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Subterranean’s April 22nd album release is getting national attention

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Subterranean, a band who got it’s start downtown at the old J-Alan’s club, has evolved into one of the hottest bands in the region. Their debut album, Loom, which releases on Saturday April 22nd, is already garnering attention from multiple national music publications, as one of the emerging acts to check out.

The members of Subterranean describe their music as “improv with intent.” There is no succinct way to describe them, as they genre-bend not just from song to song, but within songs themselves. I asked guitarist Chris Coalt how they manage to pull that off so seamlessly.

Subterranean. Photo by Libby Ballengee

 

“I think it starts with consuming music without boundaries. I’ve never liked titles or categories. Why can’t things just be what they are? So as a songwriter, I’ve always naturally blended different genres together, because it felt natural to me. As a band, we’ve wanted the freedom to do anything, so we have never let ourselves get pigeon-holed into one style.”

As an avid fan of their live music, I wondered how that improve sound would translate into recorded music. Would it alter or evolve once they got into the studio? Chris further explained that for the most part, the nuts and bolts of the songs remained. “Gary King (Refraze Recording Studio) is a great engineer, so he was able to give us some nice ideas on harmonies and vocal arrangements, but the majority of the songs were already in place. Although I will say, one song got created spontaneously in the studio!”

Subterranean’s debut album “Loom”

A song developing naturally and unexpectedly in the studio doesn’t surprise me. These veterans of the Dayton music scene schooled themselves on improv during tireless jam sessions all over the city. Replacing a rhythm guitarist or keyboardist with sax, proved to be their winning combination. Breaking the rules of the traditional 4-piece rock arrangement helped this band find their voice: a sound is extraordinarily dynamic, bouncing from moody jazz to funky jams to what borders on heavy metal.

Check out what all the buzz is about, and celebrate the release of the debut album Saturday April 22nd at Gilly’s Jazz. Cover $5. Parking is validated. Doors 8pm. Show starts at 9pm. Electric Orange Peel opens the show, followed by Subterranean.

The New Old Fasioned Album Release Party

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The New Old Fashioned celebrates the release of their second album.

The New Old Fashioned celebrates the release of their second album.

The New Old-Fashioned, a local Rock & Roll/Alternative Country band is throwing a big party this weekend! The occasion? The release of their second album, Low-Down Dirty Summer Nights. Already critically acclaimed, this new release is highly anticipated by TNOF fans.

Led by vocalist and songwriter David Payne, the voices and instruments of Kent Montgomery (Guitar), Tom Blackbern (Bass) & Matt Oliver (Drums) are very present in the New Old-Fashioned’s signature sound: big, choral vocal harmonies atop a thick Americana backdrop. Upon first listen, TNOF’s primary influences will become apparent: picture the heartland rock of Tom Petty or the Old 97’s paired with the big vocals of the Beach Boys or Queen.

Ready to listen live? Stop by Gilly’s Jazz on Saturday September 26th at 8pm. Special guests OldNews and Harold & Max of The Repeating Arms will warm up the stage. All ages are welcome. Show starts at 8pm

 

Local Bands To Reload The 90s Friday Night At Gilly’s

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10537436_732671790124137_5601893437841302519_nFriday, July 25th marks the fourth annual 90s Reloaded tribute show, the first time for this particular event, at Gilly’s in downtown Dayton.  The show will feature seven local bands performing sets that include both 90s favorites and their own original material, as well as five acoustic performers doing an “in the round” style set, belly dancing, DJ sets and more.

“The 90s is my second favorite musical decade,” says presenter Louie Wood Jr.. “I grew up on five albums: Emf Schubert’s Dip, Jesus Jones’ Doubt, Primitive Radio Gods’ Rocket, Kristen Barry’s The Beginning Is The Middle Is The End and U2’s Achtung Baby. I am a big fan of post punk, electronica, techno, alternative and EDM.”

90s Reloaded is one of several signature shows Wood produces throughout the year including 80s Rewind, which is heading into its sixth year, and Dayton Does Dayton, which will see its fifth Gem City outing in January.

“I think one of the very good things about these shows is that they sometimes present a challenge to musicians.  And a very worthy challenge,” Wood says.  “I saw this happen from the very start at the 2009 Dayton Dirt Collective Smiths/Morrissey tribute we threw, my very first tribute show.  Just a month after that it was a tribute to the Cure, which was just as interesting and fun as the Smiths/Morrissey tribute.  Bands get to succeed out of their element at these shows in front of new people.  This is a good thing for Dayton.”

The seven bands on Friday night’s bill are all original and will combine their own material with the 90s songs they’ve chosen to cover.

“I let all the bands/musicians choose their cover songs and then ask them to perform their best originals.  This of course is so that the bands get the most out of performing at the shows, and so they connect to the audience better.”

This year’s lineup features both new-to-the-scene and well-established acts with a range of styles and ages represented.

“Having lots of styles of music at these tribute show makes them special and a lot of fun, I think it really helps them succeed,” says Wood.  “The younger bands that participate in the shows are always very enthusiastic about performing and always put on a good presentation.  They are also always very talented; it always creates a cool energy at the beginning of the show to get the party started.”

In addition to the live music, Bronwen Dancer and her regional belly dancing troupe will perform a set as part of the evening’s festivities and Wood will DJ 90s music between sets.

“I like to do fun things while people are waiting for the bands to perform like play TV movie these songs and jingles from that era.  People really get a kick out of it.”

HOW TO GO:

Meghna Mahambrey will perform as part of 90s Reloaded

Meghna Mahambrey will perform as part of 90s Reloaded

90s Reloaded
Friday, July 25th at 7:30PM
at Gilly’s, 132 S. Jefferson St.
$7 at the door

Lineup includes:
Crazy Damn Good
Cinder Home
Plush
Able Danger
Queen of Hearts
Moroni Lane
Reyna Spears
Meghna Mahambrey
Katherine Mullins
Lost Cause
John Mullen
Daniel White aka Barefoot Dan
a 30 minute belly dance presentation by: Bronwen Dancer and her regional belly dancing troupe

“Elvis” Live At Gilly’s

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qagjq7n505hqbjxfey8fbgtcmr2vhz9dInspired by an Elvis performance he attended when 10 years old, Ryan Roth has since steadily worked toward a professional singing career. He was headlining a rock oldies show at Cedar Point by the age of 20.

He won ‘Be a Star” performing on TNN in 1994. Since then he has devoted himself to performing as Elvis, his greatest musical influence, bringing the excitement and entertainment to Elvis fans across the USA with a powerful tribute to the King.

Even Date and Time: Saturday, January 4, 2014 at 8:00 pm.

Cost: $10

Come out and support this talented and fun performer!

 

 

Coming Up in Local Jazz – July 3 through July 16

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image001 (1)What is the USAF Band of Flight?

 

Some of the following may not be 100% accurate but are based on conversations, web surfing and observations that formed my impressions, I apologize for any inaccuracies.

 

The USAF Band of Flight is comprised of active duty Air Force members and is based at Wright-Patterson Air Force Base, Ohio and one of the oldest bands in the Air Force. It is one of the oldest bands in the Air Force; The Band of Flight has an unbroken record of service since its formation and shares with only The United States Air Force Band, Bolling AFB DC, the distinction of having remained at its original location for its entire history.

 

The band was activated on 24 September 1942 at Patterson Field (later Wright-Patterson AFB), Ohio as the 361st Army Air Force Band. Between 1942 and 1948 the Band was redesignated three times: as the 661st Army Band, then as the 661st Army Air Force Band, and finally as the 661st Air Force Band on 2 January 1948, not quite four months after the Air Force became a separate branch of service. The band was redesignated as The Air Force Band of Flight in 1991 with the mission of delivering world-class music that inspires emotions, creates positive impressions and communicates information according to Air Force objectives.

 

Recently I had heard the Band of Flight would be leaving our area due to cut-backs in the military budget but fortunately for us, this is not true. They have downsized into what I have been told is a leaner, meaner group along with a couple of very versatile combos, which are now all led by non-commissioned officers. The New “Band of Flight” under the direction of Chief Master Sergeant Eric M. Strohecker is a 14-member ensemble that provides top-notch, high-energy entertainment for the whole family. The “Wright Brass” led by Master Sergeant Michael Richter is a brass quintet with a percussionist. “Systems Go” is a popular music combo led by MSgt Tom Shriver performing many genres of music.

 

Many Band of Flight members both past and present have made a tremendous impact on our local jazz scene. A couple of years ago I met Cameron at Jazz Central where he was a regular part of their jazz jams for a period of time. One thing led to another and he helped me book the Band of Flight Nighthawk Jazz Combo (one of the groups of which he was a member), for Jazz Advocate’s 2011 Jazz & Peace Festival that we held in Centerville at Stubbs Park. Many of the jazz events that I attend are enhanced and enriched by these wonderful artists.

Jazz Calendar

Here are some (not all) of the upcoming jazz events for the next couple of weeks:
Today Wednesday, July 3 – The USAF Band of Flight has a Summer Concert at Kings Island Amusement Park and Todd Hepburn is at Arnold’s Bar & Grill in Cincinnati.

Thursday July 4 – There’s a Jam Session hosted by Chay Buddah & Hott2def at Bankshots Sports Bar & Grill in Trotwood and a image001-2Band of Flight Summer Concert in Rotary Park in Beavercreek.

Friday July 5 – Teresa Hunt with The  Jazz Patrol will be at De’Lish in Dayton and the Shawn Stanley Trio performs every Friday at Carvers Steaks & Chops in Centerville, Ohio.

Saturday July 6 – You can spend an intimate evening of jazz and coffee at Ghostlight in Dayton and James & Moore will be at the C’est Tout Bistro in Oakwood.

Sunday July 7 – A Funk Tribute to Mark Adams & Mark Drac Hicks of Slave will take place at Gilly’s in Dayton.
Monday July 8 – The John Taylor Trio is at Brio Tuscan Grille in Beavercreek and Vaughn Wiester’s Famous Jazz Orchestra is at the Clintonville Woman’s Club in Columbus.

Tuesday July 9 – The Ron Purdon Orchestra performs at the Blue Wisp Jazz Club in Cincinnati and  the Part St. Tavern Jazz Jam continues in Columbus.

Wednesday July 10 –The US Air Force Band of Flight performs at the Fraze Pavilion and Ricky Nye is at Chez Nora in Covington, KY.

Thursday July 11 – Cameron Voorhees and the Generations Big Band will perform at Hope Community Arts Center located inside Hope Church in the South Park Neighborhood in Dayton.

Friday July 12 – The Different Hats Jazz Jam is at the Earl Heck Community Center in Englewood and the John Von Ohlen Trio is at Dee Felice in Covington, KY.

Saturday July 13 – The Bobby Floyd Trio is at Boudin’s Bistro & Jazz Club and Andrew Waters is at the Eastern Palace Restaurant both in Columbus.

OH.Sunday July 14 – Dayton’s longest running Jazz Jam Session with Kenny Baccus and John Hampton Wagner continues every Sunday at Jazz Central in Dayton.

Monday July 15 – Mark Flugge, Derek Dicenzo & Jimmy Castoe are at Due Amici and Vaughn Wiester’s Famous Jazz Orchestra is at the Clintonville Woman’s Club in Columbus.
Tuesday July 16 – The Ed Moss & the Society Jazz Orchestra performs at the Schwartz Point Jazz Club and The Greenwich has Green Street Jam Session both in Cincinnati.

More info and jazz listings can be found at JazzAdvocate.com

 

 

A Ghastlee Night at Gilly’s….The Sequel

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Friday March 8 Gilly’s Jazz club hosted an evening of extreme musical diversity. Hardcore humored adult rated acoustic singing, a human mix master, sound-machine and beat boxer, a screaming electric Ukulele playing misfit, a trippy rock n roll splattering of horror fed haunted charm and the southern Grand Ole Opry, brought to you by Bloodline Video.  The show was in honor and celebration of the evening’s host and performer, legendary local TV personality, actor and Horror Host A Ghastlee Ghoul, who toyed with the crowd played naughty games, told jokes, made rude comments and headlines as only he can.

The ever charming, cussing, swearing gentleman Felix Wussington started the evening strapped with acoustic guitar and a wide array of lyrical poetry making beautiful prose out of STD’s, lesbians, killing your significant other, the reaper and amusing domestic violence. This tattooed R-XXX rated country punk talked the sh- about backyard body burial, a romantic interlude in the Y’s swimming pool and a tribute to Herbert West and his love of playing with dead things. It’s a good thing Wussington’s someone everyone wants to hang out with and Lives Across the Street from Heaven. It might save his songwriting soul from the reaper and eternal damnation, good thing All Dudes go to Heaven. Hmmm… he could’ve beat the devil, if only he played the fiddle. Mr. Wussington also has select tunes from his debut My Cthulu’s Showing on Soundcloud.

Splattertude

Splattertude

The power and talent of the human voice and throat is put on display as human beat box master Thomas Gardner hits the mic, spins the turntable, scratches some vinyl, plays with some techno grooves all with his voice. He’s a walking sub wolfer, PA, night club sound-system, in one shades/hoodie wearing bass heavy package.

Next up Dayton’s answer to a loud live horror movie, emanating trippy sounds of the 60’s drug scene Splattertude. Like a bad stain, they don’t come out. Fronted by the howling leather and laced demoness Susperia, MC himself bassist A Ghastlee Ghoul, the ghost faced guitarist Tony Tone and the skins destroying chrome faced Christmas Devil Louu Stahl. The House of 1000 Corpses opened and your Darkest Hour begins. You won’t carry a cross but you’ll have a handful of Black Roses swirling in a pool of dark dreams and persecution. War, murder it’s just a shot away Down the Rabbit Hole. They take us on a train-wreck voyage to the cinema wastelands of Cleveland.

The always handsome Uke playing tallywacker himself Henrique Couto brought his unique brand of showmanship once again to the Gilly’s stage partnered with his friend bass player multi-talent Jay Madewell.  Often accused or assumed as being a walking wardrobe malfunction Couto’s flashy appearance may clash with itself but overall adds to his undeniable talent for drawing a reaction whether by song lyrics or personalized humor and mastery of an instrument few have dared to unlock the mysteries of. Miley Cyrus is Pregnant with his two headed love child, and Couto doesn’t even have a love mullet. He plays Better than Nothing of his new CD That’s Loud and UPS’s his heart to a stalking admirer. He believes ‘educational films’ are bullsh- and gives everyone the lyrical finger with a laugh and smile playing his most popular iTunes song.  He finishes, with a tribute to the man of his dreams saying he’d do Anything Anything to be The Dream Master.

Queen Victoria and Todd the Fox

Queen Victoria and Todd the Fox

The sovereign Queen Victoria and the Reverbnation voted best blues player in Ohio the exalted Todd the Fox take the stage and swing, swagger and silhouette the sounds of the south and old-school/classic rock with a hillbilly twang that was sweet backwater honkey-tonk  strong.  Welcome to Detroit and the Hotel Yorba, such a lovely place. We party with Mr. John Fogerty and the Old Man Down the Road.  Spin the Stealers Wheel and worship Mr. Clapton then jam to some old-time country road blues with The Carters.  There’s a Little Ghost under the Blue Moon of Kentucky, so Sleep On a beautiful haunting lullaby from Alison Krauss. Oh Boy, I see a reflection of a Bad Moon Rising in the Clearwater, I see trouble on the way in the form of big bad Imelda May and the devil divine her Handsome Man. Miss Victoria can swing an acoustic just fine and hold her own on a mandolin with the sexy grace of a rockin country queen.

The Last Waltz: Bringing The Movie To Life

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The Last Waltz

A still image from The Last Waltz

“You never know what to expect when they came on stage.  However you know that it was going to be great.”  This is what Jeff Opt said to me while the two of us sat around inside the Yellow Cab building.  What he was referring to in his statement about of the iconic groups of the 60s, The Band.  Jeff Opt is truly special.  He is one of the main coordinators of the yearly event Dayton Sideshow, an annual two day event that highlights the unique art that is being done in town.  Each year, the Sideshow will have a theme to the exhibition that will include a variety of work, which includes video, sculptures, paintings, photography, and live music from local bands.  What the Sideshow aims to do is to help individuals obtain a platform to show off their creations, and also to celebrate the local art scene.  If you haven’t been to one of the previous shows, do yourself a favor and check it out this year during the spring Urban Nights event, which will be taking place in May.  While sitting at the Yellow Cab building, Opt talked about the joys of helping others achieve their dreams.  “It’s a passion of mine.  I love being able to help others.”

For a couple of years, Opt had been dreaming of doing a show that recreated The Last Waltz, the final concert that The Band would perform as a group on November 25, 1976 at the Winterland Ballroom in San Francisco (the same venue the group made its debut in 1969).  The Band comprised of Rick Danko (vocals, trombone, bass, fiddle), Levon Helm (drums, mandolin, guitar, vocals), Garth Hudson (keyboard, trumpet, saxophone), Richard Manuel (piano, drums, saxophone) and Robbie Robertson (guitar vocals).  The Band was a hybrid of many musical influences, with the Americana folk sound blending in with the psychedelic traits that bands from Cream to Led Zeppelin were built on.  The statement mentioned earlier by Opt was true.  The Band wasn’t the most polished group to come to the stage, but you always were in awe of the way they played music.  It was beautiful how they would bring all these different components into their music.

Sadly, with Robertson wanting to have the group become strictly a studio-only band due to the exhaustion of always being on the road, along with Manuel suffering a severe neck injury after a boating accident, the group decided their to disband and have a farewell concert that will have some of the artists and bands that influenced them along the way, with a large horn section backing them. During the concert, artists from Eric Clapton, to Neil Young, to Bob Dylan performed as well.  The show was filmed by director Martin Scorsese.  In 1978, Scorsese released the documentary of the same name as the show, The Last Waltz.  The movie featured concert performances, and interviews with the band.  The Last Waltz is hailed as one of the greatest concert films ever made in many circles you talk to.  On February 24th, Opt’s vision of bringing the show to town will become reality.  “It is one of my favorite movies.  I just think that it’s cool watching this great band play one last time.  I thought it would be cool to recreate that movie.”

 

An all-star lineup of Dayton musicians rehearses for Such A Night in the Old Yellow Cab Building

An all-star lineup of Dayton musicians rehearses for Such A Night in the Old Yellow Cab Building

Such A Night: A Celebration of The Band’s Last Waltz will be taking place at the legendary jazz club Gilly’s Niteclub, located on 132 S. Jefferson Street, in Dayton, Ohio.  Close to thirty local musicians along with an eight piece horn section will bring the awe-inspiring film to life.  “All these musicians are excited about being part of this project”, explained Opt.  “Most of these guys have never played together.  So, to see this coming together is really cool.” Opt has been working on this project since last October/November, calling up people that he knew would be great for the show.  Each member will tell you one thing when it comes to the show, including Opt, “This show is going to blow some minds.”

The evening will not only be producing excellent live music, but it’s also going to be helping a cause that is going to help a great deal of people.  All the proceeds from people walking in will go to one of the Miami Valley’s great nonprofit organizations, The Foodbank.  Since 1976, The Foodbank has been helping a network of food pantries, soup kitchens, emergency shelters, and backpack programs among others.  Being the largest hunger relief agency in the Dayton area, a single dollar will be able to provide eight meals to the hungry.  Nearly 5,000,000 meals a year are provided to children, adults, and the elderly.  It’s just another gesture of gratitude that Opt gives of himself.  “I am firm believer in helping others.  I want to be a good role model for my kids.”

The buzz of Such A Night: A Celebration of The Band’s Last Waltz has been astonishing.  The show was kept under wraps until the past couple of weeks.  It’s now gotten to the point where a small amount of advanced tickets are able to be purchased.  “I didn’t want to have a lot of people not be able to get to see the show.  So by doing just a limited number of advanced tickets, it just gives people a chance to come and watch, and not be turned down”, Opt said.  Opt believes strongly that the show will be something that people will be talking about for days after.  He hopes that maybe if all goes well, maybe we will do something like this again next year and beyond. “I was asked about doing The Who’s Tommy.  I think that would be cool, but let’s get Such A Night out of the way first (laughs)”, Opt mentioned.  Something tells me that Such A Night is truly just the beginning.

Such A Night: A Celebration of The Band’s Last Waltz  once again is on February 24th.  Show time is 7:30pm, and admission is $5.  Donations will be accepted at the door.

Video from the original “The Waltz”

[yframe url=’http://www.youtube.com/watch?v=_csn7KtVeOU’]

2013 Valentine’s Day Specials and Events in Dayton, Ohio

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valentines-day-rosesWhether you are keeping up romantic traditions with your long-time love, or starting flirty new traditions with the one you like, Dayton is full of delicious events. Cupid is now jealous and possibly out of work. Below, you’ll find a little something for everyone bitten by the love bug (and even a few for the staunch, anti-heart day aficionados).

Check back as we’ll likely be updating this list (or look at our searchable DMM Event Calendar), and if you want YOUR Valentine’s Day event listed then add it to our calendar and make sure you check the Valentine’s Day category…

An Affair To Remember
Dayton Art Institute
Friday Feb. 15 8-11pm
$40 (Members); $45 (Non-Members)		 Valentine’s Evening Under the Stars
Boonshoft Museum of Discovery
Thursday Feb. 14 6-7:30pm OR 8-9:30pm
Saturday Feb. 16 6-7:30pm OR 8-9:30pm
$25 per couple
Latin Lovers Cooking Class
El Meson
Saturday Feb. 9 11am
$45 per student		 Miami Valley Music Men Singing Valentines!
They come to you!
Orders from Wednesday Feb. 13 – Saturday Feb. 16
$40
Hotel Date Night Package
Homewood Suites Fairborn
Check website for prices and availability		 Valentine’s Celebration Dinner
Fleming’s Prime Steakhouse & Wine Bar
Thursday Feb. 14 6-10pm
(prices vary)
Jazz Valentine’s Day with Saxophonist Grace Kelly
Gilly’s
Thursday Feb. 14 8pm
$25		 Old Hollywood Glam Ball
America’s Packard Museum
Thursday Feb. 14 7:30-11pm
$60 per person ($75 with alcohol)
Art For The Heart
Zion Lutheran Church – Tipp City
Saturday Feb. 9 9am-4pm
Free		 Crafty Valentine
Sew Dayton
Saturday Feb. 9 3-6pm
$30 per person
Valentine’s Masquerade Ball
CADC
Saturday Feb. 9 7-10pm		 Victorian Afternoon Tea – Valentine’s Tea
Historic Patterson Homestead
Saturday Feb. 9 – Sunday Feb. 10
$18 per member; $20 per non-member
Valentine Dinner
Franco’s Ristorante Italiano
Thursday Feb. 14 4-10pm
$38 Dinner for Two		 Chocolate Affair
Serendipity Bistro
Thursday Feb. 14 7pm-1am
8th Annual Valentines Dance benefiting A Special Wish Foundation
Schuster Performing Arts Center
Friday Feb. 15 7:30-11pm
$100 per person		 The Vagina Monologues
Yellow Cab Building
Friday Feb. 15 8pm / Saturday Feb. 16 8pm / Sunday Feb. 17 7:30pm
$5
Valentine’s Brunch
Dayton Woman’s Club
Saturday Feb. 16 11:30am-2:30pm
$20 members; $22 non-members		 Valentine’s Concert
Amber Rose
Saturday Feb. 16 7pm
Valentine’s Day Celebration
The Winds Cafe and Bakery
Thursday Feb. 14 5pm through Saturday Feb. 16 5pm		 50 Shades of Sweet
Get Dressed! Boutique
Wednesday Feb. 13 and Thursday Feb. 14 12pm-6pm

Cityfolk Celebrates Valentine’s Day with Grace + TICKET CONTEST

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Grace Kelly

Grace Kelly

Obligatory pun aside, at Gilly’s (132 S. Jefferson St.) on Thursday, February 14 at 8pm, Cityfolk presents the current wunderkind of the jazz world, saxophonist/vocalist Grace Kelly.

Kelly, who turns 21 this spring, has swept jazz by storm over the last decade, winning countless honors and quickly racking up recordings. Her eighth album, Grace Kelly Live at Scullers, was released less than a month ago, and the starry list of notables she’s recorded and performed with includes Wynton Marsalis, Lee Konitz, Dave Brubeck, Harry Connick, Jr., Esperanza Spalding, David Sanborn, Joey DeFrancesco, Ann Hampton Callaway, Rufus Reid, Cedar Walton, Marian McPartland, Dianne Reeves, Kenny Barron, and Huey Lewis, among others. In 2011, she co-headlined her sixth release, The Man With the Hat, with saxophone legend Phil Woods, backed by an all-star band.

Kelly (born Grace Chung before her mother married stepfather/manager Bob Kelly when Grace was two years old) began piano lessons at age six, influenced by a strong classical background in her mother’s family (her aunt is a classical violinist, her grandmother a classical pianist). She fell in love with classic Stan Getz, John Coltrane, and Wayne Shorter recordings her parents played during Sunday brunch, and by age nine she’d picked up the alto sax. She gave her first concert just six weeks later, and by age 12, she’d released Dreaming, her first CD.

The accolades poured in, and concerts at prestigious venues and festivals around the world. She bypassed much of high school, obtaining her GED at 16 and receiving a full scholarship to Boston’s Berklee College of Music. She graduated last year at 19, and now teaches residency workshops there.

Kelly still plays piano as well, and her knowledge has grown to include bass, drums, clarinet, flute, and tenor and soprano saxophones. She composes and arranges much of her own music, and of course sings regularly.

Her joyful vocals get prominent stage time on Live at Scullers, a much more eclectic outing than previous efforts. Blending jazz with elements of genres like country, pop, rock fusion, and funk, she hints at a future that could stretch out in any direction. On the opener, “Please Don’t Box Me In,” she sings, “Don’t tell me who I am/Let me tread the waters/Let me scope the Land/’Cause I’m young/I’m free/I have dreams to fill/If I don’t act now/Then I know I never will.”

David Was of NPR’s Day to Day said four years ago, “What if I told you that the future of jazz, which many have pronounced dead or dying in the last two decades, rested in the hands of a 16-year-old Korean American saxophonist named Grace Kelly? … I’ve heard the future of jazz and it is Grace Kelly.”

To purchase tickets, call the Cityfolk Box Office at 937-496-3863 or visit us at 126 N. Main St. Ste. 220 from 10 am – 4 pm. * Some ticket fees will apply.

Senior, student, explorer and group sales discounts are available for most shows.

[yframe url=’http://www.youtube.com/watch?v=oaHYISe-0_0′]

(update: an earlier version of this article said Wednesday Feb. 14th but the concert is actually Thursday Feb 14th)

Dayton Most Metro Ticket Contest

We have TWO PAIRS OF TICKETS to give away to see Grace Kelly at Gilly’s on Valentine’s Day (Feb. 14th)!  Simply fill out the form below and then leave a comment saying that you would “love” Dayton Most Metro and Cityfolk to send you and your significant other to see Grace Kelly on Valentine’s Day.  We’ll announce winners on Friday 2/8 – GOOD LUCK!

CONTEST CLOSED

Congratulations to our ticket winners:

Mike Squire

Betty Crawford

Signs of Life Fill The Floyd Void at Gilly’s

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The music of Pink Floyd has been described by many as timeless, emotional, epic, classic, genre defying, transcending and most important, immortal. They have an almost hypnotic mass appeal to so many generations separated by years and often decades. They’re one of the few bands mom, dad and the kids can all agree on, whether they’ll admit it or not. They’ve walked the line of being rock but not loud enough to hurt the ears but catchy, bluesy and soulful enough to appeal to almost everyone. No matter what level of fandom you’re at, you know a Pink Floyd song when you hear it.

By concept, visuals and most important outstanding, groundbreaking and pioneering musical precession they’ve stood the test of time and will continue influencing bands for years to come. You don’t see Pink Floyd, you experience them, you don’t listen to them, you feel them, playing right into your inner most senses.  Signs of Life: The Essence of Pink Floyd brings their stadium show into the theater/club environment. Creating the intense sonic audio bombast, intense eye popping visuals and space age, atmospheric trippy lighting that made Pink Floyd one of the greatest bands to watch, and hear, ever. Lead vocalist, guitarist Jon Stankorb plays a mean David Gilmour, putting his own vocals on par with one of music’s most iconic voices. Bass and backing vocals John Hoerr puts the same galloping, haunting sound on the four strings as Roger Waters. Rich Biondo creates the extra guitar sound and ambiance. Atmosphere master Tom Bartel effortlessly takes the legendary sounds surrounding Gilmour, Barrett, Waters and Mason created by Richard Wright adding his own intuitive interpretation making all the moods happen on keys and effects. Tony Sager fills the drum kit nicely for the one original Floyd member that appeared on every album, Nick Mason. Saxist, percussion and vocalist Dan Barger makes Floyd sound just as saxy as the original boys did. Reyna Spears and Akilah Ruiz sing out the majestic heart and soul of the band.

Their third visit to the Gilly’s stage, they emerge to a packed house In The Flesh, ready and welcome to the show. Pink couldn’t make it tonight but you definitely get the next best thing. Helicopter effects fill the room. We don’t need no education, no thoughts controlled or dark sarcasm in the nightclub. Hey teacher, leave those fans alone. The acoustics debut, Mother do you think they’ll like this song? Mother can Pigs fly? There’s one on the Wing. Yes son, they accompany the Dogs of war….welcome my son, Welcome to the Machine! So… you think you can tell, heaven from hell? (For everyone that wasn’t there) Wish You Were Here. Next up is 14 minutes of audio bliss, Shine On. The show’s first half ends with the guitar grinding roar of Sorrow.

They return with the sole intention of Learning to Fly…. One of These days. After the edgy guitar work and audio aura they calm things down and get nice and mellow. The performance is a shared experience of everything that made Pink Floyd, Pink Floyd, just Us & Them.  The somber tranquility is broken by the sensory shattering sounds of alarms, chimes and grandfather clocks followed by the slow dramatic guitar crunching buildup in Time.  The beginning plucked acoustic almost whispering strings and moody bass of Hey You followed. Then cash registers clanged, receipts were made and coins poured as the Money flowed. Next we took a trip back to the early 90’s and hear the Division Bell. It’s been said that Pink Floyd’s music is the closest thing to hearing the voices and sounds of heaven, this could be true but for now we’re happy to take a trip into space with the lunatic in our head for some Brain Damage and an Eclipse on the Dark Side of the Moon. Signs of Life makes you Comfortably Numb in a good way. They end with the guitar echoing stadium encore pleaser Run Like Hell.

Formed in 2009, they authentically capture the Pink Floyd live experience. They don’t just play the songs, they’ve engineered a concert going experience paying tribute, showing respect and adding their own spin, touch and take on the classics. For two sets the audience is bathed in the shimmering glow of stage lights and stimulated by Floyd’esk screen visuals and symbolism. They’ve played to packed houses and won over the most die-hard and hard to impress fans to the most casual radio fan. Their accuracy to the material is near pin-point while making it just different enough keeping their own identity. For the most part they play different sets every show, sometimes playing big hits early, doing lesser known material from the early years at different times but keeping an even balance and respect of each era and what a Pink Floyd set-list would look like. There’s little talking besides band introduction. The performance is complete delivery and respect of the music. If any band deserved a tribute it’s definitely Pink Floyd. Stankorb says hearing the sounds Gilmour made come out of a guitar inspired him to do the same. They’re not just up there playing the songs with guitars, drums and keyboards. They have multiple instruments changes, bongo drums, sax, chimes and other odd instruments that make the show uniquely their own. They’re also working on idea’s for bigger props like the physical brick wall and inflatable characters to bring an even bigger show to the fans. Indeed this is The Essence of Pink Floyd.

There’s A Starman Waiting In The Sky

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The Resurrection of Ziggy Stardust & The Spiders From Mars

In the post apocalyptic wasteland of what could be mistaken for the present, a Leper Messiah lunges into the spotlight, ready and albeit a tad too willing to save humanity with merely the sacrifice of his soul. A shock of shocking shag cut red hair defies the laws of nature as the asymmetrically dilated wonder filled eyes defies the apathetically addled masses to ignore the impending termination of humanity as a whole. Is this the act of a sacrificial lamb? The crucifixion of yet another messianic messenger’s? Or might this be a rock and roll suicide set in C major? Whatever your interpretation, it is, unarguably, the final teachings from the Gospel of Ziggy Stardust and the Spiders from Mars.

David Bowie has always been the master chameleon, being able to sense trends and incorporate upcoming styles into whatever persona he was projecting at the time that, even those that he aggressively borrowed from felt honored by the imaginative pilfering. From the vast catalogue of Bowie’s affected personas, Ziggy Stardust stands out as one of the most completely three dimensional characters that he has created and personified that glittering epoch, with Bowie’s colorful incarnation becoming the poster child for the glam era.

The Rise and Fall of Ziggy Stardust and the Spiders from Mars, for the uninitiated, is a concept album crafted by Bowie. The storyline, as such, is a convoluted array of perceptive sociology, religious icons wrapped snuggly in familiar parables all bound together in a roiling spiral of science fiction. The inspiration for the album/character itself is steeped in mythos, which includes such fringe personalities as The Legendary Stardust Cowboy and Vince Taylor, also known as the French Elvis who, after completely going off his nut, fired his band and went on stage draped in a sheet to inform the audience that he was the new messiah. Vince also had a penchant for carrying around maps of Europe to show anyone who stood still long enough where the UFOs would be landing. From these shards of broken soul, Ziggy was born.

Under Bowie’s skillful hands, the story emerges that the main character, Ziggy, takes on the role of a messianic messenger, filling the plundering youth with news of the world. In what turns out to be the Earth’s final five years of existence, the news happens to be quite bad but, from the whispered information that he is receiving through dreams from the black hole jumping Infinites, Ziggy is told of a savior: the Starman. The message is seized by the masses with a vigor that only the abjectly hopeless can muster. Riding on the wave of the Message, Ziggy is exulted up into new spiritual heights, but soon succumbs to his own Earlthy desires, living a reckless life that leaves him as a shell, a fractured liberator. When the Infinites arrive, they use their vessel to give themselves life, taking of their host Ziggy, until he dies a martyr’s death.

The documentary film by D.A. Pennebaker (Ziggy Stardust and the Spiders from Mars) chronicles the last concert Bowie performs as Ziggy. Filmed at the Hammersmith Odeon on July 3rd, 1973, this was Bowie’s last hurrah as he partially shelved the character of Ziggy. The impetuous for the premature retirement rested on several elements, one of which was that the character was threatening to outstrip the creator. The documentary itself dabbled very little behind the scenes, choosing instead to generate a full frontal assault of the ninety minute concert itself.

In this vein, local artist, entrepreneur and agent of rebellion Shelly “Gladgirl” Hulce became enamored with the concept, music and the film at an early age and she always kept this fantasy vision of it in the back of her mind…until now. “Back when I was a teenager, I was really into Bowie and really anything that was considered shocking. At the time, the most shocking thing was glam rock. I was raised in a very strict Baptist home. I mean to the point that we didn’t watch movies, wear pants, cut hair…” Gladgirl went on to detail some of the other elements of her upbringing before adding, “Rock and roll was just totally out of the question, so I would sneak and listen to it. I snuck a Bowie poster and hung it inside the closet where nobody could find it. We had these teen bonfires and many times I burnt the same records over and over. I would burn them at this church bonfire and then I would save up my lunch money and replace them.”

With Bowie’s body of work being arguably more theatrical than musically motivated, this mirrored some of Gladgirl’s interests within her own life.  “For me, music, theater and comedy have all been synonymous. My worlds have always collided. I did improv comedy for two years, travelling with a troupe and I’ve played with a couple of bands. I’ve never gotten into acting, but I’ve always been writing. I have written a rock opera using all music from Queen. I haven’t done anything with that because it’s very extensive and I wouldn’t even know where to start with something like that. I guess I will work my way up. Some opportunity will present itself when the timing is right and so I can put it into the back of my brain until then.” Exposure to ETC (Encore Theater Company) brought Gladgirl face to face with fringe musicals like Hedwig and the Angry Inch. This chance encounter was the starting point to push her vision into reality.

“I went to see Hedwig last April and as soon as JJ (Parkey) came out and belted that first big song and I just turned to Juliet and said. ‘That’s Bowie! That’s my Bowie!’ I really didn’t even pay attention to the rest of the show. All I kept thinking was, ‘Oh my God! Oh my God! I have to meet this guy! How do I pitch this idea? Who can I get for the band?’” Gladgirl ended the thought abashedly, “I was just terrible.”

Instead of immediately plunging into the pitch after the show ended, Gladgirl decided to show restraint only found in the best of stalker: she waited. Another opportunity presented itself a short time later.

“JJ and I were at a FilmDayton function together a few weeks later and I was like, ‘Hey! Let’s talk about David Bowie! What do you know about David Bowie and about Ziggy Stardust?’ and he was like, ‘What’s that?’” dejected but not dissuaded, Gladgirl took things into perspective. “I mean, he’s twenty-three years old at that point…he’s twenty-four now. So, after this, I’m just like, ‘Oh my gosh! Will you sit with me and watch a film and let me talk to you about an idea I have?’ and he’s like, ‘Oh, absolutely!’ We met up the next week and sat down and watched the documentary, which was the very last show that Bowie did in character as Ziggy Stardust and the Spiders from Mars. Well, they filmed that show on July 3rd, 1973 at the Hammersmith Odeon in London and what is so bizarre about this is that the night I had JJ up to watch the documentary was July 3rd. The opening credits came up and I was like, ‘Oh my God! That was July 3rd! It’s July 3rd!’”

Kismet and karma were not finished meddling with the vision of the production just yet…

“I was already, in the back of my mind, dreaming of doing a rock opera and thinking about who would be my dream team. There are so many good musicians in town that it’s just amazing.” The eventual line up of the band is a representation of the cream of Dayton’s music scene. “Oh, it’s stellar! I got everyone I wanted right off the bat. I went straight to the ones I wanted and I thought that I would have to work my way down, but every one of them were like, ‘Oh yeah! Definitely!”

There were even some inclusions that, on the face of it, seemed incongruous choices for a recreated glam band, such as local blues guitarist, Noah Wotherspoon.  “Yeah, he’s such a blues guy, but he really loves it all. The cool thing is that he really has a vintage red Hagstrom guitar just like Bowie played during the Ziggy era!”

Some of the musicians were more obvious choices because of their own musical leanings.  “Shrug, which is Tod Weidner’s band, were having a CD release party a few years ago at Canal Street and to surprise their fans, they came out and did the entire album The Rise And Fall Of Ziggy Stardust. It totally shocked everybody and, of course, it stuck with me. Tod, being such a great singer, pulled it off vocally as Bowie and the band did the music perfectly. So, I had that in the back of my head, but with Tod traveling and doing the Pink Floyd tribute band (Set The Controls) around the nation…”

Gladgirl trailed off, indicating the slim chances of being able to have Tod as part of the band. “To know his stamina and to know his musical genius and being able to do anything that is put in front of him, I knew that there was no way that I could do this without Tod. Absolutely no way. So I called Tod and I said, ‘Look, I’ve got this guy and I have this idea and I know your schedule is crazy…I know you’re not going to have any time to do this, but I just had to ask you, is there any way that you could squeeze this in? What’s your schedule like in the Fall? Tod said, ‘Probably around Thanksgiving or maybe a little earlier than that.’ I said, ‘What about 11/11/11?’ and he’s like, “That’s pretty sweet! I’m in!’ It was just like the stars were aligning! I had my two pillars: JJ and Tod.

The other band members are bassist Chris Corn, drummer Ian Kaplan, keyboardist Ken Hall, percussionist Erich Reith, Marie Spohn and Gladgirl herself. With the band in place, the next hurdle would be the costumes.

“JJ and I have been making the costumes for this show from scratch since July. Well, with the exception of one piece, which I hired Tracy McElfresh to make. She’s a third generation dress maker and she’s killer. I told Tracy that I was going to buy this shirt and try to make this spaceman costume but that I didn’t think it was going to work and I asked her to help. She sent me off to the fabric store with a list and I bought the stuff and brought it back to her.”Gladgirl paused, reflecting on what her event has become. “That’s what this has all turned into. It’s just a collective. This whole event has just been a huge collaboration.”

One of the most interesting aspects of this passion play is that, at a time when Godspell and Jesus Christ Superstar were espousing a reconceived image of Biblical prophesies and parables, Ziggy chose instead to cloak his message in a shimmering cloud of veiled innuendos.

“It was all Biblical, but he didn’t blatantly come out and say that this had a Biblical bend to it, but there are so many comparisons that you could make. The arc of the story is the same.” Gladgirl said before launching into the parallels. “The Starman messiah with a message of the world ending in five years and then he is betrayed by one of the Spiders From Mars and he’s crucified. John the Baptist is in there and Judas, Mary Magdalene, the Holy Trinity…Bowie is the Trinity at different points throughout the album and he is the Leper Messiah…the whole bit. Bowie even went as far as to match a lot of his costumes to whatever character he was in the Trinity. When he comes out, he comes down with the message for Five Years, he is wearing an all white kimono, so it’s like this pure deity kind of thing.”

While there are many fantastic tribute bands that abound in our area, Gladgirl wants to make the distinction that this is not merely a tribute featuring the music of David Bowie/Ziggy Stardust. This is a faithful recreation of the epic show that Bowie presented at the Hammersmith Odeon on July 3rd, 1973.  “What I’m telling people is that this is not a tribute show like with people just showing up and doing Bowie’s music.” Gladgirl stated. “This is a passion play and it totally follows the whole arc that Bowie did as Ziggy. That’s why I titled this The Resurrection. I call it a ‘rock and roll rapture.’”

 

There are some added features to this show that were not in the original, such as a piece written by Gladgirl herself.  “The way that I’m presenting this to the audience is Chris Shea from Free Shakespeare will be coming out before Noah’s band and Ziggy’s set and I’ve dubbed him The News Guy because, in one of the lyrics, it talks about being ‘baptized by the News Guy’s tears.’ I’ve also written what I call The Soul Love Greeting…Soul Love being one of the songs about the Holy Spirit.” Gladgirl went on to explain that, “…this is all to lead a person to think. There’s twenty-four songs and I listed lyrics from each song and made this list for Chris Shay to present to the audience. After that, the real fun begins!”

Space Oddity: The Resurrection of Ziggy Stardust & The Spiders From Mars will be held at Gilly’s (132 S. Jefferson St.) on November 11th at 9:00pm. Tickets are only $10 and presale tickets are available at Omega, Record Gallery in the Oregon District, Toxic Beauty Records in Yellow Springs and Game Swap in Woodlane Plaza in Kettering. Chad Wells of Wells & Co. Tattoo and Cricketbows will be on hand to provide Liquid Skin Display – Glam Rock Face Painting before and during the show for anyone wanting the full glam experience. Another, as yet to be announced ‘mystery guest musician’ will also be present.

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Kim Waters brings smooth jazz to Gilly’s

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Friday night marks the return of smooth jazz saxophone player Kim Waters to the Miami Valley.  Waters and his band combine jazz, R&B and soul with original compositions and new interpretations of classic songs.  Kim Waters will perform two shows on Friday, September 9th at Gilly’s in downtown Dayton at 7 and 10pm.  There are still some tickets available for each show at the following locations: Omega Music, The Record Gallery (both in the Oregon District), Half Priced Books and Huber Music and Video.  Tickets may also be available at the door (depending on advanced sales).

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Faze-O Reunites to Bring the Funk to Gilly’s

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Faze-O

In the 1970’s Dayton was a hotbed for funk.  One of the great bands that’s often mentioned in the same breath as the Ohio Players, Lakeside and Slave is Faze-O.  Produced by Clarence Satchell of the Ohio Players, one of the band’s most famous song is the title track from their 1977 album, Riding High.  That song has gone on to be sampled by many modern hip hop artists, including Snoop Dogg and Ice Cube, but you can hear the real thing this weekend at Gilly’s.

After 30 years, Faze-O has reunited and will be performing at show at Gilly’s on Saturday night, April 23rd, beginning at 9pm.  The show also features a guest  appearance by Cherlyn Aikens. Tickets are available at Omega Music.

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Music Video Monday: March 14, 2011

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This week brings us two videos from C. Wright’s Parlour Tricks since you’ll have two chances to see them live this week.  You can catch them at Wiley’s Comedy Club on Wednesday for the latest Dirty Little Secret.  The show features music, dance, magic and comedy all on one stage.

You can also see Parlour Tricks on Saturday night at Gilly’s as part of Dale Walton’s Rock and Roll Circus.

This week’s videos are from C. Wright’s Parlour Tricks’ performance at January’s Dayton Does Dayton show at Canal  Street Tavern.

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Baron Von Porkchop Presents The Baron’s Ball [GALLERY]

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Members of local punk-rock band Jasper the Colossal perform at The Baron's Ball at Gilly's night club on Saturday, Feb. 26.

DATV’s Baron Von Porkchop held his inaugural Baron’s Ball on Feb. 26th at Gilly’s night club in downtown Dayton.

Four bands played to a raucous crowd of music lovers: the enigmatic Henrique Couto and the Tally Wacker Express, punk-blues man Todd the Fox with Lisa Bunny Foo Foo, rock band Team Void and the frenetic Jasper the Colossal, fronted by singer-songwriter Paige Beller.

All four acts played blistering sets well into the early morning – even sharing the stage at times during frequent impromptu group jamming sessions.

Here’s a glimpse into the music, the madness and the majesty that was the Baron’s Ball:

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Music Video Monday: February 21, 2011

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This week’s music video comes to us from Jasper the Colossal. They’ve got a new single called “Back of the Crowd,” and you can catch them live in concert at Gilly’s this Saturday night as part of the Baron’s Ball, a concert put on by the cast and crew of Baron VonPorkchop’s Terrifying Tales of the Macabre on DATV.  For more on this concert, check out the Dayton MostMetro Events Calendar.