with Corn Mo and .357 Lover, Lady Rizo, Sam Cohen, David Nagler, Michael Shannon, Balthrop Alabama, Xavier, Dawn Landes & many more
Mon March 3rd, 2014
Minimum Age: 18+
Doors Open: 10:00PM
Show Time: 10:30PM
Event Ticket: $12
free for members
On Monday March 3, 2014, the Motherlodge Live Arts Exchange, which produces music and theater collaborations between New York City and Louisville, KY, throws its annual New York fundraiser to support 2014 programming. The show will feature downtown performers and Brooklyn rockers collaborating on a night of music and performance.
Following last year’s sold-out Fleetwood Mac Orgy, this year’s Purple Mutha show will be a night of covers and celebration of music by Prince and Prince and the Revolution.
The Purple Mutha features performances by Corn Mo, Balthrop Alabama, Lady Rizo, Michael Shannon, Sam Cohen, David Nagler, Thomas Bartlett, Hannah Cohen, Elysian Fields, Shy Hunters, Erin Hill And Her Psychedelic Harp, Oren Bloedow, Annie Nero, Tiffani Barbour, Mesiko, Jon Natchez, Michael Arthur, Ray Sapirstien, Chris Buckridge, Jason Lawrence, Paul Loren, Brian Vinson, Xavier, Don Piper, Dawn Landes and more!
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.
The Purple Mutha: A Night of the Music of Prince, a fundraiser for Motherlodge Live Arts Exchanges
Since 2009, Motherlodge has been mixing creative communities together under one roof and presenting Live Arts Exchanges that combine diverse performance mediums, including music, theater, visual arts, storytelling, film, and culinary arts. Each Motherlodge program centers around the organization’s mission to provide growth for and encourage cross-disciplinary collaborations with artists, venues, community organizations, and individuals.
Motherlodge Live Arts Exchanges are produced in both Louisville and New York City. Events are designed with an inclusive open door policy with the aim of better engaging artists in both communities. Each spring in Louisville, KY, Motherlodge offers a one-week workshop environment called Spring Motherlodge to develop new stage work, premiering the results during a program at the week’s end that includes music, live performances, a long table discussion, and opportunities for visiting artists to meet the local community and explore it’s environs. The timing of Spring Motherlodge intentionally coincides with The Humana Festival Of New American Plays.
Every new year of Motherlodge is a fresh start creatively and on the balance sheet, shaped by the core group of performers, musicians and live arts lovers who have a taste for getting their hands dirty and creating on the fly. This laissez-faire approach helps facilitate a broad and open artistic dialogue that greatly contributes to the economic and artistic output of the Motherlodge program. Motherlodge independently raises funds to cover performance production costs; participating artists receive 80% of all ticket proceeds. Motherlodge operates through the support of fiscal sponsorship provided by Fractured Atlas, which allows it to accept tax deductible contributions.
Motherlodge has presented performances by David Amram, Penny Arcade, Balthrop Alabama, Bonnie Prince Billy, Michael Cerveris, Conni’s Avant Garde Restaurant, Corn Mo, Jim James, LePetomane, Liberation Prophecy, The Lisps, The Louisville Leopard Percussionists, Taylor Mac, Uncle Monk, Adam Rapp, Lady Rizo, Michael Shannon, The Slow Charleston, and Una Mimnagh. Past Motherlodge collaborators include The Salvation Army, The Ernest Becker Foundation, Judson Church, and over 20 venues between including The Rudyard Kipling and Actor’s Theatre of Louisville in Louisville, Summit City in Whitesburg, KY; as well as the Barrow Street Theatre, Bushwick Starr, Cherry Lane Theatre, Joe’s Pub, City Winery, Goodbye Blue Monday, and Rattlestick Theater in New York. Plays created and/or workshopped at Motherlodge have been produced in New York City, ART, and San Francisco.
Corn Mo and .357 Lover
You’d be forgiven for thinking CORN MO & .357 LOVER were a novelty act, what with their songs about wrestling gods and Gary Busey. But behind the mutton-chops and flashy suitcoats is an infectious performer with a lung-busting vocal style who has worked with the best in the business.
Though it is rumored that she is the product of a night of unrestrained indulgence between Peggy Lee, Mel Brooks, Nina Simone, Dean Martin and Janis Joplin the truth is Lady Rizo was raised by theatrical gypsies with the highest show business ethics. When she almost looked of age she rebelled against the comforting, unscrubbed, rustic life and set out for a world of harsh metropolitan sophisticates.
The ‘Cabaret Superstar’ (New York Magazine), comedienne and chanteuse revives the genre by creating vintage arrangements & theatrical explorations of pop songs from every decade. Lady Rizo (nee Amelia Zirin-Brown) co-created the cult caburlesque spectacular Lady Rizo & the Assettes in 2005.
In January 2010 she won her first Grammy on a duet with acclaimed cellist Yo-Yo Ma that was released on a Holiday album featuring Diana Krall, James Taylor and Alison Krauss among others. She also sings and records with multi-platnum recording artist Moby and was nominated for an MVPA for the choreography the video for the single New York, New York featuring Debbie Harry.
She is the Mistress of Ceremonies for current hotspot The Darby, a decadent modern supperclub in the West Village. In the same location as the legendary nightclub Nell’s, she performs her pop arrangements there nightly to entertain music luminaries like Prince, Ashford and Simpson, Beyonce & Jay-Z.
A proud recipient of the New York Foundation for the Arts fellowship in 2010, she has performed her sold out show monthly at Joe’s Pub since 2009 and has been commissioned for a full length piece by the Public Theater that will premiere as part of the New York Voices series in November 2011.
Sam Cohen has a tendency to write laid-back, psych-tinged songs about extinction.
“I also love guitar solos.”
So says Sam Cohen, the multi-talented Brooklyn-based musician and producer whose latest album, Cool It, is the first to bear his name. A founding member of the acclaimed psych-rock group Apollo Sunshine, and his own band, Yellowbirds, Cohen’s music, penned over the last decade and a half, forms a body of work that has earned him a loyal following, particularly among musicians, which has made Cohen an often sought collaborator.
Most recently, he produced Kevin Morby’s ascendant new album, Singing Saw, and was tapped by The National’s Dessner brothers to play guitar on a handful of tracks for their star-studded Day Of The Dead Grateful Dead Compilation. It was completely out of the blue, however, when Cohen received an email from Danger Mouse inviting him to collaborate on some sessions. The producer and new label head for 30th Century Records had been listening to Cool It on steady repeat, and offered to re-release the album via his new label.
“When I heard Sam’s song ‘Pretty Lights’, it knocked me over,” says Danger Mouse.
“Then when I heard the whole album, I knew I had to work with him. Cool It is one of my favorite albums of the last few years.”
Cohen recorded the album mostly alone in his Brooklyn rehearsal space, which, at the time, was a one hundred square foot cube filled to the brim with gear and instruments: his Kawai organ, a borrowed drumset, and a hoard of guitars and amps including Cohen’s signature synth guitar rig. He had to adapt his recording techniques to the spacial limitations.
“A lot of people ask how I got the drum sound on those songs. It’s funny, it was just one mic in the middle of the kit. If I had put up more mic stands in that room, I wouldn’t have been able to walk around.” As further explanation for his off the cuff engineering style, he cites the recording manifesto of Gabe Roth (Daptone Records), “Shitty is Pretty”.
As Cool It was nearing completion, Cohen decided a getaway was in order to write and record the last few songs and put the finishing touches on the work as a whole. He rented a house in Woodstock, NY where he’d stayed with some friends the year before, and brought his entire studio up in a U-haul van for a final week of solitary recording. It was an inspired time during which his work days would begin shortly after sunrise, not ending until well into the morning hours. Cohen says that completing the record in Woodstock helped to put the album in a specific time and place, as it had been recorded in bits over many months in the rehearsal space, as well as on a daylong session with the members of Yellowbirds.
That session yielded “Last Dream”, “A Farewell To Arms” and “Let The Mountain Come To You”, the album’s opening track which reads like a zen koan (with an obvious nod to Muhammed). In it, he sings, “There’s a mountain, but no mountain top; to climb the mountain, you chop the mountain up.” This leads into the paradoxical chorus, followed by an outrageously fuzzy guitar solo that hovers above synthesizer chords like one of Hendrix’s own UFO visions. In Cohen’s words, the song is about the repercussions of human ambition to attain a higher standard of living, which often results in the destruction of natural beauty and a numbing of spirituality. The subsequent track “Pretty Lights”, continues the message through a suite-like structure, beginning with a folkish nod to Leonard Cohen or Lee Hazelwood. This expands into a Flaming Lips meets Pink Floyd synth guitar solo, before crumbling into a synthetic pulse, only to come back with a heavy groove and quickened tempo, chanting the words “All is in tune, purer than music”. That’s just about halfway through the song which continues with unpredictable sonic delights.
“Kepler 62”, a standout in the live show, was written after Cohen read an article about the NASA-launched vessel of the same name that has obtained images of Earth-like planets.
“I think a lot about how a civilization begins and has a prime, a period of decay, and an end,” he says. “Cultures do that. Life does that. Bands do that. So all these staggered examples have the same shape, but everything is always at a different point in its arc. I found a lot of comfort in knowing they were out there.”
Cohen readily acknowledges his tendency to write about extinction and death. “El Dorado,” the album’s closer, details scenes from a post-apocalyptic world, while “Don’t Shoot The Messenger” is narrated by the gun of a killer and is a symbol for anyone harming others by carrying out their duty. Continuing on the theme, in “The Garden” he sings, “We practice in a two car garage; smoke around the kids. They’re gonna learn it someday, if someday ever is.”
Yet despite his concerns for environmental meltdown, Cohen says the album’s title was simply a suggestion from his wife that he found funny.
Most recently, Cohen recorded two new songs with Danger Mouse, including “Lose Your Illusion”, which was released on 30th Century Records Compilation Volume I. After a lengthy US tour with White Denim in Spring, he is now working on a new album in a newly christened Brooklyn studio that is, by his estimation, “far less janky than the last.” Cool It is out on 30th Century Records.
Barring imminent extinction, the future is looking quite bright for Sam Cohen. As he sings in the last words of Cool It’s final track, “El Dorado”: “The gate’s wide open now.”
David Nagler helps lead the band Nova Social with Thom Soriono. The duo recruited many talented performers to help complete the album: avant-garde guitarist and arranger David First, alt-country luminaries Deanna Varagona (Lambchop) and Michael Daly (Whiskeytown), and the modern classical ensemble the Flux String Quartet. The final result, The Jefferson Fracture was a far more diverse and accomplished affair than their previous EP, revealing Nagler to be a gifted and fearless songwriter and Soriano to be a master of odd sounds and quirky arrangements. Both musicians had a hand in stirring up the pot in N.Y.C.’s music scene: they have hosted and curated Nova Nights, an eclectic evening of music that took place in a comfy, couch-filled basement called the Den of Cin, normally a screening house for independent films. A bevy of artists from a multitude of genres (avant-garde jazz, spoken word, acoustic pop, experimental rock) appeared throughout the year.
Dawn Landes is a Kentucky born singer-songwriter now living in Brooklyn, NY. Her songs have been featured in commercials, popular films and TV shows (The Good Wife, House, Gossip Girl). Landes tours internationally and has shared the stage with Ray LaMontagne, Bryan Ferry and Suzanne Vega. She has also performed with The Boston Pops, NYC Ballet and recently at TED. Her album “Bluebird” won the 2015 IMA award for Folk/Singer-Songwriter Album of the Year and features guest appearances by Norah Jones and others.
In 2015 Landes toured in Sufjan Steven’s band and was a featured artist in Lincoln Center’s American Songbook Series. She is currently at work on “ROW” a new musical under commission from NY Voices and Joe’s Pub/The Public Theater. “ROW” tells the story of Tori Murden McClure’s quest to become the first woman to row across the Atlantic Ocean in 1999.
Her latest release, the EP Desert Songs is a collaboration with British songwriter Piers Faccini.
Out Jan 15, 2016 (Six Degrees/ Beating Drum).
Thomas Bartlett, piano
Tony Scherr , bass
Ray Rizzo, drums
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