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Larry Keel Independently Releases Experienced
on Friday, February 26, 2016

A blazing journey of music featuring special guests:
Sam Bush, Del McCoury, Peter Rowan, Keller Williams, Jason Carter,
Mike Guggino, and Anders Beck

LEXINGTON, VA —  Flatpicking guitar phenom Larry Keel dazzles music-lovers once more with his 15th self-released album Experienced, due out February 26, 2016. The album is an entirely original work that showcases both Larry’s and bandmate Will Lee’s exceptional songwriting, singing and jaw-dropping instrumental performances, accompanied by Keel’s equally talented wife Jenny Keel on upright bass and harmony vocals. It was recorded at Wally Cleaver Studio in Fredericksburg, VA with engineer (and guest drummer) Jeff Covert and mastered by the award-winning industry great Bill Wolf (Willie Nelson, Tony Rice, Doc Watson) in Arlington, VA.

Added to the raw sophistication of Keel’s progressive acoustic style are several guest-musician-friends who appear on various tracks of Experienced, a list of artists that reads like a ‘Who’s Who’ of icons and new stars including Sam Bush, Del McCoury, Peter Rowan, Keller Williams, Jason Carter (The Del McCoury Band), Mike Guggino (Steep Canyon Rangers), and Anders Beck (Greensky Bluegrass). According to Larry, “This project is a collection of my songs and Will Lee’s music, developed further with the amazing talents of some of our musician friends and heroes. Very real. Very fresh.”

The seven tracks on Experienced reflect Keel’s musical personality, from frenzied and raunchy to mystical and sensitive, and through it all, Keel’s honest attitude shines, fearlessly and with throttle wide-open. As Sam Bush (who plays mandolin and fiddle on the fiery opening track “Ripchord”) says, ‘Enjoy the music… Larry does!” “‘Lil Miss” follows up with a cynical gibe at a mock Miss Prim and not-so-proper young lady of modern day society, set to a down and dirty blues-rock riff.

“Memories” (co-written by Larry and Jenny) is the portrait of the artist (Keel) gently swept away by life’s vast gallery of experiences and personal connections, and the poignant emotions that spring from it all. As the third track, it cools down the pace of things, letting the listener settle into the musical journey Keel has orchestrated.

“Larry Keel is a triple threat… songwriter, guitar player, entertainer. He can do it all,” says Del McCoury, who is featured on the playful and rollicking “‘Fill em Up Again” along with Carter and Guggino. “I think what makes Larry so powerful is that he has lived his songs, he’s not sitting in a room trying to write the hit of the week, he’s writing what’s in his heart and on his mind.”

“I love me some Keels. There is a certain genuine authenticity that Larry and Jenny possess,” says Keller Williams. “When we get together, our wonder-powers unite to form a giant, impenetrable sphere of open-minded, Appalachian psychedelic goodness.” Appropriately, Keller plays on the swelling and rolling “Miles and Miles,” which is a sort of metaphoric travel log of life on the road as a musician (and as a human being)… the key being to stay true to one’s own ‘voice’.

“The Warrior” is loosely based on the Carlos Castaneda book The Teachings of Don Juan and the search for knowledge by an old Yaqui Indian brujo. Peter Rowan joins on percussion instruments, yodeling and throat singing, adding a burning tension to the music, as the tale is sung in Keel’s gravely baritone. “The warrior is seeking the power… Standing tall he will never cower… He can see the spirits in the air… He can see the things that are not there.” The musicianship, lyrics and magical production combine to bring the listener down into the depths of the mystics and back out again in revelation.

Following “The Warrior”, the album’s gentle and refreshing closing melody, “Another Summer Day,” emits the feeling of resurfacing into the world, relaxed and carefree to enjoy the daylight and breeze.  The tune was written and sung by Will Lee, with Anders Beck lending his intuitive touch on dobro and Jeff Covert carrying it along with a light drum beat.

“Larry is the yin and the yang,” declares Beck. “He will break your heart with a waltz, but he can also scare the hello out of you in the next song.  He plays on the edge… no, strike that.. he creates genius guitar solos while staring over the edge and laughing maniacally.”

“This studio album was a complete blast to make, from start to finish,” says Jenny Keel. “Larry, Will and I, along with our exceptional engineer Jeff Covert coalesce into a working musical unit that push each other to higher and higher heights of magic, skill, art and energy.  Add to that this cast of guests with all THEIR unique talents, and you have a recording that is pure enjoyment. Every detail of it!”

Throughout his prolific career, Keel has released 15 albums, including Experienced, and is featured on 10 others. Along with those that guest on the new album, Keel has performed with a multitude of top acoustic and electric musicians alive, and some now gone, including Vassar Clements, John Hartford, Tony Rice, Bill Monroe, Bob Weir, Jorma Kaukonen, Little Feat, Trombone Shorty, Railroad Earth, Leftover Salmon and many many others. Larry has written songs being performed by the likes of Del McCoury Band, Infamous Stringdusters and Yonder Mountain String Band and has a tune on Del McCoury’s GRAMMY-winning album The Company We Keep [2005] entitled ‘The Mountain Song.’

Experienced Track Listing:
1. Ripchord [Lee] 6:09  w/ Sam Bush
2. ‘Lil Miss [Keel] 4:22
3. Memories [The Keels]  4:00
4. Fill’em Up Again [Lee] 2:55 w/ Del McCoury, Jason Carter, Mike Guggino
5. Miles and Miles [Keel] 4:37 w/ Keller Williams
6. The Warrior 4:38  [Keel] w/ Peter Rowan
7. Another Summer Day [Lee] 4:47 w/ Anders Beck, Jeff Covert

*All tracks with The Larry Keel Experience: Larry Keel, Will Lee, and Jenny Keel

Find out more and stay up to date with news from Larry Keel at www.larrykeel.com, www.twitter.com/LarryKeel, www.facebook.com/LarryKeelFishinAndPickin.

 

 

 

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Cover Carnvial of Hopes(1)-1(1)

Vocalist & Songwriter Jane Kramer Makes a Full Voiced Return to Her Roots with Mountain-made Second Solo Album,
Carnival of Hopes – Due Out Feb 26, 2016

Produced and Engineered by Adam Johnson of Sound Lab Studios,
The album features backing band Free Planet Radio as well as guest appearances by Nicky Sanders of Steep Canyon Rangers and more

ASHEVILLE, NC — Vocalist and songwriter Jane Kramer is set to independently release her gutsy and ambrosial second solo album entitled Carnival of Hopes on Friday, February 26, 2016. Carnival of Hopes feels both celebratory and frank. It is filled with songs of regret and insight found after deep and gritty self-reflection. At its core, the album tells the story of facing down dark inner demons while still clinging to “that tiny chirping of light in your bones that somehow keeps you tethered to keeping on,” Kramer says.

Throughout the album, it is Kramer’s unvarnished honesty and searching, powerfully sweet and heartrending voice that carry the well-crafted and arranged songs and tie both elements of loss and healing cohesively together. “I’m not great at making stuff up,” she says, “so I sing what I lived and what I know, without any sugar or fluff.”

“Anyone who has stared down the barrel of themselves and their failures and fears and shipwrecked loves has scraped up against the bottom of their own capacity for hoping,” says Kramer, a social worker and musician by trade. “My carnival of hopes is busted and hideous and rusty and somehow still brave and sparkly,” she says, “like the image of the forgotten Ferris wheel printed on the disc – half taken over by trees and time, but still standing.”

With deep ties to the area, Carnival of Hopes, boasts a sparkling cast of Ashevillian producers and players. It was recorded at the award-winning Sound Temple Studios in Asheville in February of 2015, while she still lived on the other side of the country in Portland, Oregon. A few months later, after a four-year run spent writing and reflecting on the West Coast, Jane Kramer pulled up stakes and returned to Western North Carolina with a renewed energy to share her new music with the world.

Carnival of Hopes aches and soars with her connections to Appalachian balladry, a force she first encountered at Warren Wilson College and honed while performing with the Asheville-based all-female trio, the Barrel House Mamas, who helped reintroduce Americana music to the Blue Ridge Mountains a decade ago. However, it is as a solo artist where the power of Kramer’s songwriting and world-class vocals truly shine.

Kramer’s longtime friend Adam Johnson of Sound Lab Studios, whose portfolio of clients includes such names as Alison Krauss and Yo Yo Ma, produced and engineered the album. Kramer is backed by Chris Rosser on piano and harmonium, Eliot Wadopian on upright bass and River Guerguerian on drums and percussion, the virtuoso trio that comprises Free Planet Radio, and by master Georgia-based bluegrass musicians/ multi-instrumentalists, Pace Conner (steel string, high string and baritone guitars, ukulele, mandolin, and backing vocals) and Michael Evers (Dobro, banjo, mandolin, and backing vocals) who arranged the songs for recording and perform and tour with Kramer regularly.

Carnival of Hopes as an album is full of sometimes-searing flourishes on the complexities of Kramer’s modern life. The title track clearly encompasses that, she says.

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Jane Kramer. Photo by Sandlin Gaither.

“In the song ‘Carnival of Hopes’ and on the record as a whole, I talk about letting things die and being honest about it: the notion that I am a good woman, ideas for my future and success, a big love, and even parts of myself dying and being reborn in the letting go” she says. “I talk about laying down my hammer but leaving the light on in the window. While these are heavy concepts, I feel the take-away feeling of the album is one of hope.”

 

On this deeply personal album, Kramer’s favorite track is the ballad, “Good Woman.” While she says she’s not one who fits that description, listeners might disagree after hearing the lilting but earnest passion and regret in her voice.

“Good Woman” is the song you write when your lover kicks you out of the house and you’re half drunk on cheap box wine in a crappy motel room staring at yourself in the mirror under the fluorescent bathroom light,” Jane says. “You can’t help but be honest then.”

“Aside from the sentiment, the contributions of virtuoso players, Nicky Sanders of Steep Canyon Rangers and Franklin Keel of Sirius B, also help make the song a favorite,” Kramer adds. They play orchestral fiddle and cello, respectively, on “Good Woman”.

Other songs on the album offer clear hints to Kramer’s unflinching self-examination and ability to convey heavy subject matter through utterly palatable and even catchy song-crafting. The New Orleans jazz-influenced “Why’d I Do That Blues,” (which features a horn section comprised of JP Furnas on trombone and Ben Hovey on trumpet), the classic country honky tonking sass of the opening track “Half Way Gone,” and the banjo-driven, uptempo modern-day spiritual “My Dusty Wings” all speak to a talented songwriter laying herself bare. She credits her songwriting hero and mentor, Mary Gauthier, with helping her reach for, and express, everything she hoped to communicate with the album.

The songs on the album were all penned by Kramer with the exception of one cover, “Down South,” written by Tom Petty. “This tune just sounds like the mountains.” Kramer says,”I’m a huge Petty fan and love the poignant simplicity of his writing. Additionally, and probably what was most important to me was the message of the song thematically, about returning home to the south and it’s little idiosyncrasies.”

The sense of homecoming that rings through was a conscious effort, Kramer says. “I did that because Asheville is my dirt. It’s my home and my culture, musically and otherwise. I missed it and knew somewhere in my bones I would be coming back to stay soon,” she says.

“I didn’t want to make an album that didn’t sound like home,” Kramer adds. “I wanted Asheville musicians and Appalachian instrumentation – that wistful, southern dobro sound that hurts your heart a little.” Carnival of Hopes is indeed a homecoming album, and will take listeners through the enchanting and accessible emotional landscape of a woman who has climbed the mountain of her own failures and fears and learned how to be at home with herself.

Album: Carnival of Hopes Track listing:

  1. Half Way Gone  3:45
  2. Carnival of Hopes  5:25
  3. Your Ever~Green Heart  3:21
  4. Good Woman  5:29
  5. Down South (by Tom Petty) 3:30
  6. Truck Stop Stars  4:31
  7. Why’d I Do That Blues  2:38
  8. Highways, Rivers & Scars  4:25
  9. Truth Tellin’ Eyes  4:19
  10. My Dusty Wings  2:57

Learn more about Jane Kramer and her music at www.JaneKramer.net and stay up to date with news at www.facebook.com/janekramersongstress.

 

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David Gans’ ‘It’s a Hand-Me-Down’ Hits the Streets on Nov 27th
David Gans puts spin on Grateful Dead music, taking it furthur

David Gans has a wonderful way of getting to the emotional center of Grateful Dead songs. He has very much his own twist on these world treasures and yet pays proper homage to the elements that made them great.
Jeff Mattson, Dark Star Orchestra


Oakland, CA
Perhaps the foremost interpreter of Grateful Dead music today and an accomplished guitarist, singer and songwriter in his own right, David Gans now shares with us his own well-crafted and heartfelt interpretations of some of the Grateful Dead’s best songs on It’s a Hand-Me-Down, due out November 27th on Gans’ Perfectible Recordings label. The album is available on pre-order now on FestivalLink.net and Amazon and will be ready to check out on those along with iTunes on Black Friday!

Gans approaches Grateful Dead music with a unique range and a rare degree of mastery on multiple levels: as a noted writer (his most recent volume, This Is All a Dream We Dreamed: An Oral History of the Grateful Dead [Nov 2015], co-authored with Blair Jackson, presents the definitive story of the Grateful Dead in their own words), commentator, and radio-show host he has introduced, contextualized, and exposed Grateful Dead music to generations of Deadheads and casual fans. As a musician, singer, and impresario he has brought the music to life in solo and ensemble configurations. As an interviewer and documentor, he has chronicled the Grateful Dead experience from a kaleidoscopic array of perspective, as an insider, an outsider, and a songsmith.

It’s a Hand-Me-Down sets some of the Dead tunes Gans most enjoys performing in a “solo electric” context closely modeled on his performance style, making extensive use of looping and electronics to bring the sort of shimmery elastic feel required to do this material justice.

“The idea was to make a record that sounds like my performances: guitar and vocal, with some additional layers of guitar made possible by the Boss RC-30 Loop Station which allows me to record the chord changes of a song so I can play a guitar solo on top of them. It also makes it possible to create multi-layered performances of composed and improvise music.”

“Lazy River Road” and “Attics of My Life” are the simplest: one guitar, one voice. “Ship of Fools,” “Loser,” “Stagger Lee,” “Black Peter,” and “Brokedown Palace” feature guitar fills and solos over the chord changes, exactly as presented in his live show with the help of the looper (but for this project recorded in separate passes, to take advantage of the editing and mixing capabilities of multitrack recording). “Deal” is “realistic” until the end, when a third guitar joins in to spice up the coda. Some sections were edited to eliminate repetitive stretches of loop development. In “Wharf Rat,” this leads to a moment in which four guitars appear simultaneously, in four takes, initially expecting to use just one, but liking the intersection of all four.

DavidGans_PhotoCredit_EBB ESKEWFor this collection, David has chosen songs whose lyrics and melodies he has explored deeply and inhabited in performance. “Songs I cover from the Dead or other artists tend to tell a piece of my own story. It might just be one line or part of a line in a song that resonates in my own little atomic structure, and I don’t always recognize the connection at first. But eventually I find the resonances. I do the songs that I feel are appropriate for me,” says Gans, “and I’ve adapted them to my own style. I’ve changed the key, changed the phrasing or the groove.”

Over the decades, the Grateful Dead have inspired a lot of cover bands, impersonators, and even reenactors capable of recreating specific renditions in precise detail; Gans is doing something different. He has taken from the Dead their approach to music itself, making it live again but in a different realm–one populated by Gans’ own lyrical landscape– “taking it for a walk in the woods” (as Dead guitarist Bob Weir puts it), and making each performance fresh and unique.

Without any urge to duplicate, and no desire to be thought of as the “next Jerry”, Gans is mostly doing what he loves best: playing music and having a ball. “Playing this music is incredibly fun. I’ve always enjoyed getting together with people and jamming, and if you’re into it, this music is deeply enjoyable music to play.

You see and hear this in David’s approach to his own original material as well, and when he returns to these timeless gems from the Dead’s repertoire, the tradition winds on a sort of recursive, fractal, moebius-strip dimension; remaking the old and familiar into something new, fresh, and… familiar. It’s terrapins all the way down!

David brings a unique mix of experiences to this project. Most Deadheads first discovered Gans through his radio show or his writing, but music has always been central, the constant drumbeat organizing his many hats, with the Dead’s music specifically woven through much of it and mingling with his own.

None of this was planned. David never set out to become a professional Deadhead or a DJ. Another page he took from the Grateful Dead book was this model of improvising your own life, and staying open to a serendipitous build-up of events and circumstances that led David on his path.

This is also David’s way of celebrating the ever morphing and shifting cultural legacy of the Dead. Each generation experiences the music differently, but draws from the same cultural pool… telling and retelling of the stories, and David Gans is a master storyteller.

It’s A Hand-Me-Down Track Listing
Stagger Lee  4:02
Lazy River Road  5:45
Ship of Fools  4:06
Loser  6:54
Looks Like Rain  6:33
Wharf Rat  7:22
Stella Blue  6:03
Black Peter  6:34
New Speedway Boogie  5:40
Deal  3:58
Terrapin Station  7:26
Attics of My Life  4:53
Brokedown Palace  5:04

All songs by Jerry Garcia and Robert Hunter
except “Looks Like Rain” by Bob Weir and John Barlow
Ice Nine Publishing (ASCAP)

David Gans – guitars and vocals

Produced by David Gans & Jeremy Goody and recorded by Jeremy Goody at Megasonic Sound, Piedmont CA, except: “Lady With a Fan/Terrapin” and “Looks Like Rain,” produced and recorded by Jim LeBrecht at Berkeley Sound Artists; and “Stella Blue,” recorded by Arnie Brown at The Jam Room, Howell NJ and mixed by Jeremy Goody at Megasonic.

Mastered by David Glasser at Airshow Mastering, Boulder CO

Instruments by Renaissance Guitars (Rick Turner), Mario DeSio, C.F. Martin & Co. (And two borrowed Taylors on “Stella Blue”)

For more information, tour dates and other news from David Gans , please visit www.davidgans.com, Facebook, and Twitter.com/davidgans.

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JS3_iTunes_PreOrder_2015Jon Stickley Trio’s ‘Lost at Last’ Now Available for Pre-Order, New Videos

Rapid-fire Flatpicking Guitar
Combined with Melodious, Sultry and Wild Violin
And Deep Groove Drums

Lost At Last Independently Hits the Streets on October 6, 2015
Pre-order →  http://bit.ly/JS3_LostAtLAst_iTunes_2015

This is very very cool music. Jon’s ideas on the acoustic guitar are the freshest of the fresh. Lost at Last is rated BA: Bad. Ass.” —Larry Keel

Jon Stickley Trio independently releases their 2nd album, Lost at Last, on October 6, 2015. The originality and sheer energy of this genre-bending ensemble serves as a welcome wake up call for those who experience it. With roots in gypsy jazz, bluegrass, and hip-hop, Jon Stickley Trio combines Jon Stickley’s rapid-fire flatpicking guitar with the sultry and wild, yet refined, melodies of Lyndsay Pruett (Futureman) on violin set over the deep groove of Patrick Armitage (Atmosphere) on drums. The three have fused their collective styles into a repertoire of exciting and innovative original music along with some captivating covers.

Lost at Last is now available to pre-order on iTunes, with an immediate download of “Point-to-Point” → http://bit.ly/JS3_LostAtLAst_iTunes_2015

Lost at Last was recorded in the band’s hometown of Asheville, NC at the iconic Echo Mountain Studios under the watchful eye of producer Dave King (The Bad Plus). While recording the album, King referred to the band’s imaginative sound as “this whole other thing.” King’s creative energy and inspired musical approach led the band deeper and deeper into the heart of their musical consciousness, which led to the solidification of their musical identity.

…the eleven songs uniquely merge their roots, including Bluegrass, Jazz, Americana, Rock and Punk into something surprising and original. Frequently, when we think of music, we think lyrics and melody, and often forget the power an instrumental can have all on its own with songs open to interpretation and willing to take you wherever you want to go. Lost At Last takes the listener on a winding musical journey where the unexpected is the expected on both originals (“Point To Point,” “Darth Radar”) and covers (“The High Road,” “Slopes”). Sweeping melodies, precise pickin’, thumping percussion and frenzied violin are just some of what await you when you get Lost At Last.”
The Daily Country, Tara Joan

Live video recording of “Never Stop.” Thanks Depthink Productions for the great shots as usual. And a huge thanks to The Bad Plus for making such an awesome song for Js3 to play.   

Probably the best thing about reviewing music is finding artists I’ve never heard of and falling in love… When I first put on Jon Stickley Trio’s sophomore album, Lost at Last, I listened for a few minutes and thought, ‘that’s bold–opening with an instrumental.’ I dig it. I soon learned it was an album of sell-your-soul-to-the-devil quality picking instrumentals.” —Grateful Music, Dan Fugate

Wonderful video session and interview Js3 did with In Blue Handmade this past spring highlighting a Jon Stickley original, “Octopickin,” from the new album. The cinematic and neoclassical song features Pruett’s beautiful string arrangements and improvisations which take the listener through an emotional dreamscape.

This trio churns out a wide variety (wi-i-i-i-de) of genres, sometimes encroaching on territory of various bluegrass and jazz artists. I hear bits and pieces that, if isolated, I would recognize as everything from the Dixie Dregs to Morwenna Lasko & Jay Pun (it’s that acoustic guitar and violin combo) to gypsy to Windham Hill. I am astounded by the twisting and crunching of various styles.
Frank Gutch, Bob Segarini Blog

For more information, updates from the road, and tour dates, please visit www.jonstickley.com, www.facebook.com/JonStickleyTrio, and www.twitter.com/StickleyMusic.

Stay tuned for an official music video for “Point To Point” coming out on The Bluegrass Situation soon! Check out the teaser here → http://www.youtube.com/watch?v=40UiLnrnWr0&feature=youtu.b

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Asheville’s Tellico Debuts with Relics and Roses, Due Out June 2nd

Tellico takes you on a journey through the modern Appalachian soundscape, with masterful storytelling and memorable instrumental and vocal performances that wed tradition with a contemporary Americana sensibility

ASHEVILLE, NC — Tellico independently releases their debut album Relics and Roses on June 2, 2015. The album features the singing and songwriting of Anya Hinkle (guitar, fiddle) and Stig Stiglets (bass), and showcases Aaron Ballance on dobro and pedal and lap steel and Jed Willis on mandolin and clawhammer banjo. Guitar virtuoso Jon Stickley (Jon Stickley Trio) produced the album and makes a few guest appearances with drums and guitar.

The album is available now for pre-order at Tellicoband.com and includes an immediate download of the leading track, “Backstep Blues,” which is also available to stream now at the band’s website. Firmly planted in Asheville NC’s thriving roots music scene, Tellico is well schooled in bluegrass but with an unbridled organic “Appalachiacana” sound, combining some of the finest voices, songs and instrumental prowess in western North Carolina and beyond. Anya and Stig’s committed, authentic vocals are alloyed with Aaron’s flowing and soaring dobro and Jed’s textured and expressive mandolin, rooted in the mountain music they grew up with while pushing tradition into a modern Americana sound aesthetic.

Tellico. Photo by Jennifer Calllahan

Tellico. Photo by Jennifer Calllahan

Storytelling is at the helm of Tellico’s music. All of the songs on Relics and Roses were penned by Hinkle and Stiglets with the exception “White Line-River of Pride,” a Neil Young and Crazy Horse medley of two dirty electric rock tunes buttoned up bluegrass-style. The leading track, “Backstep Blues” [Hinkle] has a “backstep”, a rhythmic hiccup that is typical of old time music, telling the story of a man’s successive retreat from his wife (with the refrain “hey where did your daddy go wrong?”), leaving her with the “backstep blues.” “Calamity”, written by Stiglets, is a tale of disaster sparked by a combination of Hurricane Katrina and Japan’s 2011 tsunami, and the destructive and terrifying images of those events.

“Forsaken Winds” is poetry unto itself with the ethereal sounds of Ballance’s pedal steel filling in the spirit of the lyrics; while “Hawkeye Pierce and Honeycutt Blues” is a tongue and cheek raggy romp in an Asheville street busker’s shoes. “You Can’t Go Home Again” is inspired by Asheville author Thomas Wolfe’s book of the same name. Anya found the book to be so richly descriptive in Wolfe’s longwinded style, especially when the protagonist DOES go home again, which she said, “reminded me of something that my dad always used to say: ‘you can’t go home again’! Of course you can’t. The comforting idea of home is just that, an idea. You have to face yourself and your life. Running from it, either to home or far away from it, doesn’t alleviate your suffering.”

“Mexico 1995” is a coming-of-age story penned by Hinkle after a solo four month journey, mostly by bus, from Nogales, Arizona through Guatemala and back. It was before the internet, before cell phones, and after a grisly war and genocide in southern Mexico and Guatemala, a real eye opener for a kid, all during the winter after Jerry Garcia died. Hinkle says, “That early morning that I walked back, on foot, into my post-college privileged American life after crossing the border at Nogales was like a dream, I was a ghost in my own shoes, my idea of who I was as porous as the haze that seemed to linger that entire day that I re-emerged.” The song uses samples from iconic songs that set up the general feeling that it’s all been done before. Hinkle reflects, “Where does a kid go with that? What’s ahead that’s worth anything?”

Relics and Roses is the first since Anya, Stig, and Aaron formed Tellico after recording four records with the Asheville-based bluegrass band Dehlia Low, whose final album Ravens and Crows was released on the Rebel Records label in 2011.

“I love how the songs on Relics and Roses sound with these musicians covering all details that I didn’t even realize I was longing to hear. The band’s rich playing overlays absolutely perfectly with the meanings of the songs, whether playful and amusing or searching, haunting and lonely,” says Hinkle.

What Folks are Saying About Relics and Roses:

“With deep warm tones, intimate vocals, vivid lyrics, natural arrangements, and emotional solos Tellico masterfully draws the listener into the center of their original songs. Relics and Roses paints a cinematic picture, continually stirring feelings of nostalgia. Through their wonderful musicianship they never fail to create an atmosphere that perfectly enhances their storytelling.  I love this CD!”
Chad Manning of the David Grisman Bluegrass Experience

“….wonderfully original mountain music. Sometimes they sound like what Kate Wolf would sound like had she come from the Southern Appalachians – a beloved image if you ask me.” —Martin Anderson, Music Director & Morning Host WNCW-FM

“The album of mostly original songs is superbly orchestrated and delivered taking the listener on an auditory odyssey that ranges from soulful and deep to upbeat and euphoric. Anya, Aaron, Stig, and Jed have woven a tapestry that is timeless and authentic and deserving of your attention.” —Steve Johnson, Event Producer/Artist Relations Manager, Wilkesboro, NC

“Tellico picks up where Dehlia Low left off, focusing and refining their sound. Relics and Roses is… step forward in songwriting, with Anya Hinkle and Greg ‘Stig’ Stiglets crafting an acoustic soundscape of Appalachian daydreams that stack up to the works of John Hartford, Emmylou Harris and the Avett Brothers. Songs like ‘I Want To Know’ reach out and grab you immediately… a captivating album.”
–Joe Kendrick, WNCW Program Director 88.7 FM

Tellico Tour Dates
Fri 5/8 – LEAF Festival – Black Mountain, NC
Fri 5/22 – Music In The Valle – Valle Crucis Community Park – Valle Crucis, NC
Sun 5/31 – The Rooster’s Wife – Aberdeen, NC
Fri 6/5 – Isis Restaurant and Music Hall – Asheville, NC
Fri 6/12 – Music On The Square – Jonesborough, TN
Sat 6/13 – Granite Falls Brewery- Granite Falls, NC
Fri 6/19 – Groovin’ on the Green Summer Concert Series – Cashiers, NC
Fri 6/26 – Nantahala Outdoor Center – Bryson City, NC
Sat 6/27 – 185 King Street – Brevard, NC
Sat 7/11 – Bluegrass On The Grass, 20th Anniversary – Carlisle, PA
Fri 8/21 – The Jones House-Summer Concert Series – Boone, NC
Sat 8/29 – US National Whitewater Center River Jam – Charlotte, NC
Sat 9/19 – Apple Fest – Winston-Salem, NC
Sat 10/17 – Cowee School Concert Series – Franklin, NC

More shows to be announced!

Find out more about Tellico and Relics and Roses at at Tellicoband.com, facebook.com/Tellico & twitter.com/TellicoBand.

 

 

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Tellico. Photo by Jennifer Calllahan

Tellico. Photo by Jennifer Calllahan

Asheville’s Tellico Debuts with Relics and Roses, Due Out June 2nd Announcing Shows at LEAF & Isis in Asheville this Spring!

Explorative acoustic music that goes beyond conventional bluegrass, integrating with equal ease an old-time banjo-fiddle groove and an Americana aesthetic with drums and electric steel guitars.

“….wonderfully original mountain music. Sometimes they sound like what Kate Wolf would sound like had she come from the Southern Appalachians
– a beloved image if you ask me.”
Martin Anderson, Music Director & Morning Host WNCW-FM

“The album of mostly original songs is superbly orchestrated and delivered taking the listener on an auditory odyssey that ranges from soulful and deep to upbeat and euphoric. Anya, Aaron, Stig, and Jed have woven a tapestry that is timeless and authentic and deserving of your attention.”
Steve Johnson, Event Producer/Artist Relations Manager, Wilkesboro, NC

tellicoW142fin2Tellico will independently release their debut album Relics and Roses on June 2, 2015. The album features the singing and songwriting of Anya Hinkle (guitar, fiddle) and Stig Stiglets (bass), and showcases Aaron Ballance on dobro and pedal and lap steel and Jed Willis on mandolin and clawhammer banjo. Guitar virtuoso Jon Stickley (Jon Stickley Trio) produced the album and makes a few guest appearances with drums and guitar.

The album is available now for pre-order at Tellicoband.com and includes an immediate download of the leading track, “Backstep Blues.” Tellico is pleased to announce Asheville regional shows including a Friday evening set at LEAF Festival on May 8th and an album release celebration at Isis Music Hall on Friday, June 5th. Visit their website for the most updated show listings.

Firmly planted in Asheville NC’s thriving roots music scene, Tellico is well schooled in bluegrass but with an unbridled organic “Appalachiacana” sound, combining some of the finest voices, songs and instrumental prowess in western North Carolina and beyond. Anya and Stig’s committed, authentic vocals are alloyed with Aaron’s flowing and soaring dobro and Jed’s textured and expressive mandolin, rooted in the mountain music they grew up with while pushing tradition into a modern Americana sound aesthetic.

Storytelling is at the helm of Tellico’s music. All of the songs on Relics and Roses were penned by Hinkle and Stiglets with the exception “White Line-River of Pride,” a Neil Young and Crazy Horse medley of two dirty electric rock tunes buttoned up bluegrass-style. The leading track, “Backstep Blues” [Hinkle] has a “backstep”, a rhythmic hiccup that is typical of old time music, telling the story of a man’s successive retreat from his wife (with the refrain “hey where did your daddy go wrong?”), leaving her with the “backstep blues.” “Calamity”, written by Stiglets, is a tale of disaster sparked by a combination of Hurricane Katrina and Japan’s 2011 tsunami, and the destructive and terrifying images of those events.

“Forsaken Winds” is poetry unto itself with the ethereal sounds of Ballance’s pedal steel filling in the spirit of the lyrics; while “Hawkeye Pierce and Honeycutt Blues” is a tongue and cheek raggy romp in an Asheville street busker’s shoes. “You Can’t Go Home Again” is inspired by Asheville author Thomas Wolfe’s book of the same name. Anya found the book to be so richly descriptive in Wolfe’s longwinded style, especially when the protagonist DOES go home again, which she said, “reminded me of something that my dad always used to say: ‘you can’t go home again’! Of course you can’t. The comforting idea of home is just that, an idea. You have to face yourself and your life. Running from it, either to home or far away from it, doesn’t alleviate your suffering.”

“Mexico 1995” is a coming-of-age story penned by Hinkle after a solo four month journey, mostly by bus, from Nogales, Arizona through Guatemala and back. It was before the internet, before cell phones, and after a grisly war and genocide in southern Mexico and Guatemala, a real eye opener for a kid, all during the winter after Jerry Garcia died. Hinkle says, “That early morning that I walked back, on foot, into my post-college privileged American life after crossing the border at Nogales was like a dream, I was a ghost in my own shoes, my idea of who I was as porous as the haze that seemed to linger that entire day that I re-emerged.” The song uses samples from iconic songs that set up the general feeling that it’s all been done before. Hinkle reflects, “Where does a kid go with that? What’s ahead that’s worth anything?”

Relics and Roses is the first since Anya, Stig, and Aaron formed Tellico after recording four records with the Asheville-based bluegrass band Dehlia Low, whose final album Ravens and Crows was released on the Rebel Records label in 2011. “I love how the songs on Relics and Roses sound with these musicians covering all details that I didn’t even realize I was longing to hear. The band’s rich playing overlays absolutely perfectly with the meanings of the songs, whether playful and amusing or searching, haunting and lonely,” says Hinkle.

Tellico is Pleased to Announce Asheville Regional Shows Including

LEAF Festival on Friday, May 8th
Set Time: Eden Hall @ 7:15-8:30pm
www.theleaf.org/the-festival/

AND

Isis Music Hall on Friday, June 5th Album Release Celebration
Jon Stickley opens solo and will join Tellico for some tunes
$8 adv / $10 dos; 5pm/ 8:30pm Show
828-575-2737
www.isisasheville.com

Tellico Tour Dates
Fri 5/8 – LEAF Festival – Black Mountain, NC
Fri 5/22 – Music In The Valle – Valle Crucis Community Park – Valle Crucis, NC
Sun 5/31 – The Rooster’s Wife – Aberdeen, NC
Fri 6/5 – Isis Restaurant and Music Hall – Asheville, NC
Fri 6/12 – Music On The Square – Jonesborough, TN
Sat 6/13 – Granite Falls Brewery- Granite Falls, NC
Fri 6/19 – Groovin’ on the Green Summer Concert Series – Cashiers, NC
Fri 6/26 – Nantahala Outdoor Center – Bryson City, NC
Sat 6/27 – 185 King Street – Brevard, NC
Sat 7/11 – Bluegrass On The Grass, 20th Anniversary – Carlisle, PA
Fri 8/21 – The Jones House-Summer Concert Series – Boone, NC
Sat 8/29 – US National Whitewater Center River Jam – Charlotte, NC
Sat 9/19 – Apple Fest – Winston-Salem, NC
Sat 10/17 – Cowee School Concert Series – Franklin, NC

Find out more about Tellico and Relics and Roses at at Tellicoband.com, facebook.com/Tellico & twitter.com/TellicoBand.

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Chris Jones and the Night Drivers. Photo by Darwin Davidson

Chris Jones and the Night Drivers. Photo by Darwin Davidson

Chris Jones & the Night Drivers Set to Release a New Live Album
“Live At The Old Feed Store” on October 7th
Recorded at The Old
Feed Store in Cobden, Illinois

~In Consideration for IBMA This Year’s Nominations~

With success of 2013’s Lonely Comes Easy, their first all-new collection since 2009’s Cloud Of Dust, Chris Jones and the Night Drivers are thrilled to announce a new live album, Live At The Old Feed Store to be independently released October 7, 2014.

The critically-acclaimed vocalist, guitarist, and songwriter behind Chris Jones & the Night Drivers has one of the most distinctive voices in bluegrass, a smooth, low croon that goes down like whiskey with a little bit of honey,” writes The Bluegrass Situation’s Brittney McKenna in a recent interview. Joining Chris Jones as the Night Drivers are bassist Jon Weisberger, mandolin player Mark Stoffel, and banjo whiz Ned Luberecki.

Musically, Live At The Old Feed Store will feature originals like “Battle of the Bands” (a soon-to-be-released single co-written by Night Driver Jon Weisberger and previously recorded by Chris for The 1861 Project), “Like a Hawk” and “Follow Your Heart”, the latter of which was co-written by Chris Jones and features guest vocalist Sally Jones. The album also offers concert staples like “Bound To Ride,” “Cabin Of Death” and “Edelweiss,” along with a new version of a George Jones song (“I Cried Myself Awake”) that Chris first recorded more than 20 years ago as a member of the Special Consensus. Emily Bankester of The Bankesters is also a guest on the original song “Then I Close My Eyes.” The album was recorded at one of the band’s favorite intimate venues, the Old Feed Store in Cobden, IL, on two successive nights in the summer of 2013 and mixed by Mark Stoffel.

REB-1847_coverChris Jones and the Night Drivers are honored to have passed onto to the 2nd ballot for the IBMA Awards in the categories of Entertainer of the Year, Instrumental Group of the Year, and Album of the Year (Lonely Comes Easy). Also making the 2nd ballot are Chris Jones for Male Vocalist of the Year, Ned Luberecki for Banjo Player of the Year, and Jon Weisberger as Bass Player of the Year. After this 2nd voting period is over, the final ballot will be announced in mid-August, which the IBMA members will vote on the nominees by early September.

Although the band’s “low lonesome”-singing frontman founded the group back in the mid-1990s, Engine 145’s Henry Carrigan notes, “…in recent years the group has enjoyed growing acclaim not only for its deft musicianship and love of traditional music but also to its musical inventiveness and the songwriting genius of the group’s various members.” This past year, the band has had nine songs charting in Bluegrass Today‘s monthly chart, with five songs hitting the Top 5, including three rising to #1.

Chris Jones and the Night Drivers will be on tour this summer and fall. In mid-August they play the Targhee Bluegrass Festival in WY and the Red Clay Bluegrass Festival on Prince Edward Island in Canada. At the end of August they hop onto the Bourbon & Bluegrass Steamboat Tours, from St Louis to Cincinnati and back again, for two special river tours that offer a rare opportunity to experience the dynamic blend of historic discovery, toe-tapping bluegrass and the finest distilleries on the Bourbon Trail. Upon return to solid land, the group hits the road again towards the ends of September for shows at Bean Blossom, the Outer Banks Bluegrass Island Festival and the Tennessee Fall Homecoming at the Museum of Appalachia. They’ll also be traveling for a European tour for ten days in October.

Earlier this year, they traveled from Montana to Kansas to New England–not necessarily in that order–as well as points in between, with stops at Big Sky Big Grass, Joe Val Bluegrass Festival, Merlefest, DelFest, Bluegrass on the Plains in Auburn, AL and the Huck Finn Jubilee near Los Angeles. Big Sky Big Grass gets the award for the biggest on-stage jams with the Sam Bush Band, Jones played The Band’s “Up On Cripple Creek.”Luberecki was also part of MerleFest’s First ever BanjoRama which was hosted by “Dr. Banjo” Pete Wernick.

Chris Jones & the Night Drivers on Tour
8/10 Sun – Targhee Bluegrass Festival – Alta, WY
8/15-16 Fri-Sat – Red Clay Bluegrass Festival – Tignish, Prince Edward Island, Canada
8/29-9/6 – “Bourbon & Bluegrass” American Steamboat Tours – St Louis (Alton, IL) – Cincinnati, OH
9/5-9/13 – “Bourbon & Bluegrass” American Steamboat Tours – Cincinnati, OH – St Louis (Alton, IL)
9/24 Wed – Bean Blossom Bluegrass Festival – Bean Blossom, IN
9/25 Thu – Outer Banks Bluegrass Island Festival, Roanoke, NC
9/27 Sat – Vine Grove Bluegrass Festival, Vine Grove, KY
10/2 Thu – IBMA World of Bluegrass, Roe Entertainment Showcase
10/10 Fri – Tennessee Fall Homecoming, Museum of Appalachia – Norris, TN
10/11 Sat – Germantown Street Festival – Nashville, TN
10/18-28 – European Tour
11/15-16 Sat- Sun – Wickenburg Bluegrass & Fiddle Championship – Wickenburg, AZ
12/12: Bluegrass in the Smokies, Pigeon Forge, TN

For more information, tour dates and words from the road, please visit: chrisjonesgrass.com, facebook.com/chrisjonesgrass, and twitter.com/chrisjonesgrass.

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