Cervantes' & Breckenridge Brewery Presents
Hootenanny All-Stars ft Nicki Bluhm, Jeff Coffin (DMB), Eric Krasno, Bill Payne (Little Feat), Tony Hall (Dumpstaphunk), Alwyn Robinson (Salmon), Jeff Austin, Jeremy Garrett (Stringdusters), Andy Thorn (Salmon) & Jon Stickley Trio ft Andy Thorn
Fri, July 7, 2017
Doors: 8:00 pm / Show: 9:00 pmCervantes' and The Other Side - DUAL VENUE
$25 Day Of Show
This event is 16 and over
** HOOTENANNY KICK OFF PARTY **
- Ticket holders for the Hootenanny Kick Off Party will have access to both venues, the Ballroom and the Other Side throughout the night.
- The Hootenanny All-Stars and Jon Stickley Trio will perform in the Ballroom.
- Town Mountain and Tenth Mountain Division w/ Good Gravy! will perform at The Other Side.
- The Hootenanny All-Stars will feature:
* Nicki Bluhm
* Jeff Coffin (Dave Matthews Band)
* Eric Krasno (Soulive)
* Bill Payne (Little Feat)
* Tony Hall (Dumpstaphunk)
* Alwyn Robinson (Salmon)
* Jeff Austin
* Jeremy Garrett (Stringdusters)
* Andy Thorn (Salmon)https://www.cervantesmasterpiece.com/event/1484257/
The band continued to record and put out two albums including their self titled Nicki Bluhm and The Gramblers (2013) and their most recent effort Loved Wild Lost (2015), launching them on an extended US tour and their debut European tour. The Chicago Tribune wrote “Nicki has filled a void in music with her brand of vintage-tinged rocking country soul – music that’s like an enchanting friend you’ve known for a short while, but feels like you’ve known forever.”
At the completion of their 2016 Loved Wild Lost tour, Nicki was asked to join the The Infamous Stringdusters in support of their album Ladies and Gentlemen. That project led to a collaboration with Ryan Adams at Telluride Bluegrass, Newport Folk and on Stephen Colbert’s The Late Show. Nicki has also had the honor of singing with musicians including Warren Haynes and Gov’t Mule, Karl Denson, Boz Scaggs, Anders Osborne, Bonnie Raitt, Phil Lesh, Jackie Green, and many others.
In early 2017, inspired by the current US political climate, Nicki wrote a song called “Remember Love Wins”. She recorded and released it, with an accompanying video, in a seven-day burst of creative energy. It received a nod from Rolling Stone saying: “‘Remember Love Wins’, like Pete Seeger singing ‘We Shall Overcome,’ hits not just on the struggle ahead, but our ability to eventually come out on the right side of history.” Most recently, Nicki was the voice of Sarah on the tender duet “No Wrong Way Home” in the short animated film Pearl, which was nominated for an Oscar.
Nicki’s future holds new songs, recordings and many more performances as a solo performer, as a guest vocalist and with The Gramblers. Both on record and in her live performances, she will continue to explore new directions, touching her listeners with her smoky vocals and dynamic stage presence.
Stay tuned for the next chapter…
Recorded in Brooklyn, NY and at Soulive drummer Alan Evan’s PlayOnBrother studios in Western Massachusetts, the album features longtime collaborators Adam Deitch (drums) and Nigel Hall (bass, keys and vocals), as well as Royal Family artists Neal Evans, Ryan Zoidis and Alan Evans.
Since forming Soulive in 1999, Krasno, organist Neal Evans, and drummer Alan Evans have toured the globe spanning small rock clubs to major festivals, in Africa, Japan, Russia, Brazil, and more. With releases on Velour Recordings, Blue Note, Stax and their own Royal Family Records, and a resume that includes opening spots for the Rolling Stones and Dave Matthews Band, it’s little wonder the group has developed a reputation as one of the most celebrated instrumental soul-funk trios in the world.
Known throughout jazz, funk, and hip-hop circles, Krasno has the opportunity to work with jazz icons Joshua Redman, Dr. Lonnie Smith and Chaka Khan as well as hip-hop visionaries 50-Cent, GZA and Talib Kweli. Now in his eleventh year performing with Soulive, the studio and record label owner, and sought after producer (Ledisi, Matisyahu, 50-Cent), has distilled years of musical experience and influence into a reverent homage to the greats: “Reminisce is a collection of tunes I recorded over the last few years,” says Krasno. “I called it Reminisce because I felt like the record represented many different eras and styles of music and guitar playing that influenced me growing up. From covers like “Manic Depression” to originals like “76”, the record is a nod to those greats that came before me while adding our flavor to the music”
Krasno will take the music of Reminisce on the road with his new band, Chapter 2, featuring Krasno on guitar and vocals, Nigel Hall on vocals and keys, Adam Deitch on drums, and Louis Cato on bass and vocals. With guest appearances from luminaries such as Derek Trucks, Questlove, Warren Haynes and George Porter Jr. of the Meters, Chapter 2 is a band to be seen and heard.
KRAZ steps into the mixtape game to present "The Funky President" where he mixes and remixes everything from James Brown (title track) and rare soul cuts to Jay Z and The Black Keys while throwing in exclusive original tracks from Fyre Dept and Lettuce to create an ultra funky soundtrack.
The environmental writer Barry Lopez, in his book, “Arctic Dreams,” suggests we are products of where we were born. I was born in Waco, Texas, the start of the Hill Country that extends southward past Austin. It is a world of vistas, rivers, lakes, bluebonnets, rattlesnakes, wind, huge skies filled with thunderheads and lightning (I have sat mesmerized for hours watching the skies erupt), warm rain in the summer, those same tumultuous skies now clear with melting hot temperatures and energy draining humidity, or the freezing cold brought in with sudden intensity by a “Blue Norther” (a cold weather front brought sweeping down from Canada), which can bring temperatures cascading from 90 degrees down to a mind numbing 20 degrees in a shockingly short period of time, creating very dangerous conditions. It is a land of contrasts and contradictions. It’s people are, too. My parents moved to California, when I was two. My dad built a house in the hills. We had big picture windows in the kitchen and the living room which afforded a tremendous view of the small city of Ventura, the Pacific Ocean and the Channel Islands, an easy place to daydream watching beautiful sunsets; the rare lightning storms out on the ocean; the huge waves that pounded the coastline in the winter; the fog that would roll in the morning and again in the late afternoon; seeing shapes in the huge clouds and the shadows they would create on the ground or on the water; the way the ocean would change colors from gun metal gray to different shades of blue and green, white capped or smooth as glass. There were days when looking out at the island of Santa Cruz (the largest in the chain, some twenty miles away), I felt as if it were close enough to swim to. The contours of the island were in vivid detail, the sky from just above the horizon turning from a soft yellow to aqua marine to a powder blue to deep royal blue, the ocean shimmering from a light wind in the late afternoon sun, a beautiful greenish blue; transitory flamingo pink, light green, and white wispy clouds, as if painted in feathery strokes by an unseen hand, graced the sky. There were countless days like this over the ten years or so I lived in the house my father and his friends from Texas built. The experience gave me a sense of the many ways light affects an object, bringing out or obscuring detail. Every day I witnessed different shades and nuance. I would carry those visual images to the piano in the living room and play what I saw (or at least try to). My audience was myself, my parents, and whatever neighbors I thought might be listening in.
My use of “visualization” began there, leading to my discovery and embracing the art of improvisation.
Art is the ultimate embrace of our being human, with all its repercussions. But it also allows us to transcend the familiar terrain and investigate worlds, relationships, experiences, we can only dream of, and live, though fleetingly, as the gods of our own realm.
My introduction to playing piano started with my mother sitting me on her knee and teaching me to play “Vaya Con Dios” on an old upright in the basement. Through her interpretation of the sheet music I took my first foray into the world of playing piano. Not long afterward, I began taking piano lessons from Ruth Newman. I was five or six. Ruth encouraged me to play by ear but told my mother she would make sure I could read music. That two-track approach has shaped my views of artistic expression; specifically how I combine the resources of intuition, a vivid imagination amidst a platform of study.
Over the years my expression has come through in my music, my writing, my poetry, and as of the last few years, my photography. The creative tools I incorporate: trusting the instincts of exploration, commitment and determination, contribution, discipline, and a belief that hard work will pay off if intelligently applied, serve as guideposts in how I arrive at my choices and decisions. I also don’t want to downplay the aspect of having fun. The worst we can do, as artists, is acquiesce to conventions that tie our hands. If art is the reflection of society, then we owe it to ourselves not only to be aware of what we are doing but why we are doing it. I am classically trained as a musician. I use that training to elevate my artistic voice, not to restrict it. Freedom of thought, and the attendant ideas spawned from creative thinking, is paramount not only to growth and development but critical to our ability to think through the myriad challenges, either self imposed or by restrictive circumstances. Being inquisitive is the key to keep from becoming stagnant.
Another way to say it is I am not a purist. And though I respect those that use the “rules” of any given art to apply their lens to it, I confess I don’t use rules as a methodology to dictate my creative process. Igor Stravinsky once said, “I don’t create because I want to, but because I have to.”
I can thank my son Evan for my taking the leap into photography. A few years ago I was in the process of finishing my first solo cd, ”Cielo Norte,” an instrumental album performed on various keyboards in my music room in Los Angeles, and, later, at my house in Montana. I happened to be viewing some photos on his computer. I asked who had taken them; he said that most were his. I was amazed at the quality of the photos. I suggested that he take some photos of me for my project. Armed with a 3 pixel point-and-shoot camera, Evan and I took a hike into Corral Canyon, up the coast from Malibu. During the shoot I asked him to show me how the camera worked. I took a few shots with it, bought my own camera a few weeks later, and have been hooked ever since.
My approach to photography is much like my approach to music. It is eclectic, born of myriad influences. The Marx Brothers movie, “A Night At The Opera,” cast the same spell on me musically as well as visually, for example. Ansel Adams’ photo, “Moonrise, Hernandez, New Mexico, 1941,” reflects the complexities of life, death, beauty, sadness, continuance, the solitude and enormity of the west, and above all, our relationship with nature. A song I wrote in 1980, “Gringo,” especially the instrumental section, was undoubtedly influenced by that photo, as well as those of Edward Weston, the movies of John Ford, and the many times I traveled back and forth with my family on trips to west and central Texas from the coastal community of Ventura, California.
Long before I became a photographer, I had been storing images in my head. I applied the same tenacity to learning how to take photos, work on them, print them, in the same fashion I learned music. I’ve also received great guidance from several friends along the way. Jack Spencer, a truly amazing photographer, has been my mentor. Jack has helped me pare down the excess of technical mélange in how I work on my photos and prepare them for print. His advice has been simple but powerful and has immeasurably broadened my creative vocabulary. In the beginning (before I met Jack), and before becoming overwhelmed by it all, I simply picked up the camera and starting taking pictures. I realized that it was merely a matter of my seeking out those images that had over a lifetime defined my tastes. Those tastes, be it in music, photography, art, literature, movies, politics, architecture, food, or just about anything, continue to expand as a result of my predisposition to investigate the connection between things, along with being blessed with good friends and family.
Tracing Footsteps: A Journal of Home and the Road is the way I describe my journey in photography. It houses my philosophy of combining a host of influences: black & white, color, textured themes, landscape, people, photojournalism—my time travel, literally--all under one roof.
I have been in rock and roll bands since age 15. I joined Little Feat in 1969, and am still traveling and playing music in the band. I spend a good deal of my time on the road. When I land, so to speak, it is in Montana, with the Yellowstone River at the front of my property. One of the gifts that photography has given me is help in remembering where I’ve been. Some years ago I wrote for a Japanese publication, Player Magazine. I provided them with the following piece to illustrate my life as an artist on the road:
There is an insanity to the road. It is a world within a world, with a tempo parallel to a world alternately asleep and awake, events taking shape on either side of the partition, viewed when the need arises to connect the memory of life outside the road. It is a protective environment enriched or depleted by those one encounters, the amount of sleep one gets, the quality of food, conversation, companionship. The tether of communication to loved ones or otherwise is chosen or interrupted by landing in one place long enough to establish a base, well, perhaps that is changing with cell phone mania, ping pong talk talk, daily ministrations, a time to reflect, a time to forget, a time to just witness the miles that flow by day after day into night into day again: Fort Worth, Little Rock, Biloxi, Atlanta, the destination important or not depending on the shape you put on it.
Memory is the victim.
Where were you last week? yesterday? a year ago? ten years ago? where will you be next week? The connections are food, friends, situations, while the blur of riding the white line fogs our sense of direction-where simple cloud cover for days at a time can leave one completely disoriented-and then it all changes from the disparity to the all-too-familiar monotony and security blanket of main street, a whitewash of homogenization, a cracker barrel mind set, knowing where the bathroom is, satellite tv, all making the road a linear proposition.
There is an insanity to the road.
Taking refuge from the clean slate every time the door closes on a hotel room, the rear view mirror reflecting miles and dreams already encountered and submitted to the past, the future is what lies ahead, the clean slate a powerful reminder of the strength of a bipolar redemption or lassitude, the power of late night solitude, a look back and forward and back again until the lines blur like the ones outside this metal can rolling down the hi-way at 80 mph, where destination and purpose intertwine and physical features of streets, countryside, a small Midwest town in autumn during a full moon-the cool night air incredibly crisp and clean, a blazing hot day in the southwest where no amount of shade can protect one from the heat, the connection between land and purpose, actions, decisions, leaving memory the ultimate repository of all things accomplished or intended, all with gradations of importance attached.
The smell of diesel fuel is my first memory from a county fair in the coastal community of Ventura, California-one of the recipients of Father Juniperro Serra’s missions strung up and down the coast-I have long given up wondering about the destiny of that encounter at the age of three.
The road was there all along and will be there long after all of us are gone, dust and ashes to the wind, the dream taken to the next level, past the partitions of this world and our understanding.
We’re not in Kansas anymore.
(notes made somewhere between Kansas City, Kansas and Fort Worth, Texas, in the wee hours of the morning, May 8, 2000 on the bus with Little Feat)
These are tough times, heartbreaking and dangerous.
My prayer is for peace. My prayer is for compassion to those in need.
The arts are invaluable to our sense of humanity and our compass to tolerance and understanding.
Without them we are lost.
My foundation as an artist is the belief in:
... the nobleness of the arts and our effort as artists...writers...teachers...conveyors of thought, is to be mindful of the challenge and the importance of what we do. The essence of our efforts, I believe, is to illuminate the path of a measured truth, and to reflect and mirror that truth through the veil of our craft, taking aim at ourselves, our society, our world, with utmost respect to the awe and mystery of life, and with the essential focus on what was, what is, and perh
The career of the Colorado-based artist has already seen him break through jam and bluegrass scenes, play stages from The Fillmore Auditorium to Red Rocks Amphitheater, and outdoor events like Telluride Bluegrass Festival and Bonnaroo Music and Arts Festival, among many others. But with the launch of his solo career in 2014, Austin is now building on the foundations of previous ventures while honing his own sound and charting new courses.
“I’ve learned a lot from the people I’ve played with,” says Austin who has shared stages with such luminaries as Del McCoury, Jerry Douglas, Sam Bush, Earle Scruggs, Jon Fishman, and Phil Lesh. And it’s artists such as these who have helped crystalize Austin’s idea of what he wants to do as he moves forward with his eponymous project. “From both the rock side and the bluegrass side,” he explains, “I’ve learned a lot about song structure, solo ideas, playing with guts, and being who you are.”
Although he considers the Jeff Austin Band his primary focus, the mandolinist and singer is also known for embracing collaborations. In 2004, he released a full-length album with Chris Castino (The Big Wu) that featured guest appearances by Noam Pikelny, Darol Anger, and Sally Van Meter. Just two short years later in 2006, Austin teamed with Keller Williams and Keith Moseley to record a live album of bluegrass takes on Grateful Dead covers. The project, released under the name Grateful Grass, benefited the Rex Foundation. And most recently, Austin revived 30db - his project with Brendan Bayliss of Umphrey’s McGee.
In truth, Austin only began playing the mandolin a few years before co-founding progressive bluegrass outfit Yonder Mountain String Band, a group with whom he parted ways in 2014. And, picking prowess aside, Austin has always considered his voice to be his first instrument. He was drawn to singing from a young age, pursuing musical theater in high school and college. That passion is still evident in his approach to song craft.
Austin draws from those varied roots and readily admits to still loving musicals, being fascinated by Madrigal singers, and tuning-in to a wide range of vocal powerhouses. He channels all of these influences into his solo career, while also seeking personal innovation. For his newest project, Austin sought out musicians on the cutting-edge of the acoustic and jazz music circles. Artists proficient in theory and technique, but not afraid to lend themselves to some “far-out arrangements.” The result is some of Austin’s most structured, yet exciting, compositions to date with an approach that fits within his own evolving journey and personal motto, "The work continues."
Although there is a strong undercurrent of momentum and innovation that course through Austin’s newest project, there is also a connection to the past with the bandleader revisiting selections from his back catalog. Offerings include “Dawn’s Early Light,” “Snow in the Pines,” and others dating back to the 1990s. What matters, Austin points out, is that those songs evoke strong emotional responses both from the audience and himself. Played by this new ensemble, those songs feel revitalized and fresh.
When it comes to dynamics and structure, Austin taps the variety of sounds and styles he's absorbed from theater, jamming, nearly twenty years of performance, and his love of experiencing live music as a fan. It’s that inner concert enthusiast that binds him to his own audience and a powerful exchange between the stage and the crowd. “I hope they take with them exactly what I hope they leave with us,” he says. “And that’s inspiration.”
To fans of the Grammy-nominated Dusters, he’s known as “G-Grass” or “Freedom Cobra” for his dynamic stage presence, but to his fellow artists, the Stringdusters included, there’s another side, where songwriting and more intimate performances come to the fore. Working on his own and with a select group of collaborators, he’s been one of the group’s most prolific writers, contributing four songs to their latest release alone—one of them, the title track (“Let It Go”), won the USA Songwriting Competition’s Folk category in 2014—but he’s also scored cuts with artists ranging from Blue Moon Rising to Chris Jones & The Night Drivers to Sweden’s young G2 Bluegrass Band. And he’s been showcasing all of those songs, and more, in a growing number of concerts and showcases, both on his own and partnered with co-writer and soulful keyboards and vocals man Josh Shilling of Mountain Heart.
So it’s only natural that when Garrett’s thoughts turned to making a follow-up to 2005’s Garrettgrass Gospel, sung and co-produced with his father and an all-star supporting cast, and to 2009’s solo debut, I Am A Stranger (Sugar Hill), an all-original collection came to mind. The RV Sessions is just that, as well as a display of his increasing stature as a multi-instrumentalist capable of recording every note of the music by himself. With flavors ranging from straightforward bluegrass rhythms to rock and rhythm & blues, it serves notice that there’s another side of Jeremy Garrett to see and hear.
The New York Times’ Nate Chinen writes “… there’s hardy cohesion among the players — no less on the Gypsy standard ‘Valse de Wasso’ than on ‘Darth Radar’ a turbocharged original with a ska upbeat and a shredding melody. And when Mr. Stickley and friends turn to bluegrass, as on ‘The High Road,’ by Tim O’Brien, they sound both respectful and free.” Premier Guitar Magazine also took note of “Darth Radar,” with Jason Shadrick calling it, “a rapid-fire take that moves from a serious ska beat to burning surf-style runs that would make Dick Dale proud.”
While reaching phenomenal energy levels with their acoustics, Good Gravy pushes their music even further when they use electrics. The artistry and intermittent use of the electrics produces a dynamic story throughout their live shows that is unparalleled. Captivating melodies, thick vocals, intriguing dynamics, and intense improv jams, this bands imagination is fresh in the live music scene. Good Gravy is said to “melt the heart, as well as the face.”
Original techniques in the composition of their music is paired with influences that are evident. Ensuing the paths of the defining bands in the “jam” scene of Colorado, artists such as the String Cheese Incident, Yonder Mountain String Band, and Leftover Salmon are obvious inspirations. Guaranteed to throw down everything from psychedelic dance beats to slamming bluegrass this modern band takes acoustic song writing to new and exciting realms.
Cervantes' and The Other Side - DUAL VENUE
2637 Welton Street
Denver, CO, 80203