. Max Hatt and Edda Glass are unique voices and rare musicians.

— Eric Funk, PBS host and internationally renowned composer

“Their lyrics/ instrumentals encapsulate the confusing sentiment of feeling both lost and found, all at once…This album is for those that want to hear a song that tells them it is okay to be human, and that you are not alone in not knowing what that exactly means”

— New York Theater Guide

"an exemplification in the beauty of contemplation" 

— PopMatters

“Brimming with soul and steeped with lush, mellow melodies, Ocean of Birds captures a moment in time and releases it in one lovely breath. “ 

— That Mag

“Music that creates a sense of vastness within its quiet.” 

— Yes Weekly, John Adamian

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Colombia's Tribu Baharu     $10
Jun
24
7:00 PM19:00

Colombia's Tribu Baharu $10

There are very few guarantees in life. But one of them must — must! — be that as soon as you hear "Made in Tribu Baharú," you'll start moving. (I promise.) It's a song from Tribu Baharú, a band from Bogotá, Colombia — and the sextet's high-energy, abundantly joyful calls to the dance floor belie a complicated history.

Tribu Baharú's musical style, called champeta, originated as a type of folk music within communities of African descent along Colombia's Caribbean coast. Not acknowledging their country's African heritage and its history in the slave trade, many people in Colombia looked down on the sounds of champeta and the people it represented. (In fact, there are reportedly still people who would like to try to squelch champeta; these days, the charge is that it encourages teen pregnancy.)

In the 1970s and '80s, traveling West African sailors docking in ports like Cartagena and Barranquilla carried along LPs of Congolese soukous as well as Ghanaian and Nigerian highlife bands. Colombian artists began soaking up the lilting guitars and big, jazzy harmonies, and all those influences started commingling in the "picó" (sound system) culture of Colombia's ports. That is how a modern, dazzlingly energetic and decidedly African champeta was born.

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