50 San Diego Reader April 20, 2017
ANN UNCED
Tix just went on sale to see Woods on May 19 at the Casbah, where the Brook- lyn folkies will be plugging their new full-length Love is Love, 32 minutes of jazz-flavored psychedelic rock recorded between last November’s election day and the inauguration of a new PO- TUS in January. It’s their tenth album in 12 years, with the core founding duo of Jeremy Earl and Jarvis Tave- niere mixing unlikely influences such as Sebadoh and 13th Floor Elevators into an Americana- flavored stew akin to the sort of music that a less drug-addled Grateful Dead might’ve created back in the Stones’ age. Currently touring with backup players recruited between 2013 and now, they just got back from a European tour that took them from Amsterdam to Lisbon, and word has it that their Casbah set list will include previously unheard cover tunes by other artists on Jeremy Earl’s record label Woodsist.
Over at the Auditorium at Scripps Research Institute, tattooed crossover pianist Christo-
Yanks faced with any number of other Euro- festival-certified EDM acts trying to gain a stateside foothold. On May 31 at the Music Box, they’ll no doubt highlight their new single “We Go Home Together,” featuring James Blake on vocals and promoted online with a short film directed by frequent artistic co- conspirator Frank Lebon.
LINDA MAY HAN OH QUARTET AT
ATHENAEUM MUSIC & ARTS LIBRARY ON JUNE 15
This year’s Farrell Family Jazz Series was just an- nounced for La Jolla’s Athenaeum Music & Arts Library, featur- ing the Chris Potter Quartet, Linda May Han Oh Quartet, Ambrose Akin-
musire Quintet, and Shai Maestro Trio. NYC-based tenor sax player Chris Potter made his first splash in 1989 as a teen prodigy with be- bop icon Red Rodney. Widely known as a potent improviser, he forged an impressive discography that includes serving as bandleader on 17 albums and guest-appearing on over a hundred others. (June 7)
Born in Malaysia and raised in Australia, acoustic bassist Linda May Han Oh was recently fea- tured in a JazzTimes magazine cover story, having come to the U.S. in the 2000s to earn a mas- ter’s degree at the Manhattan School of Music. She’s currently the bassist in guitarist Pat Metheny’s band. (June 15)
CHRISTOPHER O’RILEY AT SCRIPPS RESEARCH INSTITUTE ON NOVEMBER 28
pher O’Riley, who hosts NPR’s From the Top, promises to cover everyone from Stravinsky and Piazzolla to Radiohead and Elliot Smith when he performs in La Jolla on November 28.
When British electronic duo Mount Kimbie (Dominic Maker and Kai Campos) began making music together in 2008, few were specializing in the sort of crowd-pleasing ambient post-dubstep (a term some claim they invented) that soon landed them berths at several summers’ worth of high-profile festival gigs and on dozens of online Best Of lists. Most of that acclaim has originated outside the U.S., but the pair is hoping that their expansive concert sets — featuring live guitars, bass, and keyboards — will catch on with fickle
Hellyeah comes screaming into Ob- servatory North Park on June 18, with Sons of Texas and Righteous
Vendetta in tow. It’s that latter band of melodic hard rockers to cast an eye toward. Having been on the road constantly in the three years since the release of their last album, Righteous Vendetta’s just-released major label de- but Cursed debuted at number three on the Billboard Heatseekers Chart, which nowadays translates into approximately 2300 units sold its first week out. For now, you can stream the whole album on YouTube.
Trumpeter Ambrose Akinmusire was already turning heads while with the Berkeley High Jazz Band, later attending the Manhattan School of Music on a full scholarship and earning accolades
for his 2007 set at the Thelonious Monk International Jazz Competition. Recognized by the New York Times as “a fiercely gifted young trumpeter,” he was signed to the prestigious Blue Note Records label in 2010. (June 21)
Formed in NYC circa 2011, the Shai Maestro Trio makes its Athenaeum debut with Israeli pianist Maestro, his fellow Israeli Ziv Ravitz on drums, and Peruvian-born bassist Jorge Roeder. (July 11)
The San Diego Symphony’s 2017– 2018 season features 11 guest conduc- tors, once again including Edo de Waart (who will open and close the season), with previous potentate Jahja Ling returning as Conductor Laureate and a January mini-series entitled It’s About Time: A Festival of Rhythm, Sound, and Place. 2018 jazz/pops events at Symphony Hall include Chick Corea staging a career- spanning concert with the Jazz at Lincoln Center Orchestra on March 24, and local trumpet star Gilbert Castellanos present- ing a live performance of Miles Davis’s 1959 album Kind of Blue on April 28.
One-time Men at Work singer Colin Hay will be on the job July 20 at the Belly Up with a new al- bum called Fierce Mercy, recorded in L.A. and Nashville. His 13th solo release once again finds him teaming up with song- writer Michael Georgiades, who contributed to Hay’s previous LPs Next Year People (2015), Gathering Mercury (2011), and American Sunshine (2009). While the duo is
DEAD MAN’S PARTY AT THE MUSIC BOX ON JULY 29
their Southern folk ballad “Come Tumblin’ Down.”
CHICK COREA AT LINCOLN CENTER ORCHESTRA ON MARCH 24
It’s another Dead Man’s Party at the Music Box on July 29. Founded in 2001, the eight- piece theatrical troupe pays tribute to Danny Elfman’s Oingo Boingo, reaching all the way back to that band’s Mystic Knights days for a raucous and prop-filled stage production somewhere between vaudeville, a gospel revival, and a Gathering of the Jug- galos. Just don’t ac- cuse them of ripping off Oingo’s legacy. “If you think any
of us do it for the money, think again,” says the band. “This music is challenging and takes time and effort to work out. Our former drummer Axel once calculated that DMP members make approximately two cents an hour when you work in all of our rehearsal time.”If you think any of us do it for the money, think again. This music is challenging and takes time & effort to work out.
COLIN HAY ON JULY 20 AT BELLY UP
no McCartney/Costello or Elton/Bernie, there’s a similar classic-turned-contemporary rock vibe to jointly created new tracks like the plaintive love song “A Thousand Million Reasons” and
Weyes Blood, aka occasional Ariel Pink collaborator Natalie Mering, will play her biggest venues yet this fall sup- porting Father John Misty throughout North America and Europe, including a two-night stint at Observatory North Park on October 5 and 6. Ostensibly touring in support of her 2016 full- length Front Row Seat to Earth, the Santa Monica native (who grew up in Pennsylvania) is known to pull concert numbers from all three Weyes Blood albums and both EPs, as well as treating attendees to random but not unwel- come covers like Soft Machine‘s “A Certain Kind.”
— Jay Allen Sanford Find JUST ANNOUNCED online at
SDReader.com/music
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