The Barnstable Patriot – Cassidy paints the Music of the Soul

Posted on February 19, 2012 by admin

1329674229 73 The Barnstable Patriot Cassidy paints the Music of the Soul On display at Zion Union Heritage Museum

Descending down to lower Manhattan, he enters an intimate dark club…he waits, the lights come up, the blues man wails his soul into his harmonica. Leaving the club at midnight the music is in him now, he moves with the music, the music moves him. He emerges a different man.

Sean Cassidy is an accomplished painter, influenced (profoundly) by his forays into the jazz and blues scenes in the Village and expressed in his paintings, which are featured through the end of April at the Zion Union Heritage Museum in Hyannis.

I ask about his evolution in creating this compelling body of work:

“I had a visceral reaction, some blues makes me want to jump up and dance, some jazz makes me close my eyes, drawing me deeper into myself. It touches you to the core. I had fun portraying these musicians on canvas, evoking the energy of the music played in the person’s head…rather vicariously entering their world.”

At the Museum I, too, a painter and lover of jazz/blues, move among Sean’s paintings: Count Basie putting his famous swing in his piano, Louis Armstrong becoming one with his trumpet, the magnificence of Josephine Baker, Duke Ellington in top hat and tails inviting us to join the party, Ella, eyes closed, deep in song. And many others: John Coltrane, Billie Holiday, Fats Waller, Thelonius Monk, and Muddy Waters. Many of the paintings show the musician becoming one with their instrument like Miles Davis, Charlie Parker, and Lee Morgan. And there are other works that reach out to the audience and say: “come join us!” – Fats Waller, Ray Charles, and Duke Ellington.

His use of gesture reminds me of Isadora Duncan’s statement which has influenced my own evolution as a visual artist: “All my life I have struggled to make one authentic gesture.” Jazz lends itself to timing, rhythm, and improvisation. Cassidy’s tones of sepia browns, ochre, and purples sets the scenes perfectly. His gestures hold the power of improv: the soul and electricity of these beautiful masters of jazz and blues.

In Cassidy’s words: “I work quickly to capture the soulful expression and body language found in each musician. Each portrait is painted while listening to that particular artist’s music. The responsive nature of painting the sound and feeling felt from the music is a very important aspect to the work. By listening to each musician and feeling their energy I can capture that sound or feeling felt through to the canvas by using color and expressive brush work. There is a term called clairaudient, which means hearing what is inaudible. When I am painting I am listening for the inaudible (feelings or soul of the music) and translating those sounds into a form of visual expression.”

Don’t miss this exhibit along with the many other riches of African American/Cape Verdean history and culture at the Zion Union Heritage Museum.

“Jazz & Blues Masters” exhibit: February – April 30 at the Zion Union Heritage Museum, 276 North Street,, Hyannis, 508-790-9466., hours are 11 a.m. to 5 p.m., Thursday-Saturday through April.

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Today's Clickers

Posted on February 19, 2012 by admin

1329625036 98 Today's Clickers

She was welcomed by family, friends and a virtual audience of millions who watched as the pop superstar was remembered as a child of God with the voice of an angel.

A voice that never forgot its roots.

“Jesus Loves Me” was the last song Houston sang in public before her death February 11 in Beverly Hills, California, at the age of 48.

So it was fitting that the mourners — comforted and encouraged by the likes of Stevie Wonder, Alicia Keys and R. Kelly — heard the simple, but powerful, “Jesus Loves Me,” this time performed by CeCe Winans.

Saturday’s homegoing service was held at New Hope Baptist Church, where Houston, nicknamed “Nippy,” was soloing in the junior choir by age 11.

Even with her ensuing fame, which brought six Grammy Awards, glamorous living and parties on the West Coast, and seven consecutive No. 1 singles, Houston never forgot her Newark, New Jersey, hometown.

Actor Kevin Costner, who starred with Houston in her first movie, “The Bodyguard,” recounted how both of them grew up in the Baptist faith and had family members who sang in the choir.

“Church was our bond,” Costner said.

Houston, the actor said, overcame her doubts about having what it took to earn the role in “The Bodyguard.” She alone, Costner said, was the right choice.

“Now you are gone, too soon, leaving us with memories of a little girl who stepped bravely in front of this church, in front of the ones that loved you first,” Costner said. “In front of the ones who loved you the best and loved you the longest. And boldly you stepped into the white hot light of the world’s stage.”

During the three-and-a-half-hour service, Houston’s casket, covered with a large spray of flowers, rested in front of the altar.

While many of her fans lamented the fact that Houston’s service was invitation-only, Pastor Marvin Winans, who delivered the eulogy, thanked Cissy Houston, Whitney’s mother, for having the service at New Hope.

“That took a lot of courage. And because of that you brought the world to church today,” Winans said during his eulogy.

The six-page funeral program contained color family photos and a letter from Cissy Houston.

The letter included the message, “God said ‘It’s time, Nippy. Your work is done.’” It was signed, “Thanks for being such a wonderful daughter. Love, Mommie.”

Houston also left behind a daughter, Bobbi Kristina Brown, 18.

Through the tears and occasional laughter, performers and speakers spoke of Houston’s loyalty.

Gospel singer and longtime friend BeBe Winans was visibly emotional as he recalled a memory of Houston’s sense of humor.

With his sister, CeCe, by his side, he told the story of how Houston, then a major celebrity, informed them of her intent to sing background vocals on their new tour. When they told her she was too big a star to do that now, Houston responded, “You’re my brother and sister, right?”

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Don Cornelius dies, leaves ‘Soul Train’ legacy of music and culture

Posted on February 18, 2012 by admin

1329601032 56 Don Cornelius dies, leaves ‘Soul Train’ legacy of music and culture

Police responded to a report of a shooting at Mr. Cornelius’s house at about 4 a.m., and he was pronounced dead at a hospital. Police ruled out foul play in the death and said a search of the house did not turn up a suicide note. Detectives were conducting interviews to learn more about Mr. Cornelius’s mental state.

“Soul Train,” which aired for more than 35 years, was the longest first-run syndicated television series in broadcast history. In addition to its cultural importance, with regular appearances by such musical giants as Michael Jackson, James Brown and Aretha Franklin, the show represented a major advance in entertainment for African Americans.

Recognizing that the major TV networks had virtually no programs geared toward black audiences in 1970, Mr. Cornelius designed “Soul Train” as what he called “a black ‘American Bandstand.’ ”

As the show’s host, he promised — in a burnished baritone voice — to take viewers on “the hippest trip in America.” He drew dozens of star headliners to “Soul Train,” but Mr. Cornelius’s greater achievement might have been as a behind-the-scenes producer and businessman who helped persuade mainstream companies to spend advertising dollars on largely black audiences.

Cornelius left a legacy of creating a popular television destination for black culture and music that unapologetically catered to its core audience and made it part of mainstream culture. As Lonnae O’Neal Parker and Chris Richards explained:

Before BET or MTV, before cable television or the Internet, TV’s “Soul Train” taught a generation how to dance and let black America see itself having fun. At the center stood Cornelius in all his preternatural cool.

For one hour once a week, black people were the cultural insiders. It was fine if others tuned in, but all the fashion, all the jokes, all the references were black, even if that meant the rest of America didn’t get it. Even if the rest of America didn’t know Evelyn “Champagne” King, or wear their hair fried, dyed and laid to the side, or realize that there was a dance called the “Errol Flynn.”

“Don Cornelius made a major impact on television and on so many people around the country,” said D.C. Mayor Vincent C. Gray. “ ‘Soul Train’ really attracted a lot of African Americans when there wasn’t much for African Americans in that regard. . . . It was an opportunity to see people that you otherwise were not be able to see.”

Local music great Chuck Brown remembers Cornelius as “smooth, cool, extremely intelligent.” He met him on a “Soul Train”-sponsored tour in the early ’70s but didn’t get to perform on the program until 1979, when his definitive hit “Bustin’ Loose” topped the charts.

“I wasn’t satisfied with the performance, but he was,” Brown said. “He would make sure everyone was comfortable. . . . [He was] a great TV presence. He was the man.”

Washingtonians reacted to Don Cornelius’ death, and Chris Richards collected a selection of their remembrances:

Raheem DeVaughn, R&B singer: “I’m thankful for the platform he created not just for black music, but for music as a whole. We didn’t have it before him.”

Donnie Simpson, radio and television personality:[Simpson first met Cornelius when he was 19 years old and hosting a television dance show show in his native Detroit.] “He told me, ‘I’d like for you to take over “Soul Train” someday…’ I was like, ‘Yeah, right.’ Who could replace that kind of cool?… The lesson I learned from him was to carry yourself with class… On air and off the air, Don was very, very classy.”

Mya, R&B singer (via email): “Condolences to the family, friends + associates of Don Cornelius. So grateful for his decades of innovative contribution to music. Soul Train brought so many wonderful memories, togetherness & joy for so many households. May the visionary rest in peace.”

Check Out Chicago’s Oldest Restaurants, But Better Hurry For Taverns — Grub Street Chicago

Posted on February 14, 2012 by admin

1329261427 27 Check Out Chicagos Oldest Restaurants, But Better Hurry For Taverns Grub Street Chicago

The old Chicago, the one that didn’t have big planters in the middle of its streets like a mall, was brought to mind yesterday by a nicely matched pair of stories— a list of the oldest restaurants in town, and a consideration of what we’re losing by losing the traditional Chicago neighborhood tavern. First the list, which is the sort of thing we’ve occasionally thought of making ourselves, but in this case the apartment-finding site Domu (presumably with the help of some public records) did a nicely thorough job of compiling 58 restaurants at least 50 years old.

The oldest spot is Bridgeport’s Schaller’s Pump, which used to be considered the alternative headquarters of the Democratic party organization that ran Chicago, dating back to 1881. And not surprisingly, many of the spots on the list are on the South Side, where urban renewal/gentrification has had less effect in driving old places out of business, including soul food restaurant Daley’s (1892), Hyde Park think tank Cafe Valois (1921), Lindy’s Chili (1924), Chinatown 1927 original Won Kow, the last surviving restaurant listed in John Drury’s 1931 guide Dining in Chicagoland, and Tufano’s Vernon Park Tap (1931). But there are places all over town, from the Mag Mile (the Cape Cod Room, 1933) to Lincoln Park (Frances’ Deli, 1938) to the northwest side (Marie’s Pizza, 1940). There are surely omissions (Lem’s Bar-B-Q, c. 1947, and Vito & Nick’s, c. 1949 as a pizzeria, come to mind, and we know Dr. Peter Engler has identified some other ancient hot dog stands) but a history buff could have a good time eating his way through the early 20th century off this list.

But you’d better hurry if you want to catch that Chicago institution, the neighborhood tavern. USA Today does a piece on the decline of the old school drinking-meeting place, and exhibit A is Chicago, where it’s increasingly hard to license a corner tap (but seemingly easy to put up a giant, Big 10-themed flatscreenpalooza in certain neighborhoods). USA Today laments the loss of the social cohesion and support network that such places provide, and there’s surely some truth to that view of the tavern as an essential piece of the social fabric 50 or 100 years ago, but Chuck Sudo, who knows a South Side tavern or two, also argues at Chicagoist that “there’s a stigma to the neighborhood tavern that is associated with Chicago’s status as a hyper-segregated, provincial city. The images of former Chicago policeman Anthony Abbate pummeling bartender Karolina Obrycka four years ago serves to reinforce the stereotype of Chicago as a “stay in your own neighborhood” town.”

We suspect that the neighborhood tavern was, in many ways, an historical phenomenon dependent on a number of factors which began to change in the late 20th century. Neighborhoods were ethnically homogenous, and where they weren’t, the tavern was a way of escaping into your enclave’s embrace. Women didn’t work, and it was accepted, if not exactly liked, that your old man would disappear into a tavern at least five or six nights a week and come home hammered. The way we live, the way we raise our families, and the way we drink has all changed, to something with less color but probably better in many ways. At least the beer is certainly better.

Presenting: Chicago’s Vintage Restaurants [Domu]

Neighborhood taverns disappear from Chicago, other cities [USA Today]

Are Taverns Truly Disappearing in Chicago? [Chicagoist]

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Singer-songwriter talks about life and his music

Posted on February 14, 2012 by admin

1329238634 80 Singer songwriter talks about life and his music

Singer-songwriter Matt Costa performed in the Wilkinson Center last Saturday, commanding the crowd using nothing more than his guitar. Famous for his low-key but powerful music, Costa has appeared on stages along with The Shins and Death Cab for Cutie and is on Jack Johnson’s music label, Brushfire Records.

Dressed in old jeans, boots and a T-shirt, Costa chatted with band members about songs he’s learning on the guitar and the Cafe Rio chicken salad he had for dinner. As Costa tuned his guitar throughout the interview, it was apparent that he was the kind of down-to-earth guy you would want to hang out with as he discussed books, YouTube videos and his love of eavesdropping.

DU: What’s the first CD you bought for yourself?

MC: The first CD I ever bought was a Queen Greatest Hits record. I went to K-Mart and bought it, and it was when CD’s came in the long cases so they could fit in record bins. I bought two CDs that day. I bought the Queen CD and the soundtrack to “White Men Can’t Jump.”

DU: Who would you say your biggest influences were growing up?

MC: I don’t know… the first songs I learned to play on the guitar were Nirvana songs. I remember learning “Come As You Are” and I still don’t think I can sing it and play it at the same time. I remember that was a challenge.

DU: You’ve played some really big festivals with successful artists. What’s that like? Is it still exciting or is it part of the lifestyle now?

MC: Well, they’re much more normal-sized in person than on stage. Because on stage they’re so small, when they’re far away. I like going to festivals because it’s an opportunity to see a lot of artists that I wouldn’t normally see. Classic ones like Tom Petty, that I wouldn’t get a chance to check out. Everyone’s in good spirits at those things so they’re always fun.

DU: As a child did you ever see yourself as a musician?

MC: As a kid I used to sing Michael Jackson songs into a little recorder, one of those Playskool microphones with the blue handle. I got the most kicks out of making feedback with the microphone rather than actually singing.

DU: What was your experience like the first time you ever recorded?

MC: The first time I only had about 15 minutes to record, I had time to do four songs. I had done stuff at my house on my four-track so I was familiar with it before I got in the studio. I recorded an EP, but it was quick. I haven’t listened to it in a while. I think I would be embarrassed if I did.

DU: Where do you get inspiration to write your songs?

MC: Eavesdropping. As you go through life you have a lot of experiences and you feel things a lot. Sometimes, you take it all in, you’ll be sitting somewhere and you will hear a conversation. You can transpose your own emotions from a situation similar to that one and then you have more stuff to work with.

DU: Is there a certain audience or age group that you write your music for?

MC: No, I just think, “does this sound good?”And if it does than I do that. It’s interesting because as you play more and more music you encounter people from across the world that you never would have expected to listen to your music. That’s pretty amazing to me, I don’t even try to plan it. I don’t think you could.

DU: On the road how do you and the band stay entertained?

MC: I do a lot of reading, I listen to podcasts and things. I like hearing stories, poetry or musical styles. Things like that. Or sometimes we just have bluegrass jams.

DU: Did you grow up in a house full of music?

MC: My parents had a record player but it didn’t have a needle on it. I had a record that my Grandma had given me, it had the song, “Great Balls of Fire” on it because I would always call into the radio station and request it. As a kid my parents would always listen to oldies stations. Since they were oldies I never really saw those people on TV so I never had images of who they were. They were always characters that I would imagine, I don’t even know what I thought they looked like. There weren’t even people, it was just a sound.

DU: Are there any contemporary artists that you’re listening to now?

MC: Yeah, I’ve been listening to this guy, his name is Michael Kiwanuka. I think he’s from England. I heard him on NPR radio, and when I heard it I thought it was some lost soul recording. I just thought it was really good. It was the last thing to really catch my ear.

DU: Your last album “Mobile Chateau” came out in 2010. Are you working on stuff now?

MC: I am, I’ve been writing a bunch of stuff. We’ll try to record it within the next six months.

DU: What’s your favorite YouTube movie?

MC: One that’s really good is the one with Michael Jackson, Prince and James Brown. It’s them performing, I think it’s a live show in the ’80s. It’s a James Brown show and crazy soul havoc breaks out. It’s a good one, you’ve got the check it out.

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Smooth blues operator Robert Cray glides into town

Posted on February 14, 2012 by admin

1329219436 99 Smooth blues operator Robert Cray glides into town

Back in the early 1980s, blues music was languishing behind the dance-pop, hip-hop and hard rock taking the MTV world by storm. But handsome, honey-voiced guitar slinger Robert Cray made one of the first forays into that celebrity stratosphere with his 1985 hit “Smokin’ Gun.”

Close to 30 years later, Cray is still one of the most visible ambassadors for traditional blues, even as he incorporates soul, R&B, jazz and even Latin influences into his well-oiled live show. And you can’t deny the man’s laundry list of accomplishments: five Grammy awards, a spot in the Blues Hall of Fame, multiple tours with guitar demi-god Eric Clapton, recording sessions with pioneers like John Lee Hooker, and even an uncredited appearance in cult film National Lampoon’s Animal House.

Drift caught up with Cray to talk about The Beatles, political inspiration and his love of live performance.

Drift: You just played the Grammy Foundation’s 14th Annual Music Preservation Project Celebration of the Live Music Experience the other night, correct? How was that experience, performing with legends like Mavis Staples, Trombone Shorty, and Jonny Lang?

Robert Cray: It was pretty cool — a lot of great names onstage, a great house band, and for a great cause.

Drift: Going back a bit farther, how did you first get turned on to the blues?

RC: I started playing guitar in the mid ‘60s because of The Beatles. When they hit, everybody got a guitar, and I followed suit. So I played and listened to everything that was on the radio until my high school days, when I had a couple of other guitar-playing friends that were listening to people like Buddy Guy and Magic Sam. So I jumped into that crowd, and then we went into intense research mode, buying books and records and having all these dreams about being blues guys [laughs]. It was a great fantasy, because we were about 16, still in high school. And then for some strange reason, our senior class voted to have Albert Collins play our graduation party. That pretty much cemented the whole thing.

Drift: How important was it to you to meet men like Collins, along with other legends like John Lee Hooker, who you recorded and toured with later on?

RC: It was important to me because it was like that fantasy coming true after worshipping these guys as teenagers. We picked up on their character — John Lee Hooker stuttered, but he was just the sweetest guy in the world, you know? All these people that we were idolizing were just amazing guys. It was a fantastic experience.

Drift: You toured with Collins and recorded with Hooker before finding success with your own band. Is that a common blueprint for blues success, serving as a sideman for many years before breaking out on your own?

RC: You do have to put down your roots, and it’s important to do your homework. You learn from the elders; that’s all a part of the preservation.

Drift: Once you did start to make a name for yourself as a bandleader in the early ‘80s, did you have to adjust your focus away from just straight blues to appeal to a broader audience?

RC: Well, you know, we’re not particularly a straight-ahead blues band, and other influences are just natural to us. I started playing in the ‘60s and my ears were open to a lot of different styles of music. I’m a blues fanatic, but I’m also big into soul and jazz and all the other things that come with it. So we just take things on a song-to-song basis.

Drift: As far as songwriting inspiration goes, has it changed a lot in the last 35-plus years that you’ve been writing your own material?

RC: The inspiration comes from all different sources. Some old personal things, some things I see go on with friends, some of it is political, some is made up… In that sense, nothing’s changed — it’s just about finding different stories with each new album.

Drift: How political do you get, especially in these ultra-polarized times that we live in?

RC: It gives me a lot of inspiration, the way everything is politically charged like you said. We’ll probably see some more of that on our next recording, which we’re going to do next month. Then we’ll look at a September release.

Drift: You’ve earned a lot of credit over the years not just for being a great guitar player but also a great singer. Is that a skill that came naturally to you when you were younger, or have you had to work on it over the years?

RC: I’m still working on it [laughs]. It’s an ongoing process, which is the way it should be. When I first started, I wasn’t a lead singer, and I kind of got elected after a while. I was in a couple of bands where we had the lead singers leave, so I was forced into those situations. I enjoy it now, but in those earlier days I was too shy to be a front person.

Drift: Did your experience with legendary characters like John Lee Hooker and Albert Collins give you a little taste of the charisma needed to lead a band?

RC: Well, those are two giant personalities: Albert Collins taking the floor, walking into the crowd, and John Lee Hooker owning it. That’s not really my kind of personality, although I enjoyed watching them do what they did. I think what’s most important is they would give you the respect, and they would encourage you to be a leader. That was very important to us.

Drift: A lot of blues artists say they prefer going out on the road and performing live to recording in the studio. What’s your take?

RC: I definitely prefer live. The studio is great, but you do your recording and it’s done; you leave it there. Then after that you go out on the road the songs change, which is what should happen. What’s exciting about the road is where those songs go when you’re out playing them differently every night. When we do record, we do very few takes, trying to keep that somewhat live feel. The studio is fun, but it’s a cage — you gotta get out and play live.

Drift: What’s your take on the future of the blues? Last month I interviewed your good friend Keb’ Mo’ about his new record label that’s recruiting African-American talent to keep the art form alive.

RC: He probably talked about Gary Clarke Jr., didn’t he? Kevin’s the one who turned me on to him; we were out together touring and he showed he a YouTube video of this young guy owning the blues. And on top of that, making the music fresh with his generation is always what changes. Back in the ‘80s, when we first came on the scene, we were adding some different flavor to the blues to keeping it going; it was a natural thing back then, and it’s a natural thing for Gary, too. It’s great to see.

The Robert Cray Band performs with Willie Green at 8 p.m. Tuesday, Feb. 14 at the Ponte Vedra Concert Hall, 1050 A1A North, Ponte Vedra Beach. Tickets range from $55 to $65 for reserved seating. For information, go to PVConcertHall.com or call 209-0399.

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Rachel B. Levin – Freelance Writer, Los Angeles » Mods and Motown at Club Soulside

Posted on February 9, 2012 by admin

1328747827 90 Rachel B. Levin – Freelance Writer, Los Angeles » Mods and Motown at Club Soulside

In my latest installment for the Los Angeles Times “Boogie Nights” column, I visited Club Soulside at Cafe Club Fais Do-Do, a monthly invocation of all things mod (a subculture with roots in 1960s Britain). In the late 1970s and early ’80s, a mod revival swept through Southern California, introducing a new generation to its tenets of soul music, Italian scooters, and — above all — sharp dressing. The music and fashion are so cool that the mod lifestyle has continued to endure among its faithful devotees, with newbies discovering its pleasures at places like Club Soulside. The DJs here are really dynamite and the Northern soul, Motown, and vintage reggae tunes (all played on 45s) irresistible. Patrons get down with the Shuffle and the Jamaican skank. You might even see some hardcore dancers break out James Brown-type splits and hand plants! Read more in my piece in the Los Angeles Times.

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Remembering Don Cornelius: ‘Soul Train’ creator defined an era

Posted on February 8, 2012 by admin

1328697428 30 Remembering Don Cornelius: Soul Train creator defined an era

The news Wednesday morning that "Soul Train" creator Don Cornelius was found dead in Sherman Oaks, an apparent suicide, has brought an entire era of music rushing back. The Times' Andrew Blankstein writes that Cornelius died of a self-inflicted gunshot wound.

Cornelius, the low-key influencer who helped deliver funk, soul and disco music into Saturday afternoon living rooms across America and helped prime the world for the impending hip-hop revolution, was one of the most important tastemakers of the 1970s — and was a key purveyor of black pop culture on television. He not only broke artists and songs on a weekly basis, but showcased the amazing dance moves that were reacting to the music.

2010 saw the release — finally — of a double-CD collection of "Soul Train" highlights, and the Times spoke with Cornelius about "Soul Train," its influence, and revisiting the era. "The '70s and '80s were just the period during which the best soul music was created and the best records were done," Cornelius told writer Jeff Weiss. "Whenever I walk into a store or any kind of environment, these kinds of songs from that period still play and I wonder if it's a 'Soul Train' tape. Because during those two decades, we were on top of them all in one way or another, either presenting the guests or playing the records. We were just flat-out in love with the music."

PHOTOS: Don Cornelius | 1936 – 2012

Cornelius also spoke about his initial reactions to hip-hop — he was lukewarm at first, but soon enough started playing it — and about his then-current plans to bring to life a film based on "Soul Train."

"We've been in discussions with several people about getting a movie off the ground," he said. "It wouldn't be the 'Soul Train' dance show, it would be more of a biographical look at the project. It's going to be about some of the things that really happened on the show. I had a discussion with Eddie Murphy not long ago, and he liked the documentary so much that he suggested that he might want to do something in terms of the show's relationship with James Brown — if not play him, than just do a kind of vignette."

Pop & Hiss will keep you updated on the sad news of Cornelius' death.

And then there's this, which says it all:

RELATED:

'Soul Train' creator dead in apparent suicide

Don Cornelius died of gunshot wound to the head

Don Cornelius discusses 'Soul Train' and its influence

Photo: Don Cornelius in 2006. Credit: Damian Dovarganes / Associated Press

In April 2009 (Australia)/June 2009 (UK), he made a cameo appearance as himself on "Ramsay Street" in the long-running Australian soap opera Neighbours. Although a broker will charge a fee for the Chicago event tickets procurement service, the service is so valuable that it is usually well worth it. To be sure, "You have to play the cards you're dealt." Raffle prizes include A 32 Inch LCD TV. Ticket prices are generally more stops, thanks to free trade, which softened the tickets can be sold at any price they wanted. In fact, it is too vast to be covered by this article. Grab the opportunity to experience the phenomenal music of U2, and book your U2 concert tickets without any delay. Sold Out Ticket Market is ideal for Cold Cave Tickets at nominal rates. My guess is a popular name in the world of listen to youtube. I presumed I wasn't clear that I reckon that is a shrewd feeling, but that is much easier done wholesale. Tickets went on sale starting May 22, 2010. The show's plot is to discover the next ideal solo recording artist in the music industry. Unless otherwise stated, children's seats are expected to be paid for. Throw in The Crystal Method, Rich Robinson and Robyn Hitchcock performing his 1990 album Eye in its entirety at Slims and the calendar bursts at the seams days before Thanksgiving. I'll pimp this up for you: I have questionable opinions on latest music. The Edmonton Opera and Edmonton Symphony Orchestra are well known for the wonderful talent they showcase. I have no solution with music videos and this is a secret. I don't suppose that you would want to forget the most paramount conditions to know when it is put alongside country music.

2012 New Orleans Jazz Fest releases daily schedule

Posted on February 2, 2012 by admin

Producers of the 2012 New Orleans Jazz Fest released the festival’s daily schedule today. In addition to revealing who is performing on what day, the schedule includes several dozen names not contained on the original talent release. Those names include Mystikal and, most prominently, Bruce Springsteen & the E Street Band.

9558256 large 2012 New Orleans Jazz Fest releases daily schedule Rusty Costanza / The Times-PicayuneMystikal performs at the Congo Square Stage during the 2011 New Orleans Jazz Fest. He returns to the Fair Grounds in 2012.

The day-to-day roster is as follows:

FRIDAY, APRIL 27

The Beach Boys reunion feat. Brian Wilson, Mike Love, Al Jardine, Bruce Johnston, and David Marks, Bon Iver, Steel Pulse, Buckwheat Zydeco, Givers, Zebra, Seun Kuti & Egypt 80, Gomez, The Texas Tornados feat. Flaco Jimenez, Augie Myers, and Shawn Sahm, The Dixie Cups, Cubano Be, Cubano Bop: Poncho Sanchez & His Latin Band feat. Terence Blanchard, Chuck Leavell & Friends with special guest Bonnie Bramblett, Irma Thomas’ Tribute to Mahalia Jackson, Eric Lindell, New Orleans Classic R&B Revue feat. Frankie Ford, Al “Carnival Time” Johnson, Robert “Barefootin” Parker, and Blue Eyed Soul, James Andrews & the Crescent City Allstars, BeauSoleil avec Michael Doucet, Butch Thompson, Kirk Joseph’s Backyard Groove, Chubby Carrier & the Bayou Swamp Band, Leyla McCalla, Sasha Masakowski, Johnny Sketch & the Dirty Notes, Slavic Soul Party!, Jamil Sharif, Stephanie Jordan Big Band, Leah Chase, The Revivalists, Lil’ Buck Sinegal Blues Band, Shades of Praise: New Orleans Interracial Gospel Choir, Tim Laughlin, Dukes of Dixieland, Geno Delafose & French Rockin’ Boogie, Betty Winn & One A-Chord, Young Pinstripe Brass Band, Dee-1, Fredy Omar con su Banda, Kim Carson & the Enablers, Sammy Rimington International Band, The Electrifying Crown Seekers, Guitar Lightnin’ Lee & the Thunder Band, Ivoire Spectacle feat. Seguenon Kone, Wimberly Family Gospel Singers, Henry Gray & the Cats, Real Untouchables Brass Band, James Rivers Movement, Goldman Thibodeaux & the Lawtell Playboys, Louis Ford & His Dixie Flairs, Comanche Hunters and Semolian Warriors Mardi Gras Indians, Cindy Scott, Golden Voices Community Choir, Zulu and Big Nine Social Aid & Pleasure Clubs, The Boyz Singers and Dancers, Traditional Dance by Asociacion de Peruanos en Louisana, Northwestern University Jazz Ensemble, Black Foot Hunters and Black Mohawk Mardi Gras Indians, Beth Patterson & Potent Bathers, Miss Claudia & her Biergartners, Alana Villavaso, Reverend Jermaine Landrum & the Abundant Praise Revival Choir, Brass Band Throwdown with Martin Behrman, W.J. Fischer, and Kate Middleton Elementary Schools, The Bester Singers, Dynamic Smooth Family Gospel Singers, GrayHawk presents Native American Lore and Tales, New Orleans School of Circus Arts & I.S.L., Geronimo Hunters and Creole Osceolas Mardi Gras Indians, Keep N It Real and We Are One Social Aid & Pleasure Clubs…

SATURDAY, APRIL 28

Tom Petty & the Heartbreakers, Jill Scott, Feist, Trombone Shorty & Orleans Avenue, Bobby Rush, Dave Koz, Irvin Mayfield & the New Orleans Jazz Orchestra, Carolina Chocolate Drops, Soul Rebels, Israel Houghton and New Breed, Amanda Shaw & the Cute Guys, Walter “Wolfman” Washington & the Roadmasters, Cheikh Lô of Senegal, Voice of the Wetlands Allstars feat. Tab Benoit, Dr. John, Cyril Neville, Anders Osborne, Big Chief Monk Boudreaux, Johnny Vidocovich, Waylon Thibodeaux, and Johnny Sansone, Nathan & the Zydeco Cha Chas, The New Orleans Bingo! Show, Tribute to Wardell Quezergue feat. Jean Knight, The Dixie Cups, Robert “Barefootin” Parker, and Tony Owens, Pine Leaf Boys, Meschiya Lake & the Little Big Horns, Khris Royal & Dark Matter, Dr. Michael White & the Original Liberty Jazz Band feat. Thais Clark, Luther Kent, Shamarr Allen & the Underdawgs, Roddie Romero & the Hub City All Stars, Evan Christopher, Gal Holiday & the Honky Tonk Revue, Midnite Disturbers, Savoy Center of Eunice Saturday Cajun Jam, Heritage Hall Jazz Band feat. Jewel Brown, Storyville Stompers Brass Band, Watson Memorial Teaching Ministries, The Gospel According to Jazz feat. BJ Crosby, Judy Davis, Danon Smith, and Yolanda Windsay, Jeremy Lyons with members of Morphine, Peter Martin, Empress Hotel, Lars Edegran & the New Orleans Ragtime Orchestra, Paulin Brothers Brass Band, Kristin Diable & the City, D.L. Menard & the Louisiana Aces, The Courtyard Kings, Creole Wild West Mardi Gras Indians, City of Love Music & Worship Arts, Brother Tyrone & the Mindbenders, High Ground Drifters Bluegrass Band, Tom McDermott, Kevin Bryan, DJ Soul Sister, Bamboula 2000, Pastor Jai Reed, Marc Stone, Golden Comanche and Seminoles Mardi Gras Indians, Tonia Powell & the Left Field Band, SUBR Jazzy Jags, Cameron Dupuy & the Cajun Troubadours, 101 Runners, Tonia Scott & the Anointed Voices, Loyola University Jazz Band, Javier Tobar & Elegant Gypsy, The Jones Sisters, Young Band Nation Blues Project, RRAAMS Drum and Dance, Archdiocese of New Orleans Gospel Choir, Josh Kagler & Harmonistic Praise Crusade, New Wave Brass Band, Nine Times Men, Single Ladies, and Single Men Social Aid & Pleasure Clubs, Ashe Cultural Arts Center Kuumba Institute, Delgado Community College Jazz Band, The Heavenly Melodies Gospel Singers, Wild Mohicans and Red, White & Blue Mardi Gras Indians, The Boyz Singers and Dancers, Muggivan School of Irish Dance, Dumaine Gang, Divine Ladies, Family Ties, and Men of Class Social Aid & Pleasure Clubs, Puppet Arts Theater…

SUNDAY, APRIL 29

Bruce Springsteen and the E Street Band, Al Green, John Mayer, Dr. John & the Lower 911, Janelle Monae, Pete Fountain, Yolanda Adams, Iron & Wine, Cowboy Mouth, Dianne Reeves, Tab Benoit, Sonny Landreth, Gary Clark, Jr., Papa Grows Funk, C.J. Chenier & the Red Hot Louisiana Band, Nicholas Payton SeXXXtet, Ellis Marsalis, Lindigo of Reunion Island feat. Fixi of France, Big Chief Monk Boudreaux & the Golden Eagles, Ironin’ Board Sam, Evelyn Turrentine Agee, Debo Band: Ethiopian Groove Collective, Corey Harris & Phil Wiggins, Sunpie & the Louisiana Sunspots’ International Accordian Summit, New Orleans Klezmer Allstars, Treme Brass Band, Steve Riley & the Mamou Playboys, Tribute to Alex Chilton feat. Dave Pirner, Alex McMurray, Susan Cowsill, and Rene Coman, Los Po-Boy-Citos, Batiste Brothers, Victor Goines, Washboard Rodeo, Leo Jackson & the Melody Clouds, Bill Summers & Jazalsa, Brice Miller & Mahogany Brass Band, Jumpin’ Johnny Sansone, Ernie Vincent & the Top Notes, Golden Star Hunters Mardi Gras Indians, Don Vappie & the Creole Jazz Serenaders, Lionel Ferbos & the Palm Court Jazz Band, Kirk Joseph’s Tuba Tuba, Gospel Soul Children, Panorama Jazz Band, Hadley J. Castille Family & the Sharecroppers Family Band, Pat Casey & the New Sound, Erika Flowers, Clive Wilson’s New Orleans Serenaders with guest Butch Thompson, Morning Star Baptist Church Mass Choir, Spencer Bohren, Chris Clifton, Gospel Diva Lois Dejean, Carrollton Hunters, Big Chief Goodman & the Flaming Arrows, and Ninth Ward Hunters Mardi Gras Indians, Johnette Downing, Tornado Brass Band, Big Steppers, Untouchables, and Furious Five Social Aid & Pleasure Clubs, E’Dana & Company, N’Fungola Sibo West African Dance Company, Ayla Miller Band, Adella Adella the Storyteller, Franklin Avenue Baptist Church Mass Choir, Heritage School of Music Band, Kai Knight’s Silhouette Dance Ensemble, Olympia Aid, New Look, First Division, and Secondline Jammers Social Aid & Pleasure Clubs, NOCCA Jazz Ensemble, Sunpie Barnes presents Louisiana Creole Music, Ninth Ward Navajo, Black Eagles and Shawee Mardi Gras Indians, The Boyz Singers and Dancers, Bishop Sean Elder & the Mount Hermon Baptist Church Mass Choir…

THURSDAY, MAY 3

Eddie Vedder, Florence + the Machine, Ivan Neville’s Dumpstaphunk, Ani DiFranco, Esperanza Spalding: Radio Music Society, The Dirty Dozen Brass Band, James Cotton “Superharp” Band, Regina Carter’s “Reverse Thread”, George Porter, Jr. & Runnin’ Pardners, Henry Butler, Honey Island Swamp Band, Glen Hansard, Little Freddie King, Astral Project, Mia Borders, Hurray for the Riff Raff, Banu Gibson, Rosie Ledet & the Zydeco Playboys, Chico Trujillo of Chile, Bill Miller, Marlon Jordan Quartet, Iguanas, Free Agents Brass Band, Cheick Hamala Diabate of Mali, Raymond A. Myles Singers 30th Anniversary Reunion, Joint’s Jumpin’, Alto Saxophone Woodshed feat. Aaron Fletcher, Kid Chocolate, The Roots of Music Marching Crusaders, Native Nations Intertribal, Yvette Landry, Palmetto Bug Stompers, Magnolia Jazz Band of Norway feat. Topsy Chapman, The Stooges Brass Band, Silky Sol, Michael Ward, Flow Tribe, Otra, J. Monque’D Blues Band, Kipori “Baby Wolf” Woods, Amina Figarova, Hot Club of New Orleans, Dayna Kurtz, Kristi Guillory & the Midtown Project, Robert Jardell & Pure Cajun, Original Pinettes Brass Band, Forever Jones, Lyle Henderson & Emanu-El, Fi Yi Yi & the Mandingo Warriors, Black Seminoles Mardi Gras Indians, Kourtney Heart, The Mighty Supremes, Seva Venet & the Storyville String Band, Kelcy Mae, Julio y Cesar, Culu Children’s Traditional African Dance Company & Stilt Walkers, Judy Stock, Young Fellaz Brass Band, VIP Ladies, Revolution, and Ladies of Unity Social Aid & Pleasure Clubs, 7th Ward Creole Hunters and Cheyenne Mardi Gras Indians, McDonogh #35 High School Gospel Choir, Gospel Inspirations of Boutte, Eleanor McMain Singing Mustangs, O. Perry Walker Charter High School Gospel Choir, Tulane University Jazz Ensemble, Jazztories Puppets, Opera a la Carte, Recovery School District Talented in Theater Performers, Young Audiences Performing Arts Showcase feat Ballet, Tap and West African Dance…

FRIDAY, MAY 4

Zac Brown Band, Grace Potter & the Nocturnals, Rodrigo y Gabriela and C.U.B.A., Bunny Wailer, Mystikal, Mavis Staples, Marcia Ball, Bonerama, Little Anthony & The Imperials, Bruce Hornsby, Donald Harrison, The Pedrito Martinez Group, Theresa Andersson, Sarah Jarosz, Deacon John, Terri Lyne Carrington’s Mosaic, Wayne Toups & ZyDeCajun, Wycliffe Gordon Quintet: Hello Pops Tribute to Louis Armstrong, Germaine Bazzle, Wanda Rouzan, Delfeayo Marsalis’ Uptown Orchestra, Bruce Daigrepont Cajun Band, Lil’ Nathan & the Zydeco Big Timers, Mark Braud’s New Orleans Jazz Giants, Topsy Chapman & Solid Harmony, Hot 8 Brass Band, Ingrid Lucia, Jim McCormick Band, The Revealers, Yvette Landry Band, Baritone Bliss, The Bucktown Allstars, Phillip Manuel, Reggie Hall & the Twilighters feat. Lady Bee, Vivaz!, Nayo Jones, Big Al Carson & the Blues Masters, Courtney Bryan, Feufollet, Joe Hall & the Cane Cutters, Doreen Ketchen’s Jazz New Orleans, Connie Jones & the Crescent City Jazz Band, Bryan Lee & the Blues Power Band, Kumbuka African Dance & Drum Collective, Ted Winn, St. Joseph the Worker Choir, Forgotten Souls, Brass Bed, Zazou City, Kid Simmons’ Local International Allstars, Smitty Dee’s Brass Band, John Lawrence & Ven Pa’ Ca Flamenco Dancers, Lesa Cormier & the Sundown Playboys, Zulu Male Ensemble, Connie & Dwight with the St. Raymond / St. Leo the Great Gospel Choir, Erica Falls, Gal Holiday presented by Young Audiences, Native Nations Intertribal, Young Magnolias, Golden Sioux and Young Cherokee Mardi Gras Indians, New Orleans Hispano America Dance Group, Kenneth Terry Brass Band, Scene Boosters and Old N Nu Fellaz Social Aid & Pleasure Clubs, Red Hawk and Golden Blade Mardi Gras Indians, Pastor Tyrone Jefferson, Donnie Bolden & the Spirit of Elijah, Original Big Seven and Original Four Social Aid & Pleasure Clubs, Lake Forest Charter Jazz Ensemble, New Orleans Indian Rhythm Section, Eulenspiegel Puppets, Pastor Terry Gullage & the Greater Mount Calvary Voices of Redemption Choir, Fannie C. Williams Charter Choir, KIDsmART Showcase feat. Arise Academy, Martin Behrman Charter School, Langston Hughes Academy, and McDonogh City Park Academy…

SATURDAY, MAY 5

Eagles, My Morning Jacket, Ne-Yo, Irma Thomas, Herbie Hancock, Paulina Rubio, Allen Toussaint, The Levon Helm Band with special guest Mavis Staples, Better Than Ezra, Preservation Hall Jazz Band, Steve Earle and the Dukes (and Duchesses), Aaron Neville’s Gospel Experience, Big Sam’s Funky Nation, Jon Cleary, Bombino of Niger, Anders Osborne, John Boutté, The Pedrito Martinez Group, Jeremy Davenport, John Mooney & Bluesiana, MyNameIsJohnMichael, Lost Bayou Ramblers, The Malone Brothers, Dwayne Dopsie & the Zydeco Hellraisers, New Birth Brass Band, Mariachi Jalisco, Leroy Jones & New Orleans’ Finest, Red Stick Ramblers, Paul Sanchez & the Rolling Road Show, Mac Arnold & Plate Full o’ Blues, Young Tuxedo Jazz Band, The Johnson Extension, Guitar Masters feat. Jimmy Robinson, John Rankin, Phil DeGruy, and Cranston Clements, Val & the Love Alive Fellowship Choir, Rumba Buena, Mas Mamones, Roland Guerin, New Leviathan Oriental Foxtrot Orchestra, Tyronne Foster & the Arc Singers, Pinstripe Brass Band, Black Feathers Mardi Gras Indians, Sam Doores & the Tumbleweeds, Patrice Fisher & Arpa & the Garifuna Connection, Jeffery Broussard & Creole Cowboys, Guitar Slim, Jr., Cha Wa, Tarriona “Tank” Ball & the BlackStar Bangas, Louisiana Repertory Jazz Ensemble, Belton Richard & the Musical Aces, New Orleans Spiritualettes, Tommy Sancton’s New Orleans Legacy Band, Stephen Foster’s Foster Family Program, Big Chief Trouble & Trouble Nation and Mohawk Hunters Mardi Gras Indians, Grupo Sensacion, Baby Boyz Brass Band, Riccardo Crespo & Sol Brasil, Kora Konnection feat. Morikeba Kouyate of Senegal & Thierno Dioubate of Guinea, Westbank Steppers, Valley of Silent Men, and Pigeon Town Steppers Social Aid & Pleasure Clubs, Curtis Pierre with Samba Kids, Xavier University Jazz Ensemble, Voices of Peter Claver, Cynthia Girtley, Wild Red Flame and Cherokee Hunters Mardi Gras Indians, Native Nations Intertribal, Matthew Davidson Band, Versailles Lion Dance Team, Kinfolk Brass Band, Young Guardians of the Flame, Double Dutch Jumpers, New Generation, Undefeated Divas, and Lady Jetsetters Social Aid & Pleasure Clubs, First Emanuel Baptist Church Mass Choir…

SUNDAY, MAY 6

Foo Fighters, The Neville Brothers, Bonnie Raitt, Maze feat. Frankie Beverly, Galactic, Sharon Jones & the Dap Kings, Preservation Hall 50th Anniversary Jam, David Sanborn and Joey DeFrancesco, funky Meters, Kermit Ruffins & the Barbecue Swingers, Asleep at the Wheel, Rebirth Brass Band, The Bounce Shake Down feat. Big Freedia, Katey Red, Keedy Black, and DJ Poppa, Rockin’ Dopsie, Jr. & the Zydeco Twisters, Big Chief Bo Dollis & the Wild Magnolias, Los Hombres Calientes feat. Bill Summers and Irvin Mayfield, Charmaine Neville Band, Glen David Andrews, Supagroup, Boutté Family Sunday Praise feat. John, Lillian, Tricia, Lorna, Tanya, and Arséne, Ruby Wilson’s Tribute to Bessie Smith & Ma Rainey, DJ Captain Charles, The Joe Krown Trio with Walter “Wolfman” Washington and Russell Batiste, Jr., Zion Harmonizers, Terrance Simien & the Zydeco Experience, Mem Shannon & the Membership, Creole String Beans, Bobby Lounge, Living Tribute to Harold Batiste feat. Jesse McBride, Ellis Marsalis, and Germaine Bazzle, ELS, TBC Brass Band, Higher Heights, Rocks of Harmony, Jo “Cool” Davis with special guest Sugarboy Crawford, George French & the New Orleans Storyville Jazz Band, Blodie’s Jazz Jam, Gregg Stafford’s Jazz Hounds, Keith Frank & the Soileau Zydeco Band, Rotary Downs, Jambalaya Cajun Band, The Stars of Heaven, Andrew Duhon, New Orleans Nightcrawlers, Wendell Brunious & the Music Masters, Pfister Sisters, Lynn Drury, Tanya & Dorise, AsheSon, Kim Che’ré, Caesar Elloie, Brother Dege, Gregory Agid, Curley Taylor & Zydeco Trouble, Orange Kellin & the New Orleans Deluxe Orchestra, Jockimo’s Groove feat. War Chief Juan, Craig Adams & Higher Dimensions of Praise, High Steppers Brass Band, Lady Rollers, Original C.T.C. Steppers, and Nine Times Ladies Social Aid & Pleasure Clubs, Native Nations Intertribal, David & Roselyn, UNO Jazz Allstars, N’Kafu Traditional African Dance Company, New Orleans Young Traditional Brass Band with the Heel to Toe Steppers, Wild Tchoupitoulas and Wild Apaches Mardi Gras Indians, Ninevah Baptist Church Mass Choir, 14 and Under Cajun Band, NORD/Crescent City Lights Youth Theater, Buffalo Hunters and Apache Hunters Mardi Gras Indians, Hobgoblin Hill Puppets, Original Prince of Wales and Original Lady Buckjumpers Social Aid & Pleasure Clubs…

Releasing breakthrough singles consistently, the group has a reputation for putting on magnetic performances. It is a long abandoned strategy that I attempted here. Which tribe do we belong to? I did make some mistakes in my concert, even though I played well. TX is the next venue. In addition to the above summer tour the singer could also be operating on her third album and she or he is scheduled to superstar in the film onte Carlo?through Fox. Ten concerts were held all around the world with over 1000 artists performing including Madonna, Pink Floyd, Will Smith, Coldplay, Elton John and Stevie Wonder to name but a few. This probably comes as no great shock. I wanted to show you a picture but I wasn't able to do it. His father, of the same name, was conductor of the Maastricht Symphony Orchestra. Free listening music takes the guess work out of royalty free music. From there, Petrucci walked out playing the intro to Bridges in the Sky, the first of five numbers played that evening off of Dream Theaters new album A Dramatic Turn of Events and the night of virtuoso musical performances began.

A sack full of funk: Soul Santa » thefreethinkingmovement

Posted on February 1, 2012 by admin

1328055437 97 A sack full of funk: Soul Santa » thefreethinkingmovement

It’s Christmas. And, have I got a treat for you?

Over the last few months, I have – like so many others – become mildly addicted to turntable.fm. For the uninitiated, it’s social networking brought to music. You enter a ‘room’, and five DJs take it in turns to play music. Play the wrong track, and you get booted off stage. Different ‘rooms’ have different themes – you’ll find indie, dubstep, classical, and even freethinking represented. There’s also a space which is fast becoming legendary: the Funk and Soul Cave. I’ve heard more lost funk and soul rarities over the last couple of months than I have for years. People who know a little about music, coming together to share their passion – and opening their virtual crates to the masses. It’s great. I said ‘mildly addicted – in truth, it’s probably more like crack.

And so, with Christmas upon us, here’s an outrageously good slab of funk to celebrate the season. I heard this tune earlier in the week in the Funk and Soul Cave. Whoever played it – and I truly can’t remember for the life of me which regular it was – deserves a sack load of funk to be delivered down their chimney tonight. It immediately became a seasonal staple for me.

I couldn’t wait to share this. If you haven’t heard it before, Funk Machine’s ‘Soul Santa’ is about to become a part of your Christmas. It’s the gift that keeps on giving.

While the freethinking movement is about blurring genre boundaries, keeping it funky is a common theme. There’s always room for funk and soul in your life.

In 2004, Bon Jovi went on exclusive tours as a representative of John Kerry, who was a candidate for Presidential elections. "Best Days Of Your Life" is a solo of Kellie. Sutherland & Morgan were two of several artistes who performed at Bujus Before The Dawn concert this past January in Miami; the singers last performance before his February trial. It's a very tiny venue. Concert Tickets While concerts can be really an exciting experience, the process to buy cheap concert tickets is not. The performances and songs of the evening built up to the grand finale, Breaking All Illusions, which took the best of what each band member had to offer and yet the whole still ended up being greater than the parts. Another feeling for your free music site can be to transform it into a music stream. Back line. Music free is the next best thing and there ought to be a law against that. These are the game plans which someone might follow. In the small minority of cases, this does happen overnight. To find news on upcoming concerts websites such as pollstar.com, citysearch.com and livedaily.com are great information resources on the internet. Lady Gaga has acknowledged that she is planning a new tour, but has not yet set any dates.

Balcom, Aaron concert and music

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A sack full of funk: Soul Santa » thefreethinkingmovement