5049 Records Podcast: Matt Mitchell

From 5049 Records:

Matt Mitchell is an extremely talented and virtuosic pianist out of Philly who has made major waves in the last few years. He plays with Tim Berne, Dave Douglas, Ches Smith and many others and released his first record, Fiction, in 2013 on the Pi label. This is a good talk with a serious dude.

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Upcoming Shows at Trinosophes

From Detroit’s Trinosophes:

Friday, August 15: Maiden Radio, Lac La Belle, Tim Pak
Louisville, Kentucky’s Maiden Radio is an acoustic trio that includes Cheyenne Mize, last seen at Trinosophes playing bass and fiddle with Will Oldham and Dawn McCarthy. She’s joined by Julia Purcell and Joan Shelly on assorted strings and vocals. Lovely three-part harmony and a rustic, old-timey instrumental sound define the music, making the original music blend seamlessly with traditional songs. Detroit’s Lac La Belle also creates original songs that sound like a continuation of various Americana traditions. Although the creative songwriting is the focus, this acoustic duo does justice to whatever roots music it tries its hand at. Featuring the exceptional singing of Jennie Knaggs and the stellar fingerpicking of Nick Schillace. Opening the show is a solo performance by ex-Detroiter roots music guy and longtime studio engineer Tim Pak.

Doors at 8 pm; $6 minimum donation.

Saturday, August 16: William Hooker Trio, Spectrum 2 (Skeeter Shelton, Ali Colding)

William Hooker’s body of uninterrupted work beginning in the mid-seventies established him as an important composer and percussionist in jazz. As bandleader, Hooker has fielded ensembles in a diverse array of configurations. Each collaboration has brought an investigation of his compositional agenda and the science
of the modern drum kit. His work is frequently grounded in a narrative context. Whether set against a silent film or anchored by a poetic theme, Hooker brings dramatic tension and human warmth to avant-garde jazz. His ability to find fertile ground for moving music in a variety of settings that obliterate genre distinctions
offers a much-needed statement of social optimism in the arts. William Hooker (drummer,composer and poet) has created works that range from jazz and “new” music to experimental genres. He has released over 60 CDs a leader. Mr. Hooker has performed at the Brooklyn Academy of Music, The Atrium at Lincoln Center, Wadsworth Atheneum, Queen Elizabeth Hall, Walker Art Center, MTV, The Kitchen, Roulette, Real Art Ways. He has also presented his work at the JVC Jazz Festival, Montreal Jazz Festival, Vancouver Jazz Festival, CMJ Music Festival, Vilnius Jazz Festival, Experimenta Argentina,The Knitting Factory and the Victoriaville Music Festival. Opening the show will be the first performance in a few years by the original line-up of Detroit’s own Spectrum 2- leader Skeeter CR Shelton on saxophones and assorted winds and Ali Colding on drums.

Doors at 8 pm; $10-20 suggested donation.

COMING SOON

Saturday, August 23: Ritual Howls, Duane, Especially Good, Viki Viktoria and Stallone le Reducer
Monday, August 25: Jessica Pavone solo and Dark Tips (with Raquel Bell)
Saturday, August 30: Jimbo Fest
September 1: Mariah, Death Vessel
Sept. 3: Sir Richard Bishop
Sept. 7: Jad Fair, Danielson
Sept 8: Travis Laplante’s Battle Trance
Sept 13 & 14: Ditto Ditto presents Detroit Art Book Fair
Sept 14: Modern chamber music with Lisa Raschiatore (clarinet), Jennifer Goltz (soprano), Mariah Mlynarek (piano) Dennis Carter (flute)
Sept 15: Mesiko, Frogbelly and Symphony
Sept. 17: Matthew Shipp Trio
Sept 20: Tatsuya Nakatani
Sept. 22: Ty Segal, La Luz
Sept. 26 & 27: Phil Ranelin 75th birthday celebration with Jaribu Shahid, Rod Williams, Djallo Djakate-plus the grand-opening of the Michigan Audio Heritage Society Museum (MAHS Museum) !!!!!

Nels Cline Performs During a Weeklong Residency at the Stone

Nils double neck Wilco London on 24.2.10 Danel...

From the New Yorker:

“I was going to quit music,” Cline said last month, referring to a time in his twenties, “because of my idea that I had to choose.” Starting out, he wanted to be able to do quiet ballads with chord changes, and also what he described as “straight, ritual pounding, with huge feedback and no lead guitar.” He considered becoming a visual artist or a poet, but hearing transgressive punk bands like the Minutemen and Sonic Youth liberated him.