Right/Left Logic

Gregg Allman on Conan Vs Sex Pistols

noreply@blogger.com (one step ahead) — Fri, 18 May 2012 17:52:00 +0000

USPS W/ Andy Statman This Sunday

noreply@blogger.com (one step ahead) — Thu, 26 Apr 2012 14:31:00 +0000

They say good things come to those who wait... and for Union Street Preservation Society, the Brooklyn-based folk-bluegrass revival group that has been touring across New England over the past several months, their homecoming is cause for celebration. If not only for the fact that they're playing with acclaimed bluegrass mandolinist and klezmer clarinetist Andy Statman, then just as much because singer/guitarist Dave Lieberman has finally recovered from his recent biking accident. Their debut full-length, "Spring to Rust," will be in full effect (I'm hoping to hear my fave 'Meet Me in Spring'), and from what I understand.. the band will be showing off some new pieces as well. Should be a real barnburner. See them perform April 29 with Andy Statman at The Living Room, and if you find yourself in Cambridge, MA on Friday April 27th, see them play with This Way, their roots-rock pals from Portland, ME.

The Deli Magazine Stompbox Exhibit

noreply@blogger.com (one step ahead) — Wed, 19 Oct 2011 01:15:00 +0000

The Deli and Delicious Audio are super proud to announce the first StompBox Exhibit at CMJ, a free event hosted at The Living Room and Ludlow Guitars on Ludlow Street in NYC, during the 2 busiest days of the CMJ Music Marathon. Exhibitors include Moog, TC Electronic, Digitech, T-Rex, Hardwire, Eventide, Line 6, Pigtronix, and many others - MORE INFO HERE.

Deli CMJ Rootsy Show: Oct 19th

noreply@blogger.com (one step ahead) — Mon, 10 Oct 2011 22:29:00 +0000

USPS is playing an early CMJ show for our working friends, with some great other bands including Shenandoah and the Nights, (formerly Yard Dogs Road Show. Get to the Living Room right after work and if your not working right when you wake up!

occupy wallstreet 2 points

noreply@blogger.com (one step ahead) — Thu, 06 Oct 2011 01:50:00 +0000

the points are clear

1) massive unemployment for the educated millenial generation and beyond

2) the imbalance of wealth in our country: those at the top are minting it big $1,000,000,000 time

http://www.livestream.com/globalrevolution

Ry Cooder Review with Muzzle of Bees/Live Music Blog Alliance

noreply@blogger.com (one step ahead) — Mon, 05 Sep 2011 19:03:00 +0000

Two of my favorite blogs Muzzle of Bees and Live Music Blog, got together to review one of the greatest influences on my slide playing. What resulted is an excellent review and a reminder that there are living legends playing right now, maybe in your area code.

Bluegrass Jam Rules

noreply@blogger.com (one step ahead) — Sun, 14 Aug 2011 19:51:00 +0000

people are unknowingly disturbing the sacredness of the jam at sunny's, be respectful, be mindful and follow these rules...

I Thou shalt not come to the jam to impresseth others with thine own talent for this is an abomination. The music shall be the star around which all musicians rotateth and not viceth-verseth! Attempts to make thine own star shine, shall surely lead thee into darkness!

II Thou shalt not forsake the beat. Thou shalt not speed up nor slow down accidentally when playing a tune for this shall be considered an abomination.

III Thou shalt arrange thyself in a small circle so that thou mayest see and mayest hear all the other musicians. Thou shalt listen with thine ears to the songs and shall attempt to play in one accord with the group. Also, thou shalt lift up thine eyes to look about thee, lest there be some visual sign that someone endeavoureth to render unto thee.

IV Thou shalt play softly when someone lifteth his voice in song, when the guitar taketh a break, and when thou knowest not what thou art doing.

V Thou shalt play in tune! Tune thine instrument well and tune it often with thine electric tuner lest the sound that emanateth from thine instrument be unclean!

VI Thou shalt commence and cease playing each tune as one, so that the noise you make be a joyful noise and is not an abomination. Whensoever a musician sticketh forth his foot, as though he were afflicted with a cramp in the fatted calf, thou must complete the rest of that verse and then cease. Thou shalt stick out thine own foot or else lift up thy voice, crying, “This is it!” or “Last time!” if thou hast been the one to begin the song and it hath been played sufficient times over. If the one who beginneth a tune, endeth it not by one of these signs, then the music goeth on in repetitious fashion until the listeners shall say, “Hark, it all soundeth the same!”

VII Thou shalt concentrate and shalt not confound the music by mixing up the “A” part with the “B” part. Most songs, but not all, proceedeth by the ancient law: “AABB”. But, if thou sinneth in this regard or make any mistake that is unclean, thou mayest atone not by stopping, nay, but by reentering the song at the proper place and playing on. Thy fellow musicians will support thee in this regard.

VIII Thou shalt be ever mindful of the key that the banjo is tuned in, and shall play many tunes in that key, for the banjo is but a lowly instrument and must needfully be retuned every time there is a key change.

IX Thou shalt speak gentle words of encouragement to those nourished on the milk of bluegrass music, but not the meat, lest a harsh word turn one again to the darkness that is pop music.

X Thou shalt not, by thyself, commence noodling off on a tune that the other musicians knoweth not, unless asked or unless thou art teaching that tune for this is an abomination, and the other musicians shall not hold thee blameless, and shall strike thee from their computer lists, yea, unto the third and fourth generation.

Jams And Jam Etiquette
For Pickers and Grinners
By Roger Russell

Disclaimer: The opinions offered in this article are strictly those of the author and do not necessarily reflect the opinions of anyone else (such as, the Board of Directors or membership of SWBA). Further and for the record, the author freely acknowledging participating in jams during which he and/or others did indeed fail to follow one, or more of the features of jam etiquette discussed below.

What is a bluegrass jam?

A bluegrass jam, or any kind of jam for that matter, is an event in which musicians come together to play and sing unrehearsed music with and for each other. They may, or may not, know each other in advance—often in a given jam some do know each other, while some don’t. There may be observers, an audience of sorts, but the main thing for those jamming is having fun playing music together.

Pickers and grinners: When it comes to the matter of jam etiquette, then, there are those guidelines that apply to the musicians (pickers) and those that apply to the listeners (grinners). And each are there to help with the goal of jamming, in the first place.

Primary goal of a bluegrass jam

Given what a bluegrass jam is in the first place, it’s easy to see that the primary goal is having fun making music together. It’s an opportunity for musicians to play together. Simple as that.

The reason for jam etiquette, rules, guidelines, whatever

And the reason for any sort of etiquette, guidelines, or rules for behavior in a jam, is to make it easier for that goal to be achieved. Simple as that. Some of them apply primarily to the jammers (pickers), the musicians singing and playing, while others apply to those listening (grinners). They all have to do with achieving the goal of jamming: Having fun playing and singing bluegrass music.

If a group of musicians, some who may know each other and some who may not, come together to jam, and if they have some idea in advance about what’s expected, they can get down to the business of playing together without preliminary discussion, or negotiation about how they should proceed. And that makes it an easier, more enjoyable experience.

Which is NOT to say that such discussions won’t occur, because sometimes they do, for various reasons. But having a basic understanding of what is going on in a jam helps facilitate the playing and even helps any discussion that may be arise.

Variations in jam etiquette

There are lots of opinions, ideas, suggestions, commands, directives, etc. regarding bluegrass jamming and how to participate. And while some might be rather dictatorial, insisting that the rules, or standards, or whatever, that apply to jams and jamming absolutely must be followed, the simple fact is that it depends…it depends on what kind of jam it is, it depends upon who is playing in the jam, it depends on the phase of the moon, time of day, etc.

For example, some will say ONLY bluegrass can be played in a bluegrass jam…but, guess what, there are differing opinions about what constitutes bluegrass (is it only “traditional” or can it include “contemporary,” or “progressive” bluegrass?), AND some folks in some jams are willing to include folk music, or Old Time music, or Country-And-Western music, or even Bluegrass-style renditions of popular tunes and songs.

For another example, some will say that ONLY certain acoustic instruments (such as guitar, banjo, bass, mandolin, resonator slide guitar, and violin) can be used in a bluegrass jam… But, again, that can vary, and sometimes an autoharp, or a harmonica, or hybrid instruments like a “banjolin” (banjo mandolin), or an amplified base, or a hammered dulcimer, or even an accordion will find it’s way into a jam.

So not all jams are the same. Consequently, not every jam follows exactly the same etiquette. It all depends on who’s in the jam and what they collectively find acceptable.

And probably the most important thing is being aware of the major goal for jamming (having fun making music together), and from there what the range of expectations and preferences are that serve that purpose.

In other words, while it’s beneficial to know the general etiquette that most follow in a jam, it’s also important to get a sense of what’s expected, accepted and being done in a specific jam, especially if it involves musicians one has never played with before. And probably the best way to do this is to listen and observe, and when appropriate ask questions.

General jam guidelines: For Pickers

Though there are different jams with different players using different guidelines, there are some features that tend to occur in all discussions of jam etiquette. Here are several of these common features.

How jams are organized and run: All the jam etiquette discussions emphasize the idea that jams are run in a manner that gives everybody the best opportunity to participate. To accomplish this, jams generally have:

Jam leader: Some jams have a leader, someone who oversees the functioning of the jam (this person is not the same as the song leader discussed below). But others jams don’t. If there is a leader, it may be the person at whose site the jam is taking place.

One additional reason for knowing about the jam guidelines it to understand what’s happening at jams where there is no clearly identified leader.

Jammers in a circle: Some prefer standing, while others prefer sitting, but either way the players arrange themselves in a circle so they can see and hear each other as they play.

How big should the circle be? That depends on the preferences of the players. Sometimes the circle becomes quite large. Those who prefer smaller jams will either not join such a jam, or leave when one becomes too large for their taste. Perhaps, the main issues concerning jam size are how hard it is to hear other players across the circle, how much opportunity there is to do a solo (see below), and how long it takes to go around the circle.

A sequence in which players participate: The goal is to make sure all who want to participate do so, whether it’s in song selection and singing, or in taking breaks (doing solos between lyrics).

Song leader: Usually songs are selected and lead by individual jam members one at a time, going around the circle. Now, some suggest it should be counter-clockwise in the circle, some say clockwise, but either way, it goes one player at a time. The player who’s turn it is selects the song and tells the other the key he, or she is going to sing it in.

Passing: Any jammer is free at any particular time to pass, but if the person is not really able to sing songs, or do solos (see below), it is generally best for that person to play outside of the circle, so the others in the circle know not to include them in song selection, or taking breaks.

Singing along with the leader: There are times when others in a jam join in singing with the person who’s doing the song, but unless otherwise requested, this is usually reserved for the chorus, and for the most part it is done for the purpose of harmonizing, not simply singing along.

Taking breaks (performing solos): This may, or may not follow a sequence (such as clockwise, or counterclockwise), because it is up to the person who has selected and is singing the song to call out individuals to do solos (verbally, or by a nod).

Those who want to do a solo usually try to make that evident by making eye contact with the particular song leader, who often is looking around the circle to see who wants to take a break; making such eye contact can be very important, since song leader may not otherwise know. And anyone who doesn’t want to solo on a particular song avoids eye contact, or signals by a negative shake of the head.

Often the sequence that the leader chooses when assigning solos takes into account the various instruments arrayed around the circle. If, for example, there are two guitars next to each other, the leader may skip one at one point, but return to that one later, so there is more variety during a particular break, and so two guitarists don't have to play one after the other.

What not to do: All jam guidelines also suggest that, regardless what one does do in a jam, jam etiquette is there to prevent behavior that can cause difficulty for other players. So what sorts of things can do this? Here’s a list of things that most often arise:

Noodling between songs. This involves playing scales, or licks, or chords, between songs. This can be very distracting, especially for the next player who’s turn it is to come up with a song. He, or she may be trying to remember something about the song, and noodling can distract him, or her. The one possible exception is the person who is responsible for the next song, who may noodle a bit to find correct key and/or remember an arrangement.

This is not to say noodling cannot be done at all; for those who are mobile, it’s simply a matter of stepping out of the circle and earshot.

Playing over someone else’s solo. Pros on albums can and do at times have two musicians harmonizing with each other during a break, but during a jam this can be problematic, because the person taking the break: (a) deserves his, or her solo, and (b) can easily be distracted by anyone who isn't just providing rhythm backup.

Tuning It is very important to be in tune, and those without perfect pitch use electronic tuners to tune their instruments. Usually, however, doing this while in the jam circle is seen as inappropriate--might be OK for those who are mobility limited, but otherwise players are expected to move out of circle to tune, or retune. It's the same problem as noodling. Of course, it may happen that several folks decide to check they're tuning at the same time, and the jam may pause for this to happen.

High Volume: Those who play excessively loud (especially on instruments that are inherently loud in the first place) can cover other instruments, or singers, with the result that they can’t be heard; if it’s the person leading the song who can’t be heard, the whole song can fall apart.

Hogging the jam. As indicated above, jams are an opportunity for players to play, and for those who sing to sing. Anyone who doesn’t follow the established sequence and keeps going out of turn can easily prevent this from happening.

A note about jam-busting: This refers to someone coming into a jam who, usually by violating various aspects of jam etiquette listed above, causes the jam to break up (people start leaving until only the jam-buster remains). The jam-buster’s behavior, one way or another, makes playing together in that jam unsatisfactory, so the jam ends.

Sometimes, this can include not being able to play up to the level of the others in the jam. Whether or not this is a problem will generally have to do with: (a) how much disparity there is in playing ability, or (b) the person's perceived ability to improve and benefit from playing with better musicians, or (c) the jammers willingness to include those who are less proficient (see below) , or (d) some combination of all three and maybe other factors as well. But whatever problems presented by someone who doesn't play as well, they're not really a matter of violating jam etiquette, so much as they are something that may reduce the fun for the other players in the jam--and whether that's the case, depends on just exactly who those members are. Remember, not all jams are the same.

Understandably, jam-busting is considered to be a bad thing. And, for the most part, it is, because the goal of jamming is to have fun playong together, and anyone who stops that from happening has thwarted that goal.

So, while there is nothing sacred about a jam (who knows, at times there may be jams that deserve to be busted), it’s better to abide by the general jam guidelines, or walk away and find another jam, if a particular one is unsatisfactory, than it is to enter and somehow bust up the jam.

Inclusiveness: Finally, and perhaps most important of all, almost all jam etiquettes written for bluegrass include the notion of inclusiveness. The guidelines are there to facilitate the joint enterprise of making music The goal is to encourage and make this possible, and this includes encouraging people who are just starting to get involved. So…while there may be varying guidelines that may, or may not be rigidly enforced in any particular jam, it’s important that whatever etiquette is being followed also be welcoming toward any and all who want to participate, regardless of their level of experience, or expertise, with the understanding that anyone who participates in a disruptive way may be politely told how to follow the etiquette, or to leave. In the event there is a group of players who are not welcoming, and this does indeed happen, then its best to move on to a jam that's more inclusive.

General jam guidelines: For Grinners

Yes, there are some guidelines that apply to those who so graciously choose to participate by listening. And like those for pickers, they primarily have to do with helping achieve the goal of the jam: Having fun playing and singing Bluegrass together.

Since those who come to listen don’t actually participate in the making of the music, the guidelines that apply to them mostly have to do with those things they might do that would get in the way of the jam. However, just like the etiquette for pickers, there can and will be variation in these guidelines, depending on the nature of the specific jam.

They all have to do with either distracting, or interrupting the jammers. These are the sorts of things that can do that:

1. Talking: Since grinners aren’t playing, there’s nothing to prevent them from talking to each other. And that’s something they should do. The problem is when they are sitting so close to the players that their conversation distracts the pickers. So…the general guideline is:

Sit far enough away that the jammers don't become distracted by the conversation.

If you’re not sitting that far away, only talk between songs.

2. Greeting jammers: Pickers and grinners alike are happy to meet and greet, so everyone wants to know if and when friends arrive. But…when it comes to the pickers, they usually don’t want that to happen during a song. So it’s best to wait for a break in the action, to make your presence known between songs. P.S. This applies to pickers who come up to a jam, as well.

3. Ah, the young’uns: It’s wonderful to have children involved. They’re a delight in their own right. And to have them present as potential participants in the future of Bluegrass is a wonderful prospect. And, as we all know, kids will be kids. They can be loud, rambunctious and highly energetic, enthusiastically running hither and yon, yelling in their loudest voices. We would never want to discourage that. And…all jammers would like to welcome kids into the jam as grinners, or pickers, for that matter, if they play, or are learning to play.

But, by their energy, their enthusiasm, by their possible lack of knowledge of jam etiquette, they do have the potential to obstruct the goal of jamming—so grinners and pickers alike are asked to recognize the potential affect of their children on jams and let the kids know how to be a helpful participants.

Some internet resources

Here are some links to other sites on the internet that provide discussions of jam etiquette:

Jam Etiquette - author unknown
Jam Etiquette - author unknown
Jam Etiquette by Edward I. Pollak
Jam Etiquette by Martha Haehl
Jam Session Etiquette by Vivian T. Williams
Jamming Etiquette by Doug Cox
Introduction to bluegrass jamming by Tom Barnwell
Ten Commandments of Jamming - author unknown, includes some suggestions by Pete Wernick
What IS a "Jammer"? by Dave Sawyer

All content herein © Southwest Bluegrass Association 2008 all rights reserved
grass Association 2007 all rights reserved

All content herein © Southwest Bluegrass Association 2007 all rights reserved

Rough Magic Studios: Alby Cohen

noreply@blogger.com (one step ahead) — Mon, 01 Aug 2011 16:41:00 +0000

This is Alby, I have crossed paths with him over the years and have come to discern that he is a good dude. He produces for just about every band in Brooklyn, (an impressive roster I can't even begin to rattle off) check out his documentary and if you like his work he is the first boy to holler at!

ART CREATURE: Alby Cohen from LUNARCY PICTURES on Vimeo.

Fang Island @ Brooklyn Bowl

noreply@blogger.com (one step ahead) — Wed, 08 Jun 2011 01:02:00 +0000

Fang Island @ Brooklyn Bowl-May 27th,2011
by Jason Bertone

When the Brooklyn based Fang Island took the stage for a hometown show as part of The Deli Magazine’s Best of NYC Fest, the energy was decidedly relaxed. A cool summer evening at Brooklyn Bowl makes for an ideal night out. Anyone who was at all “relevant” in NYC was there, with bowling, revelry and hipsters milling about promoting their various ironic art and music projects.

Fang Island formed as part of an “art project” while at Road Island School of Design, but the feeling in the crowd was more reminiscent of a pep rally than a gallery opening. The audience was slightly more energetic than a usual indie rock crowd with only about 75 percent of the audience standing absolutely still arms folded. The large standing room venue, which doubles as a bowling alley, could very well have been the most inviting room in Williamsburg that evening. The positivity starts from the top down. Fang Island self describes their sound as “everyone high-fiving everyone,” an assessment that encapsulates the band’s performance. This self description has been quoted ad nauseam in the press, yet a thousand times later it still sounds cute. The group’s personnel consists of three guitarists along with a drum and bass, members double on keyboard at any given time. The result is a lush, layered sound that is conversational and rich in interplay.

Fang Island represents a new type of guitar driven music outside the traditional crew of hotshot pickers who trade licks and solos between verses and choruses. No one in the group chooses to take a specific solo or even a lead vocal line. Guitar melodies and danceable beats lay the groundwork for chanted, anthemic vocals. The extended instrumentals are extremely structured and the word math rock come to mind. In the vein of great performance bands that have come before them, Fang Island has an unconventional assortment of tunes and arrangements that are optimized for a long set as opposed to a radio spot. The band has been described as bordering on progressive rock and musically, has a surprising amount in common with jamband heroes Umphrey’s Mcgee.

When the band took to the stage around midnight, the whole crowd was swaying if not dancing. Primarily playing songs from their recently released, self-titled album, Fang Island presented an engaging concert experience; the largely instrumental music blended together, holding a consistently upbeat tempo for the entire performance. New Jersey based multi-instrumentalist (and mastermind behind experimental rock group Delicate Steve) Steve Marion took a drive over the Varrizano to join on a spirited version of “Davey Crockett.” The night climaxed with “Daisy,” a tune featured in a shortly lived reality show but beloved for being perhaps the most euphoric rock anthem in years. High fives all around.

SETLIST – 5/27/11 – Brooklyn Bowl – Brooklyn, New York
Swear Boys
The Illinois
Seek It Out
Life Coach
Welcome Wagon
Sideswiper
Asunder
Chompers
Treeton
Careful Crossers
Davy Crockett*
Dreams Of Dreams
Daisy

* With Steve Marion from Delicate Steve, Alex Barton and Justin Wright

Save The Date: Ticket Masters: The Rise of the Concert Industry and How the Public Got Scalped.

noreply@blogger.com (one step ahead) — Mon, 23 May 2011 01:02:00 +0000

Josh Barron and Dean Budnic number 1 and 2 respectively at Relix Magazine have co authored a book exposing the evils of the ticketing industry, and will be hosting a panel this coming Thursday at 92YTribeca from 7-8:30PM. with some great people participating inlcuding John Scher, Eric Baker (StubHub, Viagogo), Andrew Dreskin (Ticketfly, TicketWeb) and Mike Luba (S2BN Entertainment, Madison House, SCI Ticketing)

"As sales of recorded music plummet, live shows are supposed to save the music industry. Maybe so. But who will save the fans-beleaguered by scalpers, high ticket prices and insane "service" fees? Budnick and Baron explain how we got to this sorry pass, and what will have to happen before we get through it. Music lovers both, they're on the side of concert goers, who pay the bills and deserve more for their dollars and devotion."
- Anthony DeCurtis, Contributing Editor, Rolling Stone

"Dean Budnick and Josh Baron brilliantly chronicle the storied history of ticketing, providing a front row seat to the back room drama. A must-read for any music business enthusiast."
- Shirley Halperin, Music Editor, The Hollywood Reporter

Ticket Masters: The Rise of the Concert Industry and How the Public Got Scalped. Is based on first-person interviews with key players and meticulous research, Ticket Masters by Dean Budnick and Josh Baron is the first book-length exploration of the modern concert industry

Just in time for the summer concert season, Ticket Masters chronicles the as-yet-untold story of the live entertainment industry, revealing its origins, development and ongoing strategies of companies such as Ticketmaster, Live Nation and StubHub and the efforts of numerous independent competitors. With over 100 exclusive interviews and utilizing many previously unreleased documents, this character-driven book explores the actions and impact of the iconoclasts guiding these companies while folding in related tales of scalping syndicates, old school music promoters and would-be Internet tycoons along with the brash business decisions of such world-renowned groups as the Grateful Dead, Pearl Jam and The Rolling Stones.

Like no previous book, Ticket Masters sheds light upon the complex relationships between artists, promoters, ticketing agents and the public. Beginning with the previously unreported details behind the rise and demise of the once-dominant Ticketron, Ticket Masters proceeds to share gripping accounts and analysis of Ticketmaster's eventual market supremacy, SFX and Clear Channel's promoter rollup, the cutthroat battle for secondary ticket sales and numerous other tales of the industry's most significant architects. Whether it's Michael Cohl nabbing the Stones from Bill Graham, Ticketmaster's defeat of Pearl Jam or the silent efforts of music superstars to mark up their ticket prices for complicit websites, Budnick and Baron examine the pivotal developments that have shaped the industry as we know it.

The Deil Best of NYC Fest 2011

noreply@blogger.com (one step ahead) — Mon, 09 May 2011 04:49:00 +0000

I currently am a web developer at The Deli Magazine, it is the yin to my yang, a scene that appreciates folk and bluegrass but is completely foreign to the corresponding festival culture. A much more "urban" mindset, I like to expose myself to different musical opinions and subcultures. I am definitely the improv rock, anomaly but I like it that way.

SPRING 2011 ART + ARCHITECTURE SHOW Gowanus Ballroom

noreply@blogger.com (one step ahead) — Sun, 10 Apr 2011 20:33:00 +0000

http://www.gowanusballroom.com

Ursula Viglietta senior designer for the Deli deserves a medial for going days without sleep to curate the best event I have attended all year in Brooklyn. The events opening night was this past Friday and the turnout was amazing.

Gowanus Ballroom is a 12,000-square-foot space beneath 50-foot cathedral ceilings with a 4,000-square-foot mezzanine overlooking the lower gallery. In 2010, Josh Young of Serett Metal retooled the space for artists to work.

This event had massive Burning Man worthy installations, and a complete lineup of bluegrass/old-time bands, the event combined the relevancy of an indie art with the honest fun of a bluegrass festival.

The installations included a tree house and a cozy area of wooden igloos put together with chicken wire. I caught a great old time jazz band called Apocolypse 5 and Dime which played old jazzy tunes with the tuba bumping the bass line, the fiddler player is incredibly melodic, and the horn section truly sets the band apart. Other great bands that played included, Crooks and Perverts, Yula and the Extended Family and Morgan O’Kane. The show will be up throughout this week, with a closing party on Saturday the 15th. Saturday's lineup brings in music by Melody Allegra Berger, Union Street Preservation Society, Crooks and Perverts and Morgan O’Kane.

artists featured in the show include, Adriana Atema, Aimee Bonamie, Amy Consolo, Ben Wolf, Brian Whiteley, Christina Kelly, Domestic Construction, Douglas Draper, Emma Stern, Felix morelo, Georgie Flores, Gerri Davis, Heidi Tullman, Jason Gandy, Kristin Künc, Lopi LaRoe, Matt Allison, Matthew Silver aka Heartpocalypse, Matt Stolle, Matthew William Robinson, Nathan Maxwell Cann, Patricia Watwood, Rob Zeller, the Objectionists, Serra Victoria Bothwell Fels, Shannon Gillen & Guests, Tod Seelie, Ursula Viglietta, Vanessa Cronan, and more

Oh Land Residency at The Charles Bank Gallery

noreply@blogger.com (one step ahead) — Tue, 29 Mar 2011 03:23:00 +0000

Danish electropop artist Oh Land is celebrating the release of her new self-titled album with a unique art installation at The Charles Bank Gallery here in NYC.

Artist Eske Kath has created a sculpture-, paint- and video-based visual landscape inspired by the album that will be open to the public March 29-April 2 from 12-7 p.m.

Oh Land will perform with a different setup each night, beginning with a string quartet performance on the 29^th. Performances will start each night at 8:30 p.m., with doors/cocktails starting at 8 p.m.

Allman Brothers at The Beacon 3-22-11

noreply@blogger.com (one step ahead) — Thu, 24 Mar 2011 17:51:00 +0000

The Heavy Pets 03/18/11 Brooklyn Bowl

noreply@blogger.com (Dersh) — Tue, 22 Mar 2011 19:25:00 +0000

So good to see The Pets again. Enjoy

Bowlive 2 #10 Soulive Taylor Hicks Nigel Hall Sat 3-12-11

noreply@blogger.com (one step ahead) — Fri, 18 Mar 2011 13:32:00 +0000

Wordless Music Series comes to Brooklyn + Lincoln Center

noreply@blogger.com (one step ahead) — Thu, 24 Feb 2011 15:29:00 +0000

Feast of music covered this a couple years back, listings below.

Jeff Mangum
of Neutral Milk Hotel
first U.S. shows since 1998
and the start of our 5th anniversary season

Friday, Sept. 9: Sanders Theatre at Harvard University
Saturday, Sept. 10: Jordan Hall at New England Conservatory

+
Tyondai Braxton with the Wordless Music Orchestra
at Lincoln Center, the Library of Congress,
and Walker Art Center in Minneapolis

+
Godspeed You! Black Emperor
first NYC/Brooklyn shows since 2003
a small number of tickets
to be released Friday, Feb. 25

+
Gavin Bryars' "The Sinking of the Titanic":
A performance installation at the Guggenheim Museum
with artist Dominique Gonzalez-Foerster

+
the U.S. premiere of Jonny Greenwood's
"Doghouse" for large orchestra and string trio

with
the New York premiere of
Philip Glass / David Bowie / Brian Eno's
Symphony No. 4 ("'Heroes'")

Just announced: 5th anniversary season kicks off with Jeff Mangum in Boston
In September of 2006, the Wordless Music series presented its first concert at the 250-capacity Good Shepherd Faith Church on West 66th Street in New York City. Five years later, we are slightly shocked and humbled to announce the start of our 5th anniversary season with a true musical great: Jeff Mangum of Neutral Milk Hotel, performing his first U.S. live shows since 1998, and in two of the country's great historic acoustical treasures: on Friday, September 9, at the 1,150-capacity Sanders Theatre at Harvard University in Cambridge; and Saturday, September 10, at the 1,050-capacity Jordan Hall at New England Conservatory in Boston. Tickets for these concerts will be $35 and open to audience members of all ages.

Presales for the Jordan Hall concert start at 10am this Friday, February 25 via the Jordan Hall box office; a larger allotment of Jordan Hall tickets will be sold through the same outlets starting at 10am on Saturday, February 26.

Presales for the Sanders Theatre concert start at 12pm next Thursday, March 3 via the Harvard box office; a larger allotment of Sanders Theatre tickets will be sold through the same outlets starting at 12pm on Friday, March 4.

Also on sale this Friday, Feb. 25: a small number of GY!BE tickets to be released
On four consecutive nights beginning Tuesday, March 15, Wordless Music teams up with our friends at The Blackened Music Series to present the first NYC and Brooklyn shows in eight years by the reunited Montreal orchestral-rock collective Godspeed You! Black Emperor, at two of New York's most extraordinary venues--the Church of St. Paul the Apostle in Manhattan and the Brooklyn Masonic Temple in Fort Greene. This Friday, February 25, at 12pm noon, a very small number of tickets to Godspeed's Thursday and Friday (March 17-18) shows at St. Paul the Apostle will be released for an exceedingly short time via this link and this link. Tickets are $25 general admission, open to audience members of all ages, and will not last very long at all.

Next month: Tyondai Braxton with the Wordless Music Orchestra
Rapidly approaching in March: the first-ever tour of the Wordless Music Orchestra with composer and multi-instrumentalist Tyondai Braxton, formerly of Battles, performing new works for orchestra and electronics from Braxton's recent Warp Records solo debut Central Market and music by John Adams, Louis Andriessen, and Caleb Burhans for concerts at Alice Tully Hall in New York (as part of Lincoln Center’s Tully Scope festival), the Library of Congress in Washington, D.C., and Walker Art Center in Minneapolis. Tickets for the Library of Congress concert have been nearly all scooped up; tickets for Lincoln Center and the Walk er Art Center are still on sale.

Also in March: Deerhoof curates + headlines Carnegie Hall's 2011 Japan NYC festival
On Monday, March 14 at Le Poisson Rouge, Wordless Music co-presents a special collaboration with Carnegie Hall as part of their 2011 Japan NYC Festival, for which the great Tokyo/San Francisco noise-pop group Deerhoof will curate and headline a bill of specially chosen artists representing the best of contemporary experimental music from Japan. With sets from Deerhoof as well as friends and band favorites Ichi and If By Yes (Yuka Honda and Petra Haden).

"T. 1912: Gavin Bryars' The Sinking of the Titanic" at the Guggenheim
In April, as part of the Guggenheim Museum's spring exhibition "The Great Upheaval: Modern Art from the Guggenheim Collection, 1910-1918," the Wordless Music Orchestra will collaborate with artist Dominique Gonzalez-Foerster for "T. 1912": a performance installation of Gavin Bryars' ambient classic The Sinking of the Titanic in the historic Guggenheim rotunda, in which the audience also plays a role. "Boarding" for the early and late performances of "T. 1912" will close at 8:40pm and 10:40pm.

And the 2011-12 season finale:
On May 20 and 21, Wordless Music concludes its fourth season with the United States premiere of Doghouse, the longest and largest work yet for orchestra by Radiohead guitarist Jonny Greenwood, on a program with the first New York City performance of Philip Glass / David Bowie / Brian Eno's Symphony No. 4 ("'Heroes,'" based on the music of Bowie and Eno) and György Ligeti's Chamber Concerto, all performed by Ensemble Signal with the Wordless Music Orchestra and conductor Brad Lubman. Tickets for the May 20 and May 21 concerts at the New York Society for Ethical Culture are now on sale.

Wordless Music
2010-11 Season

03.04.2011 Tyondai Braxton with the Wordless Music Orchestra (Walker Art Center, Minneapolis)
03.07.2011 Tyondai Braxton with the Wordless Music Orchestra (Alice Tully Hall, NYC)
03.10.2011 Tyondai Braxton with the Wordless Music Orchestra (Library of Congress, Washington DC) (free!)
03.14.2011 Deerhoof & Friends: a musical event within Carnegie Hall's 2011 Japan NYC festival (Le Poisson Rouge, NYC)
03.15.2011 Godspeed You! Black Emperor (Brooklyn Masonic Temple)
03.16.2011 Godspeed You! Black Emperor (Brooklyn Masonic Temple)
03.17.2011 Godspeed You! Black Emperor (Church of St. Paul the Apostle, NYC)
03.18.2011 Godspeed You! Black Emperor (Church of St. Paul the Apostle, NYC)
04.14.2011 Gavin Bryars' "The Sinking of the Titanic" (Guggenheim Museum, NYC)
05.20.2011 Jonny Greenwood's "Doghouse" with music of György Ligeti + Glass/Bowie/Eno (New York Society for Ethical Culture)
05.21.2011 Jonny Greenwood's "Doghouse" with music of György Ligeti + Glass/Bowie/Eno (New York Society for Ethical Culture)

Wordless Music
2011-12 5th Anniversary Season
(in progress)

09.09.2011 Jeff Mangum of Neutral Milk Hotel (Sanders Theatre at Harvard University, Cambridge MA)
09.10.2011 Jeff Mangum of Neutral Milk Hotel (Jordan Hall at New England Conservatory, Boston MA)

Friday, March 4, 2011
Tyondai Braxton with the Wordless Music Orchestra (Caleb Burhans, conductor):
New compositions and music from Braxton's Central Market
John Adams: Road Movies, for violin and piano (1995)
Louis Andriessen: Workers' Union, for chamber orchestra (1975)
Caleb Burhans: In a Distant Place, for chamber orchestra (2008
Walker Art Center, Minneapolis / 8pm show / $25 / all ages
Presented by the Walker Art Center in association with Wordless Music

Monday, March 7, 2011
Tyondai Braxton with the Wordless Music Orchestra (Caleb Burhans, conductor):
New compositions and music from Braxton's Central Market
John Adams: Road Movies, for violin and piano (1995)
Louis Andriessen: Workers' Union, for chamber orchestra (1975)
Caleb Burhans: In a Distant Place, for chamber orchestra (2008)
Alice Tully Hall, Lincoln Center / 7:30pm show / $20-50 tickets / all ages
Co-presented by Lincoln Center for the Performing Arts and Wordless Music as part of the 2011 Tully Scope festival

Thursday, March 10, 2011
Tyondai Braxton with the Wordless Music Orchestra (Caleb Burhans, conductor):
New compositions and music from Braxton's Central Market
John Adams: Road Movies, for violin and piano (1995)
Louis Andriessen: Workers' Union, for chamber orchestra (1975)
Caleb Burhans: In a Distant Place, for chamber orchestra (2008)
Coolidge Auditorium, Library of Congress, Washington, D.C. / 8pm / (FREE concert!)
Free tickets available starting 10am, January 26, 2011
Co-presented by The Library of Congress and Wordless Music

Monday, March 14, 2011
Deerhoof & Friends:
A musical event within Carnegie Hall's 2011 Japan NYC Festival
with Ichi and If By Yes (Yuka Honda + Petra Haden)
Co-presented by Carnegie Hall and Wordless Music
Le Poisson Rouge / 7pm doors / 8pm show / $20

Tuesday, March 15, 2011
Wednesday, March 16, 2011
Godspeed You! Black Emperor
Brooklyn Masonic Temple
317 Clermont Avenue at Lafayette, Fort Greene, Brooklyn
8pm doors / 9pm show / all ages / ***SOLD OUT***
Co-presented by Wordless Music and The Blackened Music Series

Thursday, March 17, 2011
Friday, March 18, 2011
Godspeed You! Black Emperor
The Church of St. Paul the Apostle
Columbus Avenue at West 60th Street
7pm doors / 8pm show / all ages
Tickets on sale 12pm Friday, Feb. 25: (March 17 show) (March 18 show)
Co-presented by Wordless Music and The Blackened Music Series

Thursday, April 14, 2011
T. 1912: Gavin Bryars' The Sinking of the Titanic (1969)
A performance installation with artist Dominique Gonzalez-Foerster
"Boardings" close at 8:40pm and 10:40pm
The Guggenheim Museum
1071 5th Avenue (at East 88th Street)
Co-presented by Wordless Music and the Guggenheim Museum

Friday, May 20, 2011
Saturday, May 21, 2011
Ensemble Signal with the Wordless Music Orchestra (Brad Lubman, conductor)
Jonny Greenwood: Doghouse, for large orchestra and string trio (2010) (U.S. premiere)
György Ligeti: Chamber Concerto, for thirteen instrumentalists (1969-70)
Philip Glass / David Bowie / Brian Eno: Symphony No. 4 ("'Heroes,'" based on music of Eno and Bowie) (1996) (New York premiere)
Courtney Orlando, violin
John Richards, viola
Lauren Radnofsky, cello
Tickets on sale now: (May 20 show) (May 21 show)
New York Society for Ethical Culture
7pm doors / 8pm show / all ages / $25-35 tickets with $5 service charge (sorry)

------------------------------------------------------------------------

Friday, September 9, 2011
Jeff Mangum
of Neutral Milk Hotel
Sanders Theatre at Harvard University (Cambridge, MA)
Tickets on sale 12pm Thursday, March 3
7:30pm doors / 8pm show / $35 / all ages

Saturday, September 10, 2011
Jeff Mangum
of Neutral Milk Hotel
Jordan Hall at New England Conservatory (Boston, MA)
Tickets on sale 10am Friday, Friday 25
7pm doors / 8pm show / $35 / all ages

wordlessmusic.org

Dive Bar Dukes Win Hardly Strictly Bluegrass Battle

noreply@blogger.com (one step ahead) — Sun, 20 Feb 2011 07:33:00 +0000

check them out http://www.myspace.com/divebardukes

Melody Allegra's band just won first prize at The Battle of the Hardly Strictly Bluegrass Bands 2011. As a prize, They'll Fly Away/... Cali for the Hardly Strictly Bluegrass Festival.

Bluegrass NYC News

noreply@blogger.com (one step ahead) — Thu, 17 Feb 2011 07:52:00 +0000

USPS continues to make waves, with an EP release at Jalopy, an article in the Daily News, Glide Magazine, Current.com and the Murdock owned Brooklyn Paper (bet you didn't know he bought that)

People are unknowingly fucking up the jam at sunny's, be respectful, be mindful and follow these rules...

Jams And Jam Etiquette
For Pickers and Grinners
By Roger Russell

Disclaimer: The opinions offered in this article are strictly those of the author and do not necessarily reflect the opinions of anyone else (such as, the Board of Directors or membership of SWBA). Further and for the record, the author freely acknowledging participating in jams during which he and/or others did indeed fail to follow one, or more of the features of jam etiquette discussed below.

What is a bluegrass jam?

A bluegrass jam, or any kind of jam for that matter, is an event in which musicians come together to play and sing unrehearsed music with and for each other. They may, or may not, know each other in advance—often in a given jam some do know each other, while some don’t. There may be observers, an audience of sorts, but the main thing for those jamming is having fun playing music together.

Pickers and grinners: When it comes to the matter of jam etiquette, then, there are those guidelines that apply to the musicians (pickers) and those that apply to the listeners (grinners). And each are there to help with the goal of jamming, in the first place.

Primary goal of a bluegrass jam

Given what a bluegrass jam is in the first place, it’s easy to see that the primary goal is having fun making music together. It’s an opportunity for musicians to play together. Simple as that.

The reason for jam etiquette, rules, guidelines, whatever

And the reason for any sort of etiquette, guidelines, or rules for behavior in a jam, is to make it easier for that goal to be achieved. Simple as that. Some of them apply primarily to the jammers (pickers), the musicians singing and playing, while others apply to those listening (grinners). They all have to do with achieving the goal of jamming: Having fun playing and singing bluegrass music.

If a group of musicians, some who may know each other and some who may not, come together to jam, and if they have some idea in advance about what’s expected, they can get down to the business of playing together without preliminary discussion, or negotiation about how they should proceed. And that makes it an easier, more enjoyable experience.

Which is NOT to say that such discussions won’t occur, because sometimes they do, for various reasons. But having a basic understanding of what is going on in a jam helps facilitate the playing and even helps any discussion that may be arise.

Variations in jam etiquette

There are lots of opinions, ideas, suggestions, commands, directives, etc. regarding bluegrass jamming and how to participate. And while some might be rather dictatorial, insisting that the rules, or standards, or whatever, that apply to jams and jamming absolutely must be followed, the simple fact is that it depends…it depends on what kind of jam it is, it depends upon who is playing in the jam, it depends on the phase of the moon, time of day, etc.

For example, some will say ONLY bluegrass can be played in a bluegrass jam…but, guess what, there are differing opinions about what constitutes bluegrass (is it only “traditional” or can it include “contemporary,” or “progressive” bluegrass?), AND some folks in some jams are willing to include folk music, or Old Time music, or Country-And-Western music, or even Bluegrass-style renditions of popular tunes and songs.

For another example, some will say that ONLY certain acoustic instruments (such as guitar, banjo, bass, mandolin, resonator slide guitar, and violin) can be used in a bluegrass jam… But, again, that can vary, and sometimes an autoharp, or a harmonica, or hybrid instruments like a “banjolin” (banjo mandolin), or an amplified base, or a hammered dulcimer, or even an accordion will find it’s way into a jam.

So not all jams are the same. Consequently, not every jam follows exactly the same etiquette. It all depends on who’s in the jam and what they collectively find acceptable.

And probably the most important thing is being aware of the major goal for jamming (having fun making music together), and from there what the range of expectations and preferences are that serve that purpose.

In other words, while it’s beneficial to know the general etiquette that most follow in a jam, it’s also important to get a sense of what’s expected, accepted and being done in a specific jam, especially if it involves musicians one has never played with before. And probably the best way to do this is to listen and observe, and when appropriate ask questions.

General jam guidelines: For Pickers

Though there are different jams with different players using different guidelines, there are some features that tend to occur in all discussions of jam etiquette. Here are several of these common features.

How jams are organized and run: All the jam etiquette discussions emphasize the idea that jams are run in a manner that gives everybody the best opportunity to participate. To accomplish this, jams generally have:

Jam leader: Some jams have a leader, someone who oversees the functioning of the jam (this person is not the same as the song leader discussed below). But others jams don’t. If there is a leader, it may be the person at whose site the jam is taking place.

One additional reason for knowing about the jam guidelines it to understand what’s happening at jams where there is no clearly identified leader.

Jammers in a circle: Some prefer standing, while others prefer sitting, but either way the players arrange themselves in a circle so they can see and hear each other as they play.

How big should the circle be? That depends on the preferences of the players. Sometimes the circle becomes quite large. Those who prefer smaller jams will either not join such a jam, or leave when one becomes too large for their taste. Perhaps, the main issues concerning jam size are how hard it is to hear other players across the circle, how much opportunity there is to do a solo (see below), and how long it takes to go around the circle.

A sequence in which players participate: The goal is to make sure all who want to participate do so, whether it’s in song selection and singing, or in taking breaks (doing solos between lyrics).

Song leader: Usually songs are selected and lead by individual jam members one at a time, going around the circle. Now, some suggest it should be counter-clockwise in the circle, some say clockwise, but either way, it goes one player at a time. The player who’s turn it is selects the song and tells the other the key he, or she is going to sing it in.

Passing: Any jammer is free at any particular time to pass, but if the person is not really able to sing songs, or do solos (see below), it is generally best for that person to play outside of the circle, so the others in the circle know not to include them in song selection, or taking breaks.

Singing along with the leader: There are times when others in a jam join in singing with the person who’s doing the song, but unless otherwise requested, this is usually reserved for the chorus, and for the most part it is done for the purpose of harmonizing, not simply singing along.

Taking breaks (performing solos): This may, or may not follow a sequence (such as clockwise, or counterclockwise), because it is up to the person who has selected and is singing the song to call out individuals to do solos (verbally, or by a nod).

Those who want to do a solo usually try to make that evident by making eye contact with the particular song leader, who often is looking around the circle to see who wants to take a break; making such eye contact can be very important, since song leader may not otherwise know. And anyone who doesn’t want to solo on a particular song avoids eye contact, or signals by a negative shake of the head.

Often the sequence that the leader chooses when assigning solos takes into account the various instruments arrayed around the circle. If, for example, there are two guitars next to each other, the leader may skip one at one point, but return to that one later, so there is more variety during a particular break, and so two guitarists don't have to play one after the other.

What not to do: All jam guidelines also suggest that, regardless what one does do in a jam, jam etiquette is there to prevent behavior that can cause difficulty for other players. So what sorts of things can do this? Here’s a list of things that most often arise:

Noodling between songs. This involves playing scales, or licks, or chords, between songs. This can be very distracting, especially for the next player who’s turn it is to come up with a song. He, or she may be trying to remember something about the song, and noodling can distract him, or her. The one possible exception is the person who is responsible for the next song, who may noodle a bit to find correct key and/or remember an arrangement.

This is not to say noodling cannot be done at all; for those who are mobile, it’s simply a matter of stepping out of the circle and earshot.

Playing over someone else’s solo. Pros on albums can and do at times have two musicians harmonizing with each other during a break, but during a jam this can be problematic, because the person taking the break: (a) deserves his, or her solo, and (b) can easily be distracted by anyone who isn't just providing rhythm backup.

Tuning It is very important to be in tune, and those without perfect pitch use electronic tuners to tune their instruments. Usually, however, doing this while in the jam circle is seen as inappropriate--might be OK for those who are mobility limited, but otherwise players are expected to move out of circle to tune, or retune. It's the same problem as noodling. Of course, it may happen that several folks decide to check they're tuning at the same time, and the jam may pause for this to happen.

High Volume: Those who play excessively loud (especially on instruments that are inherently loud in the first place) can cover other instruments, or singers, with the result that they can’t be heard; if it’s the person leading the song who can’t be heard, the whole song can fall apart.

Hogging the jam. As indicated above, jams are an opportunity for players to play, and for those who sing to sing. Anyone who doesn’t follow the established sequence and keeps going out of turn can easily prevent this from happening.

A note about jam-busting: This refers to someone coming into a jam who, usually by violating various aspects of jam etiquette listed above, causes the jam to break up (people start leaving until only the jam-buster remains). The jam-buster’s behavior, one way or another, makes playing together in that jam unsatisfactory, so the jam ends.

Sometimes, this can include not being able to play up to the level of the others in the jam. Whether or not this is a problem will generally have to do with: (a) how much disparity there is in playing ability, or (b) the person's perceived ability to improve and benefit from playing with better musicians, or (c) the jammers willingness to include those who are less proficient (see below) , or (d) some combination of all three and maybe other factors as well. But whatever problems presented by someone who doesn't play as well, they're not really a matter of violating jam etiquette, so much as they are something that may reduce the fun for the other players in the jam--and whether that's the case, depends on just exactly who those members are. Remember, not all jams are the same.

Understandably, jam-busting is considered to be a bad thing. And, for the most part, it is, because the goal of jamming is to have fun playong together, and anyone who stops that from happening has thwarted that goal.

So, while there is nothing sacred about a jam (who knows, at times there may be jams that deserve to be busted), it’s better to abide by the general jam guidelines, or walk away and find another jam, if a particular one is unsatisfactory, than it is to enter and somehow bust up the jam.

Inclusiveness: Finally, and perhaps most important of all, almost all jam etiquettes written for bluegrass include the notion of inclusiveness. The guidelines are there to facilitate the joint enterprise of making music The goal is to encourage and make this possible, and this includes encouraging people who are just starting to get involved. So…while there may be varying guidelines that may, or may not be rigidly enforced in any particular jam, it’s important that whatever etiquette is being followed also be welcoming toward any and all who want to participate, regardless of their level of experience, or expertise, with the understanding that anyone who participates in a disruptive way may be politely told how to follow the etiquette, or to leave. In the event there is a group of players who are not welcoming, and this does indeed happen, then its best to move on to a jam that's more inclusive.

General jam guidelines: For Grinners

Yes, there are some guidelines that apply to those who so graciously choose to participate by listening. And like those for pickers, they primarily have to do with helping achieve the goal of the jam: Having fun playing and singing Bluegrass together.

Since those who come to listen don’t actually participate in the making of the music, the guidelines that apply to them mostly have to do with those things they might do that would get in the way of the jam. However, just like the etiquette for pickers, there can and will be variation in these guidelines, depending on the nature of the specific jam.

They all have to do with either distracting, or interrupting the jammers. These are the sorts of things that can do that:

1. Talking: Since grinners aren’t playing, there’s nothing to prevent them from talking to each other. And that’s something they should do. The problem is when they are sitting so close to the players that their conversation distracts the pickers. So…the general guideline is:

Sit far enough away that the jammers don't become distracted by the conversation.

If you’re not sitting that far away, only talk between songs.

2. Greeting jammers: Pickers and grinners alike are happy to meet and greet, so everyone wants to know if and when friends arrive. But…when it comes to the pickers, they usually don’t want that to happen during a song. So it’s best to wait for a break in the action, to make your presence known between songs. P.S. This applies to pickers who come up to a jam, as well.

3. Ah, the young’uns: It’s wonderful to have children involved. They’re a delight in their own right. And to have them present as potential participants in the future of Bluegrass is a wonderful prospect. And, as we all know, kids will be kids. They can be loud, rambunctious and highly energetic, enthusiastically running hither and yon, yelling in their loudest voices. We would never want to discourage that. And…all jammers would like to welcome kids into the jam as grinners, or pickers, for that matter, if they play, or are learning to play.

But, by their energy, their enthusiasm, by their possible lack of knowledge of jam etiquette, they do have the potential to obstruct the goal of jamming—so grinners and pickers alike are asked to recognize the potential affect of their children on jams and let the kids know how to be a helpful participants.

Some internet resources

Here are some links to other sites on the internet that provide discussions of jam etiquette:

Jam Etiquette - author unknown
Jam Etiquette - author unknown
Jam Etiquette by Edward I. Pollak
Jam Etiquette by Martha Haehl
Jam Session Etiquette by Vivian T. Williams
Jamming Etiquette by Doug Cox
Introduction to bluegrass jamming by Tom Barnwell
Ten Commandments of Jamming - author unknown, includes some suggestions by Pete Wernick
What IS a "Jammer"? by Dave Sawyer

All content herein © Southwest Bluegrass Association 2008 all rights reserved
grass Association 2007 all rights reserved

All content herein © Southwest Bluegrass Association 2007 all rights reserved

I Thou shalt not come to the jam to impresseth others with thine own talent for this is an abomination. The music shall be the star around which all musicians rotateth and not viceth-verseth! Attempts to make thine own star shine, shall surely lead thee into darkness!

II Thou shalt not forsake the beat. Thou shalt not speed up nor slow down accidentally when playing a tune for this shall be considered an abomination.

III Thou shalt arrange thyself in a small circle so that thou mayest see and mayest hear all the other musicians. Thou shalt listen with thine ears to the songs and shall attempt to play in one accord with the group. Also, thou shalt lift up thine eyes to look about thee, lest there be some visual sign that someone endeavoureth to render unto thee.

IV Thou shalt play softly when someone lifteth his voice in song, when the guitar taketh a break, and when thou knowest not what thou art doing.

V Thou shalt play in tune! Tune thine instrument well and tune it often with thine electric tuner lest the sound that emanateth from thine instrument be unclean!

VI Thou shalt commence and cease playing each tune as one, so that the noise you make be a joyful noise and is not an abomination. Whensoever a musician sticketh forth his foot, as though he were afflicted with a cramp in the fatted calf, thou must complete the rest of that verse and then cease. Thou shalt stick out thine own foot or else lift up thy voice, crying, “This is it!” or “Last time!” if thou hast been the one to begin the song and it hath been played sufficient times over. If the one who beginneth a tune, endeth it not by one of these signs, then the music goeth on in repetitious fashion until the listeners shall say, “Hark, it all soundeth the same!”

VII Thou shalt concentrate and shalt not confound the music by mixing up the “A” part with the “B” part. Most songs, but not all, proceedeth by the ancient law: “AABB”. But, if thou sinneth in this regard or make any mistake that is unclean, thou mayest atone not by stopping, nay, but by reentering the song at the proper place and playing on. Thy fellow musicians will support thee in this regard.

VIII Thou shalt be ever mindful of the key that the banjo is tuned in, and shall play many tunes in that key, for the banjo is but a lowly instrument and must needfully be retuned every time there is a key change.

IX Thou shalt speak gentle words of encouragement to those nourished on the milk of bluegrass music, but not the meat, lest a harsh word turn one again to the darkness that is pop music.

X Thou shalt not, by thyself, commence noodling off on a tune that the other musicians knoweth not, unless asked or unless thou art teaching that tune for this is an abomination, and the other musicians shall not hold thee blameless, and shall strike thee from their computer lists, yea, unto the third and fourth generation.

ny timesTwelve top bluegrassish bands from New York and beyond will fight it out for the chance to perform at the 2011 Hardly Strictly Bluegrass Festival in San Francisco.

The panel will be: Dawn Holliday of the Hardly Strictly Bluegrass festival, Norm Parenteau of Slipshod Management representing one of the biggest acts in Americana music, Old Crow Medicine Show and Andrew Colvin of Ground Control Touring who books acts like Bright Eyes, She & Him, and Cat Power.

The twelve competing bands are: The Defibulators, The 2nd Avenue Mountain Boys, Bobtown, McMule, The Young Spokes, Gangstagrass, The Dive Bar Dukes, Alex Battles & Whiskey Rebellion, The Gold Top County Ramblers, Do it to Julia, Frankenpine, and the Michaela Anne Band. In addition to the bands, a whole gaggle of New Yorker cartoonists will be on stage providing comic interludes.

Get advance tickets at www.theatre80.net for $16.50 (Note that all seats are general admission) or call 212-388-0388 and reserve them for $15

Self Promotional Plug: my band USPS has our debut E.P. Due out this summer on Free Energy Media

The Five Deadly Venoms, Birdhive Boys, Holy Ghost Tent Revival @ Rockwood Stage 2 Sunday Feb 20 10:30pm

noreply@blogger.com (one step ahead) — Thu, 17 Feb 2011 07:25:00 +0000

This is the most technically virtuosic bluegrass band in NYC, if you haven't had a chance to see the, run and see them ASAP!

Minneapolis-Based Quartet Proves There's Strength in Numbers With Four Bass Drum Rhythm Section

noreply@blogger.com (one step ahead) — Wed, 16 Feb 2011 17:11:00 +0000

The 4onthefloor, a Minneapolis-based quartet that infuses Delta Blues, Americana and a healthy helping of classic rock, will release their debut full-length, 4x4, on vinyl April 4, 2011. The 16 track LP will be available on iTunes next Tuesday, February 8th.

Having formed just a year ago, the band's heavy-handed (or should we say heavy-footed) rhythm section, paired with lead singer Gabriel Douglas' gritty, baritone vocals, makes the listener both nostalgic and ready to drink... or maybe even fight. 4x4 has a sense of urgency- coercing you to snap out of the doldrums life can throw at you and jump into the fire.

The 4onthefloor won't bore you with trying to explain how multi-genre and indefinable they are - they play rock music; they play blues music. So what makes The 4onthefloor so different, you ask? The four bass drums that are part of their rhythm section is a great place to start.

You can check out all 4 bass drums in action here: http://www.youtube.com/watch?v=C6Ec2suBe-s

STREAMING SONGS HERE:

http://www.offcentralpr.com/Bricklayer.mp3

Beat of My Strut, Kaycemans new project

noreply@blogger.com (one step ahead) — Mon, 14 Feb 2011 17:59:00 +0000

Beat of my Strut is a blog which former Jambase.com editor Aaron Kayce contributes to, they recently did an interview with me on my upcoming show and I got to talk about my favorite subject... Me. Thanks to everyone to the community for helping make it a great show.

Lincoln Center

noreply@blogger.com (one step ahead) — Tue, 08 Feb 2011 03:40:00 +0000

How do you get to Lincoln Center? practice practice practice, and play in a band with someone in the orchestra.

Freddies Bar Reopens in South Slope

noreply@blogger.com (one step ahead) — Fri, 04 Feb 2011 18:23:00 +0000

one of my favorite bars we used to play Freddies has reopened in south slope...

SOUTH PARK SLOPE One of the most inspirational stories to come out of the Atlantic Yards saga is that of Freddy’s, the little dive bar that could (with a little compromise). When the Prospect Heights bar found itself smack in the middle of the Barclays Center footprint, it fought long and hard against the project for years, even installing “chains of justice” so barflies could chain themselves to the bar when bulldozers arrived. Ultimately, the chains weren’t necessary–in April 2010, the bar owners eventually came to an agreement with the developers so they’d be able to keep the bar’s contents for an eventual move, and Freddy’s closed for several months. On Friday, Freddy’s is finally reopening at the old Ellis Bar space, at 627 5th Ave, between 17th and 18th Streets. Now owned by former managers and bartenders, and built with the help of staff and regulars, the new space maintains the flavor of the old Freddy’s (including the bar with the “chains of justice”), but also features some snazzy upgrades, including a kitchen serving pub food. To mark the rebirth of Freddy’s, the bar is having a party starting at 5pm and going all night, featuring Brooklyn’s own faux-Frenchies Les Sans Culottes performing at midnight; expect other musical guests, a painting exhibition by New York artist Nancy Drew, and much celebration.

via brooklyn based

Deepak Wellbeing

noreply@blogger.com (one step ahead) — Tue, 01 Feb 2011 18:54:00 +0000

Spiritual Guru mogul extraordinaire, I mean people REALLY like his tapes. He is starting a new media arm of his brand based in Rhinebeck New York, same place that spiritual complex Omega institute is based in. The goals of the company seem worthy, and there really is nothing too evil about the whole operation. They are seeking out media types and the ubiquitous "web savvy" individual, meaning a millennial with basic web skills, and ability to point and click. Interesting to see how this company does against competitors like Dr. Weil. As of the time of this writing Deepackwellbeing.com is still parked by Godaddy.

	Internet/Online/New Media
Salary	Hourly
Job Duration	Part Time
Job Location	Rhinebeck, NY USA
Job Requirements	We are looking for a spirited assistant editor to work in a fast-moving environment focused on blogs, newsletters, and social media. The topic area is well-being and is anchored in the work of a celebrity MD. A three-day-a-week part-time position to start, this job may become fulltime and has long term potential. The editor will telecommute most of the time, with frequent in-person meetings. Responsibilities will include: --Aggregation of content and producing it; --Writing blogs; --Editing, including copy-editing; --Organizing editorial features; --Helping to develop editorial partnerships; --Producing newsletters along with editor; --Handling the social media for the site (Twitter, Facebook, LinkedIn); and --Creating interesting editorial calendars. Requirements: Internet and computer savvy expertise a must, technical aptitude so as to quickly learn the site's CMS and random software, skills in Photoshop and Excel a plus, social media experience, very well organized, initiator, self-disciplined, creative, independent thinker, and having a degree in English or journalism preferred.
About Our Company	A vibrant startup with Deepak Chopra and other thought leaders in the well-being space, the company is small and fast moving requiring all-out creativity and an altruistic vision. DeepakWellbeing aims to pollinate the web with inspiration and strategies for well-being as well as be a place where anybody can join and become involved.