with Bill Frisell & Brian Blade
Mon June 30th, 2014
Minimum Age: 18+
Doors Open: 6:30PM
Show Time: 7:30PM
Event Ticket: $20
Day of Show: $25
Songs with words and without from her new album, The Littlest Prisoner
TABLE SEATING POLICY
Table seating for all seated shows is reserved exclusively for ticket holders who purchase “Table Seating” tickets. By purchasing a “Table Seating” ticket you agree to also purchase a minimum of two food and/or beverage items per person. Table seating is first come, first seated. Please arrive early for the best choice of available seats. Seating begins when doors open. Tables are communal so you may be seated with other patrons. We do not take table reservations.
A standing room area is available by the bar for all guests who purchase “Standing Room” tickets. Food and beverage can be purchased at the bar but there is no minimum purchase required in this area.
All tickets sales are final. No refund or credits.
Jenny Scheinman’s Mischief & Mayhem ft. Nels Cline, Jim Black, and Todd Sickafoose
Jenny Scheinman is a violinist, singer, and writer of songs with and without words. She grew up on a homestead in Northern California and has been performing since she was a teenager. She has worked extensively with some of the most innovative jazz artists in the world such as Bill Frisell, Jason Moran, Nels Cline, and Marc Ribot and consistently tops the Downbeat Jazz Critics Polls. She has also toured and recorded with numerous American songwriting legends such as Lucinda Williams, Bruce Cockburn, Rodney Crowell, Lou Reed and Ani Difranco. In March of 2015 she premiered a multi-media performance at Duke University entitled Kannapolis: A Moving Portrait. She has made eight albums of original music: The Littlest Prisoner, Mischief & Mayhem, Jenny Scheinman, Crossing The Field, 12 Songs, Shalagaster, The Rabbi’s Lover and Live At Yoshi’s.
Jenny Scheinman official site
Jenny Scheinman on Facebook
Over the years, Frisell has contributed to the work of such collaborators as Paul Motian, John Zorn, Elvis Costello, Ginger Baker, The Los Angeles Philharmonic, Suzanne Vega, Loudon Wainwright III, Van Dyke Parks, Vic Chesnutt, Rickie, Lee Jones, Ron Sexsmith, Vinicius Cantuária, Marc Johnson (in “Bass Desires”), Ronald Shannon Jackson and Melvin Gibbs (in “Power Tools”), Marianne Faithful, John Scofield, Jan Garbarek, Lyle Mays, Vernon Reid, Julius Hemphill, Paul Bley, Wayne Horvitz, Hal Willner, Robin Holcomb, Rinde Eckert, The Frankfurt Ballet, film director Gus Van Sant, David Sanborn, David Sylvian, Petra Haden and numerous others, including Bono, Brian Eno, Jon Hassell and Daniel Lanois on the soundtrack for Wim Wenders’ film Million Dollar Hotel.
This work has established Frisell as one of the most sought-after guitar voices in contemporary music. The breadth of such performing and recording situations is a testament not only to his singular guitar conception, but his musical versatility as well. This, however, is old news by now. In recent years, it is Frisell’s role as composer and band leader which has garnered him increasing notoriety.
“For over ten years Bill Frisell has quietly been the most brilliant and unique voice to come along in jazz guitar since Wes Montgomery. In light of this, it may be easy to overlook the fact that he may also be one of the most promising composers of American music on the current scene.” – Stereophile
“Bill Frisell is the Clark Kent of the electric guitar. Soft-spoken and self-effacing in conversation, he apparently breathes in lungfuls of raw fire when he straps on his (guitar)…His music is not what is typically called jazz, though it turns on improvisation; it’s not rock’n roll; and it sure ain’t that tired dinosaur called fusion. In one of the biggest leaps of imagination since the Yardbirds and Jimi Hendrix, Frisell coaxes and slams his hovering split-toned ax into shapes of things to come…But besides being a guitar genius, he’s turned into a terrific songwriter. Like Monk, Frisell’s harmonic and melodic ideas form a succinct, seamless mesh with outer sonic and rhythmic ideas about his ax.” – Spin
“Frisell just has a knack for coaxing the most inviting sounds out of the instrument, and the composition skills to put them in just the right order. Combine a Colorado youth given to soul and C&W with solid jazz training, abetted by a decade-long residency in the heart of NYC’s avant scene, multiplied by a fun factor of X (he has scored Buster Keaton’s films) and you’ve got a recipe damn near perfection.” – The Mirror
read more at http://billfrisell.com