Mon April 16th, 2018
Minimum Age: 18+
Doors Open: 7:00PM
Show Time: 8:00PM
Event Ticket: $25
Day of Show: $30
The Nels Cline 4 feat. Julian Lage, Scott Colley & Tom Rainey
with Marika Hughes (cello) & Rashaan Carter (bass)
Of all the rich and varied projects guitarist Nels Cline has pursued since his emergence as a leader in the late 1980s, his two-guitar duo with Julian Lage, documented on the 2014 album Room, ranks among the most special. With Currents, Constellations, Cline’s second Blue Note release, the duo has morphed and expanded into The Nels Cline 4, made up of Cline and Lage plus the fierce and versatile rhythm section of bassist Scott Colley and drummer Tom Rainey.
Known as the lead guitarist of Wilco since 2004, and one of Rolling Stone’s “100 Greatest Guitarists,” Cline is coming off the success of his 2016 Blue Note debut Lovers, a “quietly ravishing double-album” (NY Times) ) featuring Cline with a large ensemble that was “wildly inventive in its watercolored way” (Rolling Stone). On Currents, Constellations Cline embraces a sparser but edgier instrumentation, which serves the adventurous thrust of the music, brimming as it does with raw energy and wild beauty.
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Up until the mid-2000s, guitarist Nels Cline was probably best-known for his work in the group Quartet Music and other projects in the jazz, rock, and avant-garde idioms, as well as for his general involvement in the West Coast’s avant and improv scenes. During the ’90s, Cline recorded a pair of duo outings with Thurston Moore and Devin Sarno before embarking on Interstellar Space Revisited: The Music of John Coltrane with drummer Gregg Bendian ; he joined the latter’s Interzone group while leading his own trio, the Nels Cline Singers. In 2004, Cline opened up a much larger audience for a jazz guitarist than is typical, joining the alt-country and experimental pop act Wilco . Whether playing the music of other jazzmen such as Andrew Hill (2006’s New Monastery: A View Into the Music of Andrew Hill), recording a score to accompany the massive touring retrospective of iconic Los Angeles painter Ed Ruscha (Dirty Baby), collaborating with guitarist Julian Lage , jamming and recording with Medeski, Martin & Wood , or rocking with White Out , Cline is a figure with global influence. In 2016, he issued Lovers, his Blue Note debut, featuring the guitarist leading his own group and a chamber orchestra in a collection of standards and originals. He followed with 2018’s Currents, Constellations and a trio of 2020 albums that included Share the Wealth.
Born in Los Angeles in 1956, Cline began playing guitar around the age of 12, when his twin brother Alex began learning the drums. By the time Cline reached his twenties, he was heavily involved in L.A.’s improvisational community and, in 1978, appeared on his first recording, Openhearted, by multi-instrumentalist Vinny Golia . He went on to appear on over 70 releases, lead several of his own groups — including the Nels Cline Trio and the sextet that followed, Destroy All Nels Cline — and tour internationally with a variety of bands. As a composer, Cline has scored films in addition to writing much of his own material. He has also produced albums for himself, G.E. Stinson , and Jeff Gauthier , among others.
Bassist Eric Von Essen and Cline met up in the late ’70s and began working together, recording an album of duets called Elegies that was released in 1980 on the Nine Winds label. Von Essen got involved in an orchestra with violinist Gauthier , and it wasn’t long before the three formed a group of their own. Alex Cline sat in on their first concert and eventually joined the three permanently, resulting in the group Quartet Music , which remained together throughout the ’80s. In addition to his work in Quartet Music during this decade, Cline worked with Liberation Music Orchestra West Coast, was a member of a rock band called Bloc, worked with Julius Hemphill as well as Charlie Haden , and released his first album as leader, Angelica, which included members of Quartet Music , saxophonist Tim Berne , and more.
The first half of the ’90s found his new Nels Cline Trio hosting a weekly improv series for four years and recording as many albums. During the ’90s, Cline also worked with Thurston Moore (of Sonic Youth ), Stephen Perkins ( Jane’s Addiction ), Mike Watt ( Minutemen ), and the Geraldine Fibbers . A duo recording by Cline and percussionist Gregg Bendian covering John Coltrane ‘s Interstellar Space was released by the Atavistic label in 1999. That same year, the California Music Awards named Cline Outstanding Jazz Artist. The next year, he released Inkling on Cryptogramophone , beginning a collaborative relationship with Andrea Parkins that would continue for the next several years. Destroy All Nels Cline was next, followed by the formation of the Nels Cline Singers, who released their first album, Instrumentals, in 2002.
In 2004, Cline was asked to join Wilco and has toured and appeared on all subsequent albums by them. He still had time for other projects, however: there have been several one-off collaborations during the ensuing years and two albums by the trio of Cline, Andrea Parkins , and Tom Rainey . In 2004, the Nels Cline Singers released Giant Pin, which Cline followed with an album of Andrew Hill compositions in 2006, the sublime New Monastery. Cryptogramophone subsequently issued two more releases by the Nels Cline Singers, Draw Breath in the summer of 2007 and the two-CD package Initiate in 2010. Later in the year, Cline released Dirty Baby, a double-disc collaborative project with poet and producer David Breskin. Breskin selected 66 period images by the artist Ed Ruscha and evenly split them into two groups, wherein he commissioned the guitarist to compose one long work and one short work to accompany the images, without further instruction. Cline recorded these with a large group of musicians including Jon Brion , Scott Amendola , brother Alex Cline , and Devin Hoff . There is also a lushly illustrated book version with larger reproductions of these works with 66 written pieces by Breskin. Add this project to all the work Cline has done as a sideman since the turn of the century, and you’ve got one extremely busy, prolific, and versatile guitarist. In April of 2014, he appeared as a guest on Joan Osborne ‘s Love and Hate album, and as a full collaborator with Medeski, Martin & Wood on Woodstock Sessions 2. In 2014, Macroscope, with the Nels Cline Singers, and Room, a duet offering with classical guitarist Julian Lage , appeared on Detroit’s Mack Avenue Records .
After recording Star Wars with Wilco and a tour, Cline signed to Blue Note . His debut for the label was the double-length Lovers. Realizing a long-held dream, the set was inspired by Bill Evans , Jim Hall , Gil Evans , and Henry Mancini . Cline created an ambitious, self-proclaimed “mood music” project with a 23-member ensemble conducted and arranged by Michael Leonhart . It was produced by David Breskin and recorded and mixed by Ron Saint Germain. Lovers contained jazz and Great American Songbook standards alongside originals and covers of songs by Annette Peacock , Gabor Szabo , Sonic Youth , Jimmy Giuffre , and Arto Lindsay . The single/video “Beautiful Love” was issued in early June of 2016, premiered live at the Newport Jazz Festival in July, and released in August.
Cline’s recording experience with Lage on Room proved indelible. The pair often speculated on what an album would sound like if they chose a rhythm section. To that end, Cline asked bassist Scott Colley and drummer Tom Rainey (who had played hundreds of shows together as a running rhythm section in the ’90s) to accompany them at a residency at New York venue The Stone in 2016. At that time, Colley and Lage were playing in Gary Burton ‘s group and the bassist eventually joined the guitarist’s trio. Cline had played with everybody before. The live gig went so well it laid the foundation for the recording sessions that resulted in Currents, Constellations, Cline’s second Blue Note album, with the intrepid quartet calling itself the Nels Cline 4. He wrote seven of the record’s eight compositions; the lone cover was Carla Bley ‘s “Temporarily,” a rarity closely associated with the Jimmy Giuffre Three. According to Cline, the point wasn’t to feature “sovereign” fewer guitar solos, but to facilitate an ensemble sound, whether marked by heated collective improvisation or a more delicate and precise approach on the contemplative pieces. The funky preview single, “Imperfect 10,” was released in March along with a promotional “in-studio” video. Currents, Constellations was released in mid-April a few days before the band — with bassist Jorge Roeder sitting in for a previously committed Colley — undertook a European tour.
In January of 2020, Cline, bassist William Parker , and keyboardist Thollem McDonas , issued Gowanus Sessions II for ESP-Disk . During the spring, Cline and pianist/organist/synthesist Jamie Saft aided drummer/composer Bobby Previte in the RareNoise trio outing Music from the Early 21st Century. In October, Blue Note Records issued the single “Beam/Spiral” preceding the release of Share the Wealth, Cline’s third label offering, this time by an expanded Nels Cline Singers. Curiously, the lineup he assembled — saxophonist Skerik , percussionist Cyro Baptista , keyboardist Brian Marsella, bassist Trevor Dunn , and drummer Amendola , had yet to play a gig together when they entered Brooklyn studio The Bunker. Cline and co-producer Eli Crews recorded the band over two days, playing long, spontaneous jams. Cline originally wanted to edit the sprawling proceedings heavily, in order to create a cut-and-paste, collaged, psychedelic record. Upon listening closely to the uninterrupted jams, however, he changed his mind and decided to release them unedited. The double-length Share the Wealth was released in November. ~ Sean Westergaard & Thom Jurek, Rovi
Hailed as one of the most prodigious guitarists of his generation and “highest category of improvising musicians” (New Yorker), Julian Lage has spent more than a decade searching through the myriad strains of American musical history via impeccable technique, free association and a spirit of infinite possibility. The California-born New York-based musician boasts a prolific resume on his own accord in addition to collaborating with Gary Burton and John Zorn, as well as duo projects with Nels Cline, Chris Eldridge and Fred Hersch, among others.
As Lage set out to record his debut for Blue Note Records, the virtuoso guitarist reflected on the label’s storied history and the way his own music connected with it. The result is Squint, a striking new album that weds incisive, expressive songwriting with the profound interplay Lage has honed over the past few years with his deft trio featuring bassist Jorge Roeder and drummer Dave King.
Scott Colley, the bassist of choice for such jazz legends as Herbie Hancock, Jim Hall, Andrew Hill, and Michael Brecker. His remarkably empathetic skills, strong melodic sense and improvisational abilities have served him well in groups led by colleagues Chris Potter, Adam Rogers, Brian Blade, David Binney, and Kenny Werner. But it is as a composer and bandleader in his own right that Colley has flourished in recent years, as evidenced by a string of recordings, beginning with his 1996 debut Portable Universe, (Freelance) and continuing with 1997’s This Place (SteepleChase), 1998’s Subliminal (Criss Cross), 2000’s The Magic Line (Arabesque) 2002’s Initial Wisdom (Palmetto), 2007’s Architect of the Silent Moment (CAM jazz), and the 2010-release, Empire (CAM jazz).
Appearing on more than 200 albums to date. He has worked with a variety of musicians from guitarists Bill Frisell, Pat Metheny and Adam Rogers; saxophonists Michael Brecker, Chris Potter and Clifford Jordan; pianists Herbie Hancock, Kenny Werner, Edward Simon; and drummers Brian Blade, Antonio Sanchez, Bill Stewart and Roy Haynes.
Born on November 24, 1963. Scott is currently living in New York. He began studying bass at age 11. At 13, he began studying with bassist Monty Budwig. He attended Eagle Rock High School in Los Angeles, where he studied under John Rinaldo, renowned director of music at the school. After graduating high school he was granted a full scholarship to the California Institute for the Arts, where he focused on composition and jazz studies while also studying privately with Charlie Haden and classical bassist Fred Tinsley (of the Los Angeles Philharmonic). In 1986, he began touring and recording with jazz vocal legend Carmen McRae. In 1988 he graduated Cal Arts with a Bachelor of Music degree.
-1988: Moved to New York City. -1988 to 1989: He performed in U.S. and European tours with Carmen McRae; Dizzy Gillespie; and Clifford Jordan.
-1990 to 1995: Bands included Jim Hall, John Scofield, Joe Henderson and Art Farmer.
-1996 to 1998: His work included touring with a group led by Joe Lovano and Jim Hall, Tours with Toots Thielemans; Bobby Hutcherson; and Bob Berg; extensive touring with Andrew Hill’s “Another Point of Departure” sextet.
-2000-2004: For five years Colley toured extensively as a member of Herbie Hancock’s working trio and two separate quartets (one featuring saxophonist Gary Thomas, the other featuring vibist Bobby Hutcherson) at concerts around the world. Hancock’s trio has also performed in concert engagements with symphonic orchestras throughout the United States. During that time he also tour extensively with the Andrew Hill trio and sextet, and the Chris Potter Quartet.
-2005-2007: Extensive touring with “Directions in Music”, a collaboration with Micheal Brecker, Herbie Hancock, and Terri Lyne Carrington; Trio concerts with Pat Metheny; Tours with Jim Hall; Teaching residencies at The Banff Center, Virginia Commonweath University, and Vallekilde Denmark, European and U.S. tours with Chris Potter’s Quartet; concerts with Chris Potter and Antonio Sanchez; U.S and European tours with his own trio and quartet.
-2006-07: Extensive touring with his own quartet and trio. Recordings include projects with Chris Potter; Luciana Souza; Abbey Lincoln; Adam Rogers; Donny McCaslin; 2 recordings with Kenny Werner; and his own release Archetect of the Silent Moment (featuring: Ralph Alessi, David Binney, Craig Taborn, Jason Moran, Adam Rogers, Gregoire Maret, and Antonio Sanchez.) -2008-to Present: During the last few years he is touring with his quartet and trio in the US, Europe and South America. Also touring with Edward Simon and Brian Blade; Chris Potter’s Underground; The Antonio Sanchez Quartet; Dave Douglas’ “Magic Circle”; a quartet with David Binney, Craig Taborn and Brian Blade; The Kenny Werner Quintet. Teaching residencies in the U.S. and Europe.
In the last few months, Scott has recorded CD’s with The New Gary Burton Quartet; also a recording with The John Scofield Quartet; Scott will be touring with both groups extensively; as well as with his own trio: which includes Chris Potter and Antonio Sanchez); “KCB Collective”: with Danish Saxophonist Benjamin Koppel and drummer Brian Blade; and the new group “Steel House”: with pianist Edward Simon and Brian Blade. All three groups are scheduled to release recordings in 2015-2016.
Scott’s newest recording Empire available now on the CAM label, the recording features all original compositions with Bill Fresell, Ralph Alessi, Brian Blade and Craig Taborn.
A native Californian who grew up in Santa Barbara, drummer Tom Rainey moved to New York City in 1979 while in his early twenties (after studying at the Berklee College of Music in Boston starting in 1975 and then returning to California to live in San Francisco). The new resident of Brooklyn kicked around town with some straight-ahead jazz gigs in the early ’80s and began playing in a trio with pianist Kenny Werner and bassist Ratzo Harris (having first encountered the latter at a California music camp), and in the early to mid-’80s met and started gigging with saxophonist Tim Berne , although Rainey would not appear on a recording with Berne until Big Satan ‘s I Think They Liked It Honey, recorded live in Paris in 1996. But in the interim, Rainey made a lasting impression on discs by Werner , Jane Ira Bloom , Fred Hersch , Mark Helias , Tom Varner , Ray Anderson , Andy Laster , New and Used, and others, before live and studio dates with Berne began taking up a larger portion of his schedule. On a number of recordings — including albums by the Fred Hersch Trio and Paraphrase (the latter featuring Berne on saxophones) — Rainey was paired with bassist Drew Gress , forming an empathetic bass-drums tandem heard on a number of notable avant and modern creative jazz discs.
From the mid-’90s well into the 2000s, Rainey forged a close musical partnership with Berne , performing and recording with the saxophonist in the ensembles Big Satan , Paraphrase, Hard Cell, and Science Friction. Paraphrase offered listeners an opportunity to hear Rainey’s mastery of the drum kit in three-way improvisational dialogues, the drummer’s notions of propulsion and momentum as well as texture and color keeping the music moving forward where other collective improvisational experiments might have collapsed into aimlessness. Visitation Rites and Please Advise, two Paraphrase CDs (live German club recordings from 1996 and 1998) released on Berne ‘s Screwgun label, are good places to hear Rainey at his most freewheeling. And in Big Satan ( Berne , Rainey, and guitarist Marc Ducret ), Science Friction ( Berne , Rainey, Ducret , and keyboardist Craig Taborn ), and Hard Cell (Rainey, Berne , and Taborn ), Rainey proved to be a drummer uniquely attuned to these ensembles’ often lengthy compositional/improvisational hybrids. During the 2000s, he made strong contributions to albums by all three of these groups, including Science Friction’s eponymous debut (2002, Screwgun ) and The Sublime And (2003, Thirsty Ear ), Big Satan ‘s Souls Saved Hear (2004, Thirsty Ear ) and Livein Cognito (2006, Screwgun ), and Hard Cell’s Live (2004, Screwgun ) and Feign (2005, Screwgun ). The two-CD live set The Sublime And by Science Friction stands as a high-water mark for all involved. Also noteworthy is Prezens (2007, ECM ), which includes Rainey in a quartet led by guitarist David Torn , and also features Berne and Taborn from Berne ‘s Hard Cell unit.
While it may be tempting to focus on Rainey’s involvement with Tim Berne ‘s bands during this period of the drummer’s career, Rainey participated in a variety of other ensembles as well, with many fine recordings as evidence. Trio dates include Come Ahead Back (1998, Koch Jazz ), New School (2001, Enja ), Verbs of Will (2003, Radio Legs ), Atomic Clock (2006, Radio Legs ), and Strange Unison (2008, Radio Legs ) by Open Loose, the sax-bass-drums threesome led by Mark Helias (another bassist with whom Rainey has had a particularly strong rapport); Short Trip (2001, Knitting Factory Works ), Drip (2003, Knitting Factory Works ), and Places You Go (2007, Songlines ) by guitarist Brad Shepik ‘s trio; Alive in Brooklyn (2004, Sarama ) and Alive in Brooklyn, Vol. 2 (2005, Sarama ) by the sax-Wurlitzer-drums trio of Tony Malaby , Angelica Sanchez , and Rainey; and Ash and Tabula (2004, Atavistic ) and Downpour (2007, Victo ) by the noisy soundscape-exploring outfit of Rainey, guitarist Nels Cline , and multi-instrumentalist Andrea Parkins .
With three decades of performing and recording experience in collaborative ensembles or groups led by others, Rainey finally entered the bandleading ranks with the formation of the Tom Rainey Trio in the late 2000s. Comprising Rainey, saxophonist Ingrid Laubrock , and guitarist Mary Halvorson , the trio issued its debut album, Pool School, on the Clean Feed label in 2010 (the same year that Rainey and Laubrock were married), followed by sophomore outing Camino Cielo Echo on Intakt in 2012. Rainey also appeared on Intakt label recordings by three Laubrock -led ensembles: Sleepthief’s eponymous debut (2008) and The Madness of Crowds (2011); Anti-House ‘s eponymous debut (2010) and Strong Place (2013); and the Ingrid Laubrock Octet ‘s Zürich Concert (2014). In 2014 Rainey debuted a new quintet on his third album as a leader, Obbligato (also on Intakt ); a set of improvisations based on jazz standards, the album featured Rainey, Laubrock , Gress , trumpeter Ralph Alessi , and pianist Kris Davis . In May of that year, Rainey embarked on a U.S. tour with Laubrock in support of And Other Desert Towns, an album of ten improvisations by the Rainey- Laubrock duo released by Relative Pitch Records . ~ Dave Lynch, Rovi
Marika Hughes (cello) & Rashaan Carter (bass)
About Marika Hughes:
Marika is a cellist, singer, composer, song-writer and teacher. A native of NYC, Marika was exposed to a varied creative life from an early age. Her parents owned a jazz club on the Upper West Side and she was fortunate to enjoy an exciting classical music life as the granddaughter of the great cellist, Emanuel Feuermann. She was a regular on Sesame Street, was a member of New York Youth Symphony, spent summers at the chamber music camp, Greenwood, was a student at festivals in Europe and busked in NYC with her high-school string quartet. Marika received her B.A. from Barnard College in political science and cello performance at the Juilliard School, where she studied with Ardyth Alton.
Shortly after completing her studies, Marika left NYC and moved to San Francisco, CA. It is there that she began to explore a musical life outside of the western classical tradition of her childhood training. In addition to playing in the Berkeley and Santa Rosa Symphonies, she joined Quartet San Francisco and enjoyed performing and recording for a host of artists and films including, Tom Waits, Mr. Bungle, Xiu Xiu, Santana and Finding Nemo.
Marika joined Carla Kihlstedt and Shahzad Ismaily in 2 Foot Yard. The band released two CDs; 2 Foot Yard (Tzadik, 2005) and Borrowed Arms (Yard Work, 2008). She founded the band Red Pocket with Jewlia Eisenberg and they released their CD, Thick, on Tzadik’s Oracle Series. She also joined Jewlia’s a cappella trio, Charming Hostess. She is a featured singer on that band’s release, Sarajevo Blues (Tzadik 2005). Marika began her compositional work here, writing string arrangements and songs for all of these groups.
In 2006, Marika moved back to NYC. She has enjoyed playing with many local musicians she has long admired as well as some superstars. She has performed and/or recorded with D’Angelo, Whitney Houston, Mary J. Blige, Sean Lennon, Valerie June, David Byrne, Lou Reed, Ani DiFranco, Imani Uzuri, Charlie Burnham, Anthony Braxton, Toshi Reagon, Adele, Aruan Ortiz, Nasheet Waits and Henry Threadgill. She has appeared on The David Letterman Show, The Jimmy Fallon Late Night Show as well as Saturday Night Live.
Upon returning to NYC, Marika began to write for her own groups. She has written songs steeped in instrumental composition and lyrical content. In the last few years she has enjoyed writing entirely instrumental tunes for her new string quartet of cello, upright bass, violin and acoustic guitar (with Rashaan Carter, Charlie Burnham and Marvin Sewell respectively). She has released three records of original music under her own name; Afterlife Music Radio (2011) with pieces written specifically for her solo cello by artists including Nasheet Waits, Carla Kihlstedt and Eyvind Kang, The Simplest Thing (2011) an album of original songs and most recently, New York Nostalgia (2016) with her band, Bottom Heavy.
Marika has worked with Triad Trust, a Boston based NGO for 10 years. The ImprovED program which Marika helped to create (in rural South Africa and Haiti) utilizes a unique improvisation technique that provides students a stage to rehearse critical moments in their young lives. Thru original song and dramatic sketches, the local ImprovED troupe teaches ideas and practices related to self care and HIV?/AIDS testing/prevention/ treatment in the communities where they live.
In addition to her cello duties, Marika enjoyed being a guest host for Terrance McKnight’s radio show, All Ears on WQXR, she has been a featured storyteller on The Moth and was a cast member of Stew’s play, Family Album produced by the Oregon Shakespeare Festival. Marika lives in Brooklyn, NY.
About Rashaan Carter:
Rashaan Carter grew up in the Washington D.C. area. It was there, with the nurturing of his father, a saxophonist, and his mother, a jazz radio programmer, Rashaan forged an interest in music. After stints with various instruments, the bass became the voice for his musical expression. Rashaan worked and gained experience in the local scene in Washington D.C. and after high school, moved to New York City to attend the New School University. At the New School, Rashaan studied with Buster Williams and Reggie Workman. While attending the New School he also began to work with many of the faculty including Joe Chambers and Jimmy Owens, among others. Since moving to New York Rashaan has become entrenched in the jazz scene and has worked with Benny Golson, Curtis Fuller and Louis Hayes, Wallace Roney, Marc Cary, Cindy Blackman, Doug and Jean Carn, Antoine Roney, Sonny Simmons, and many more. He’s also studied with one of his prime influences, Ron Carter. Rashaan regularly performs with a myriad of artists in and outside of New York and can be found on various recordings as well.