$25
Sat., March 06, 2010 / 7:00 PM
Audio / Video
Gallery
About This Event
Minimum Age:
18+Doors Open:
7:00 PMShow Time:
8:00 PMDescription:
This is a first come, seated event. Seating is limited and not guaranteed; please arrive early.
Additional tickets may be available at the door.
Additional tickets may be available at the door.
Artists
Vinicio Capossela
”Calling himself an “enchanter,” Mr. Capossela, one of the cleverest and most eccentric musicians in Italy, spins enigmatic fantasies of both skid row Americana and mythological Italy in a grittily elegant cabaret-jazz style that recalls Tom Waits and Paolo Conte”. The New York Times
“Like a mystical cross between Tom Waits and John Cleese, Capossela limns a wry, topsy-turvy musical universe...he is known for captivating theatrical performances”. The New Yorker
“Italy’s most intriguing musical traveller”. Mojo
ITALIAN MUSICAL ENCHANTER VINICIO CAPOSSELA RETURNS TO NORTH AMERICA Theatrical Underground Visionary Announces March Tour Dates Debut Album Release on Nonesuch Records for Chart-topping Songwriter
Italy’s award-winning avant singer-songwriter Vinicio Capossela brings his renown musical side show to North America for a coast to coast string of concert offerings in March 2010. First pitching their tent at New York City’s (Le) Poisson Rouge on March 5 and 6, the Capossela musical circus then heads north to Canada to Montreal and Toronto on March 8 and 9, before going west for three back-to-back debuts in Chicago (March 10), San Francisco (March 12), and finally wrapping at Los Angeles’ El Rey Theater on March 13. No stranger to North American audiences, “theatrical underground visionary” Capossela’s 2007 debut concert dates in the US and Canada were completely sold-out and his showcase performances at the 2008 editions of GlobalFEST in New York City and SXSW in Austin, Texas were met with critical acclaim.
Capossela’s 10th and most recent studio set “Da Solo” (Alone) is a continued evolution in the artist’s exploration of the relationship between his native Italy and America. Recorded in both countries with legendary producer JD Foster, the album features a stirring collaboration between Capossela and NYC-based organ maverick Cameron Carpenter, (performing on a vintage 1923 Might Wurlitzer installed in the historic Middletown Paramount Theater in upstate New York), and a duet with Arizona roots-rockers Calexico tracked at their Tuscon home base. Da Solo was certified Platinum in Italy where Capossela has been touring non-stop since its November 2008 release, including a special pair of summer 2009 double bill shows with Calexico. A “road” documentary “La Faccia Della Terra” (The Face of the Land) which follows Capossela during the making of Da Solo in Milan, Brooklyn, Austin and Tuscon has been screened on Italy’s film festival circuit.
From January 2010, noted label Nonesuch Records will offer a deeper look into Capossela’s 20 year recording career releasing a 17 track CD and digital compendium entitled The Story-Faced Man, marking the iconic Italian artist’s debut available to English-speaking audiences.
Vinicio Capossela Backgrounder:
Multiple Tenco Prize (Italy’s equivalent to the UK’s Mercury Prize) winner Vinicio Capossela is at the forefront of a new generation of singer-songwriters re-inventing Italian song. The work of this musical auteur pays homage to the influences of both Paolo Conte and Tom Waits. But Capossela’s own magic lies in his ability to break the boundaries of a song and to evoke, though the use of images, entire worlds inhabited by demons, shadows, lost souls and losers. Lyrics play a crucial role while the music — free from any genre restraints — is at the complete disposal of the musical world Capossela conjures up.
In his early pieces, Capossela’s music was informed by the American underground culture and road myth embodied by Jack Kerouac and Charles Bukowski and by the “Italo-American” identity of the work of Martin Scorsese. His songwriting continues to explore the many facets of the Italian cultural diaspora from the Argentine tango of Astor Piazzolla to the American swing of Louis Prima. A dramatic and bewitching ‘circus artist’, Capossela is known for his theatrical live performances.
Capossela has collaborated with artists as diverse as Macedonia’s Kocani Orkestar, American jazz crooner Jimmy Scott and New York City guitarist Marc Ribot. He is also an award-winning novelist in Italy whose work “Non si muore tutte le mattine” (You Don’t Die Every Morning) has been adapted for radio broadcast and for the stage.
“Like a mystical cross between Tom Waits and John Cleese, Capossela limns a wry, topsy-turvy musical universe...he is known for captivating theatrical performances”. The New Yorker
“Italy’s most intriguing musical traveller”. Mojo
ITALIAN MUSICAL ENCHANTER VINICIO CAPOSSELA RETURNS TO NORTH AMERICA Theatrical Underground Visionary Announces March Tour Dates Debut Album Release on Nonesuch Records for Chart-topping Songwriter
Italy’s award-winning avant singer-songwriter Vinicio Capossela brings his renown musical side show to North America for a coast to coast string of concert offerings in March 2010. First pitching their tent at New York City’s (Le) Poisson Rouge on March 5 and 6, the Capossela musical circus then heads north to Canada to Montreal and Toronto on March 8 and 9, before going west for three back-to-back debuts in Chicago (March 10), San Francisco (March 12), and finally wrapping at Los Angeles’ El Rey Theater on March 13. No stranger to North American audiences, “theatrical underground visionary” Capossela’s 2007 debut concert dates in the US and Canada were completely sold-out and his showcase performances at the 2008 editions of GlobalFEST in New York City and SXSW in Austin, Texas were met with critical acclaim.
Capossela’s 10th and most recent studio set “Da Solo” (Alone) is a continued evolution in the artist’s exploration of the relationship between his native Italy and America. Recorded in both countries with legendary producer JD Foster, the album features a stirring collaboration between Capossela and NYC-based organ maverick Cameron Carpenter, (performing on a vintage 1923 Might Wurlitzer installed in the historic Middletown Paramount Theater in upstate New York), and a duet with Arizona roots-rockers Calexico tracked at their Tuscon home base. Da Solo was certified Platinum in Italy where Capossela has been touring non-stop since its November 2008 release, including a special pair of summer 2009 double bill shows with Calexico. A “road” documentary “La Faccia Della Terra” (The Face of the Land) which follows Capossela during the making of Da Solo in Milan, Brooklyn, Austin and Tuscon has been screened on Italy’s film festival circuit.
From January 2010, noted label Nonesuch Records will offer a deeper look into Capossela’s 20 year recording career releasing a 17 track CD and digital compendium entitled The Story-Faced Man, marking the iconic Italian artist’s debut available to English-speaking audiences.
Vinicio Capossela Backgrounder:
Multiple Tenco Prize (Italy’s equivalent to the UK’s Mercury Prize) winner Vinicio Capossela is at the forefront of a new generation of singer-songwriters re-inventing Italian song. The work of this musical auteur pays homage to the influences of both Paolo Conte and Tom Waits. But Capossela’s own magic lies in his ability to break the boundaries of a song and to evoke, though the use of images, entire worlds inhabited by demons, shadows, lost souls and losers. Lyrics play a crucial role while the music — free from any genre restraints — is at the complete disposal of the musical world Capossela conjures up.
In his early pieces, Capossela’s music was informed by the American underground culture and road myth embodied by Jack Kerouac and Charles Bukowski and by the “Italo-American” identity of the work of Martin Scorsese. His songwriting continues to explore the many facets of the Italian cultural diaspora from the Argentine tango of Astor Piazzolla to the American swing of Louis Prima. A dramatic and bewitching ‘circus artist’, Capossela is known for his theatrical live performances.
Capossela has collaborated with artists as diverse as Macedonia’s Kocani Orkestar, American jazz crooner Jimmy Scott and New York City guitarist Marc Ribot. He is also an award-winning novelist in Italy whose work “Non si muore tutte le mattine” (You Don’t Die Every Morning) has been adapted for radio broadcast and for the stage.
Marc Ribot - "Silent Movies" CD Release
Silent Movies, the new release from guitarist Marc Ribot, finds him taking another surprising step in a career filled with unexpected turns. One might expect a program of solo guitar music from Ribot to be filled with bracing atonality or studies in texture. Instead, Silent Movies is filled with performances of gorgeous contemplation that linger on the mind long after they are over. The album reflects Ribot's fascination with movies and contains pieces intended to function as music for films: some are adaptations of music he has actually written for films, others for classic silent movies that he scored for his personal amusement, still others for films of his own imagination. His goal is to explore, as he says "the strange area between language and spatiality that exists partly in between music and visual image, and partly as a common property of both." Whatever the inspiration, Silent Movies is replete with beautiful melodies and quietly wistful playing of a sort seldom heard from Ribot and delivers a program filled with gentle, haunting songs that evoke the feel of a different time. As he says in the CD's liner notes, the recording project "did indeed have the feeling of having walked backwards into the beautiful frame of a silent movie."
Widely recognized as one of the great guitar slingers, Ribot’s distinctively edgy and impassioned sound can be found recently on albums by such diverse artists as Norah Jones, Allen Toussaint, McCoy Tyner, Marianne Faithful, John Zorn, Shemekia Copeland, Jakob Dylan, Dan Zanes, Joe Henry, Richard Hell, T-Bone Burnett, Jolie Holland, and The Black Keys. He also appears on the Robert Plant and Alison Krauss Grammy Award-winning album Raising Sand and its upcoming follow-up, as well as The Union, the collaboration between Elton John and Leon Russell. He has played on such film scores as the recently released “The Kids are All Right,” “Where the Wild Things Are,” “Walk the Line,” and “The Departed.”
It is on his own albums, however, that Ribot finds his true voice. Performed in complete takes, with only minimal atmospheric overdubs, Silent Movies was partly inspired by his experience preparing for a live accompaniment of the Charlie Chaplin film The Kid at Merkin Concert Hall in January 2010 as part of the New York Guitar Festival. Some tracks were composed for “El General,” Natalia Almada’s documentary film about Plutarco Elías Calles who ruled Mexico with an iron hand from 1924 to1935 and still others for the unreleased movie “Drunk Boat.” All of the compositions were written by Ribot except “Sous le Ciel de Paris,” the title song from the classic French movie by Julien Duvivier that was made a hit by Edith Piaf among many others.
Whatever the inspiration, Silent Movies is replete with beautiful melodies and quietly wistful playing of a sort seldom heard from Ribot. The album is almost a polar opposite of his last release Party Intellectuals (Pi 27) with his band Ceramic Dog, a rock power trio going for it in an all-out sonic assault, and nothing like his last solo recital Exercises in Futility, a study in extended technique for the guitar. Given the luxury of three days in the studio, Ribot delivers a program filled with gentle, haunting songs that evoke the feel of a different time. As he says in the CD’s liner notes, the recording project “did indeed have the feeling of having walked backwards into the beautiful frame of a silent movie.”
Widely recognized as one of the great guitar slingers, Ribot’s distinctively edgy and impassioned sound can be found recently on albums by such diverse artists as Norah Jones, Allen Toussaint, McCoy Tyner, Marianne Faithful, John Zorn, Shemekia Copeland, Jakob Dylan, Dan Zanes, Joe Henry, Richard Hell, T-Bone Burnett, Jolie Holland, and The Black Keys. He also appears on the Robert Plant and Alison Krauss Grammy Award-winning album Raising Sand and its upcoming follow-up, as well as The Union, the collaboration between Elton John and Leon Russell. He has played on such film scores as the recently released “The Kids are All Right,” “Where the Wild Things Are,” “Walk the Line,” and “The Departed.”
It is on his own albums, however, that Ribot finds his true voice. Performed in complete takes, with only minimal atmospheric overdubs, Silent Movies was partly inspired by his experience preparing for a live accompaniment of the Charlie Chaplin film The Kid at Merkin Concert Hall in January 2010 as part of the New York Guitar Festival. Some tracks were composed for “El General,” Natalia Almada’s documentary film about Plutarco Elías Calles who ruled Mexico with an iron hand from 1924 to1935 and still others for the unreleased movie “Drunk Boat.” All of the compositions were written by Ribot except “Sous le Ciel de Paris,” the title song from the classic French movie by Julien Duvivier that was made a hit by Edith Piaf among many others.
Whatever the inspiration, Silent Movies is replete with beautiful melodies and quietly wistful playing of a sort seldom heard from Ribot. The album is almost a polar opposite of his last release Party Intellectuals (Pi 27) with his band Ceramic Dog, a rock power trio going for it in an all-out sonic assault, and nothing like his last solo recital Exercises in Futility, a study in extended technique for the guitar. Given the luxury of three days in the studio, Ribot delivers a program filled with gentle, haunting songs that evoke the feel of a different time. As he says in the CD’s liner notes, the recording project “did indeed have the feeling of having walked backwards into the beautiful frame of a silent movie.”
Frank London
Trumpeter/composer FRANK LONDON is a member of the Klezmatics and the Hasidic New Wave, has performed with John Zorn, LL Cool J, Mel Torme, Lester Bowie´s Brass Fantasy, LaMonte Young, They Might Be Giants, David Byrne, Jane Siberry, Ben Folds 5, Mark Ribot, Maurice El Medioni and Gal Costa, and is featured on over 100 CDs. His own recordings include INVOCATIONS (cantorial music); Frank London´s Klezmer Brass Allstars´ DI SHIKERE KAPELYE and BROTHERHOOD OF BRASS; NIGUNIM and THE ZMIROS PROJECT (Jewish mystical songs, with Klezmatics vocalist Lorin Sklamberg); THE DEBT (film and theater music); THE SHEKHINA BIG BAND; the soundtrack to THE SHVITZ; the soundtrack to Perl Gluck´s THE DIVAHN and four releases with the Hasidic New Wave.
His projects include the folk-opera A NIGHT IN THE OLD MARKETPLACE (based on Y.L. Peretz´s Bay nakht oyfn altn mark), DAVENEN for Pilobolus and the Klezmatics, Great Small Works´ THE MEMOIRS OF GLUCKEL OF HAMELN and Min Tanaka´s ROMANCE. He composed music for John Sayles´ THE BROTHER FROM ANOTHER PLANET and MEN WITH GUNS, Yvonne Rainer´s MURDER AND MURDER, the Czech-American Marionette Theater´s GOLEM and Tamar Rogoff´s IVYE PROJECT.
He was music director for David Byrne and Robert Wilson´s THE KNEE PLAYS, collaborated with Palestinian violinist Simon Shaheen, taught Jewish music in Canada, Crimea and the Catskills, and produced CD´s for Gypsy Ledgend Esma Redzepova, and Algerian Pianist Maurice el Medioni.
His projects include the folk-opera A NIGHT IN THE OLD MARKETPLACE (based on Y.L. Peretz´s Bay nakht oyfn altn mark), DAVENEN for Pilobolus and the Klezmatics, Great Small Works´ THE MEMOIRS OF GLUCKEL OF HAMELN and Min Tanaka´s ROMANCE. He composed music for John Sayles´ THE BROTHER FROM ANOTHER PLANET and MEN WITH GUNS, Yvonne Rainer´s MURDER AND MURDER, the Czech-American Marionette Theater´s GOLEM and Tamar Rogoff´s IVYE PROJECT.
He was music director for David Byrne and Robert Wilson´s THE KNEE PLAYS, collaborated with Palestinian violinist Simon Shaheen, taught Jewish music in Canada, Crimea and the Catskills, and produced CD´s for Gypsy Ledgend Esma Redzepova, and Algerian Pianist Maurice el Medioni.