The sound of Colorado’s legendary Leftover Salmon is unmistakable: fluid, loose-limbed, and simultaneously rootsy and daring. Fusing an unrivaled improvisational fervor to a dizzying combination of bluegrass, Cajun, funk, Southern rock, boogie, Caribbean, Latin, and jazz influences, Leftover Salmon has earned a legion of diehard fans, critical accolades, and a reputation as one of the most exciting, engaging concert experiences to ever hit the road. The origins of Leftover Salmon are as intriguing as their name. The group was born in Boulder, Colorado in 1989, as the result of a merger between Vince Herman (from Cajun/Calypso/jugband The Salmonheads) and Drew Emmitt and Mark Vann (of progressive bluegrass Left Hand String Band.) Leftover self-released their first album, Bridges to Bert in 1992 and the live Ask the Fish in 1995. They were then signed to Hollywood records, who released Euphoria in 1997 and the widely-heralded Nashville Sessions in 1999. The recording of The Nashville Sessions was a star studded affair that paired Leftover with an A-list of Nashville’s most notable session players, including Jerry Douglas, Sam Bush, Bela Fleck, Reese Wynans, John Cowan, and Sally Van Meter. Country legends Earl Scruggs, Waylon Jennings and Lucinda Williams also contributed, as did many of the bands friends from the road, including Blues Traveler’s John Popper, John Bell from Widespread Panic and Big Head Todd’s Todd Park Mohr. In 2002, Leftover Salmon signed with Compass Records label and released Live (pronounced “liv”), a live album designed in tribute to the late Mark Vann. Vann urged the band to continue after being diagnosed with melanoma, and since his untimely passing in spring of 2002, they continued to tour relentlessly, playing countless clubs, theatres and appearing at every festival known to mankind, wowing their audiences with their crazy antics and powerful musical mélange. 2003 saw the band take part in a critically acclaimed tour with bluegrass giants the Del McCoury Band and released an album with the rock band Cracker titled O' Cracker Where Art Thou?, release on David Lowey’s Pitch A Tent label. Similarly, the band can play both folk and rock festivals, and they’ve performed in elegant theaters and in grungy rock clubs. Leftover Salmon is the rare band with a broad enough sound and a large enough repertoire to shape its set list to fit any crowd and any venue. 2004 brought a new studio album self titled Leftover Salmon released on Compendia Records. For this album, the band broke its pattern of inviting scores of musical guests to participate. This time, Leftover Salmon decided to focus on their own special ensemble play. The only instrumental guest was the producer Bill Payne of Little Feat, who adds a spicy piano track to “Whispering Waters”. “How could you have Bill Payne in the studio and pass up the chance to get him to play on your record,” Vince Herman points out. Singer K.C. Groves adds harmony on “Woody Guthrie,” but otherwise the band goes it alone. The end of 2004 also brought an end to Leftover Salmon. A statement was posted to the bands website on 6/15/2004 that read: We are aware of the rumors that have been circulating over the past few weeks and would like to let everyone know what's going on so there is no confusion. The band is indeed going to take a break at the end of this year. After years of touring everyone is ready for some time off to spend with their families and to pursue solo projects that Salmon's busy schedule has not permitted. As of right now the future of Leftover Salmon is uncertain but the band is not breaking up, just taking a break. Mark wanted us to continue after he left the band and that's what we did. We have toured just as hard, rebuilt the band and put out a new record. Now we feel that we can take a break without letting him down. We're all very proud of our latest release, Leftover Salmon, and after experiencing so many ups and downs, it feels right to step back while on this high. We want to thank the Salmon family, our friends, and especially our fans as this dream would have never come true if it wasn't for you. We look forward to seeing your faces as we continue to perform in various projects and hope you will all support our decisions and future ventures. This band has created a lifetime of memories for us and that is something that can never go away. The Festivaaal will go on. We will be performing several shows and festivals throughout the summer and play our 3rd annual Halloween celebration at the Fillmore Auditorium in Denver on Saturday October 30th this year. After that, the final show will be New Year's Eve, which marks 15 years to the date of the first Leftover Salmon performance. We are excited to reach such a milestone and hope all who can, will join us this New Year's. Check our web site for details-to-come. On the early morning hours of January 1st 2005 the band left the stage at the Fox Theatre in Boulder Colorado leaving behind them the band Leftover Salmon which had been apart of their lives and so many fans for the past 15 years. 2007, 27 months after it’s last performance a press release from the band stated that it would return that summer for a handful of reunion shows. The line up was that same as it was when it ended in 2004 with the exception of Jeff Sipe. Jeff who was the bands long time drummer had left in 2000 to pursue other career options. Jeff rounded out the line up that would perform a few summer festivals and grace the stage of the bands famous home state venue Red Rocks Amphitheatre. The first unofficial performance took place at the Telluride Bluegrass festival on June 24 billed as Drew Emmitt, Vince Herman and Friends. With downloads available of all the 2007 summer performances and two Colorado holiday dates announced around New Years the bands future is still uncertain, but by no means over. Stay tuned as these musicians will surly be playing music in some format for years to come. This Band’s MySpace Page
Join us for a one-time-only Super Group performance that Michigan Mike put together featuring The Grateful Dead's Bill Kreutzmann on drums, Steve Kimock on guitar, String Cheese Incident's Kyle Hollingsworth on keys & The (funky) Meters' George Porter Jr. on bass. "It was cool on one level, and then on another level it was kind of like getting gum on the bottom of your shoe." Steve Kimock remembers when the Grateful Dead's legendary front man, Jerry Garcia, hailed him as one of his favorite unknown guitarists. To Kimock, it was surprisingly bittersweet praise: The emerging artist wasn't looking for fortune or fame. "That doesn't go away," Kimock continues, lamenting Garcia's endorsement. "And there's a certain audience expectation that goes along with that." Despite any perceived added pressure to perform up to billing, it was certainly due appreciation for this musician who picked up his first six-string as a child. Ever since he was 10 years old, influenced by the instruments and songs he encountered at his Aunt Dottie's home in Bethlehem, Pennsylvania, the only thing on Kimock's mind has been music. Nearly 50 years later, not much has changed; his road manager revealed that even after a lengthy gig, Kimock still takes a few guitars up to his hotel room to noodle away into the night. However, Kimock's talent and innovation have managed to go relatively unnoticed throughout the decades. His main fan-base stems primarily from in-the-loop devotees of improvisational rock who have followed his here-there-and-everywhere career, one that has haphazardly placed Kimock on stage with many of the best in the business. "I think the primary thing might be the complete lack of goal orientation," he says. "I never got my head around the idea that I would be OK being in a situation where the music itself had been formalized into some kind of product. So, as a result, I've just sort of done whatever I felt like." Unconventional. Experimental. It's sort of the Steve Kimock way. This Band’s MySpace Page
For more than 40 years, mandolinist/composer David Grisman has been busy creating "dawg" music, a blend of many stylistic influences (including swing, bluegrass, latin, jazz and gypsy) so unique he gave it its own name. In doing so, David has inspired a whole new genre of acoustic string instrumental music with style and virtuosity while creating a unique niche for himself in the world of contemporary music. Praised for his mastery of the instrument as well as his talents as a composer, bandleader, teacher and record producer by the New York Times, David’s role as an acoustic innovator continues to grow. After recording for several major and independent labels, Grisman founded his own company, Acoustic Disc, which he runs from his studio in northern California. After launching the label in 1990, David entered the most prolific period of his distinguished career, producing over 50 critically acclaimed, high quality recordings of acoustic music (five of which have been nominated for Grammy Awards). David discovered the mandolin as a teenager growing up in New Jersey, where he met and became a disciple of mandolinist/folklorist Ralph Rinzler. Despite a warning from his piano teacher that it wasn't a "real" instrument, Grisman learned to play the mandolin in the style of Bill Monroe, the father of bluegrass music. He took it with him to Greenwich Village where he studied English at New York University and became immersed in the proliferating folk music scene of the early 1960s. In 1963 Grisman made his first recordings as an artist (the Even Dozen Jug Band-Elektra) and producer (Red Allen, Frank Wakefield and the Kentuckians - Folkways). In 1966, Red Allen offered David his first job with an authentic bluegrass band, the Kentuckians. While studying the music of his bluegrass mandolin heroes like Bill Monroe, Jesse McReynolds and Frank Wakefield, Grisman began composing original tunes and playing with other urban bluegrass contemporaries like Peter Rowan and Jerry Garcia, with whom he would later form Old & in the Way. David's interests spread to jazz in 1967, while playing in the folk-rock ensemble, Earth Opera. A failed attempt at learning to play the alto saxophone turned him into a student of jazz musicianship and theory. In the meantime, his burgeoning career as a session musician gave him experience playing other types of music and opportunities to stretch the boundaries of the mandolin. Today his discography includes recordings with Bela Fleck, the Grateful Dead, Stephane Grappelli, Emmylou Harris, Chris Isaak, Dolly Parton, Bonnie Raitt, Linda Ronstadt , Earl Scruggs, Dan Fogelberg, Maria Muldaur, John Sebastian and James Taylor. David's unique instrumental style found a home in 1974 when he formed the Great American Music Band with fiddler Richard Greene. "Nothing against singers," said David, "but it became apparent to me that I could play 90 minutes without one. Besides, Elvis never called." Within a year, Greene moved on to join a pop act, and David met guitar wizard Tony Rice, who moved to California where they started rehearsing a new group, the David Grisman Quintet, which also included bassist/ mandolinist Todd Phillips and violinist Darol Anger. The rest is string band history. For the past 25 years, the DGQ has won numerous polls and awards and has headlined at major jazz, folk and bluegrass festivals around the world. DGQ alumni (including Tony Rice, Mark O'Connor, Mike Marshall and Darol Anger) have gone on to establish successful careers as leaders of acoustic music. Current DGQ members include bassist Jim Kerwin, multi-instrumentalist Joe Craven, flutist Matt Eakle, and Argentine guitarist Enrique Coria. In 1990, David founded the Acoustic Disc label with his friend and manager, Craig Miller, and two other long-standing friends from New York, Artie and Harriet Rose. To date label has released 55 CDs, including six with Jerry Garcia, all produced or co-produced by Grisman. David Grisman has always been a pioneer. He has deeply influenced several generations of musicians through his own musical explorations, and with the continuing success of Acoustic Disc has helped make artist-owned independent labels a viable force in the modern music business. This Band’s MySpace Page
Animal Liberation Orchestra is more than just a band and more than just a group of great friends making music together. ALO is a lifestyle. With this simple aphorism, keyboardist/vocalist Zach Gill sums up the unique dynamic that defines ALO (Animal Liberation Orchestra). Born from a friendship nurtured during their days at the University of California Santa Barbara, the four-piece collective includes Steve Adams (bass/vocals), Dan Lebowitz (guitars/ percussion/vocals) and David Brogan (drums/vocals). Part musical explorers, part pop songsmiths, all-around dynamic performers, ALO made waves in 2005 with their soulful California style and feel-good, danceable grooves, prompting influential Triple A radio station WXPN to call them an "Artist to Watch." Convinced that the band could be huge if they got in front of the right audience, college buddy Jack Johnson brought ALO on his successful summer tour and asked the band to sign to his own Brushfire Records so they could release a reworked version of Fly Between Falls, which the band put out independently last year. The CD will be out to all major retailers on April 18, 2006. Zach, Dan and Steve have been playing together through various incarnations of different musical groups for years, forming the Animal Liberation Orchestra and the Free Range Horns with their college jazz band director on drums. Originally a nine-piece outfit, the band began drawing enormous attention in the Santa Barbara area with their rousing stage shows. When Zach, Dan and Steve returned to their hometown San Francisco, they stripped back down to a quartet, playing with a wide variety of different drummers. Finally, in 2002, the trio reunited with drummer David Brogan (with whom they had previously played in college) and the ultimate version of ALO was solidified. ALO was quickly labeled the golden child of the West Coasts buzzing underground scene, never losing the garage band energy that makes every one of their shows an event rather than just a performance, laying soulful melodies and swirling improvisation over precision funk grooves night after night. The band skillfully weaves quirky California soul with shape-shifting explorations, introspective lyrics with sun-soaked funk, all infused with the uplifting vibe that ALOs ever growing legion of fans live for. Many genres have been thrown around to capture what the San Francisco Chronicle ultimately dubbed sex-music boogaloo. But in the end, ALOs sound is always changing. One thing that never changes, however, is the fact that this is a band composed of four top-notch musicians at the top of their game. Trained equally in the classics, jazz, pop and funk craftsmanship, ALOs music is a hybrid of the best of all worlds songs composed, refined and performed by multi-talented artists with a passion for quality musicianship and creativity in all they do. Dan concurs, All four of us share a real interest in continually learning about music new styles, new ways of playing, new ways of engaging an audience and that's something that we never want to stop. And, indeed, engaging the audience is what ALO is all about. Each of the band members can list many favorite live moments in which the group and their fans have bonded in concert. From their show at San Franciscos famed Independent club, where they broke the venues all-time sales record and then proceeded to whip the crowd into a climactic disco frenzy with their take on ABBAs Dancing Queen to their New Years Eve 2005 celebration, a three-night, sold-out run in Santa Barbara that culminated in the Divine Ball, an event co-created by the band and its community of fans. At an ALO show, we want to create a happy, uplifting environment a safe place for the audience to feel free to be themselves, says Zach. ALO has been able to bring those good vibes to huge audiences, thanks to constant touring and major festival runs, and will have an ever wider reach with the release of Fly Between Falls, which is being distributed through Universal. The album includes reworked versions of two of the most popular tracks, Girl, I Wanna Lay You Down and Barbeque and a brand new track, Walls of Jericho, with David on vocals. The thing that is special about Fly Between Falls is that it is kind of an exercise in reinventing the band, using both old and new material as the building blocks, said David. Its a very forward-looking album its both a history of where ALO has been, as well as a launching pad to where the band is going from here. Steve echoes this sentiment: ALO is an ever-evolving group. The album, which has also been resequenced, now leads in with the playful music and self-reflection of Spectrum followed by an irresistibly catchy tribute to their college town, Wasting Time (Isla Vista Song). Jack Johnson joins in on back up vocals on a smooth, sultry number, Girl, I Wanna Lay You Down, followed by the feel-good summer swagger of Barbeque. Other highlights include the Latin-tinged Pobrecito and Waiting for Jaden, the epic narrative of the birth of Zachs daughter and a crowd favorite. Fly Between Falls is a complete musical journey that combines the finest elements of this talented groups myriad of influences and fuses them into the unique blend that defines ALO. All four members agree that Fly Between Falls is a new beginning an album about hopes and dreams. David is quick to note: Each song improves every time we play it as a result of the input all four of us bring to the musical table. Even though we all have our own music tastes, we are truly in synch with each other and support each others creative ideas. Perhaps Dan sums up the collectives credo best: We care about each other as much as about what we are creating. If we weren't making music together, Im sure wed all be doing something else together. Fortunately for the world, the four members of ALO are making music together and it continually promises to be like nothing youve ever heard before. This Band’s MySpace Page
Formed over 10 years ago, Cornmeal has grown from humble beginnings into a nationally recognized live music institution. 10 years together is no simple task these days, especially when the last five have seen the band spending over half the year on the road. Heavily influenced by American roots and folk music, Cornmeal blends lightning fast tempos and impeccable harmonies into an unrivaled live performance that continues to expand upon the five-piece acoustic-electric groups’ vast musical repertoire. While steeped in the tradition of the past, Cornmeal continues to forge their own path, pushing the boundaries of bluegrass, Americana and folk for a whole new generation of music lovers. With a rapidly growing fan base and ever-evolving sound, Cornmeal challenges the recipe of the bluegrass sound and live performance. In the beginning of 2010, Cornmeal released their first live album, Live in Chicago, IL Vol. I, an album that pays tribute to the fans. For the first six years, Cornmeal performed each and every Wednesday in Chicago to small yet loyal crowds. Throughout the winters of 2007-2009, Cornmeal returned to Chicago to pay homage to that tradition. The album is for the fans as a thank you for all the years of dedication, for believing in Cornmeal, and for creating a wonderful community for them to come home to. The album was recorded live throughout the winter of 2009 at Martyrs’ in Chicago, IL. Unlike Cornmeal’s three previous albums, Live in Chicago, IL Vol. I captures the band in its raw, intense format, bouncing through song after song of fast paced, fierce originals and extensive improvised jams that showcase the immense talent and connectivity that have gained them so much fan appeal from coast to coast. With the release of their debut album "In The Kitchen" (2001 Livin' Live records), Cornmeal secured its place as one of the top bands in its genre. 2003’s “Tales from Magic Stone Mountain” (Livin’ Live records) garnered much critical attention and became a staple on College and AAA top 10 lists throughout the country. In May of 2006, Cornmeal released their third album, “Feet First”, which became proof positive that Cornmeal’s tenure on the road brought on an honest and mature sound. Produced by guitarist Kris Nowak and bassist Chris Gangi, "Feet First" features a strong confidence in songwriting, musicianship and the ability of this band to stylistically ride the fence and bring it back home without missing a step. While playing a blend of high profile venues, jam-band and bluegrass festivals to thousands throughout the region, the band has shared the stage with such highly acclaimed national acts as The David Grisman Quintet, John Hartford, The Del McCoury Band, Little Feat, Leftover Salmon, Tony Rice, Yonder Mountain String Band, Dark Star Orchestra, Sam Bush, Umphrey's McGee and moe. They pride themselves on the energy they put forth each night creating an unrivaled live performance that continues to shape itself into a energetic one of a kind experience. Live in Chicago, IL Vol. I proves that Cornmeal continues to be a band to watch out for. Every show they play is a unique experience that leaves fans begging for more. This Band’s MySpace Page
Comprised of three core members, Eric Low on drums, James Dumm and Jonathan “Skippy” Huvard both on guitar, the band includes a constantly rotating list of guest stars. Serving up sweaty barrels of rock and roll across the entire genre, the Fox Street All Stars get people off of barstools and on the dance floor! Originating from varied musical backgrounds, the trio became masters of adaptability. Says Eric, “We can play a country blues honky-tonk show, a 10 piece funk extravaganza or a melt your face off guitar rock-a-thon!” Skippy brings the Dirty Southern Blues feel, Eric adds a funky energetic New Orleans approach and guitar monster James is a human jukebox. With the ability to play virtually the entire rock and roll encyclopedia, the Fox Street All Stars choose tunes that suit their strengths and fit their sound… A typical set might include tunes by Dr. John, Wilson Picket, Gram Parsons and Fats Domino along with original songs as well. The Fox Street All Stars show a passionate dedication to the classics. "We try to get as close to the authentic sound first, before we start messing with it. Reiterates Eric, “There is nothing more annoying than a band butchering a good song by cutting corners.” In late 2007 longtime collaborators and Colorado natives, James and Eric began kicking around the idea of a band with a rotating lineup. “The original concept was to pick a bunch of covers we liked and tailor the set to whoever we played with,” explains James. At the same time, Skippy, originally from Houston, began spending his free time hanging out and jamming with acquaintances James and Eric. Continues James, “Once Eric and I started playing with Skippy there was a real connection and that’s when we made it a real band.” Enthusiastic crowds regularly siege Fox Street All Stars’ shows. “My favorite thing about playing in this band is how fun all the shows are and how fun it is to play with James, Skippy, and company,” says Eric. Bringing this vibe to the audience is a collective goal for the band. Explains Skippy, "I strive to make people feel as if they are a part of the show, a piece of the action, not just watching a concert. I want the audience to escape from the worries and pressures of life and to set themselves free of all burden; to reach a point of pure joy and elation, and to dance their asses off. This Band’s MySpace Page
In the past five years, Great American Taxi has become one of the best-known acts on the jam band circuit. Their uninhibited sound is a swinging concoction of swampy blues, progressive bluegrass, funky New Orleans strut, Southern boogie, honky tonk country, gospel, and good ol’ fashioned rock ’n’ roll. Great American Taxi was born when singer, guitarist and mandolin player Vince Herman of Leftover Salmon joined keyboard player and singer Chad Staehly for a superstar jam to benefit the Rainforest Action Group in Boulder, in March of 2005. “We put together a dream band of the best local musicians for a one-off gig,” Herman recalls. “It worked so well we had to do it again, and again, and again.” Great American Taxi quickly evolved into one of the best country-, rock-, and bluegrass- influenced jam bands in the land, masterfully blending acoustic and electric instruments into music they call “Americana Without Borders.” Great American Taxi has been equated with roots rockers like the New Riders of the Purple Sage, Grateful Dead, Wilco, Uncle Tupelo, The Byrds, and Little Feat. Herman finds the comparisons flattering. “We’re definitely connected to all the acts in the country/rock spectrum, as well as the spirit of Gram Parsons and Woody Guthrie,” he says. “We want to address the issues appropriate to our times, while making music that gets people up and moving.” They’ve made their reputation as an exciting live band, willing to invite the audience on stage for impromptu jams and sing-alongs. “When strangers join in to sing and play, you don’t know what’s going to happen,” Herman grins. “It keeps you on your toes musically and brings out feelings of camaraderie and community.” That loose, anything-can-happen feel is the hallmark of Reckless Habits, Great American Taxi’s second album. The band — Herman, Staehly, Jim Lewin on electric guitar and vocals, Edwin Hurwitz on bass, and drummer Chris Sheldon — spent a couple of weeks at Backbone Studio in Loveland, Co, with producer Tim Carbone (from Railroad Earth) working together to bring the feel of an on-stage performance to the recording process. “We did the tracks live, playing together,” Herman says. “We like to make real music, as opposed to executing parts.” Herman grew up in Pittsburgh, the youngest of seven children in a music loving family. He played piano, guitar, and mandolin growing up, soaking up Motown, rock, bluegrass, and the polka music played by neighborhood wedding bands. As a high school freshman, he attended the Smoky City Folk Festival and was seduced by the social scene and the off-stage free-form jams. He studied acting at the University of West Virginia and moved to Colorado to finish his degree, but dropped out after meeting Drew Emmitt. He joined him in the Left Hand String Band, one of the first groups in the progressive bluegrass movement of the ’80s. His next aggregation was a Cajun jug band called the Salmonheads. When the two merged, they jokingly combined names, and as Leftover Salmon, a country/ bluegrass/Cajun outfit, became one of the best-known jam bands in the country. When banjo player Mark Vann died of cancer in 2002, Leftover Salmon lost momentum. Herman had a few rough years and survived a broken neck before joining keyboard player Chad Staehly to create Great American Taxi with guitarist Jeff Hamer, bassist Brian Schey and drummer Jake Coffin. After a few departures Taxi has settled into their latest incarnation with Lewin on guitar, Sheldon on drums, bassist Brian Adams and occasionally Barry Sless on pedal steel. They’re marking their Fifth Anniversary as a unit with the release of Reckless Habits. Herman, Staehly, and their Great American Taxi cohorts will be doing what they do best to support the record, touring heavily and getting ready for the beginning of the Festival season. "We believe in the blue-collar work ethic, improving our music by playing live shows and bringing people into the present moment with our lyrics and instruments. That’s what we love to do and we’ll keep on doing it as long as we can.” This Band’s MySpace Page
“Head For The Hills has created a sound that is all at once organic, precise, timeless, and brand-new,” as reported by the Missoula Independent. The acclaimed Colorado Bluegrass quartet has been receiving nation-wide recognition in response to their refreshing take on acoustic music. Rooted in the tradition of bluegrass but described perhaps more accurately as progressive acoustic/modern roots, H4TH produces a vibrant mixture of homegrown compositions, traditional harmonies, and improvisation. In the live setting, H4TH effortlessly ventures into a myriad of musical styles and sonic landscapes that appeal to a boundless array of listeners. 2011 has been outright explosive year for the quartet, having been voted by the Westword (Denver, CO) as the “Best Bluegrass” band in Colorado, a highly esteemed honor. Additionally, the band has been receiving national attention, not only from their recently released self-titled studio effort, but also from E-Town (Boulder based not for profit radio station and community builder). A portion of their performance of Harvestival-Fort Collins, CO (recorded October 2009), was aired nationally on radio stations this past April, alongside the David Grisman Quintet, who also performed at the event. The group was selected to perform at SxSW in 2011, and were also a “SxSW Critics Picks-Must See” choice, via the Austin Statesman/360. To get a sense of Head for the Hills’ snowballing momentum, look no further than the surrounding talent on their self-titled sophomore release (2010), Head for the Hills. The album garnered the group a charted position on the CMJ Top 200 national radio listings. The six-year old pickers attracted heavyweights like longtime bluegrass aficionado, Drew Emmitt (Leftover Salmon) as their producer who took them up to Bill Nershi’s Sleeping Giant studio to record. Studio engineer Gus Skinas engineered the effort, boasts a particularly intriguing history having digitally remastered Pink Floyd’s Dark Side of the Moon; helped Sony develop the early iterations digital audio; and invented an innovative multi-tracker called Sonoma that combines the warmth of analog with the ease and efficiency of digital. In addition, Vance Powell — who adorns his mantle with a Grammy for his work on the Raconteurs wildly successful Consolers of the Lonely album — mixed the record. The self titled release earned the group a #29 position on Colorado Radio’s “Top 50 Albums of 2010.” In 2007, for their debut studio effort, “Robber’s Roost,” the band joined forces with the talented producer/performer Sally Van Meter. Ms. Van Meter, among her impressive list of accomplishments, is credited for her 1994 Grammy Award Winning work on The Great Dobro Sessions. She has also produced albums for artists like Yonder Mountain String Band, Open Road Bluegrass and Allison Brown. Head for the Hills have performed, supported, & shared programming with such notables as: David Grisman, Sam Bush, The Flaming Lips, Ben Folds, Bruce Hornsby, Emmylou Harris, Dr. Dog, Little Feat, Nickel Creek, The Avett Brothers, Yonder Mountain String Band, Tim O’Brien, Peter Rowan, Doc Watson, Railroad Earth, and have performed at: Wakarusa Music Festival, Telluride Bluegrass Festival (NightGrass), DelFest, High Sierra Music Festival, Northwest String Summit, Mulberry Mountain Harvest Festival, Grand Targhee Bluegrass Festival (Official Evening Performance), Yarmony Grass Music Festival, Bristol Rhythm and Roots and many more. Many respected avenues have sighted Head for the Hills as the next breath of fresh air to emerge from the acoustic realm. With direction from a plethora of talented company and an ever-evolving approach to progressive acoustic music, there is no telling what successes lay ahead for this group of talented musicians. This Band’s MySpace Page
Initially formed as an acoustic string band, seven years of constant touring has transformed Hot Buttered Rum into a plugged-in, percussive powerhouse that wows critics and fans alike. Their left-coast rock reveals an access to jazz, country, and world music that few groups can match. While the band's music belies simple categorization, its songwriting and stage chemistry delights listeners at every turn. Hot Buttered Rum’s story is one of evolution. The “high altitude bluegrass” era captured on their first studio album, In These Parts, found the band enjoying success at such diverse stages as the Newport Folk Festival, Bonnaroo, Grey Fox, High Sierra, Wakarusa, and the Telluride Bluegrass Festival. Along the way, the group shared the stage with some of today's most accomplished artists, including Phil Lesh, Bela Fleck, Ben Harper, and Nickel Creek’s Chris Thile. In 2006, acoustic pioneer Mike Marshall produced Hot Buttered Rum’s second studio album, Well-Oiled Machine, and captured the sound of a hard-touring band charting its course along the highways and byways of American music. The continued expansion of Hot Buttered Rum’s sound and writing found a home in Live in the Northeast. More electric pickups made their way to the stage, along with an increased focus on songwriting. As the band developed a heavier sound, fans and press began to describe them as a rock band with acoustic instruments. It therefore came as no surprise when, following the departure of mandolinist Zac Matthews, the other founding members Aaron Redner (fiddle and mandolin), Bryan Horne (upright bass), Nat Keefe (guitar), and Erik Yates (banjo, guitar, woodwinds, and resophonic guitar) joined forces with Everyone Orchestra conductor and drummer Matt Butler. The new lineup has recently emerged from San Francisco’s Mission Bells Studios, where they recorded Limbs Akimbo under the watchful eye of producer Tim Bluhm (The Mother Hips). Featuring guest appearances by Jackie Greene (Skinny Singers, Phil Lesh and Friends) and Zach Gill (ALO, Jack Johnson), the album marks the beginning of a new creative phase. Limbs Akimbo now signals the arrival of a highly matured, impressively listenable, stirringly rocking, and pleasantly poppy sound. Proving himself a forceful producer, Bluhm has struck an impressive balance between highlighting the multi-instrumental, cross-genre elements of the band’s sound while avoiding the contemporary trappings of music that is complex and different merely for the sake of complexity and difference. The result is beautifully paradoxical: a tremendous, minimalist pop album full of hints, teases, and cameos of the band’s complex musical personality. In “Something New,” Keefe recites the familiar wedding adage “something old, something new, something borrowed, something blue.” And right there, in a nutshell, is Limbs Akimbo: an album that is both an elegy and reincarnation of Hot Buttered Rum’s past sound, that borrows heavily from the rock pantheon while sprinkling in just a little of everything else. Limbs Akimbo is an album that evidences the acoustic string band of yesteryear while unapologetically propelling into the scene a mature left-coast, drum-driven, pop-rock band. This Band’s MySpace Page
Original, and from the soul, Larry Keel has surfed the changing tides of traditional bluegrass, country, jam rock, roots reggae, and even the currently emerging indie-alt scene always honoring the pioneers that introduced Bluegrass and Mountain Music into popular culture. Larry Keel is an award-winning Acoustic Americana flatpicking guitarist, well known for his entirely unique song-writing, gravelly voice and lightning fast licks and "consistently touted as the hottest, most provocative and most entertaining bluegrass band of this decade." Mousike Magazine describes Keel's music as "Steeped in the old-timey and with a gravelly voice as deep and rich as moonshine on a riverbank... Larry’s flat-picking style is as seamless as it is gymnastic and he’s a master at simulating banjo rolls, mandolin runs or even parts that you would normally hear played on a fiddle." Larry Keel is an ever-evolving musical force that stands in ongoing defiance to all genre expectations. And his fierce, high-spirited energy also appeals to young rockers, jammers, alt country pickers and fans who are equally drawn to Keel’s deep rumbling voice, his earthy and imaginative song-writing, and his down-home-gritty-good-time charm. Guitar Player Magazine noted, “When bluegrass guitar greats Tony Rice, Norman Blake, and Beppe Gambeta sing your praises, you must be good.” Larry Keel will be picking with a variety of players swirling around the calendar for the whole year; with Natural Bridge remaining the mainstay act with the vastly talented Mark Schimick on mandolin and vocals, Larry’s life-long picker pal (and fishing phenom) Will Lee on soulful, blues-grass style 5-string banjo and penetrating lead vocals, and wife Jenny Keel with her impeccable timing and solid, yet imaginative bass lines as well as tenor vocal harmonies. Also, look out for Larry Keel solo, Keels duo, Keller and the Keels, the Keel Brothers, Keel with Danny Barnes and Drew Emmitt, Keel and YMSB's Adam Aijala, an occasional Keel trio, and many other special guests added to the mix. You never know who you will catch him sitting in with... 2010's Music on the Mountaintop even found him sitting in on a spectacular Appalachian African combo of songs with Toubab Krewe. Keel has a jam-packed festival season in store for 2011 with shows at Spring Fest (FL), FloydFest (VA), John Hartford Memorial Festival (IN), Bill Monroe Bluegrass and Uncle Pen Days (IN), Smilefest (NC), Rhythm and Blooms (TN), The Waterfront Music Festival (CO),Appalachian Uprising (OH), Aiken Bluegrass (SC) and lots of other shows and events. Keller and the Keels are on tour with each other at select shows throughout the 2011 including the Yonder Mountain's NorthWest String Summit in Oregon, and several more lined up for the season. Keller and the Keels released their second album in May of 2010 and hit #1 on the Billboard Bluegrasss charts! This all-covers collection amusingly titled Thief includes songs originally written and recorded by as wildly diverse an assemblage as anyone’s ever likely to dream up, from Amy Winehouse's "Rehab" to Patterson Hood's "Uncle Disney". Keel is currently in the pre-production phase on his next album, throughout his career, Larry Keel has released 13 albums and is featured on 10 others including recording with Keller Williams, Curtis Burch, MaGraw Gap, and Acoustic Syndicate's Steve "Big" Daddy McMurry. Larry Keel's latest release with Natural Bridge was 2008's BACKWOODS in which the approach to the material made "all the difference here, a hybrid of bluegrass with folk, country and jazz that tweaks the arrangements in subtly, shifting ways to grab one's attention... It feels like sunshine peaking through a thick forest or a sunrise with the grass caked by morning dew,” noted John Pattrick Gatta on Jambands.com. Keeping up with new technology and a backwoods way, Keel, along with some friends, more recently launched a new project and website called Fishin and Pickin,which combines 2 unique but thoroughly complementary pleasures: the satisfying thrill of sports fishing, and the energizing intensity of live music. The musician fisherman or even the fishin music-lover can visit the site for useful and amazingly entertaining music tips, tablature, links to like-minded acts and artists, and lots of great fihin pics on the bragging board. Larry's also been involved in the development of Fishin N Pickin workshops and camps, hosted on live water properties, that teach pickin musicians how to advance their ‘chops’ on their instruments,while having the chance to catch some big fish in the process! Keep on the lookout for Bass and Grass in Perry, GA and the debut of Trout and Tunes in Slatyfork, WV. The Keels have been literally "Flipping Out" with their new video recorder and posting weekly video updates from live shows, fishin trips, and backyard picking parties on www.youtube.com/LarryKeelMusic. Leo Weekly wraps it up in stating, "Larry Keel’s website sports the countrified boast “Guitar Legend & Master Fisherman.” While I’m sure his unruly beard and general country demeanor support the latter (at least on a surface level), there’s no arguing the former. Whether you catch him in a solo setting, showing off his white-lightning acoustic fingerpicking, or in more fleshed-out musical digs with his Appalachian ensemble Natural Bridge, you’re likely to be transported to a place where moonshine flows aplenty and coal mines loom in the distance. While his rusty, bar-dweller vocals are strictly backwoods beauty, pigeonholing Keel’s versatile guitar playing would be a mistake. He’s capable of dizzying displays of virtuosity and calming, sermon-like reverence." This Band’s MySpace Page
2010 brings a new sound to a familiar face in the national music community. With an astonishingly talented cast of musicians, The Motet has refined their sound and their vision into a dynamic and expressive improvisational force. Founded and led by drummer Dave Watts, The Motet began almost ten years ago and hasn’t let up since. Featuring complex compositions written and arranged by Watts himself, the music tells a story through syncopated rhythms and melodies. Founded and led by drummer Dave Watts, the group began over ten years ago and hasn’t let up since. Featuring complex compositions written and arranged by Watts himself, the music tells a story through syncopated rhythms and melodies. As music and technology evolve at an astounding rate, so too has The Motet pioneered their unique sound while continuing to defy categorization. With roots in Jazz, Afrobeat, Funk, Salsa and Samba, The Motet keeps their audiences in a dancing frenzy by layering House and Techno rhythms into a style that is uniquely their own. With its 6th release, Dig Deep, The Motet once again proves that it is a group committed to exploring and pushing the sonic envelope, while still remaining dedicated to the musical traditions that have defined their sound. A heavy-horned Afrobeat influence countered with a textural blanket of Electronica, this album showcases the talents and strengths of the cast of characters that drummer and producer Dave Watts has assembled. Keyboardist Joey Porter lays down the funk under the coursing melodies of saxophonist Dominic Lalli in pure Motet fashion, with the ever driving beats of Watts' masterful rhythmic production pushing the music through sonic peaks and valleys that tantalize and invigorate listeners. If you've loved The Motet for years or are just tuning in, listen up. You won't be disappointed. From years of incessant touring and with a rich legacy under their belt, The Motet’s “resolve to evolve” has made them indispensable in the East and West Coast groove circuits. Writes Dave Kirby of Boulder Magazine: “Watts' dedication and artistic integrity have created an elusive musical entity which seems to be as much fun to play in as it is to go out and hear.” The Motet is a world-class ensemble that whips audiences into a whirlwind using sheer impromptu force. The rhythms are spontaneous and textured and the beats are hard-driving. The band uses this energy to create a rapport between the audience and themselves that is rarely seen in today's world of manufactured rock. The Motet consecrates the ground on which dance music meets free-form improvisation. This Band’s MySpace Page
The six members of Runaway Truck Ramp succeed wonderfully in producing a sound that is undeniably bluegrass-inspired, but incorporates many music styles. Rock, reggae, swing, folk, pop and jazz all intertwined with Runaway Truck Ramp's swift picking Friday night, creating the first bluegrass-oriented music that I've ever been able to break a sweat (and, honestly, almost go into cardiac arrest) dancing to. With Jay Elliott on drums, Ed Caner on violin and fiddle, Peter Fiori on acoustic guitar, Greg Schochet on mandolin and bouzouki, Brian McDougall on fretless bass guitar and Lee Johnson on electric guitar and lap steel, Runaway Truck Ramp spun out multi-layered instrumentation that kept the crowd up and grooving. Runaway Truck Ramp's vocals-contributed at different points by Fiori, Schochet, McDougall and Johnson-created inspiring harmony that served to lift the positive vibe of their stunning playing to an even higher level. Elliott and McDougall skillfully laid down the rhythm, and Runaway Truck Ramp proceeded to rock through a show chock full of original material and some memorable covers. Schochet's feather-light and lighting-fast handling of the mandolin anchored many of the tunes to a pleasant bluegrass base, while Johnson's contributions on electric guitar and lap steel lent the band its rock and roll sound. Fiori's lead vocals and acoustic strumming kept the audience smiling just as wide throughout the show as when-between songs-he finally acknowledged a puffed-up young lady in the front who, yes, had beautiful breasts. Caner, the newest addition to Runaway Truck Ramp, joined up with the band in April and adds both careening energy and poignant beauty to the band's sound by way of masterful violin and fiddle playing that alternately whips up through stunning crescendos and down into almost whispering classical strains. Runaway Truck Ramp's sprightly and mischievous stage presence allays any doubt that they're having as much fun playing as the audience is having boogying down. The band's eclectic influences-from Bob Dylan to the Who to, yes, Judas Priest-come through during their showcase of original tunes. This Band’s MySpace Page
Smooth Money Gesture is infectious groove funk with ear twitching space jams, face melting solos and tight rhythmic changes. Since the new millennium, the band has been honing in on their sound, bringing their music from the East Coast to Alaska; finally landing in Nederland, Colorado where the band permanently resides. The sextet’s sound is rooted in rock and roll with elements of funk, bluegrass, metal, and electronica producing a jam based high energy psychedelic creation all their own. With a variety of musical influences feeding the improvisational groove, and the majority of members contributing vocals and to songwriting, Smooth Money Gesture takes one on an adrenaline rich celebratory journey that never runs out of fuel. The band has just released their debut CD "The Grand Scubian: Evoloution” and with their ever expanding tour schedule, are making forays beyond their homebase of Colorado. This next year will see them traverse the Western states and cross the great Mississippi. At the core of Smooth Money Gesture are the Diminico brothers and lifelong friend and fellow musician Josh Gitlin-Rich. Doug Diminico plays lead guitar and sings alongside his brother Dan Diminico (bass guitar and vocals). Josh Gitlin-Rich adds his own brand of guitar riffs to compliment Smooth Money's ethereal jams. On keys is Pete Goldberg, contributing a whole new dimension to Smooth Money's music with his energetic playing and gritty vocals. Scott Llewellyn on drums and Nathaniel Haas on percussion and vocals, keep the band driving while adding a touch of polyrhythmic flare. Guy Erickson, of Colorado Music Buzz recently remarked “Smooth Money Gesture is the very Wiki of a happy jam band...Helixes of ebullient guitar...cerebral texture from the organ and keys provides that rare, full, Psychedelic-Funk expansion augmenting the complex interplay as two drummers / percussionists mesh in ever-evolving labyrinths of rhythm...Uplifting and a reason to smile!" Sprinkling in the occasional and unexpected covers or teases from bands such as The Beatles, Pink Floyd, Frank Zappa, The Allman Brothers, The Grateful Dead, or Phish: SMG is constantly twisting and taking the jams to new heights. Integral to the SMG expansive experience, is the job of Bryce on lights and effects. Bryce has been working with SMG, adding a light show that's as over the top as the music, furthering the planetary excursion into vast and grand, Scubian worlds. This Band’s MySpace Page
With over a decade of recording and performing under its belt Split Lip Rayfield has demonstrated an uncanny ability to survive adverse conditions and swim against mainstream trends to emerge as one of the Midwest's most uncompromising bands. Split Lip hasn't just carved a niche, it's sounded a firm and furiously independent tone that reverberates in the ears of music lovers from coast to coast. With four studio albums-including 'Never Make It Home' and 'Should Have Seen It Coming' and the recent 'Live at the Cotillion Ballroom' DVD under its belt, by any means necessary live performances (including appearances at the Telluride Bluegrass Festival, Wakarusa and road stints with The Reverend Horton Heat and Nashville Pussy) and a four pronged attack of acoustic instrumentation, punk attitude and speed metal aggression, plus well-crafted songs ("3.2Flu," "Redneck Tailgate Dream" and "Outlaw"), Split Lip has stared into the face of adversity and survived. The death of SLR co-founder and guitarist Kirk Rundstrom in February 2007 deeply impacted the band members, but Rundstrom's tireless spirit and determination inspired Jeff Eaton (gas tank bass/vocals), Eric Mardis (banjo/vocals) and Wayne Gottstine (mandolin/vocals) to continue advancing the SLR cause. In August the trio performed several regional dates to enthusiastic response-with the trademark blood and glory ethic as evident as ever-and decided that it was time to take to the road once more. "I'm excited to tour again," Gottstine said. "The four of us worked for 10 years as a band and we still enjoy making music together. Jeff and Eric are my favorite people to play with and we don't want to give up on that." With the band's finest moment still on the horizon, doesn't it seem time that you got hip, as they say, to the Lip? This Band’s MySpace Page
Self-described as "High-Octane Rocky Mountain DanceGrass", WhiteWater Ramble uses a simple recipe to craft it's sound - bluegrass instrumentation, add drums, and a boundary-less approach to grassing-up everything from house grooves to reggae. The Colorado-bred quintet combines the elements of Mandolin, Fiddle, Acoustic Guitar, Upright Bass, Drums and Vocals to explore the musical boundaries of multiple genres to fuel their own mixture of original music and innovative cover song interpretations. Whether playing an intimate encore, acoustic and unplugged in the crowd, or surfing on top of the upright bass, WhiteWater Ramble delivers a powerful and memorable live performance. "With a list of influences that reaches into every corner of contemporary music, from reggae to blues to country and beyond, WhiteWater Ramble pushes the boundaries of the form way past the edge. It ain't your grandpappy's jug-band music anymore, now it's jam-grass." ~ The Boulder Daily Camera. This Band’s MySpace Page
Acoustic Mining Company has a distinctive, unique sound to their songwriting and arranging that stands out... reminds me of bands like Yonder Mountain or New Grass Revival... they surpass imitation on this disc with their exclusive sound." - Pow'r Pickin This Band’s MySpace Page
Rarely could an artist be said to transcend, yet include, the most raw and real elements of Hill Country blues, roots rock, folk, funk and rap. Nevertheless—with bone-deep authenticity—that’s exactly what Bret Mosley does, wrestling deftly with longing, belonging, and world-weariness...on the way home to hope & grace. Best known for his critically-acclaimed debut release “Light & Blood”, and his frequent collaborations with Jerry Joseph, Mosley tours tirelessly across the U.S....with ever-growing hotbeds of self-proclaimed "Bretheads" from South Carolina to Montana, and beyond. With signature idiosyncratic intensity, genre-busting Mosley grooves the folk, funks the blue & rocks the jams. Bret has shared the stage with Trombone Shorty, Ivan Neville's Dumpstaphunk, The Subdudes, Good Enough For Good Times, The Blind Boys of Alabama, Jackie Greene, Stockholm Syndrome, Bloodkin, Kaki King, Kelly Joe Phelps, et al. This Band’s MySpace Page
Jaden Carlson realized her passion for guitar at an early age. Starting her venture with classical training, she quickly moved to acoustic and electric rock, teaching herself many of her favorite covers and writing her own original material. Possessing an amazing ear and an insatiable love for playing and performing, Jaden's repertoire includes her beautiful and touching originals, as well as many covers by Michael Franti & Spearhead, Trevor Hall, Bob Marley, Jimi Hendrix, Ziggy Marley, John Lennon, Pink Floyd, The Grateful Dead, and more. She has performed with Michael Franti & Spearhead, Trevor Hall, Radioactive, Keaton Simons, Matt Butler, Rob Drabkin and Melvin Seals & JGB. This Band’s MySpace Page
John McKay has been playing guitar for over 25 yrs and has been composing his own material for nearly as long. His first instrument was piano, which he started playing at the age of 10. At the age of 11 he switched over to playing drums and at the age of 15 he picked up the Bass and Guitar. From then on the Guitar became his main focus. Througout the years he played in various bands. In 1996 John earned a BA in Classical Guitar performance from the University of Colorado's School of Music. Recently he has been performing with the Wiley Cotton Band, which is a band he put together to showcase a broader spectrum of his original material. Guitarist/singer/songwriter John McKay blends the deeply personal insights of a man immersed in nature, places of the past and love along with political observations of a protest singer, and the broad musical traditionalism of a folk rock musician with the passion and commitment of a rock and roller. A musician's musician, McKay has an element of distraction to his performance as it is difficult to ignore the guitar playing which is in competition with vivid mind-expanding lyrics. His newest band - The John McKay Band- is rich with musical talent which runs the musical gamet from jam band to folk rock to world musics. The JMB is a combination of the familiar things that exemplify retro rock and roll and folk music that we all are presently yearning for from the past with a modern touch of contemporary times and life today. In 1998 McKay recorded his debut CD, entitled Wiley Cotton, which is dedicated to his father; Wiley Cotton McKay. The CD is an acoustic-electric blend of eleven of his original songs. It showcases a range of bluesy folk and soulful rythm n' blues. Some of the musicians that appear on the CD include Johns brother Bill McKay on piano and organ, Derek Trucks, members of Runaway Truck Ramp, and Mark Vann of Leftover Salmon. John finished his second CD in 2001 which featured solo style of playing. As a solo performer McKay has opened for such national acts as Hot Tuna(2x) Leftover Salmon, Zachery Richard and Merl Saunders and the Rainforest Band. After more than a few years and many obsticles, McKay has come out with his most Rockin' recordings to date, 'Beetles and Bacteria'. With the help of Chris Lakinac, who plays drums and co-produces the majority of the tracts, this powerful set of music goes from the heavy grooves of '98 years' or 'Lazy from Booze' to the more upbeat funky grooves of 'Marleys Song' or 'Paper Walls'. Musicians include: Chris Lakinac/Ricardo Gonzales:drums,perc., Garret Sayers and Will Downes on Bass, Bill McKay on Organ, J.B.-perc., special appearance by Eben Grace/guitar on 'Labor of Love, John McKay voc, guitar, perc. This Band’s MySpace Page
Lesley Kernochan is a spunky, fun, and heartwarming Boulder based musician. Her songs draw you in with her captivating four-octave voice and clever, poetic lyrics. Lesley’s music runs the gamut of genres from folk pop to jazzy bluegrass, sprinkled with a dash of opera. Her music has been likened to Regina Spektor, Nellie McKay, and Tori Amos and yet is completely unique. Lesley has released two solo albums (“The Pickle Jar” 2009, “Undulating” 2006) and has toured internationally with several different highly acclaimed bands such as Vagabond Opera and The March Fourth Marching Band. Here’s what reviewers are saying about Lesley: “Kernochan’s jazzy pop is intelligent, playful, and has plenty of nuance and groove to boot.” - CDBaby “…filled with unending, smile-inducing brilliance!” - KBOO 90.7FM Portland, OR This Band’s MySpace Page
Magnolia Row blends the songwriting of old with a variety of rhythms using exotic hybrid bluegrass instruments. The band has become a fixture in the Boulder/Denver club scene and has featured some of the finest musicians that the area has to offer. Magnolia Row's members are all veteran performers with many combined years of experience. DANIELLA KATZIR is an accomplished singer-songwriter, having performed with numerous Boulder area bands, including the local favorite funk/soul project Homestyle. She was born in Israel and spent lots of time soaking up the sounds of the Middle East in her childhood. As a teenager, Daniella fell in love with the songwriting of Bob Dylan and other traditional American folk artists. This combination of influences formed the basis of Daniella's musical upbringing, and they have continued to surface in her 20 years of singing and writing. Daniella's rhythmic authority on the guitar was solidified by her years as a drummer. Her highly original playing is a blend of clawhammer banjo and Piedmont style fingerpicking, and she drives the band to new heights with each show. PAUL MURIN's guitar playing gives Magnolia Row its improvisational spirit. Having studied jazz improvisation and composition at the University of Denver, he is now a road-tested veteran of the national festival circuit in the Colorado-based band Phix. His guitar solos are a mind-bending journey through the history of great improvisational guitar work, incorporating the influences of Trey Anastasio and Carlos Santana as well as the acoustic flatpicking genius of Doc Watson and Jerry Garcia. His horn-like lines are also a sign of where great rock 'n' roll playing will go, and his melodic bluegrass playing is unparalleled. One note from Paul can speak a thousand words, yet he can shred with the best of them. BILL BROWNING's search for an instrument that could double as a squash racquet brought him to the mandolin. His fifteen years of experience has found him playing not only traditional bluegrass music but swing and rock and roll as well. His influences are truly too numerous to count, but among them are Sam Bush, David Grisman, Django Reinhardt and the late great father of bluegrass music, Bill Monroe. He has toured and performed in Europe and Asia, as well as the United States in bands such as Aquarian Voodoo, the Danny Shafer band, Haywire, the Pete Kartsounes Band, and Backwoods Galaxy. JIM SULLIVAN holds down the rhythmic and harmonic foundation for Magnolia Row with his outstanding skills on the upright bass. A deep appreciation of a myriad of music styles eventually led him to old school country and bluegrass. He has played with local favorites the Danny Shafer Band, All Night Honky-Tonk All Stars, and Runaway Truck Ramp, with whom he toured nationally. Magnolia Row fully allows and encourages the recording of our performances, both audio and video. Our only request is that you pass a copy of the recording on to the band. This Band’s MySpace Page
The Shwilbillies are a Denver/Boulder based band who put their twist on music from various genres whether it's bluegrass, jam, rock, or even reggae. They have shared the stage with the likes of Great American Taxi, Jeff Austin, Mountain Standard Time, Nick Forester, Eric Thorin, Oakhurst, Shakedown Street and more. The band uses strong vocals and picking from Mike Kayne (guitar), Chris Spurlock (mandolin), Jeff Montoya (bass) and Dan Wessel (banjo). The band is is quickly lighting up bars and venues in Denver with their high-energy and versatile tunes. This Band’s MySpace Page
Take a string band and swap out the mandolin player for a groovy drummer and you’re well on your way to understanding the sound of Oakhurst. The band spikes traditional bluegrass with rock & roll and a kamikaze rhythmic sensibility. That danceable concoction along with banjo vs. fiddle shootouts, three part harmonies, and citybilly swagger keeps the band in high demand. Oakhurst’s unpretentious, go-for-it interpretation of a genre that’s often handled too reverently, sparks interest in bluegrass by folks who don’t know Doc Watson from Doc Holliday. Oakhurst’s work ethic and road hardened sound has made them one of the most successful acts from Colorado earning them the chance to perform at legendary venues like the Fillmore and Red Rocks. In 2008 Oakhurst played multiple major festivals, 33 states and 13 countries across Europe and the Caribbean. The band's latest album, Jump in the Get Down, received airplay on over 200 radio stations nationwide. The spins not only earned the quintet spots on the Americana, Bluegrass and Jamband charts, but an even larger national following. That hybridized, hard-to-categorize sound has also gotten Oakhurst nominated by Denver’s Westword Magazine 4 years straight as the best band in different categories each year. Oakhurst captured the “Best Bluegrass Band” honor in 2007, against stiff competition. Oakhurst’s broad appeal and nebulus stlye has earned them spots on stages with very diverse national talent. John Mayer, John Hiatt, The Flaming Lips, The Avett Brothers, Brett Dennon, Emmylou Harris, Barenaked Ladies, Patti Griffin, Yard Dogs Roadshow, Bela Fleck, Gaelic Storm, G. Love, Umphrey’s Mcgee, The Radiators, Junior Brown, Lyle Lovett, Lynyrd Skynyrd, Johnny Lang & Guster, to name a few. Oakhurst has also shared the stage with future and current Colorado legends as well. The list includes Leftover Salmon, Yonder Mountain String Band, Devotchka, Rose Hill Drive, the Motet, Emmit–Nershi Band, Great American Taxi and band mentor Pete Wernick. This Band’s MySpace Page
Formed and born in the high deserts of Mexico’s Baja California, this hard-hitting, jazz-rooted, psychedelic improvisational trio lays down the grooves to get you moving. These three classically trained, jazz rooted musicians are constantly on the search for the unknown, comfortably fitting psychedelic grooves into jazzy pockets of sonic bliss. The freedom to expand beyond the roles each member assumes in their main project, offers another side of these musicians and the peaks are high and long. magicgravy is Garrett Sayers (The Motet), Dave Watts (The Motet, Shockra) and Dan Lebowitz (ALO). Dan’s outrageous solos on his acoustic guitar, Garrett’s relentless and melodic interactions on the electric bass, and Dave’s finesse on the drums combine for something powerful. This Band’s MySpace Page
