Dave Watts & Friends ft. Dave Watts (Motet), Jason Hann (SCI), Roosevelt Collier, Ian Neville (Dumpstaphunk), Chuck Jones (Dopapod), Todd Stoops (RAQ), Jans Ingber & Camille Who?, Gabe Mervine (Motet), Nick Gerlach w/ Big Mean Sound Machine

Dave & Scott's 92nd Birthday Bash Presents

Dave Watts & Friends ft. Dave Watts (Motet), Jason Hann (SCI), Roosevelt Collier, Ian Neville (Dumpstaphunk), Chuck Jones (Dopapod), Todd Stoops (RAQ), Jans Ingber & Camille Who?, Gabe Mervine (Motet), Nick Gerlach w/ Big Mean Sound Machine

Sat, January 27, 2018

Doors: 8:00 pm / Show: 9:00 pm

$20 Day Of Show

This event is 16 and over


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Dave Watts
Dave Watts
A graduate of Berklee College of Music in 1990, Dave
Watts has shared the stage or recorded with such names as
George Porter, Stanley Jordan, Bill Evans, Charlie Hunter,
Steve Kimock, Oteil Burbridge, Jeff Coffin, Kyle
Hollingsworth, Keller Williams, Jeff Pevar, Kai Eckhardt.

In 1998 Watts started The Motet, a progressive funk outfit
with roots in jazz, world, and electronic music. Since that
time, The Motet has toured coast to coast, building a
national performing at such venues as Red Rocks
Amphitheater, The Fillmore West, The Fillmore in Denver,
Freihoffer’s Jazz Festival in Saratoga Springs, and many
other prominent summer music festivals. As a creative
force behind The Motet, Watts produced, engineered,
mixed, recorded, as well as composed most of the material
on the band’s albums, “Instrumental Dissent” and “Dig
Jason Hann
Jason Hann
Jason Hann is an accomplished percussionist/drummer who has been playing professionally since the age of 12. Growing up in Miami, Florida, he was exposed early to international music through his father, who is also a musician, and embraced his Colombian heritage through his mother. Music has taken him around the world, studying first hand in countries such as Mali, Ghana, Haiti, and Korea, both learning and performing folkloric and contemporary music of the land. A dynamic performer, Jason has also toured and recorded internationally within many different genres of music including Rock, R&B, Pop, Jazz, Latin, Latin-Jazz, Flamenco, African, Persian, Electronica, Techno and World music.
Roosevelt Collier
Roosevelt Collier
“This record is a record about me,” says Roosevelt Collier. “It’s telling a story of who I am, where I’m from, and where I’m going.”

A transcendent talent on pedal and lap steel guitars — and so proficient, he’s affectionately known as “The Dr.” — Collier’s debut album Exit 16 on GroundUP Music is a potent mix of blues, gospel, rock and, in his words, “dirty funk swampy grime,” as overseen by producer and bandmate Michael League (from the Grammy-winning Snarky Puppy).

It’s also a brilliant reflection of Collier’s life. All of it. Brought up in the House of God Church in Perrine, FL, Collier built his “sacred steel” guitar prowess alongside his uncles and cousins in The Lee Boys, known for their spirited, soul-shaking live performances. On his own, Collier’s become a sought-after talent both on record and on stage, performing alongside musical luminaries in the fields of rock, blues and pop, including the Allman Brothers, The String Cheese Incident, Buddy Guy, Umphrey's McGee, Los Lobos, Robert Randolph, the Tedeschi-Trucks Band, and the Del McCoury Band, among countless others.

“Roosevelt channels something spiritual,” says League, who was instrumental in getting Collier to (finally) craft his own album after decades in the music scene.

“He’s a reason I’m talking about this now,” says Collier. “I’ve had offers to make my own music before. But when Mike came along, it just felt right.”

Exit 16 was recorded over three days of marathon sessions by League and a bevy of talented sidemen, including JT Thomas on drums and Bobby Sparks on organ. “You gotta be able to trust your bandmates, and Mike knew the right guys and knows what I’m about,” says Collier. “This could have been a star-studded thing. But that would have overshadowed what we wanted to do here.”

And what Collier wanted to do was encapsulate all of influences and experiences. “I’m rooted in a lot of genres, so I’ve never really had a focus or to buckle down,” he says, laughing. So on Exit 16 you’ll find an infectious track like “Happy Feet” sitting happily nearby “Spike,” wherein Collier shreds with the spirit of Hendrix. “I actually think a song like ‘Spike’ is about my future,” says the guitarist. “My goal there was to see how we can expand this guitar, this steel.” And, reflecting on his early days, “Sun Up Sun Down” and “Supernatural” feel like joyous, spiritual workouts.

And then there’s the title track, which Collier refers to as “dump truck funk.” Says the musician: “That’s the old do-not-enter gate type of funk — it’s dangerous! Beware of dogs out there.”

Hopefully, you’ll get a chance to see Collier on tour later this year for Exit 16 — if he’s not too busy going with the music ensemble Bokanté or his own Roosevelt Collier Trio Tribute to Hendrix. You can actually look at those two groups and envision Collier’s future: It was the guitarist’s work with Bokanté, an international music ensemble also featuring Michael League, that won Collier early acclaim in Europe (along with an international agent). Seems much like Hendrix, the recognition of Collier’s musical mastery got an early start across the Atlantic.

But Collier’s certainly excited to play his new music live, in any shape or form. “If I can snatch Mike for a tour for this album — well, if Mike can, he will,” says Collier, laughing. “But I’d also be excited to get some of my hometown, South Florida guys to do this with me. It’s my first record, so it’s a big thing there. I mean, it’s why I call this Exit 16 — that’s literally where I’m from, off the turnpike.”

If you do see him live, be prepared for some serious energy on stage — even from Collier’s seated position. As the Miami New Times noted about a recent gig: “The pedal steel guitar can be the basis for some dirty, down-home blues ... even from the seated position, Collier still sweats enough to make a CrossFit instructor proud.”

In the end, Exit 16 might serve as a beautiful summation of Collier’s life. But the guitarist thinks his album — and all of his music — also serves a higher purpose.

“My mission is touch and heal people through music,” he says. “That’s always been my mission, whether it’s in the church or in a club. I think people feel better about themselves after I play. That’s powerful, my man! I’ve been blessed to have that going for me. That’s my gift.”
Ian Neville
Ian Neville
Dumpstaphunk - Guitarist
Chuck Jones
Chuck Jones
Bassist for Dopapod
Todd Stoops
Todd Stoops
Todd Stoops is a keyboardist and composer best known for his eclectic and percussive approach to his instrument. Stoops has been a member of the Vermont quartet RAQ since 2002, as well as the founder and former keyboardist / composer for CT funk outfit Kung Fu, and most recently the San Francisco Bay Area groups Electric Beethoven and Rooster Conspiracy.
Jans Ingber
Jans Ingber
Formerly of The Motet..........13 years and counting of front range madness, such a blessing to still be rocking it with my musical compatriots. What I can tell you is, The Motet throws really good dance party's. Ill keep you posted on where the latest party is happening.

2. My own group.....I've played a handful of gigs doing songs off my first release "The Offering"
and plan to do much more here in Oregon, over the next year. http://jansingber.bandcamp.com/

3. The Everyone Orchestra - The madness and genius of Matt Butler and his vision of conducted improvisation. I love playing in this group and the 100's of musicians who take part of this musical alchemy. I recorded an album with EO this year with an absolute all-star cast.........and its really good. http://www.everyoneorchestra.com/

4. The Soulmates - These some of my favorite musicians in the world. Reinhardt Melz, Jarrod Lawson and the one and only Jay "Bird" Koder. We play around Portland. https://www.facebook.com/soulmatesmusic

5. Joey Porter's Tributes - In Portland we have been putting our own touches on the masters (Stevie Wonder, Michael Jackson, Herbie Hancock, The Meters and Sly and the Family Stone) These shows have been gaining in popularity and selling out in Portland and Seattle http://www.funktributes.com/

6. Juno What!? These are my dear friends and I recorded on their first two albums. Shameless Dance Music!!!

7. BluSirkut - very well produced electro/pop/hip-hop/funk/rock/bangra/soul I also recorded with this group this past year and love some of the cuts. https://www.facebook.com/blusirkut
Gabe Mervine
Gabe Mervine
At a time in music where history and originality never seem to go hand in hand, Gabriel Mervine takes steps every time he picks up his trumpet to bring these two closer together. With a musical upbringing, Gabriel has deeply rooted himself in the traditions of Jazz and Classical music while at the same time contributing to the modern music scene. He wishes to leave no stone unturned and no genre unexplored because in his mind, all music has the power to make the artist who he/she is.

Born in Bridgewater, New Jersey, Gabriel began his professional playing career at the age of thirteen years old. By the time he graduated high school he was already looking at making a career out of playing the trumpet. He then went to the Colorado University at Boulder for Jazz Studies, but after one year decided to dedicate his time to becoming a working trumpet player, which would include continuing his studies privately with people such as Bobby Shew, Roger Ingram, and Greg Gisbert just to name a few. Gabriel quickly gained recognition and began performing with people such as Natalie Cole, Christian McBride, Chie Imaizumi, the Ninth and Lincoln Orchestra, Terence Blanchard, Russell Malone, Maceo Parker, Fred Wesley, Steve Lippia, John McNeil, Convergence, Roberta Gambarini, the Motet, and Houston Person while also building a strong freelance career playing everything from Mariachi to Mahler.
Nick Gerlach
Nick Gerlach
Saxophonist for Michal Menert & the Pretty Fantastics
Big Mean Sound Machine
Big Mean Sound Machine
“BMSM might be one of my favorite bands on the planet. With a horn section to kill for, a drummer that can put me in a beat coma instantly, and a knack for hitting grooves in a pantsless stride, they aren't easy to ignore,” writes Joel Frieders of SYFFAL.com and he’s not kidding. For a band without a lead singer, Big Mean Sound Machine has character in spades. When assembled from a selection of the finest, well-lubricated, musically brilliant human components, the final result is the aural equivalent of positive feeling, “...the embodiment of feeling… delicious,” writes Frieders. People dance when a rhythm moves them, and there’s no defying instinct when Big Mean Sound Machine is on stage.
Anyone who has experienced the band in action knows that their performances are the heaviest and sweatiest. “Incorporating Caribbean, African, and Latin sounds and everything in between, these musicians… sound as though they’ve been playing together since the sandbox days. They transition effortlessly from a collective of trombone, sax, and trumpet to riveting soloists. Then, there is heavy bass before… percussion, guitar, or keys take the limelight, and when [they’re] not playing simultaneously, those who are stepping aside are jamming out as if they were in the crowd with the rest of us,” writes Mary Mistretta of UpstateLIVE. A polyrhythmic monster with a crisp, constant, unrelenting groove, the band brings together many musical traditions in a unique blend that reinterprets and reanimates live dance music unlike any other band playing today.
At the band’s birth in Central New York State, the founders wanted to set themselves apart artistically while honoring the true, primal reason that people listen to music in the first place: because good music feels good; and though their sound has evolved since their inception in June 2009, they have stayed true to their mission for the better part of a decade. Few bands can trace their roots all the way back to a specific set of values shared in casual conversation among good friends; in the case of Big Mean Sound Machine, honoring the ideas the group was founded on seems to be more of an instinct than a choice.
Big Mean is contemporary proof that it’s possible to create art that stimulates the body while also challenging the mind to explore beyond the status quo. “For the listener who stops shaking to pay attention at a Big Mean show, they can find a musical education,” writes Josh Brokaw of The Ithaca Times. Borrowing elements from traditional afrobeat, roots reggae, ethiojazz, and funk among others, “Big Mean’s [style] is not easily captured by the precise, genre-parsing descriptors of a contemporary music press that’s uncomfortable admitting to being surprised with a new sound,” writes Brokaw. Their instrumental soundscapes have no overt messages yet they’re anything but barren. “You get the feeling of walking the streets in a city late at night as those who are up to no good are coming out of their homes searching for their next score,” writes Bryan Lasky of NYSmusic.com. “Seamed together by an amazing rhythm section… the core of the group commands attention while providing a passionate and constant groove,” boasts Vinyl Fluid Records, noting the fact that this purely instrumental band stimulates audiences both physically and cerebrally, though devoid of vocal indoctrination. The theme the band delivers again and again through evolving rhythms and melodies is to enjoy music for its creativity and musicality, and the way it makes you feel in every sense of being able to feel.
Venue Information:
Cervantes' Other Side
2637 Welton St.,
Denver, CO, 80205