From jambands.com
http://jambands.com/News.phtml?newsfile=redesign_news389.html#11-4-31
Surprise Collaborations Abound at HeadCount Benefit
Last night, the non-profit voter registration group HeadCount hosted a Get Out and Vote Party at New York’s Highline Ballroom in conjunction with Magic Hat and Mixed Bag Productions. The evening featured an eclectic mix of music, ranging from English pop to Philadelphia hip-hop, organized into mini segments under the direction of RANA/American Babies guitarist Scott Metzger. As many suspected, at the end of the night Phil Lesh and Warren Haynes stopped by for an extended encore that lasted until well past 1AM.
The five-hour show opened with a short set by Americana/rock band American Babies, which found Spin Doctors singer Chris Barron sitting in his own hits “Two Princes” and “Little Miss Can’t Be Wrong,” as well as Jimi Hendrix Experience’s “Spanish Castle Magic.” Soon after, Metzger and Ween bassist Dave Dreiwitz teamed up with the Benevento-Russo Duo (and performed as as Bustle in Your Hedgerow) for a mini set of Led Zeppelin covers, including “Song Remains the Same.” HeadCount co-founder Andy Bernstein then took the stage to say a few words about the organization he founded three election cycles ago with Disco Biscuits bassist Marc Brownstein.
Confirming numerous rumors that had swirled in the days leading up to the event, the Disco Biscuits took the stage for a surprise appearance. The three-song performance is one of only three shows the group plans to play while finishing its first studio album since 2002 and, keeping with the evening’s theme, drew in a number of additional performances. First up, Barron returned to the stage to supply lead vocals on the Disco Biscuits’ longtime cover of Pink Floyd’s “Have a Cigar.” The Spin Doctors singer then left to make room for keyboardist Marco Benevento, who sat in on the Disco Biscuits’ original “Story of the World.” Finally, both keyboardist John Medeski and drummer Stanton Moore joined the group for an extended jam based around Brownstein’s “Home Again.”
Throughout the night Roots drummer ?uestlove spun a series of soul, R&B and hi-hop records as stage hands quickly cleared the stage between performances. After the Disco Biscuits’ set, he moved behind the kit for the evening’s first powerjam, a loose blend of rock and gospel that featured Moore, Medeski, Dreiwitz, pedal-steel ace Robert Randolph, American Babies guitarist Tom Hamilton and several additional members of the Family Band, including keyboardist Jason Crosby. Led by Randolph’s pedal steel cries, the extended improvisational session moved from Family Band originals to covers like "Voodoo Child" to teases of bands such as Daft Punk to a freeform jam based around the word HeadCount. After Randolph’s set, British pop singer Joss Stone took the stage for a short set of her own originals.
Her appearance segued into one of the evening’s most intriguing collaborations: a supergroup consisting of Stone, Randolph, Brownstein, Medeski, Moore and the singer’s elaborate backing band. While the musicians hail from drastically different musical backgrounds, the core group found common ground on R&B/funk classics like Sly and the Family Stone’s “Stand” and Stevie Wonder’s “Higher Ground.” Despite the players’ limited rehearsal time, the ad hoc ensemble remained relatively tight, especially Stone and Randolph, who locked in like longtime bandmates.
The evening’s festivities paused briefly while Phil Lesh and Warren Haynes made their way from an earlier gig at the nearby Nokia Theatre for a short encore of classic-rock tunes. Anchoring a quartet that also included Moore and Medeski, Haynes and Lesh ran through the Grateful Dead’s “Franklin’s Tower,” Buffalo Springfield’s politically charged “For What It’s Worth” and the blues rave-up “Turn on Your Lovelight.” Lesh and Haynes shared vocals throughout the three-song set, channeling the chemistry they often displayed in Phil Lesh’s original quintet.
Lesh also brought the focus back to voting. “Now, I know you are all staying up all night to be the first in line at the polls,” he joked. “That’s why I’m here—to get the word out about voting.”
Wednesday, November 5, 2008
Tuesday, November 4, 2008
Headcount Benefit @ Highline 11/3/08
I went up to Highline during lunchtime a couple of weeks ago to get a ticket for this. When I got there, I realized I hadn’t looked at the price. When they told me $50, I hesitated as I wasn’t sure I was into it enough to spend that. I also hadn’t realized it was on a Mon night, and I have MNA that I don’t like to miss.
Still, I was there, and I decided to buy it as it might be really good. I did go to MNA, which was wonderful. I left at the break, but as I hoped, the break didn’t happen until late, 8:45, so I transformed while I was there. What emerged there last night was mainly about the 2nd Principle of Instantaneous Transformation: No two things can occupy the same space at the same time. Another way of saying this is you can only be how you are in any given moment. What’s done is done and there’s no going back. So, there is no need to rehash it over and over. It’s actually a waste. It couldn’t be any different than it was simply because it happened the way it did. It’s very powerful. I don’t know exactly what happened for me, but something definitely shifted in me and my experience of life is completely different than it was last night before 7pm, I can tell you that.
Then, in the spirit of having it all, I cabbed it over to Highline and got there a little after 9. Bustle in You Hedgerow was on. I was glad because I wasn’t expecting them. It was the best Bustle lineup, with Joe Russo, Marco Benevento, Scott Metzger, and Dave Driewitz. It was so funny when Marco said how they are “a Led Zeppelin tribute band”. They are, but they're also incredible musicians that do many other projects.
It actually took me a while to warm up to the concept. The first time I saw The Duo play Led Zeppelin was at a Rope-a-Dope New Music Seminar at Bowery Ballroom a few years back. Probably 5 years or so by now. I was very excited and expected a lot of intermingling among the performers. I remember being very disappointed when it was time for The Duo’s set and Skerik came out with his sax strapped on. They looked at each other and Skerik asked if they wanted to just jam, I think Critters Buggin was going to be after. I know that’s what I wanted. The Duo gave him a signal that no, they didn’t want to jam, they had ideas about how this set was going to be. Oh well.
I can’t remember everything about that show, but I think they did some of their own Duo tunes before Scott Metzer came out. That was my first time seeing him. Then they did 3 Led Zeppelin songs, exactly the way it would sound on an album. I was very disappointed and didn’t like it at all. Not that the music wasn’t good, it was very good. It was my aversion to covers being played exactly the way it sounds on the album. I love Led Zep, but I have most of the CDs, and don’t need to hear anyone else doing it, unless they stretch out a bit. The good news was there were no vocals. Still, I wasn’t into it. I was opposed to the whole thing the more they did it. And, boy did they continue to do it. Over time, I got over my aversion to covers as now I sometimes do like to hear a favorite band doing covers. It took a while, though. I now go to a Bustle show from time to time and really enjoy them when I do. If I’m gonna see a Led Zep tribute band, this is the one I want it to be. They can really play it phenomenally.
Last night I got there in time for the last 2 or 3 of those Led Zeppelin songs. It was very good. It was early, and I think I prefer it in a smaller venue, but it was still enjoyable.
Then there was a little setbreak and then they announced The Disco Biscuits. My heart sank. I started thinking about how I made a bad choice and wondering if I should step outside for while. I realized I’ve barely given them a chance and their core crowd wasn’t there, it wasn’t overly crowded, and I could probably check it out. I might even like it, I should give it a chance at least. It turns out I did like it as once it started I didn’t feel compelled to go outside. It wasn’t blown away amazing, but it was good. I did move to the back of the room as I didn’t really need to be up front with less room to dance.
After a couple of songs, Marco came up and played with them and things started turning. It started getting really good. Then, out comes John Medeski and Stanton Moore, and it got blown away amazing. Now I was REALLY glad I came. That was amazing and one of the highlights.
Then ?uestlove and some other guy came out and it really wasn’t my thing. That’s when I went outside for a while, I just didn’t care for his DJ style. After a while, maybe 20-30 minutes, I came back in and they were still up there. Sometimes he would start spinning a great, grooving, soulful song, only to change it too soon afterwards. I thought the bits of songs were too short and some were really not good for me. It also seemed to go on way too long for me. I was glad when it was finally over. I was able to make the most of it and I was getting down at times. It could have been much worse as a lot of the music itself was enjoyable, it was just too erratic.
Then, when his set finally ended, all of a sudden it’s Robert Randolph, Stanton, and a bunch of others. I can’t remember if Medeski was out there from the start, but I think he was. That was pretty good. It started getting better and better as it went on. I definitely enjoyed it, but the highlight for me at this point was still the last Biscuits song with Medeski and Stanton.
Then, there’s a break and I know something’s up. I had a feeling that Warren would show up. Still, I didn’t know if I wanted to stay anymore. I asked around and found out it was rumored that Warren AND Phil were coming. Well, that changes everything. Nothing is getting me out of there until it either happens or it’s deemed an impossibility. No way.
Joss Stone came out and I think there were some of my guys in there with her. She was pretty good. She does have a great, soulful voice. I was into it, but still, not at the level of that last Biscuits song. After that set, we are told that certain people were going to be coming and we should stay. That was all the confirmation I needed.
Then we got a mishmash mini set of Joss Stone, Robert Randolph, Medeski and Stanton that was very enjoyable.
And then Warren and Phil show up and I’m astounded before a note is even played. I mean, I often try to fantasize about what type of dream band I could come up with. I also hesitate because I’ve seen so much, and I know that there are possibilities that actually happen that I could fathom in my wildest dreams. Well, Phil Lesh, Warren Haynes, Stanton Moore, and John Medeski is one of those fantasy bands I couldn’t possibly dream up. That would never in a million years have occurred to me.
I don’t go see Phil anymore. I got “Phil’d Up” one year and so far, I can’t get back. I also have a hard time believing it will ever be as good as those Beacon shows with Warren, Jimmy Herring, John Molo and Rob Barraco. I never went to anything GD related at that time. I was done with them. I thought they died with Jerry and they just weren’t any good any more (actually, it was way before that come to think of it). Then, my friends had an extra to one of the early Beacon shows, and I decided to go to spend time with the friends. These were also people I’ve been to many Dead shows with, so it would be fun. I was blown away and proceeded to go to every single one after that. I can’t remember how many 6 night runs at The Beacon we got (or even if they were 6 nights or more or less). Still, I couldn’t get enough. I felt a void when that era ended. Later, when Phil started playing around again, I didn’t realize it was all about that particular band. I thought it was anything Phil. I went to Vegas for my one and only time and loved that show. Then, they came to NYC for I think 8 nights and I got a ticket for everyone. Some were at the Beacon and then the end ones were at Hammerstein. I really overdid it and remember I sold the Hammerstein ones and I haven’t been able to go to any Phil since. I still don’t want to.
But, this fantasy band is something entirely different. It also gave me a chance to see Phil again and he was amazing. The whole thing blew me away. I think it was only 2 long songs, Franklin’s Tower and For What It’s Worth. Phil at first said we were going to stay all night and then go to the polls at 6am. At that moment, I probably would have done it, but I didn’t want to. It was only 1am-ish, and I flashed back to my early college days when I used to pull all nighters for exams that were at 8am and then fall asleep 1 hour before the exam and miss it.
Actually, one side of me thought it was a little irresponsible of us to go to a late night get out and vote tomorrow party. But, the other side of me thought it was brilliant because it would be unbelievably lame to go to this show and then miss the voting. I know if people said they had to work the next day I would always chime in with “all you have to do tomorrow is vote”. It’s also kind of easy given how much time we have, something like 6am – 9pm. There’s going to be some coherent time in there at some point.
I was glad they stopped after 2 long phenomenal songs that really jammed. It was amazing and I was able to get right up front with plenty of room as the crowd really thinned out. It was as great as it could be. I think I left at about 1:30.
Magic Hat Presents
HeadCount Get Out and Vote Party
-w-Joss Stone
Robert Randolph
?uestlove (of The Roots)
Stanton Moore
+ members of The Disco Biscuits, Ween, The Duo, American Babies
November 3,2008
Still, I was there, and I decided to buy it as it might be really good. I did go to MNA, which was wonderful. I left at the break, but as I hoped, the break didn’t happen until late, 8:45, so I transformed while I was there. What emerged there last night was mainly about the 2nd Principle of Instantaneous Transformation: No two things can occupy the same space at the same time. Another way of saying this is you can only be how you are in any given moment. What’s done is done and there’s no going back. So, there is no need to rehash it over and over. It’s actually a waste. It couldn’t be any different than it was simply because it happened the way it did. It’s very powerful. I don’t know exactly what happened for me, but something definitely shifted in me and my experience of life is completely different than it was last night before 7pm, I can tell you that.
Then, in the spirit of having it all, I cabbed it over to Highline and got there a little after 9. Bustle in You Hedgerow was on. I was glad because I wasn’t expecting them. It was the best Bustle lineup, with Joe Russo, Marco Benevento, Scott Metzger, and Dave Driewitz. It was so funny when Marco said how they are “a Led Zeppelin tribute band”. They are, but they're also incredible musicians that do many other projects.
It actually took me a while to warm up to the concept. The first time I saw The Duo play Led Zeppelin was at a Rope-a-Dope New Music Seminar at Bowery Ballroom a few years back. Probably 5 years or so by now. I was very excited and expected a lot of intermingling among the performers. I remember being very disappointed when it was time for The Duo’s set and Skerik came out with his sax strapped on. They looked at each other and Skerik asked if they wanted to just jam, I think Critters Buggin was going to be after. I know that’s what I wanted. The Duo gave him a signal that no, they didn’t want to jam, they had ideas about how this set was going to be. Oh well.
I can’t remember everything about that show, but I think they did some of their own Duo tunes before Scott Metzer came out. That was my first time seeing him. Then they did 3 Led Zeppelin songs, exactly the way it would sound on an album. I was very disappointed and didn’t like it at all. Not that the music wasn’t good, it was very good. It was my aversion to covers being played exactly the way it sounds on the album. I love Led Zep, but I have most of the CDs, and don’t need to hear anyone else doing it, unless they stretch out a bit. The good news was there were no vocals. Still, I wasn’t into it. I was opposed to the whole thing the more they did it. And, boy did they continue to do it. Over time, I got over my aversion to covers as now I sometimes do like to hear a favorite band doing covers. It took a while, though. I now go to a Bustle show from time to time and really enjoy them when I do. If I’m gonna see a Led Zep tribute band, this is the one I want it to be. They can really play it phenomenally.
Last night I got there in time for the last 2 or 3 of those Led Zeppelin songs. It was very good. It was early, and I think I prefer it in a smaller venue, but it was still enjoyable.
Then there was a little setbreak and then they announced The Disco Biscuits. My heart sank. I started thinking about how I made a bad choice and wondering if I should step outside for while. I realized I’ve barely given them a chance and their core crowd wasn’t there, it wasn’t overly crowded, and I could probably check it out. I might even like it, I should give it a chance at least. It turns out I did like it as once it started I didn’t feel compelled to go outside. It wasn’t blown away amazing, but it was good. I did move to the back of the room as I didn’t really need to be up front with less room to dance.
After a couple of songs, Marco came up and played with them and things started turning. It started getting really good. Then, out comes John Medeski and Stanton Moore, and it got blown away amazing. Now I was REALLY glad I came. That was amazing and one of the highlights.
Then ?uestlove and some other guy came out and it really wasn’t my thing. That’s when I went outside for a while, I just didn’t care for his DJ style. After a while, maybe 20-30 minutes, I came back in and they were still up there. Sometimes he would start spinning a great, grooving, soulful song, only to change it too soon afterwards. I thought the bits of songs were too short and some were really not good for me. It also seemed to go on way too long for me. I was glad when it was finally over. I was able to make the most of it and I was getting down at times. It could have been much worse as a lot of the music itself was enjoyable, it was just too erratic.
Then, when his set finally ended, all of a sudden it’s Robert Randolph, Stanton, and a bunch of others. I can’t remember if Medeski was out there from the start, but I think he was. That was pretty good. It started getting better and better as it went on. I definitely enjoyed it, but the highlight for me at this point was still the last Biscuits song with Medeski and Stanton.
Then, there’s a break and I know something’s up. I had a feeling that Warren would show up. Still, I didn’t know if I wanted to stay anymore. I asked around and found out it was rumored that Warren AND Phil were coming. Well, that changes everything. Nothing is getting me out of there until it either happens or it’s deemed an impossibility. No way.
Joss Stone came out and I think there were some of my guys in there with her. She was pretty good. She does have a great, soulful voice. I was into it, but still, not at the level of that last Biscuits song. After that set, we are told that certain people were going to be coming and we should stay. That was all the confirmation I needed.
Then we got a mishmash mini set of Joss Stone, Robert Randolph, Medeski and Stanton that was very enjoyable.
And then Warren and Phil show up and I’m astounded before a note is even played. I mean, I often try to fantasize about what type of dream band I could come up with. I also hesitate because I’ve seen so much, and I know that there are possibilities that actually happen that I could fathom in my wildest dreams. Well, Phil Lesh, Warren Haynes, Stanton Moore, and John Medeski is one of those fantasy bands I couldn’t possibly dream up. That would never in a million years have occurred to me.
I don’t go see Phil anymore. I got “Phil’d Up” one year and so far, I can’t get back. I also have a hard time believing it will ever be as good as those Beacon shows with Warren, Jimmy Herring, John Molo and Rob Barraco. I never went to anything GD related at that time. I was done with them. I thought they died with Jerry and they just weren’t any good any more (actually, it was way before that come to think of it). Then, my friends had an extra to one of the early Beacon shows, and I decided to go to spend time with the friends. These were also people I’ve been to many Dead shows with, so it would be fun. I was blown away and proceeded to go to every single one after that. I can’t remember how many 6 night runs at The Beacon we got (or even if they were 6 nights or more or less). Still, I couldn’t get enough. I felt a void when that era ended. Later, when Phil started playing around again, I didn’t realize it was all about that particular band. I thought it was anything Phil. I went to Vegas for my one and only time and loved that show. Then, they came to NYC for I think 8 nights and I got a ticket for everyone. Some were at the Beacon and then the end ones were at Hammerstein. I really overdid it and remember I sold the Hammerstein ones and I haven’t been able to go to any Phil since. I still don’t want to.
But, this fantasy band is something entirely different. It also gave me a chance to see Phil again and he was amazing. The whole thing blew me away. I think it was only 2 long songs, Franklin’s Tower and For What It’s Worth. Phil at first said we were going to stay all night and then go to the polls at 6am. At that moment, I probably would have done it, but I didn’t want to. It was only 1am-ish, and I flashed back to my early college days when I used to pull all nighters for exams that were at 8am and then fall asleep 1 hour before the exam and miss it.
Actually, one side of me thought it was a little irresponsible of us to go to a late night get out and vote tomorrow party. But, the other side of me thought it was brilliant because it would be unbelievably lame to go to this show and then miss the voting. I know if people said they had to work the next day I would always chime in with “all you have to do tomorrow is vote”. It’s also kind of easy given how much time we have, something like 6am – 9pm. There’s going to be some coherent time in there at some point.
I was glad they stopped after 2 long phenomenal songs that really jammed. It was amazing and I was able to get right up front with plenty of room as the crowd really thinned out. It was as great as it could be. I think I left at about 1:30.
Magic Hat Presents
HeadCount Get Out and Vote Party
-w-Joss Stone
Robert Randolph
?uestlove (of The Roots)
Stanton Moore
+ members of The Disco Biscuits, Ween, The Duo, American Babies
November 3,2008
Jenny Scheinman @ Village Vanguard 11/2/08
I couldn’t bear to not go to this. I mean, I would want to see any of these artists in anything they do, together has got to be phenomenal. I feel like if I haven’t seen these 4 together before, I’ve seen something(s) close.
I took my last chance, Sun late set. It was close to the dance theatre, and I was so wound up I knew I couldn’t miss it. There was that same guy sitting in my favorite front row center seat that I’ve seen at every Bill Frisell show at the Vanguard. I overheard him telling his neighbors about how the 1st set is usually scripted, but the 2nd set they branch out a little into what they feel like, with some always plays. I got the impression he’d been there for every single set. I’m pretty sure people were allowed to stay for a smaller cover or a minimum. They do it differently at different times. I’d love to do that, but I can’t always work in both sets. I think it happened a lot with Cecil Taylor, and he’s there again this week. If I make it, I should try for the 2.
Anyway, I ended up getting a great seat right up front center, in the “2nd row”. There was no one in front of me, so I had a great view. It was phenomenal, as was expected. They started off with some great new tune. It was very catchy, and very well-done. I also remember they did a Duke Ellington tune, “Awful Sad”, that was great. They were promoting a new cd, so they played a lot of stuff off of that. It went over an hour, maybe 75 minutes. I had heard that guy say they did a 75 minute set on Thurs because they were into it.
I’m so glad I did it and I wasn’t too tired yesterday. I do love going to the last set of the run.
Jenny Scheinman - violin
Jason Moran - piano
Greg Cohen - bass
Rudy Royston - drums
I took my last chance, Sun late set. It was close to the dance theatre, and I was so wound up I knew I couldn’t miss it. There was that same guy sitting in my favorite front row center seat that I’ve seen at every Bill Frisell show at the Vanguard. I overheard him telling his neighbors about how the 1st set is usually scripted, but the 2nd set they branch out a little into what they feel like, with some always plays. I got the impression he’d been there for every single set. I’m pretty sure people were allowed to stay for a smaller cover or a minimum. They do it differently at different times. I’d love to do that, but I can’t always work in both sets. I think it happened a lot with Cecil Taylor, and he’s there again this week. If I make it, I should try for the 2.
Anyway, I ended up getting a great seat right up front center, in the “2nd row”. There was no one in front of me, so I had a great view. It was phenomenal, as was expected. They started off with some great new tune. It was very catchy, and very well-done. I also remember they did a Duke Ellington tune, “Awful Sad”, that was great. They were promoting a new cd, so they played a lot of stuff off of that. It went over an hour, maybe 75 minutes. I had heard that guy say they did a 75 minute set on Thurs because they were into it.
I’m so glad I did it and I wasn’t too tired yesterday. I do love going to the last set of the run.
Jenny Scheinman - violin
Jason Moran - piano
Greg Cohen - bass
Rudy Royston - drums
DTB This Week
I didn’t need any other motivators to go to both DTB shows later this week. But, this from their recent newsletter is making me even happier. I’m not even going to try to find out who it is. It will be funner that way.
The tour rolls on this week with two shows in New York City. We've got two great openers for these shows. First, at the Highline Ballroom on Thursday we're happy to announce Mocean Worker, a unique blend of jazz and beyond sure to get you groovin’. Then on Fri at the Gramercy Theatre we've got a special surprise guest opening the show. We can't tell you who it is but they’re close friends of the dTb and you won’t want to miss their set. So get to the shows on time (both nights music starts at 8 PM)!
The tour rolls on this week with two shows in New York City. We've got two great openers for these shows. First, at the Highline Ballroom on Thursday we're happy to announce Mocean Worker, a unique blend of jazz and beyond sure to get you groovin’. Then on Fri at the Gramercy Theatre we've got a special surprise guest opening the show. We can't tell you who it is but they’re close friends of the dTb and you won’t want to miss their set. So get to the shows on time (both nights music starts at 8 PM)!
Tarot - Fantasy Bellydance 11/2/08
I went to a bellydance show the other night. My friend Val was in the “Wheel of Fortune” piece. There was no arm-twisting for me, a Bellydancing show with a bunch of pieces based on Tarot cards sounded awesome to me.
It was really great and surpassed my expectations. The music was great, although aside from few drums for a couple of pieces and a clarinet accompanying one piece, it wasn’t live. The theatre was very nice and I thought the space added to it. It was at the Merce Cunningham Studio way west in the village. The costumes were phenomenal.
Every single piece was excellent. They were all different. Here’s a quick rundown:
http://venusuprising.typepad.com/venus/2008/11/tarot---fantasy-bellydance-show-neon.html
The Fool - Blanca
The Lovers (story: Venus & Tannhauser) - Neon and Angel
The Lovers (parody) - Yoshina and Todd Colburn
The Hermit - Tanna Valentine
The High Priestess - Sarah Johansson Locke & Alchemy Dance Theater
The Emperor - Toshi Hamada and Blanca
The Wheel of Fortune (story: Cleopatra) - Sarah Skinner, Kazja and the Sisters of Salome
The Empress (story: Parvati) - Ayshe
The Magician - Neon and Blanca
Adjustment / Justice (sword dance) - Irina Akulenko
Lust - Sarah Skinner and the Sisters of Salome
Temperance - Andrea Anwar
The Hanged Man - Alicia and Heather of BellyCraft, Miami (Gothic)
The Devil - AnasmaJudgment - Autumn Ward
Death - Fayzah and Aurea Dancers (Sangeeta Vallabhan & Zahra Hashemian)
The Star - Elisheva & Kittarina
I loved all of it, but I’ll tell you about some of my favorites. There’s also some photos online.
http://www.venusuprising.com/events/tarot/tarot-photo.htm
Parody of Lovers was nice and jazzy. The music was “Black Cat Tango” by Yuko Oz. The guy and the girl were dressed up jazzy and this was the one with the clarinet. They guy played it along with the music at times. It was a lot of fun and quite different from what I would think of as traditional bellydancing.
The High Priestess had impressive choreography. There were 5 women and I loved how they interacted and the whole sequence.
The Wheel of Fortune was so elaborate and so well done. It was about Cleopatra.
The Hanged Man had a really cool techno/disco type feel and the 2 girls who performed were awesome. It had a really cool vibe.
That’s all I have time for, but really every single piece was excellent and I loved the whole thing. I heard that every one of the Venus Uprising shows is phenomenal, and I’m not surprised.
http://www.venusuprising.com/
It was really great and surpassed my expectations. The music was great, although aside from few drums for a couple of pieces and a clarinet accompanying one piece, it wasn’t live. The theatre was very nice and I thought the space added to it. It was at the Merce Cunningham Studio way west in the village. The costumes were phenomenal.
Every single piece was excellent. They were all different. Here’s a quick rundown:
http://venusuprising.typepad.com/venus/2008/11/tarot---fantasy-bellydance-show-neon.html
The Fool - Blanca
The Lovers (story: Venus & Tannhauser) - Neon and Angel
The Lovers (parody) - Yoshina and Todd Colburn
The Hermit - Tanna Valentine
The High Priestess - Sarah Johansson Locke & Alchemy Dance Theater
The Emperor - Toshi Hamada and Blanca
The Wheel of Fortune (story: Cleopatra) - Sarah Skinner, Kazja and the Sisters of Salome
The Empress (story: Parvati) - Ayshe
The Magician - Neon and Blanca
Adjustment / Justice (sword dance) - Irina Akulenko
Lust - Sarah Skinner and the Sisters of Salome
Temperance - Andrea Anwar
The Hanged Man - Alicia and Heather of BellyCraft, Miami (Gothic)
The Devil - AnasmaJudgment - Autumn Ward
Death - Fayzah and Aurea Dancers (Sangeeta Vallabhan & Zahra Hashemian)
The Star - Elisheva & Kittarina
I loved all of it, but I’ll tell you about some of my favorites. There’s also some photos online.
http://www.venusuprising.com/events/tarot/tarot-photo.htm
Parody of Lovers was nice and jazzy. The music was “Black Cat Tango” by Yuko Oz. The guy and the girl were dressed up jazzy and this was the one with the clarinet. They guy played it along with the music at times. It was a lot of fun and quite different from what I would think of as traditional bellydancing.
The High Priestess had impressive choreography. There were 5 women and I loved how they interacted and the whole sequence.
The Wheel of Fortune was so elaborate and so well done. It was about Cleopatra.
The Hanged Man had a really cool techno/disco type feel and the 2 girls who performed were awesome. It had a really cool vibe.
That’s all I have time for, but really every single piece was excellent and I loved the whole thing. I heard that every one of the Venus Uprising shows is phenomenal, and I’m not surprised.
http://www.venusuprising.com/
Tonight
This looks great, although I probably can't make it.
http://www.judson.org/LisaBielawa_OutsideTheBox_V2.pdf
Outside the Box
An Election Night Concert
of Free Improvisation
Tuesday, November 4, 2008
6 pm - midnight
Curated by Lisa Bielawa in New York &
Carla Kihlstedt in the Bay Area
Featuring performances by 19 artists including
John Zorn & Joan La Barbara
Simultaneous concert to be performed in
Oakland, CA and broadcast via live video feed
Presented by Judson Memorial Church
55 Washington Square South, NYC
Admission: $10 at the door (entire evening, re-admission free)
Information: 212.477.0351 or www.judson.org
6 pm – 8 pm:
John Zorn – composer, saxophonist, and multi-instrumentalist
Zeena Parkins – electric harpist
Gordon Beeferman – composer and pianist
Steve Ben Israel – poet
Shahzad Ismaily – percussionist
Ches Smith – drummer
8 pm – 10 pm:
Miguel Frasconi – glass instrumentalist and electronics
Joan La Barbara – composer, performer, and soundartist
Colin Jacobsen – violinist
Kinan Azmeh – clarinetist
Kevork Mourad – improvisational painter
Kyle Sanna – guitarist
Paul Knopf – pianist
10 pm – midnight:
Lisa Bielawa – vocalist
Charles Waters – clarinetist, saxophonist, and multi-instrumentalist
Mick Rossi – pianist, composer, and percussionist
Russ Johnson – trumpet
Jim Black – percussionist
Hilmar Jensson – guitarist
http://www.judson.org/LisaBielawa_OutsideTheBox_V2.pdf
Outside the Box
An Election Night Concert
of Free Improvisation
Tuesday, November 4, 2008
6 pm - midnight
Curated by Lisa Bielawa in New York &
Carla Kihlstedt in the Bay Area
Featuring performances by 19 artists including
John Zorn & Joan La Barbara
Simultaneous concert to be performed in
Oakland, CA and broadcast via live video feed
Presented by Judson Memorial Church
55 Washington Square South, NYC
Admission: $10 at the door (entire evening, re-admission free)
Information: 212.477.0351 or www.judson.org
6 pm – 8 pm:
John Zorn – composer, saxophonist, and multi-instrumentalist
Zeena Parkins – electric harpist
Gordon Beeferman – composer and pianist
Steve Ben Israel – poet
Shahzad Ismaily – percussionist
Ches Smith – drummer
8 pm – 10 pm:
Miguel Frasconi – glass instrumentalist and electronics
Joan La Barbara – composer, performer, and soundartist
Colin Jacobsen – violinist
Kinan Azmeh – clarinetist
Kevork Mourad – improvisational painter
Kyle Sanna – guitarist
Paul Knopf – pianist
10 pm – midnight:
Lisa Bielawa – vocalist
Charles Waters – clarinetist, saxophonist, and multi-instrumentalist
Mick Rossi – pianist, composer, and percussionist
Russ Johnson – trumpet
Jim Black – percussionist
Hilmar Jensson – guitarist
Monday, November 3, 2008
Improv Night @ The Stone 10/31/08
All week, I looked at all of my options and the only thing I wanted to do for Halloween was go to Improv Night. I walked in at 10pm and they were already on. I chose to stand in the way back. It was Eyal Maoz and Wu Fei and it was excellent. When I walked in, there was lots of strumming going on and Wu was singing.
The next one is a little fuzzy. It was definitely Ned Rothenberg and Marty Erlich on clarinets. I think it was just them for this piece and the next one had Wu Fei, a drummer named Eric, Robert Suddath, and someone else. That was the 2 pieces, or they all played together for the 2nd piece.
Next was Ches Smith, Nate Wooley, and a great bassist I’m not sure if I’ve seen before or not. He seemed like he would go well with Ches.
Then, Nate was walking downstairs and we hear Zorn tell him he can play with them on the next one if he plays it like a trumpet. That was kind of funny. I do think I’ve seen him play more “not like a trumpet” than “like a trumpet”, but either way, he’s great. It was those 2, Rothenberg on alto, and Erlich/Suddath on tenors.
Then we had Ben Gerstein on guitar, Eric on drums and I’m not sure who else, I think one more.
Next Wu Fei and Rob Suddath.
After that was Ches Smith, the bass player, and I think Marty Erlich.
The last one before the grand finale was Eyal Maoz, Nate Wooley, Ned Rotheberg, and Eric the drummer.
Then, everyone up for the big finish.
It was all great, I had a little more trouble paying attention to the details because I was in the back, worried about the door slamming and complaining to myself if people were talking back there or coming and going a lot. Serves me right for not getting there a little early to get my seat up front. I did have an option at the first break to sit in the other front row, but at the time I thought I’d prefer to stand in the back.
Regardless of my vague memory, the music was as great as always.
The next one is a little fuzzy. It was definitely Ned Rothenberg and Marty Erlich on clarinets. I think it was just them for this piece and the next one had Wu Fei, a drummer named Eric, Robert Suddath, and someone else. That was the 2 pieces, or they all played together for the 2nd piece.
Next was Ches Smith, Nate Wooley, and a great bassist I’m not sure if I’ve seen before or not. He seemed like he would go well with Ches.
Then, Nate was walking downstairs and we hear Zorn tell him he can play with them on the next one if he plays it like a trumpet. That was kind of funny. I do think I’ve seen him play more “not like a trumpet” than “like a trumpet”, but either way, he’s great. It was those 2, Rothenberg on alto, and Erlich/Suddath on tenors.
Then we had Ben Gerstein on guitar, Eric on drums and I’m not sure who else, I think one more.
Next Wu Fei and Rob Suddath.
After that was Ches Smith, the bass player, and I think Marty Erlich.
The last one before the grand finale was Eyal Maoz, Nate Wooley, Ned Rotheberg, and Eric the drummer.
Then, everyone up for the big finish.
It was all great, I had a little more trouble paying attention to the details because I was in the back, worried about the door slamming and complaining to myself if people were talking back there or coming and going a lot. Serves me right for not getting there a little early to get my seat up front. I did have an option at the first break to sit in the other front row, but at the time I thought I’d prefer to stand in the back.
Regardless of my vague memory, the music was as great as always.
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