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Richard Thompson – Summer 2019 festival and Irish dates

Richard Thompson – Summer 2019 festival and Irish dates

Richard Thompson – Summer 2019 festival and Irish dates

Richard Thompson - 13 RiversRichard Thompson has a busy Summer ahead of him with appearances at festivals throughout August and into September as well as a handful of dates in Ireland. Thompson will be appearing at festivals including Cambridge Folk FestivalSidmouth Folk FestivalFairport’s Cropredy ConventionGreen Man Festival and more.

Buy, listen or download Richard Thompson’s latest album 13 Rivers here

Scroll down to find all of Thompson’s upcoming UK and Irish dates.


Upcoming Tour Dates

Date City Venue Country
Friday, 2nd August 2019 Belladrum Belladrum Tartan Hearts Festival 2019 United Kingdom
BUY TICKETS
Sunday, 4th August 2019 Cambridge Cambridge Folk Festival United Kingdom
BUY TICKETS
Thursday, 8th August 2019 Sidmouth Sidmouth Folk Festival United Kingdom
BUY TICKETS
Friday, 9th August 2019 Cropredy Fairport’s Cropredy Convention United Kingdom
with friends Dave Mattacks, Simon Nicol, and Dave Pegg BUY TICKETS
Saturday, 10th August 2019 Dublin Vicar Street Ireland
Address: Vicar Street, Dublin, Republic of Ireland. BUY TICKETS
Sunday, 11th August 2019 Belfast Ulster Hall United Kingdom
BUY TICKETS
Tuesday, 13th August 2019 Galway Galway Town Hall Theatre Ireland
Venue phone: 091 569777. BUY TICKETS
Wednesday, 14th August 2019 Kilkenny Kilkenny Arts Festival Ireland
BUY TICKETS
Thursday, 15th August 2019 Cork St Luke’s Ireland
BUY TICKETS
Saturday, 17th August 2019 Crickhowell Green Man Festival United Kingdom
BUY TICKETS
Sunday, 18th August 2019 Suffolk FolkEast United Kingdom
BUY TICKETS
Monday, 26th August 2019 Rye Rye International Jazz & Blues Festival United Kingdom
BUY TICKETS
Sunday, 1st September 2019 Birmingham Moseley Folk & Arts Festival United Kingdom
BUY TICKETS

Birds, bread, medicine, and stewarding someone else’s mystery: Kelly Hunt’s “Even The Sparrow,” Coming May 17

On the walls of any local used music shop there hangs a gallery of mysteries. Picked up and handed down across the decades, each instrument contains the imprints and stories of those who have played it before, most of which remain untold. For Kansas City-based songwriter Kelly Hunt the most intriguing of these stories is the origin of her anonymous calfskin tenor banjo. “I really wasn’t looking for it,” she says, “but I opened up the case and it said ‘This banjo was played by a man named Ira Tamm in his dog and pony show from 1920 to 1935.’ I strummed it and said ‘This is unlike anything I’ve ever heard.’ People often think of the banjo as being rather brash and tinny – loud and kind of grating – but this was so warm and mellow, with an almost harp-like quality to it, very soulful” – apt words for the Memphis native’s debut album, Even The Sparrow, coming out May 17 on Rare Bird Records.

The daughter of an opera singer and a saxophonist, Kelly Hunt was raised in Memphis, TN, and grew up performing other people’s works through piano lessons, singing in choirs, and performing theater. “It was a very creative, artistic household,” says Hunt. During her teenage years, influenced by musical inspirations as diverse as Norah Jones, Rachmaninov, and John Denver, she began writing her own songs on the piano as a creative outlet. After being introduced to the banjo in college while studying French and visual arts, Hunt began to develop her own improvised style of playing, combining old-time picking styles with the percussive origins of the instrument. “I’m self-taught, I just started letting the songs dictate what needed to be there,” she says. “I heard a rhythm in a song that I wanted to execute, so I figured out how to do it on the drum head while still being able to articulate certain notes in one motion.” After college, Hunt followed a rambling path that took her through careers in acting, graphic design, traditional French breadmaking, and medicine, all the while making music as a private endeavor. “I wanted get serious about a responsible career choice, but music kept bubbling up. I was writing a lot and playing a lot and started to not be satisfied just playing to my walls of my room.”

After moving to Kansas City and discovering her mysterious Depression-era tenor banjo, Hunt began recording Even The Sparrow in Kansas City alongside collaborator Stas’ Heaney and engineer Kelly Werts. “It took almost two years to record,” she says, “learning how to let the songs dictate the production.” Having finally come to light, the album displays Hunt’s penchant for masterful storytelling and intriguing arrangement, as researched and complex as they are memorable, punctuated by her articulate melodies and a well-enunciated and creative command of lyrical delivery infused with deft emotional communication. While reminiscent of modern traditionalists such as Gillian Welch–a number of her songs even borrow titles and phrasing from traditional American music (“Back to Dixie,” “Gloryland”)–Even The Sparrow reveals an ineffable quality that hovers beyond the constraints of genre, à la Anais Mitchell and Patty Griffin. In “The Men of Blue & Grey,” what begins as a Reconstruction-era ballad about the repurposing of glass photographic plates in a greenhouse roof soon becomes a meditation on the hope that growth and life may one day be able to emerge from the ruins of suffering and haunting of war. “Across The Great Divide” turns an otherwise traditional accounting of spurned love into a philosophical epic of the ethics of forgiveness and freedom, evoking the ideas of Søren Kierkegaard and Walt Whitman.

 

As for the original owner of Kelly Hunt’s mysterious tenor banjo, not much is known. “I’ve never been able to find anything about Ira Tamm,” she says. “I think he just had a humble little traveling show,” she says. What’s clear is that the itinerant performer laid down his banjo at the height of the Great Depression, almost eighty years before it would be picked up by Hunt. “That banjo has stories. I wish I knew them all,” she says, though the banjo’s most intriguing story may just be beginning with Even The Sparrow. “The marks of Ira’s hands are still in the calfskin head, so I can see where he played and left his mark,” she says. “Now my own hand marks are there too, in different places, like a kind of portrait.”

 

Even The Sparrow
Kelly Hunt

May 17, 2019 • Rare Bird Records

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Publicity Contacts
Carl-Eric Tangen

[email protected]
+1 206 557 4447
hearthmusic.com

Lone Star Blues And Heritage Festival, OCTOBER 25-27, 2019

 

JAIL, DENTIST, not my kind of venue.

Nola Blue, Inc. is delighted to announce the establishment of a new blues festival  to preserve, celebrate and support the rich musical legacy of Texas blues.  The inaugural East Texas-based event will be held October 25-27, 2019 at Salmon Lake Park. Confirmed performers include Benny Turner, The Peterson Brothers, Steve Howell and Kathy & the Kilowatts.  Additional lineup announcements forthcoming.

The festival’s location is significant because the area is considered the westernmost region of the Deep South, and has been fertile ground for some of the most influential blues artists of the twentieth century including Blind Lemon Jefferson, ‘The Father of Texas Blues,’; Lightnin’ Hopkins; T-Bone Walker; Freddie King and more.

Salmon Lake Park’s beautiful 100 acres provides an idyllic setting for the event, with a vintage bandstand nestled in a shaded area, a fresh water lake and plenty of buildings and other nostalgia from a bygone era of East Texas.  Well-suited for group gatherings of families or close friends, there are more than 350 RV hookups, furnished cabin rentals and tent camping available for those who wish to spend the weekend onsite.  Reservations can be made directly with the park by calling 936-687-2594.  Festival tickets will be sold separately.

When her client, Benny Turner, was approached with the opportunity to produce a blues festival not far from where he was born, Nola Blue President Sallie Bengtson knew that it was the right thing to do, at just the right time.  Turner embodies a living musical legacy, born on the porch of his Gilmer, TX family home where he and his older brother Freddie King listened to their mother and uncles playing the blues.  Turner continues to play the blues to enthusiastic audiences everywhere, more than sixty years after beginning his music career, carrying on a tradition of which he is very proud.  Bengtson says, “We look forward to celebrating with Benny on his 80th birthday (October 27, 2019) during this inaugural event.”

LINEUP

(Times to be announced)

Friday, October 25

Annika Chambers

Dylan Bishop

Salvation From Sundown

Saturday, October 26

Benny Turner

Kathy & The Kilowatts

Peterson Brothers

Sparky Parker

Steve Howell & The Mighty Men

Steve Krase

Trudy Lynn

Sunday, October 27

Gospel Brunch with Keeshea Pratt Band

Shake Anderson

Sue Foley

LINKS

Introducing our ARTIST of the MONTH for APRIL, California’s one and only KATIE KNIPP.

NO SPOTLIGHT, NO ALBUM, APRIL WILL HAVE AN ARTIST OF THE MONTH.

Having hit #10 on the Blues Albums Billboard Charts with her 5th album release titled “Take it With You,” Northern California Blues Americana Siren Katie Knipp is equipped with powerful vocals and plays a variety of instruments from boogie woogie piano to slide guitar, to honest harmonica laden stories in between.  Her various performance formats from raw solo act to full band captures audiences hearts from her first notes.  She has opened for Robert Cray, Joan Osborne, The Doobie Brothers, Tim Reynolds, Jon Cleary, The James Hunter Six, among many others.  Her sound has been compared to Larkin Poe, Bonnie Raitt, Joss Stone, Beth Hart, and what the late Taz Digregorio of the Charlie Daniels band once said, “Dylan in a Dress!”

Blues Americana artist Katie Knipp has been on a passionate musical journey her entire life. Always in choir, she was drawn to the piano at the age of 15. Since there was no piano at home, she began teaching herself on every lunch break during high school in the choir room. Beginning college, Katie believed it would be practical to major in medicine. Singing in a choir rendition of Mozart’s Requiem changed her future path. The haunting beauty of the music made tears roll down her face, and she knew that, in order to follow her heart, she would dedicate herself and her studies to music. Attending U.C. Santa Cruz, Katie enjoyed the calm, serene new environment.

Driven to continually grow, she taught herself guitar on the beaches of California’s coast. “The waves would drown out any mistakes I made, so that I wouldn’t be embarrassed by wrong notes,” says Katie. As she dug deeper into her music major, it became clear to Katie that she also wanted to write her own material. Witness to a gruesome on-campus suicide on her 21st birthday, she decide she needed a change of scenery; she transferred to Cal State Hayward, where she would earn her Bachelor’s Degree in Music with an emphasis in vocal performance. The dark experience of the suicide, however, would stay with her, and became one of many events that helped mold her writing into the gutsy, soul-on-a-platter type material. To date, Katie has released four studio albums, a DVD, and played hundreds of venues throughout California. Sacramento News and Review nominated her for Best Blues Artist in Sacramento in 2017.

Readers of The Northbay Bohemian voted her band “Number One Band in Marin County” for two consecutive years. Currently laying down roots in Sacramento, Katie has worldwide radio support, has opened for such acts as Robert Cray, The James Hunter Six, Jon Cleary, The Doobie Brothers, Tim Reynolds and Tommy Castro, and shared the stage as a back up singer for Barry Manilow. Her music can be found on iTunes, many other digital mediums, as well as retail cds on www.katieknipp.com. Katie unflinchingly maintains the goal of being a viable force in the music world. Her success is largely based upon her willingness to take risks, diversify her format and learn from collaboration with others. Katie performs in several formats, from solo to full band. Equipped with a powerful voice, Katie also plays piano, guitar, dobro and harmonica. Her hard work has shaped her into a mature artist, focusing on the organic, free elements that reach people the most.  She is also busy raising her two toddler boys as well as teaching piano and voice lessons in Rocklin, California.

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FRANCINE HONEY Releases her latest single and video ‘Shacked-Up Sweetie’ From the album ‘To Be Continued…’

Hard-luck stories can have happy endings. Especially in Francine Honey’s world. “Some of these songs are about going through tough times and then getting to the other side,” the Ontario singer-songwriter says of her third record To Be Continued... “I know I’ve certainly been through my share of struggles. But it’s important to have hope and know you’re not alone. If you’re going through something, someone else has gone through it too. And you have to remember: You don’t know what’s around the corner. Your ‘to be continued…’ might be beyond what you ever imagined.”

To Be Continued… is an album that showcases Honey’s most striking and stirring compositions. “I’m so happy,” she says. “I’m really proud of this record and how it all came together.” Cut in Nashville with Grammy-nominated producer Neilson Hubbard (John Prine, Mary Gauthier, Jason Isbell) and first-call players like guitarists Will Kimbrough and Kris Donegan, pianist Dan Mitchell, bassist Dean Marold and legendary fiddler Eamon McLoughlin, To Be Continued… takes Honey’s mix of Americana, Country, Rock, Canadiana and Blues to the next level, capturing the sound she’s been chasing for years. “It’s hard to articulate what you hear in your head and get it to come to life through other musicians,” she says. But after getting Hubbard’s name from singer-songwriter Gretchen Peters, she knew she’d found her man. “I looked up the songs he produced and went, ‘That’s what I’ve been hearing!’

Although she’s made music since childhood — “I wrote my first song in 1976” — Honey never dreamed of making it a career.  However, along the way, the down-to-earth artist has displayed extraordinary dedication to her craft. Francine’s debut self-produced album An Ordinary Woman came out in 2008 and was followed in 2014 by Re-Drawn, produced by Lang Bliss in Nashville.  As a graduate of the Berklee College of Music Professional Singer-Songwriter Certificate Program, Francine regularly makes the nine-hour drive from Ontario, Canada, to song-writing workshops in Nashville, where she has been mentored by icons like Beth Nielsen Chapman (who contributes backup vocals to Honey’s Snowflakes On My Eyelashes), Mike Reid (I Can’t Make You Love Me), Mary Gauthier (Mercy Now), Verlon Thompson (Boats to Build), Gretchen Peters (Independence Day) and Jonatha Brooke (My Mother has 4 Noses). Francine is a member of the Songwriter’s Association of Canada (SAC), Nashville Songwriter’s Association International, Canadian Country Music Association and Americana Music Association. She co-ordinates the SAC’s Leamington/Windsor Regional Writer’s Group, mentoring other songwriters. She has showcased at the Texas Songwriters Symposium four years in a row, the WinterFolk Blues and Roots Festival in Toronto, the Kingsville Folk Music Festival and the Folk Music Ontario conference. Francine’s music and song-writing have not only taken her through Canada and the U.S but to the U.K., Switzerland and Italy.

Now, To Be Continued takes Francine’s listeners on a journey.  Courageously drawing from her own life, Honey’s latest songs run the gamut of emotion. Snowflakes on My Eyelashes channels the grief of loss; Can’t Break Through to You examines PTSD; and the moving Marilyn documents a harrowing health scare. “That’s a very tough subject and a very personal song,” she confesses. “The room goes quiet when I play it. But I’ll see someone wipe a tear from their eye, and know that song has touched someone.” It’s not alone: Stay was a semi-finalist in the Canada Songwriting Contest and Mamas Take Bad Dreams Away made the top five in the Canada South Songwriting Contest.

Equally laudable are cuts on the lighter side of the roster: The upbeat driving ode Open Road, the sexy come-hither blues of Honey and the uplifting title cut that chronicles her romance with a friend who re-entered her life at just the right time. “I sure had to kiss my share of frogs,” she quips. “I thought I was just meant to be single and figured we would just be friends, and I was happy with that. Little did I know!” And about Shacked-Up Sweetie, Francine’s latest single release and video, “I wrote this song for my sweetie and I. We talked about getting married and decided not to. It took me a while to work through my feelings about not getting married, but in the end, I realized that it’s really all about the commitment you make to each other, not the church ceremony. True love is just bigger than all of that.”

Francine’s music can be heard on CBC radio, Sirius XM and country stations across North America and she receives millions of views on her videos. She has appeared and been interviewed on CTV News, CFRU’s Folk Roots Radio and more.


Check out the single  ‘Shacked-Up Sweetie’ here:

SPOTIFY

Other useful links:

MEDIA PHOTOS

Links to the full album “To Be Continued…” here :

 ITUNES
AMAZON
APPLE 
GOOGLE PLAY 
SPOTIFY
NAPSTER
TIDAL
YOUTUBE
SOUNDCLOUD

Check out more about Francine Honey here:

Folk Roots Radio interview with Jan Hall:
http://folkrootsradio.com/francine-honey-folk-roots-radio-interview/

Sessions Podcast with Barry Davis :
https://soundcloud.com/user-250213153/sessions-nov-9-2018-guests-francine-honey-kenny-wayne

CTV News Windsor:
https://windsor.ctvnews.ca/video?clipId=1541019&binId=1.1143910&playlistPageNum=1

Scribes & Songsters Interview:
https://youtu.be/nnF_P32ibss

Listen to the new single Alyssa by Kelly’s Lot from the upcoming album’Can’t Take My Soul’

Provided us with a copy of the new single from Kelly’s Lot.

We provide you  all a chance to listen to this beautiful, sad song.

 

Kelly Z told us

“Alyssa is the first song released from our upcoming CD, ‘Can’t Take My Soul’. Alyssa was the daughter of DJ Mark Mushin. We met on facebook after he started playing my last release ‘Rescue’ He asked me for a station ID, personalized for his daughter. He told me stories about Alyssa, her spirit and her battle with Canavan Disease. A few months later she passed away and the song was inspired by all the stories Mark told me. By writing the song, Perry and I wanted to reach out to everyone who needs to be reminded that we must grab a hold of the joy we have today because we don’t now how long it will last.”

 

A note about Alyssa from her family -“Alyssa was born with Canavan Disease, a rare and fatal genetic brain disease. In her short 23 years, without ever speaking a word, Alyssa was able to shine her light on everyone around her. She had a smile that would melt your heart and her laughter would always sooth your soul. Her amazing journey started with me holding her for 4 hours when she was born, forming a bond that will live for all time. She then became a medical pioneer being one of the worlds first to receive gene therapy. She continued to share her pure spirit throughout her whole life making all who knew her the best they could be and taught us all the meaning of true love. Although her earthly experience is done, she still sends us signs from above and continues to inspire us all.”

ALYSSA Credits

Written by Kelly Zirbes and Perry Robertson
Kelly Z – Vocals
Perry Robertson – Guitar
Matt McFadden – Bass
Mike Sauer – Drums
Bobby Orgel – B3
Background vocals – Jenna Mushin, Andrew Mushin, and Jeri Goldenhar
Mixed by Fred Paragano
Mastered by Mike Milchner at Sonic Vision Mastering

ALYSSA Lyrics

It’s there in your heart not trapped in your mind
And easier to feel than to search out and find
And Alyssa she knew the way to get you through
She was never behind but one step ahead of the blues

Some just don’t know what’s right there to see
Looking for easy to set them free
And Alyssa she knew these things don’t get you through
She was never behind but one step ahead of the blues
She was never behind but one step ahead of the blues

Don’t hold on to worry when the answer is there
Don’t try to fix every why, when and where
Take a deep breath and throw away your fears
Cause it’ll all be gone before you know that you’re here

She was never behind but one step ahead of the blues

Don’t hold on to a worry when the answer is there
Don’t try to fix every why, when and where
Take a deep breath and throw away your fears
Cause it’ll all be gone before you know that you’re here.

Stop chasing the questions when its all right there
No one promised this life would be fair
And Alyssa she knew the way to get us through
She was never behind she was one step ahead of the blues
She was never behind she was one step ahead of the blues
She was never behind she was one step ahead of the blues

 

Out Today: Anyone Can See by The Honey Dewdrops

 

March 1, 2019
“This is the kind of slow, thought-out acoustic music that is increasingly hard to come by, with the songwriters putting an equal emphasis on the the craft of lyricism and nuanced yet complex and intricate guitar solos.
– Glide Magazine

Though Kagey Parrish and Laura Wortman of The Honey Dewdrops have long ago traded the Appalachian mountain air for the Baltimore sea breeze, one thing is certain: the duo, who’s fifth independent release, Anyone Can See out on March 1st, 2019, has lost none of the creative energy so prevalent on their previous releases. Rather, the duo are growing rapidly as artists, enthusiastically exchanging perfection for the compelling ebbs that accompany an intimate, authentic kind of expression.

For their newest release, Parrish and Wortman recreated the flexible, spontaneous atmosphere of their live performances. “We focused in on that live energy by sitting close to each other in the studio so we could hear everything in a natural way,” says the duo. “There is no click track on this album and we found that the takes that had the magic, often had some variation of pitch and rhythm.”

While chasing the magic, Parrish and Wortman found that their sense of musical clarity also evolved over the course of the album’s creation. “The process made us look at how we define what is “right” and what is “wrong” in our performances,” says Parrish and Wortman. “What sounded good to us tended to go more in the direction of emotion, dynamics, and improvisation in the arc of a song.”

Though the creation of Anyone Can See contains elements of an artistic awakening in certain senses, Parrish and Wortman have also remained loyal to their roots, with the album evoking the duo’s characteristic heart-wrenching melodies and intricate chord progressions. Producer Nick Sjostrom kept them on a path throughout the process, guiding the duo towards a grounded result even while they were undergoing such rapid growth as artists. “Nick has a great sense of melody and timing and brought forth some interesting ideas for rhythm changes and variations in our song structures,” says the duo. “His input became the fitting pieces to this record puzzle.”Ultimately, Parrish and Wortman decided to keep their listeners at the forefront of their thoughts throughout the production of Anyone Can See. “We want listeners to feel like they are sitting in the room with us, close by,” said the duo. “We used condenser mics to capture the voices and instruments, and we set up a few extra mics at different locations in the studio to get a “room” sound and feel with natural reverb.”

The result is a record drenched in sonic roominess, each of the tracks stretching to fill the space, but with a warmth that allows the album to fit cozily into whichever personal living room, bedroom, bar, or studio it might find itself in. In this way, the intimacy oscillating throughout the record complements and overturns the melodic vastness: nobody will get lost in this expanse.

The Honey Dewdrops are 
on tour now

Tour Dates

Publicity Contact
Lauren Ball
+1 206 557 4447
[email protected]
hearthmusic.com

BLUES IN MY BLOOD the SPOTLIGHT ALBUM for MARCH from Tiffany Pollack & Eric Johanson.

TME.fm Radio

 

With rave reviews everywhere it was an easy choice this month.

Here is what Rick J Bowen wrote and we agree with every word.

“There is a long tradition of vocal duos in country and folk music, with groups like Sugarland and Shovels and Rope continuing to see success and popularity with the formula. Tiffany Pollack, an acclaimed New Orleans jazz singer, and Eric Johanson (performing courtesy of Whiskey Bayou Records), former lead guitarist for Cyril Neville, have teamed up to bring that winning tactic to the blues and roots world on their new album “Blues In My Blood.” Eleven tracks of original and select standards showcase the depth of each one’s talent with a new collaboration that is fresh and natural. The Louisiana natives, who each have been building a strong career, met when Pollack was reunited with her biological family at 25, and discovered they are cousins and third-generation members of a musical family with a rich history. After years of the cousins’ mothers pushing for them to work together, the duo project has come to fruition for a very personal family project in celebration of the blues.

The opening track ‘Blues In My Blood’ sets the stage for the passion play, recorded and produced in New Orleans by Grammy, Emmy, 4-time Telly and 2-time Global Music Award-winner Jack Miele at The Music Shed Studios. The roaring Southern Gothic blues tome recants Pollack’s life story and her journey to discover the true origin of her musical gifts and a desperate longing that that has haunted her soul from birth. The mournful tone of Johnny Sansone’s harmonica echoes the heartfelt vocal from Johanson on the lover’s lament ‘Memories To Forget.’ He then shows of his formidable slide guitar skills on the southern fried funk burner ‘Keep It Simple,’ sparing with Pollack’s scorching vocals. Life experience often makes for profound art as exemplified in the sorrowful tribute to a fallen soldier ‘Michael,’ delivered form the unique prospective of the undertaker, a role Pollack played while working in the mortuary business. Her vocals weave a spell on us that is only broken when the 504 Horns join the Jazz Funeral Procession in the New Orleans’ first-line tradition. The duo joins together on the chorus of the politically charged blues rocker ‘Diamonds On the Crown,’ followed by a lovely reading of a deep cut from The Rolling Stones’ album “Beggars Banquet,” the lilting country ballad ‘No Expectations.’

Pollack then bravely steps into the shoes of Nina Simone, paying tribute to the jazz legend by digging deep into the classic ‘Do I Move You?’ with sultry finesse. The introspective ‘Slave Of Tomorrow’ is a heady dish of southern jam rock and the gently swinging blues ‘Get Lost With Me’ has a classic Memphis style that features a searing solo from Johanson. Pollack soars on the cover of Joni Mitchell’s ‘River,’ staying true to the original, while adding just enough of her own fire to put her mark on the masterpiece. The album’s finale is a gospel-fueled reinvention of the freedom song ‘If I had A Hammer.’ The duo trade verses and slow the tempo to allow in-depth focus on each phrase and emphasize the importance and truth in the lyrics written by Pete Seeger in 1949 in support of the progressive movement.

This inspirational duo of Tiffany Pollack and Eric Johanson bring an indie, roots-based approach to the blues, both honoring and expanding the traditions they learned growing up in Louisiana. Their powerful songwriting is a gift that flows from the undeniable blues in their blood.”

BIOGRAPHY

Tiffany Ann Pollack was born and raised in the musical mecca of New Orleans, where she began singing as soon as she could talk. Although never receiving formal training, countless hours of her childhood and teens were spent at her parents’ old 70’s organ and later the out-of-tune piano they bought for her, writing songs by ear and singing very loudly. Her family’s annoyance never discouraged her from sharing the songs in her heart.

Tiffany had her first opportunity to perform professionally when neighbor Russell Batiste learned that she could sing and invited her to sing backup with his band Russell Batiste & Friends. After several years, Tiffany formed her own band called Beaucoup Crasseux with some of the members of Russell’s band. In addition, Pollack begin singing in many other bands including Ph Fred’s The Round Pegs and The Consortium of Genius. Beaucoup Crasseux ultimately fizzled, and Pollack entered mortuary school. In the ensuing years, she was married, had children and focused on her mortuary career. After the birth of her third child, Tiffany left the mortuary business to focus on music fulltime. She developed a strong passion for jazz and eventually formed her own jazz band, Tiffany Pollack and Co.

At age 25, Tiffany gained new appreciation of the music in her soul when she was reunited with her biological family. Adopted at birth, the pieces of her musical puzzle became clear. Her mother, Margaret, plays bass and sings in a jazz band. Tiffany’s half-brother makes electronic music. Margaret’s sister, Frances, sings in a jazz band (and is mother of blues artist Eric Johanson).  Frances and Margaret’s brothers are also performers.  Tiffany’s grandfather owned a piano store and played clarinet. Her grandmother was a cellist, pianist and opera singer.

Today, Tiffany performs regularly throughout New Orleans singing primarily jazz with The Dapper Dandies and her jazz band Tiffany Pollack & Co, as well as doing session vocals at The Music Shed Recording Studios in New Orleans.

New-Orleans based Eric Johanson was tearing up nightclub stages in Louisiana with his soulful blues guitar before he finished high school. He has toured across the US and internationally as lead guitarist for the legendary Cyril Neville, Grammy-winning Zydeco artist Terrance Simien, and performed onstage with Tab Benoit, JJ Grey & Mofro, Eric Lindell, Mike Zito, Anders Osborne, the Neville Brothers, and many more.

Recently signed to Whiskey Bayou Records, his debut album, “Burn It Down,” was produced and engineered by Tab Benoit. Following its release in October of 2017, Eric has been touring across the US supporting Benoit.

GREG JACQUIN SHARES NEW ALBUM CLOCKS SLOW DOWN

LISTEN & SHARE: Greg Jacquin – Clocks Slow Down LP
Soundcloud / Spotify / Bandcamp / Apple Music

LISTEN & SHARE: Greg Jacquin – “Store Policy”
Soundcloud / Spotify

LISTEN & SHARE: Greg Jacquin – “Barry”
Soundcloud / Spotify

LISTEN & SHARE: Greg Jacquin – “Time Again”
Soundcloud / Spotify

“The singer-songwriter has spent much of his life with music at its center, a steady marker amidst the turbulence. Born in Tarrytown and an active contributor to the Hudson River folk scene, the New York artist’s plaintive Americana stylings blossom throughout ‘Time Again’.”
– PopMatters

“With a charming, wistful folk sound and a strong lyrical presence, Greg Jacquin and his band can expect an awful lot of critical acclaim when their new album.”
– The 405

“Greg Jacquin brings unconditional love.”
– Substream Magazine

“Hudson Valley is quite an impressive return to the ‘arena’ for Greg Jacquin and his band’s anticipated full length, due in 2019, will undoubtedly prove to be one of the year’s most compelling indie releases.”
– No Depression

Today, New York-based, indie folk, singer songwriter Greg Jacquin shares his new albumClocks Slow Down, out now on all DSPs. Earbuddy exclusively streamed the record in advance, stating “Recorded at Woody’s House in Croton, New York, the album is a sometimes somber meditation on pain, suffering, and self-discovery. Add a little politics and humor, and you have yourself an album.” Jacquin has announced East Coast tour dates in support of the album, and will be celebrating the release tonight with a performance at NYC’s Rockwood Music Hall Stage 1 at 6pm. See below for all his upcoming dates. Clocks Slow Down is out now on all streaming platforms.

Greg Jacquin and bandmates Paul Griffin (piano, keys, vocals), Rich Berta (guitar, vocals), Peter Wilson (drums) and Lalit Loomba (bass) recorded Clocks Slow Down, a beautiful collection of eleven original songs. The album is a sprawling statement of sadness and hopelessness, pain and suffering, rebuilding and self-discovery, with a dash of politics and humor, too. This time around, Jacquin enlisted another impressive crew of musicians for the album, including Andrew Bordeaux on violin and guitar, Jim Keyes and organ and electric piano and Sarah Browne on vocals. The album was recorded by Fred Gillen Jr. (Pete Seeger) at Woody’s House in Croton, NY, and mastered by Scott Hull (John Zorn, Snarky Puppy, Loudon Wainwright III, Uncle Tupelo, Edie Brickell, Ani DiFranco) at Masterdisk. The album art is by Ian Felice (The Felice Brothers).

All songs were written by Jacquin, eliciting collaboration with a variety of artists and bandmates. “Store Policy” and “Time Again” saw Lalit Loomba & Jacquin team up in their writing process, “Coffee” was written by Greg Jannacone and Jacquin, “Too Hungry For Dinner” and “Highways & Hotels” was written by Paul Griffin.

TOUR DATES
02.15 – Rockwood Music Hall – New York, NY (LP Release Show)
02.22 – Six Degrees of Separation – Ossining, NY
03.18 – Hotel RL (Brooklyn) – Brooklyn, NY
03.19 – Hotel RL (Baltimore) – Baltimore, MD
03.24 – Pianos – New York, NY
04.02 – Pianos – New York, NY
04.18 – Hotel RL (Brooklyn) – Brooklyn, NY
04.25 – Forest & Main Brewing Company – Ambler, PA
04.26 – Seasons & Seasons – Washington, DC
04.27 – Garden Grove Brewing – Richmond, VA
04.28 – The Juggling Gypsy Cafe – Wilmington, NC 
05.02 – The Cellar in Newnan – Newnan, GA
05.06 – El-Rocko Lounge – Savannah, GA
05.10 – Hotel RL (Baltimore) – Baltimore, MD 
05.11- Hotel RL (Washington DC) – Washington, DC 
05.14 – Pianos -New York, NY
CLOCKS SLOW DOWN LP – TRACKLISTING
01. All These Strangers
02. Store Policy
03. Coffee
04. Too Hungry For Dinner
05. Time Again
06. What If I?
07. Higher
08. Barry
09. Jim Carrey
10. Hedgehog
11. Highways & Hotels
BIO

New York-based, indie-folk, singer-songwriter Greg Jacquin has spent much of his life writing and playing music. From singing and playing guitar as a little kid through writing his songs with his best friend and cousin in the 80s up to the present moment, Jacquin has been contributing to the rich music scene in New York’s Hudson Valley. Drawing on his own life experiences, the natural world, and politics, Jacquin is still out there pouring his heart and soul into every song he releases. His EP Hudson River was released to rave reviews in February 2018. After playing the new songs all over New York and the Hudson Valley for the past year, Greg was eager to get back into the studio in the summer of 2018.

For all Greg Jacquin press related inquiries please contact
Rachel Rossen [email protected]com

Getaway by Abigail Lapell

Getaway
Abigail Lapell

February 1, 2019

“As (Getaway) unwinds, a palpable intensity mounts and gets under the skin.”

– The Vinyl District

Toronto vocalist, guitarist, and multi-instrumentalist Abigail Lapell is rewriting the narrative of her past in a new album that says farewell to transience, both emotional and physical. Recently engaged, and with her new album, Getaway, due out today via Coax Records / Outside, Lapell in her latest work offers parting words to a time in her life she’s leaving behind. A bold vocalist with the rare ability to stop you cold with her voice, Lapell’s powerful, uncompromising nature is mirrored in her determined new album.

A whirlpool of genres, Getaway is grounded by the resolute essence of Lapell’s crystal voice, which demands a peaceful concentration. Drowned in an ethereal beauty, waves of pop persuasions are overturned by avant-garde forays, while classic rock riffs and indie folk roots float to the breezy surface. Reminiscent of the introspective strength of Bridget St John, the vocal power of Natalie Merchant, and the trance-like lulls of Sybille BaierGetaway combines a mid-century tone with a modern edge.

Getaway
Abigail Lapell

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LP opener and first single “Gonna Be Leaving” echoes the certainty that sooner or later, every relationship will end. “This is one of my favorite tunes on the album, and one of the most fun to play live,” says Lapell. “The song started as a guitar  part that I couldn’t get out of my head, this insistent line that keeps circling back on itself, doubled by the vocals in a sing-song rhyme all about the contradictions of couplehood: the push and pull of independence versus commitment, trying to make it work even against the odds, or trying to leave and not being able to.” Closing the album, “Shape of a Mountain,” written in the Alberta Rockies during a Banff Centre artist residency, sets majestic scenes of wanderlust over cinematic strings.

Though an active member of the thriving Toronto indie folk scene and a winner of a 2017 Canadian Folk Music Award, Lapell’s sound is distinct due in part to the influences she’s been surrounded by on her extensive travels. Throughout her career, Lapell has performed around the world, toured by bike, canoe, and train, shared a cheap Montréal apartment with tUnE-yArDs, and completed writing residencies across North America. The result is work that’s primarily rooted in indie folk, but that delicately weaves in sounds like Canadiana desert rock and even an accordion-driven shanty on “Runaway.”

Watch the video for “Down by the Water,” premiered at The Bluegrass Situation
Working once again with producer Chris Stringer at Toronto’s Union Sound studio, Lapell expanded her pool of collaborators, recruiting Christine Bougie (Bahamas) on lap steel, Dan Fortin (Bernice) on bass, and Jake Oelrichs (Run With The Kittens) on drums. Trumpeter and composer Rebecca Hennessy plays on “Sparrow for a Heart”—her trumpet swirling in a sublime duet with Lapell’s synth flute and electric guitar—and also arranged horn parts for band workout “Little Noise.” The album also features longtime collaborator Lisa Bozikovic on piano and vocals and fellow Canadian indie roots singer Dana Sipos on vocals. One of the record’s most striking moments is just acoustic guitar and two voices: Lapell and Sipos, captured live in a room together, harmonizing atop plucked strings on the transfixing “Down by the Water.”

Abigail Lapell is no stranger to constant traveling, but she’s now making peace with putting down roots, both with her life in Toronto and within love. The eleven prairie noir tracks on Getaway represent a dynamic closing to this reflective journey. Whether transient and exploring, or switching gears to build a home, one thing about Abigail Lapell remains fixed and clear: all of it will be on her terms.

Abigail Lapell is 
on tour now

Tour Dates