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Two amazingly talented acts will be performing at The Evening Muse this Thursday, February 24th in Charlotte, NC: Cathie Ryan and Larry Keel & Natural Bridge.

Traditional Irish vocalist Cathie Ryan (Cherish the Ladies) is suberbly talented and has receive the award of “Female Vocalist of the Decade” by liveireland.com. Cathie will be accompanied on guitar and vocals by Ireland native Patsy O’Brien whose guitar playing moves from driving rhythm to delicate and melodic finger picking. The New Haven Advocate writes, “His music is stomping and ocean breezy – sure footed and fragile …”. Cathie will also be accompanied by on fiddle by New York born Matt Mancuso, who was the star fiddle player in Lord of the Dance – performing to sell out crowds throughout the world; a founding member of the rousing ensemble The Mickey Finns, and has taken star turns in tours with Irish super-group Grada. Cathie Ryan starts the evening off at 8pm.

Alternative Bluegrass ensemble Larry Keel and Natural Bridge have a show in the late evening slot, beginning at 10:30pm.  Larry Keel is award winning flatpicker that is well known for his gravelly voice and lightning fast licks. Keel is backed by his band, Natural Bridge made up of 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.

Cathie Ryan


Irish American singer-songwriter, Cathie Ryan, has been called a “thrilling traditional vocalist,” by the Boston Globe. Billboard Magazine says her voice is, “enchanting.” and The Irish Echo says her singing is “mature, masterful, at times magnificent.” Since her acclaimed seven year tenure as lead singer of Cherish the Ladies, Cathie has released 4 critically acclaimed CDs on Shanachie Records: Cathie Ryan, The Music of What Happens, Somewhere Along the Road, and her latest, The Farthest Wave. She is featured on more than forty compilations of Celtic Music worldwide, including the renowned A Woman’s Heart – A Decade On.

Cathie tours internationally, headlining at performing arts centers, folk festivals, and guest starring with symphony orchestras. A captivating performer, Cathie’s shows are renowned for their blend of song, story, and the virtuoso playing of her award-winning band. “Anyone wondering what constitutes excellence in Irish American singing today, need only attend a Cathie Ryan concert…” The Wall Street Journal.

“There is a powerful sweetness in Cathie Ryan’s voice, as well as a Celtic intensity that can be felt in all the songs she writes and sings–songs of place, songs of memory, poignant songs of the heart,” state Billy Collins, Former U.S. Poet Laureate.

Larry Keel and Natural Bridge


“With an unofficial title of ‘Bluegrass Legend and Master Fisherman’, Larry Keel is considered one of the best flatpickers on the planet. 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,” touts Mousike Magazine.

John Patrick Gatta from Jambands.com depicts, “It’s the approach to the material that makes 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. Keel dubs it New Mountain Music, and that’s good enough for me. It feels like sunshine peaking through a thick forest or a sunrise with the grass caked by morning dew.”

Keel has weathered 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. Throughout his career, Keel has released 13 albums and is featured on 10 others. He 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 and 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 states, “When bluegrass guitar greats Tony Rice, Norman Blake, and Beppe Gambeta sing your praises, you must be good.”

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Show Details:

The Evening Muse
Thursday, February 24, 2011

8pm Cathie Ryan $8 adv/ $10 dos
10:30pm Larry Keel & Natural Bridge  $12 adv/ $14 dos

704-376-3737
3227 N. Davidson Street
Charlotte, NC

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Tad Dickens did a GREAT interview with Tara Nevins to help promote their show coming up Thursday, Jan 20th at Awful Arthurs in Roanoke. Be sure to clikc the link to listen to a wonderful 30 minute podcast interview with Nevins. Here are some excerepts of the written piece:

Donna The Buffalo has loyal Herd of fans

Donna The Buffalo hits the stage Thursday at Awful Arthur’s at Towers in Roanoke.

By Tad Dickens | The Roanoke Times

Donna the Buffalo

When Donna The Buffalo takes the stage, folks from all over show up to see and hear.

The American roots music band, which plays Awful Arthur’s at Towers Shopping Center in Roanoke on Thursday, just wrapped up a run of shows through Florida. When Donna The Buffalo singer and multi-instrumentalist Tara Nevins looked out at the crowd during a Jan. 5 set in Jacksonville, she saw people she recognized from shows all over the country. She said the band’s merchandise guy counted fans from 13 states, in addition to all the Jacksonville-area fans who showed up.

“It’s a great feeling to promote such a feeling of community, like you’re really part of something that’s happening, like a movement or a positive force,” said Nevins, who with guitarist/singer Jeb Puryear is the band’s creative core.

“All those people that come and follow you and you recognize them and you become friends with them — you’re all moving along for the same purpose. It is powerful. It’s very powerful, actually.”

Podcast With Tara Nevins of Donna The Buffalo

The Herd

Read the Herd conversation here.

New music

It’s been two and a half years since Donna The Buffalo released a record. That disc, “Silverlined,” was part of the band’s 20th anniversary celebration. The band played FloydFest just after the CD came out in July 2008.

Donna is preparing to record a new album in the next couple of months. It will be the band’s “greatest guests record,” Nevins said. The idea sprang from the band’s annual closing set at the festival it helped create, Finger Lakes GrassRoots Festival of Music & Dance, held in Trumansburg, N.Y. The band likes to bring up whatever musicians are still around by the time the festival is winding down.

“We’ve formed so many great relationships like that over the years, and we also have our musicians that we’ve always loved to play with or collaborate with but haven’t yet,” said Nevins, who declined to identify the musical guests.

Nevins has also finished recording her own new album at Levon Helm Studios, in Woodstock, N.Y. Larry Campbell, seen at FloydFest performing with Helm, is the producer. Helm played drums on two cuts, Nevins said. She said she had a “wonderful experience” working with both musicians.

“It was awesome just to get to hang out with [Helm] and get to know him a little,” she said. “He’s a fantastic person and a soulful, soulful musician.”

And the circle grows.

 

 

 

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Jeb Puryear. Photo by Monty Chandler.

Check out this review of Donna the Buffalo from their show at Infinity Hall.

Review: Donna the Buffalo at Infinity Music Hall

By Eric R. Danton on August 27, 2010

blogs.courant.com

Sometimes all it takes is a niche, and the members of Donna the Buffalo have certainly found theirs.

With easygoing songs and a low-key peace-love vibe honed over the past 17 years, the western New York folk-rock band can essentially play as many intimate halls and small festival gigs as it wants — Infinity Music Hall in Norfolk, for example, where the band performed Thursday night.

It was a generous set, spread over more than two hours, with guitarist Jeb Puryear and violinist/guitarist Tara Nevins alternating on lead vocals on songs drawn from folk, country, rock and Cajun traditions.

Backed by drums, bass and keyboards, the co-leaders had an easy rapport with each other, and with the crowd, which occasionally stood to dance in the aisles. Puryear sang with the same mellow inflection as Willie Nelson, though the former’s voice isn’t quite as rich, and he played his Stratocaster guitar without a pick, coaxing a smooth, buttery tone from the instrument.

Nevins, who also played accordion and washboard on the thrumming, bayou-flavored “Part-Time Lover,” has a pretty, slightly frayed voice that sounded wistful on the countrified “Locket and Key” and bobbed lightly on “Blue Sky,” an easy flowing rock song with Puryear’s electric guitar cascading over Nevins’ sturdy acoustic strumming.

The band often stretched out, steering songs into light jams. The electric guitar and violin each sounded in turn as though they were straining toward the heavens during an extended middle section on “Let Love Move Me,” and the rest of the band left Puryear and Nevins alone on stage to finish the aptly named “Funky Side” themselves, locked together on the riff that drove the song.

After finishing the main set with Nevins singing the acoustic country-ish song “No Place Like the Right Time,” she and Puryear started the encore as a duo as she played a mournful violin line over a plucked guitar groove.

The rest of the band emerged quietly to join them on the end of the song, before diving back into a good-natured jam on the next song.

READ THE FULL ARTICLE HERE: http://blogs.courant.com/eric_danton_sound_check/2010/08/review-donna-the-buffalo-at-in.html


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TARA NEVINS IS A REGULAR AT THE MOUNT AIRY FIDDLER’S CONVENTION, ONCE PLAYING UP TO 27 HOURS OF FIDDLE TUNES IN THREE DAYS!

Roaming with the Buffalo

by Nicole DeLawder in The Hudson Valley news

“The Hudson Valley is just beautiful,” Tara Nevins of the grassroots band Donna the Buffalo noted, “in fact, all of New York State is beautiful.”

Nevins, singer/songwriter, guitarist and fiddle-master for Donna the Buffalo, grew up in the Hudson Valley and currently resides in Piermont. With a couple weeks off before getting back on the road, I caught up with Nevins as she took a break from working on her new solo album at Levon Helm’s Studio in Woodstock.

“There’s a sense of community that is positive and healthy for society,” Nevins said about being a part of the Hudson Valley Green Festival at the Staatsburgh State Historic Site on Sept. 4. “Plus, you get to be outside all day.”

The one-day music, alternative energy, food and beverage event will host Donna the Buffalo performing on the main stage after John Brown’s Body, complimenting the solid line-up of Duke and the King, BeauSoleil Band, Amos Lee and Blues Traveller. Along with the mainstage, there will be a performance area for emerging Hudson Valley artists, and Terrapin Restaurant and Catering will provide food, a drinks pavillion featuring local beers, a farmer’s market and 20 on-site vendors selling Hudson Valley products.

Donna the Buffalo are no strangers to the festival scene. Over 20 years ago, the group’s dedication to live roots music founded the Finger Lakes GrassRoots Festival of Music and Dance Festival in Trumansburg.  After the well-accepted success of their first festival, the group then birthed the now biannual Shakori Hills Grassroots Festival in Silk Hope, North Carolina.

Known for often socially conscious, foot-tapping music heavily steeped in traditional mountain music, Donna the Buffalo creates an eco-minded approach that will blend seamlessly with the ideals of the Hudson Valley’s first green festival.

Alongside multi-instrumentalist Nevins, guitarist and songwriter Jeb Puryear, keyboardist Dave McCracken, bassist Kyle Spark and drummer Vic Stafford create an environment infused with every genre of music ranging from Cajun/zydeco to folk and reggae. The band’s 2008 release “Silverlined” rose to number eight on the Americana Music Chart.

Together, Nevins and Puryear have written over 140 songs, while also collaborating with some big names in the business including Bela Fleck, Mamadou Diabate, Claire Lynch, David Hidalgo, The Duhks and Amy Helm. This past year, Nevins toured with former Grateful Dead drummer Bill Kreutzmann’s band, BK3, and her new solo album in the works is produced by Larry Campbell, most well-known as multi-instrumentalist on Bob Dylan’s “Love and Theft” and as a part Dylan’s live band for several years. Campbell also holds two Grammy awards for producing Levon Helm’s “Dirt Farmer” and its follow-up album, “Electric Dirt.”

Nevins has spent over 20 years perfecting the fiddle in the Old-time musical community and [explored] her love of Zydeco and Louisiana culture with a documentary on the late Carlton Frank, one of the last old-time Creole fiddlers, who passed away in 2005.

Over the years the group has created a community environment, both at live performances and online, to which their fan-base, The Herd, steadily follows. The band’s lyrics comment on love and politics with an upbeat rhythm that vibrates throughout the crowd. According to one fan, “There is some deeply satisfying solace in what Donna the Buffalo has to say and how they say it.”

Tickets are available at http://www.hudsonvalleygreenfestival.com, MusicToday.com, Oblong Books & Music in Rhinebeck and Rhino Records in New Paltz. Children under 12 are admitted to the event free of charge. The festival will be held rain or shine. On-site parking will be available.

Check out the Hudson Valley News online here: http://www.thehudsonvalleynews.com/HVNews/HVNews.html

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Check out some great video footage from the recent SouthEast tour with Larry Keel and Adam Aijala

Larry Keel & Adam Aijala, from Yonder Mountain String Band, perform a duo acoustic show at the Shepherdstown Opera House in Shepherdstown, WV on 5/5/10.

This segment includes:
Intro by Bob Keel
Cattle In The Cane

djones2125

Larry Keel & Adam Aijala, from Yonder Mountain String Band, perform a duo acoustic show at the Shepherdstown Opera House in Shepherdstown, WV on 5/5/10.

This segment includes:
Pioneers
The Man That Only You Could Love

djones2125

Larry Keel & Adam Aijala, from Yonder Mountain String Band, perform a duo acoustic show at the Shepherdstown Opera House in Shepherdstown, WV on 5/5/10.

This segment includes:
Mountain Song

djones2125

Larry Keel & Adam Aijala, from Yonder Mountain String Band, perform a duo acoustic show at the Shepherdstown Opera House in Shepherdstown, WV on 5/5/10.

This segment includes:
Tear Stained Eye

djones2125

May 11, 2010 — Larry Keel & Adam Aijala, from Yonder Mountain String Band, perform a duo acoustic show at the Shepherdstown Opera House in Shepherdstown, WV on 5/5/10.

This segment includes:
Amos Moses

djones2125

Taken a show at Triad Stage in Greensboro, NC.

travisncs

Night out with Larry keel And Adam Aijala after a day of sells with the Down The Street Bead Show in Charleston South Carolina this past sunday……..This is the first of two encores for the night……..

johnwroberts1972

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Frank Ruggiero with the Boone Mountain Times posted a second, longer and more in depth article detailing his recent interview with David Gans:

David Gans Playing in the Band

By Frank Ruggiero  in the Boone Mountain Times

The music never stopped for David Gans.

A celebrated radio host by day and singer-songwriter by night, Gans is a storyteller 24/7, a member of the old school who sees music beyond the notes.

“I think music can change the world,” he said. “I came up in that day, and I still believe that. I’m not a heavy-handed political commentator … but one of those people who uses music to inspire people to be healthy and kind.”

As host of radio’s nationally syndicated The Grateful Dead Hour, Gans has delivered inspiration for 25 years. Celebrated as a “singer-songwriter-guitarist-radio producer/host-author-journalist-record producer-photographer,” Gans’ many talents fit together seamlessly.

“I was a musician from the time I was a kid,” said Gans, 56, adding that writing was always a driving force behind the sound.

Though always a writer, time spent in the ’70s as a musician-of-all-trades in San Francisco’s Bay Area led to life-changing opportunities in the writing world, when Gans took jobs for magazines like BAM and Jann Wenner’s Record. “All of which were great ways to find out more about music and meet people in this business,” he said.

This spawned a 10-year tour in the music news industry, an experience that enriched his own perspective of music through myriad interviews with such stalwarts of rock as Tom Petty, Rod Stewart, Pat Benatar, Leo Fender and the Grateful Dead.

This latter encounter prompted an enduring (and career-defining) friendship with America’s preeminent jam band, its all-encompassing approach toward music a perfect fit for Gans’s musical philosophy.
As a fan of the Dead, Gans sought out those stories in particular and, in 1977, scored an interview with rhythm guitarist Bob Weir.

“They recognized that I knew what they were doing and understood, so I made friends with various band members and other members of their team and family,” Gans said. “Just by being a supportive journalist, I was welcomed into their world.”

Gans offered readers a vivid glimpse of this world in 1985, when he and co-author Peter Simon released the book, “Playing in the Band: An Oral and Visual Portrait of the Grateful Dead.”

That spring, Gans promoted his work on a San Francisco radio program, The Deadhead Hour, putting together a set of defining songs to musically illustrate his work, when he realized this was something he really enjoyed. Gans took the helm that year, and The Grateful Dead Hour was born.

“By then, I had sufficiently warm relations with various parts of the Grateful Dead world, that when the opportunity came up to syndicate the show, I took it,” Gans said.

But not without a blessing from the Dead.

“I started getting requests from other stations, asking if they could carry the show, too,” Gans said. “So, I went to my friends in the band and asked, ‘What do you guys think?’ They said, ‘It sounds like a good idea for everybody; just go for it.’

“None of this was by design, intention or even planned – it just happened. I had developed such relationships with these guys that I could get their support when I tried to do something. They trusted me, and (bassist) Phil Lesh made that explicit at one point: ‘You don’t have to call me to ask for permission to do this or that – if it’s worth putting on the air, we trust you.’ And that was a great feeling.”

Broadcasted on at least 82 stations, 75 radio and seven Internet-based, The Grateful Dead Hour features music from and inspired by the Dead, woven together with Gans’s firsthand stories from the Golden Road and interviews with musicians and other Grateful Dead luminaries.

And when it comes to the Dead, there’s never a shortage of music.

“I’ve been doing radio for the Grateful Dead for 25 years, and there’s never been a single moment in that whole time where I didn’t have a wealth of material to choose from … It’s a completely well-stocked pantry of great music – delicious and largely nutritious, too.”

And for Gans, music is a key ingredient and part of this complete breakfast.

“Music is my life, man,” he said, citing a talent that flourished from age 6 with the clarinet to guitar at 15 and beyond. “I guess I have some natural affinity for music, a good ear for learning melodies, picking up chords … I’ve always been driven to express myself that way.”

Gans came of age in the time of singer-songwriters, visiting music halls in San Jose, Calif., to sing the likes of John Denver, Cat Stevens, Jackson Browne and John Prine.

Growing up with songbooks from The Beatles’ “White Album” and Crosby, Stills and Nash’s self-titled album, Gans aimed to master the singer-songwriter dynamic. But in college, his roommate and songwriting partner introduced him to the Grateful Dead, “and that completely blew my world wide open,” Gans said. “But the thing that grabbed me (about the Dead) was the songwriting, a great catalogue of American music those guys put out.”

He calls it a musical university, one in which a student could spend the rest of his life exploring.
“But also bear in mind, I’ve been writing songs since I was 16,” he said. “So, I’ve never completely surrendered myself to being a fan of something else. Even though I’d been earning my living putting Grateful Dead music on the radio for 25 years, it was never more important than pursuing my own songwriting.”

In 1997, he released Home by Morning, a duet album featuring Gans and singer-songwriter Eric Rawlins, which was followed the next year by the well-timed single, “Monica Lewinsky,” by David Gans and the Broken Angels.

Five solo albums would follow, but Gans relishes his live performances the most, particularly the degree of spontaneity involved. At a Bears Picnic Festival in Pennsylvania, Gans wound up sitting in with just about every band there. “It was fun, and it’s nice being that kind of musician who people welcome into their sets as guests, which means I can pick up guests to play with, as well.”

One such guest was Phil Lesh, and Gans is considered responsible for rousing the world-renowned bassist from retirement.

“He had not played much … since Jerry (Garcia) had passed (in 1995),” Gans said. “I was working on a benefit … in the Bay Area, putting together a Grateful Dead jam for this event, and asked if he’d come and sit in.”

Lesh agreed, and the September 1997 show promptly sold out. David Gans and Broken Angels with Special Guest Phil Lesh played a couple more benefits, this time for Lesh’s Unbroken Chain Foundation, featuring a group of musicians unique to each performance.

“He liked the idea of a rotating cast of musicians, so he started doing the same thing under Phil Lesh and Friends,” Gans said. “He saw something he liked, then went and did it himself with some world-class collaborators.”

“World-class” is a fitting term for Gans’ own collaborators, including the New Riders of the Purple Sage, the late Vassar Clements, The String Cheese Incident and Peter Rowan. Gans recently joined Rowan’s younger brothers, Chris and Lorin, in Rubber Souldiers, a jam tribute to The Beatles.

“It’s a labor of love,” he said. “We call it a Beatles jam band, taking their songs and kind of stretching them out, because here’s the thing – The Beatles wrote some amazing songs with amazing melodies, chord changes and kick-ass grooves, and then they quit after three minutes. Come on, man, take that song and stretch it out and let people dance a while.”

But Gans’s solo shows promise dancing aplenty. Using a looping device, he’s able to accompany himself, as it were, by building simultaneous layers of guitar work. “It’s a way of allowing myself to improvise with myself,” he said.

Having originally intended the loop to serve as a rhythm guitarist, allowing him to experiment and improvise on lead, Gans realized its full potential.

“Take ‘Cassidy’s Cat,’ a whole bunch of themes from Grateful Dead songs I intertwine, put together in a fresh way,” he said.

His repertoire includes beaucoups of looping figures of his own device, though Gans also performs what he calls “the straightforward stuff,” having generated 40 years’ of songwriting material.

“I play a fresh set list every time, working from my own repertoire of original material and covers from others,” he said. “It’s a real-time performance, interacting with the audience, what feels right, what seems to get their attention. In other words, I’m doing it live like the Grateful Dead taught me, and telling stories, too.”

Gans’ own story continues, naturally, through song. He’s releasing a new single, “Life is a Jam,” this spring, soon to be available for download at www.dgans.com. His last full album was 2008’s The Ones That Look the Weirdest Taste the Best, but for now, he plans to make music single-mindedly.

“It’ll be interesting to try doing things one song at a time for a while,” he said. “We’re at a moment in the history of music when all the old institutions are falling apart, so we have to find new ways to do things.

“Rejoice, rejoice; we have no choice, but to carry on.”

READ THE FULL ARTICLE HERE: http://www2.mountaintimes.com/entertainment_focus/David_Gans_Playing_in_the_Band_id_001237

By: Frank Ruggiero
Published: 8:38 AM, 04/29/2010 Last updated: 9:45 AM, 04/29/2010

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David Gans is starting off this weekend with a his run of Shows in North Carolina. He starts off at the Shakori Hills Festival in Silk Hope. Then he heads over to Asheville, Greensboro, Boone, and one secret surprise show that has not yet been announced. Check out this article from a recent interview with Ryan Snyder from Yes! Weekly in Greensboro:

‘Dead Hour’ DJ and guitarist gets a little help from friends for NC shows

By Ryan Snyder

Yes! Weekly

Songwriter, DJ and Deadhead David Gans trips out east for a run of fullband shows (photo by Bob Minkin).

It’s been a long, strange trip for David Gans. The quirky, inventive guitarist and songwriter has affixed innumerable other designations to his name over his 40-year career, all in the course of just trying to write a few songs and play a few shows. Among them are writer and author — Gans was a music journalist who wrote for several San Francisco publications in the ’70s and has published books on the Grateful Dead and the Talking Heads. But Deadheads who like their doses — the musical kind mind you — straight from the heart know Gans as the founder and still-host of the long-running and widely syndicated “Grateful Dead Radio Hour.” Gans has been in the booth for over 1000 broadcasts and as of a recent YES! Weekly interview, was working on episode no. 1127, but his journey into the booth doesn’t quite play out like one might expect.

Gans saw his first Dead show in 1972 at the behest of his then roommate and songwriting partner and it was only a few months later, he said, that he started to get a handle on what the band was doing.

“I grew up on the Beatles and was a big fan of early ’70s singer/ songwriters, the acoustic pop/folk/rock back then. The Dead expanded my horizons, so I began to get more into playing guitar and improvising,” Gans said. “It also just made me realize that songwriting could be literature. You could write stuff with depth to that that took a little more work to engage it than the pop stuff that just kind of tells you everything it knows in the first couple of listens.”

A few years later, while promoting his book Playing In the Band in 1985, Gans went onto a local radio show to produce a series of documentaries for the station and eventually began contributing regularly. They eventually asked him to take over the show and after other stations expressed interest in carrying it, it led to the “Grateful Dead Hour”’s eventual syndication.

“Without ever making a plan to do so, I sort of wandered into this thing of being the producer and host and still am 25 years later,” Gans said. “I never lost interest making my own music or all the other music out there in the world, but it became a pretty fun way to make a living.”

Though he insists that he never became a full-blown Deadhead, the band’s influence is felt all throughout Gans’ own music, from his ragged, witty Americana lyrical repertoire to his brazenly adventurous solo stage act to the Dead covers he weaves into it with regularity. Gans has become both known and celebrated for his live looping techniques, playing the role of his own rhythmic accompaniment, but for an upcoming trek to the Southeast for a string of shows, Gans will be meeting up with a few friends from North Carolina for a somewhat rare run of full-band shows on the East Coast.

Among them are Donna the Buffalo keyboardist and Greensboro resident Dave McCracken, Donna the Buffalo and Acoustic Syndicate bassist Jay Sanders, Virginia Daredevils mandolin player Bobby Miller, Biscuit Burners steel player Bill Cardine and Blue Rags drummer Mike Rhodes, who Gans has never performed alongside. With such a talented cast behind him, Gans will be setting his loop station aside for this occasion for obvious reasons, though he will be teaching a looping clinic this Saturday afternoon at the Shakori Hills Festival. [Gans and Friends performs on Wednesday, April 28th at the Blind Tiger]

“When you’re playing with a looping device, it’s like playing with a musician who’s a real dick. It can’t hear you and it can’t adjust,” Gans emphasized.” When you’re playing with a human, nothing’s perfect of course, but everybody listens to each other and the feel for what you’re doing sort of adjusts. It’s also just much more fun when you’re playing live to have others with you.”

READ THE FULL ARTICLE HERE: http://www.yesweekly.com/article-9235-dead-hour-dj-and-guitarist-gets-a-little-help-from-friends-for-nc-shows.html

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