Thursday, Sept. 5, 2019 – Day 2: Evergrey (Sweden) GALNERYUS (Japan) *US EXCLUSIVE* MaYaN (Multi-national) Tomorrow’s Eve (German) *US EXCLUSIVE*
Tickets for Days 1 & 2 will go on sale Sat., Nov. 3 at 10 am ET via Ticketmaster. Only 900 tickets will be made available to the general public, as VIP and Gold Badges are SOLD-OUT. Warning! Tickets have sold-out anywhere between 8 to 72 hours over recent years. Price TBA soon.
Tickets for Days 3 & 4 will go on sale Sat., Oct. 6 at 10 am ET via Ticketmaster. Only 900 tickets will be made available to the general public, as VIP and Gold Badges are SOLD-OUT. Warning! Tickets have sold-out anywhere between 8 to 72 hours over recent years. Price TBA soon.
Tickets for Days 1 & 2 will go on sale Saturday, Nov. 3, 2018, at 10 am ET.
Video Link: https://vimeo.com/287907488
Work directly with Trey Gunn on a weekly basis in this group course.
King Crimson guitar legend Trey Gunn is presenting “Intro to Modes”; an 8-week music course that runs from October 15 to December 8, 2018.
For all instrumentalists and singers.
In this course we will break down one of the basic building blocks of music – the modes – into digestible parts, both sonically and theoretically, so they can be used with ease.
This course will:
Help you to immediately find your ground in a piece of music
Give you flexibility when improvising
Give you greater color choices when developing your own compositions
Help you grasp command of the core material of music
Give you a long-term pathway to hear deeper into the relationships of the notes
This course is designed to work for all players:
Beginning players – We’ll start with the basics.
Intermediate players – Hone the fundamentals in your hearing for improved playing and writing
Advanced players – Find the gaps in your melodic hearing. Apply practices to close the gaps and take your playing further
Learn to play confidently while capturing the unique quality of each mode in your improvisations and compositions. This ease only comes from the deep exploration based on how you hear, in your own particular way. This course breaks down that exploration into its core essence, step-by-step.
– – –
When most musicians play by thinking in modes, or scales, they tend towards using all the tones equally and without their full meaning. This results in bland musical lines. Lines that come across like white light where, instead, there could be gorgeous color.
How a painter uses color is a useful analogy for working with the modes. Any musical idea can be tinted with one of the modes. The idea remains essentially the same; but the color of the music changes based on which mode you are using.
This course is designed to establish these “modal” differences in your ear so you can use them as you need to, much as a painter pulls from his or her palette of colors.
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Learning about modes isn’t about the information. The information is easy. Learning this material, the way I think we should, is about getting to know each tone intimately within its context – the mode’s center of gravity, or tonal center.
This course will use a progression of practices to develop our sense of each note and how that note fits into its mode.
This is an oversimplification; but based on many years of practice, study and playing I have honed an approach to go directly into the sounds.
First, we learn the sounds. The information can come afterward, simply to help us organize.
– – –
This will be a type of correspondence course with info/practices being presented each week and all of us digesting it together via a Google Group. There is no real-time participation, so any time-zone or personal schedule will fit with our work together.
The course will adapt to the people participating and how things develop as we go along. But the general curriculum will be based on the following progression:
Week 1
General Concepts of Modes
Language And Method For The Course
Root, Fifth, Octave (+ listening/singing)
Week 2
Thirds (+ listening puzzles)
Week 3
Sevenths (+ extra singing)
Week 4
Sixths (+ playing)
Week 5
Seconds (+ composition)
Week 6
Fourths (+ audiation/memorization)
Week 7
Full Modes (+ pentatonics/hexatonics)
Week 8
Locrian/Pathway to Exotics (+wrap-up)
Cost: $299.00 50% discount for Early Registration before October 1, 2018
Music legends Renaissance featuring Annie Haslam will be back in the US Northeast playing select dates in November 2018. Based on the great success in 2017 with the addition of a “10-piece Chamber Orchestra” on four of their shows, the band has been invited to once again bring this special line up to the Scottish Rite Auditorium, Collingswood, NJ. November 17th. 2018 marks the 49th year since the band’s formation and its tenth consecutive year of touring since their reactivation in 2009.
photo by Esa Ahola
Renaissance leader and vocalist, Annie Haslam remarks, “The band keeps getting stronger and stronger and the addition of the chamber orchestra has been the most exciting development for the band in years. This addition of ‘live’ orchestral musicians adds an incredible dynamic to our big numbers like ‘Mother Russia,’ ‘Carpet Of The Sun’ and ‘Song For All Seasons,’ Day of the Dreamer, all of which included an orchestra on the original recordings.”
Ms. Haslam will be joined on stage by longtime musical director and associate; Rave Tesar on piano, along with Geoffrey Langley on keyboards, Mark Lambert on guitars, Frank Pagano on drums and percussion, and Leo Traversa on bass.
Tour dates:
NOV 8 THU – THE KENT STAGE – KENT, OH
NOV 9 FRI – THE TRALF – BUFFALO, NY
NOV 11 SUN – YMCA BOULTON CENTER FOR THE PERFORMING ARTS – BAY SHORE, NY
NOV 15 THU – BALTIMORE SOUNDSTAGE – BALTIMORE, MD
NOV 16 FRI – NEWTON THEATRE – NEWTON, NJ
NOV 17 SAT – SCOTTISH RITE AUDITORIUM – COLLINGSWOOD, NJ (With The Renaissance Chamber Orchestra)
NOV 18 SUN – TARRYTOWN MUSIC HALL – TARRYTOWN, NY
Renaissance is a band with a rich history unique unto themselves as progressive rock pioneers who rose from the ashes of the seminal UK rock band, The Yardbirds. Acclaimed for their unique blending of progressive rock with classical and symphonic influences, the band’s career has spanned forty plus years spearheaded by the 5-octave voice of Annie Haslam and the masterful songwriting skills of Michael Dunford. They are widely considered to be the band that most successfully and routinely utilized the sound of a full orchestra in their recordings.
The band has toured throughout the world and has performed at Carnegie Hall with the New York Philharmonic Orchestra and additionally at the Royal Albert Hall with the Royal Philharmonic Orchestra and Royal Chorale Society. Renaissance had a top ten hit in the UK with their song Northern Lights that still demands airplay to this day.
On September 14th Renaissance will be releasing their new DVD entitled ‘A Symphonic Journey’. The DVD was filmed in October of 2017 and included for the first time the addition of The Renaissance Chamber Orchestra, a hand-picked group of 10 musicians, including strings, woodwind, brass, and percussion. This is their third DVD release preceded by the 2015 ‘Live at the Union Chapel, London, England’ and the ‘Turn of the Cards/ Scheherazade and Other Stories’ 2011 release ‘Live’ at the Keswick Theatre, Glenside, PA. For this new DVD, the band once again returned to the Keswick Theatre, this time employing the use of track and boom mounted cameras to create more up close and personal shots of the band and orchestra. The concert also featured large-screen projections of original paintings by Annie Haslam, with corresponding titles to each song performed throughout the concert.
Renaissance:
Annie Haslam – Lead Vocalist
Rave Tesar – Keyboards
Tom Brislin – Keyboards & vocals
Mark Lambert – Guitar & vocals
Frank Pagano – Drums, percussion & vocals
Leo Traversa – Bass & vocals
String section
Joe Deninzon: 1st violin
Eddie Venegas: 2nd violin
Orlando Wells: viola
Leo Grinhauz: cello
Allen Won: clarinets and flutes
Bob Magnuson: double reeds and flutes
Vinnie Cutro: trumpet
Bob Ferrel: trombone
Bill Hughes: french horn
James Musto: percussion
The DVD/2CD set will be available from Amazon USA, Europe, and Japan. Also, ‘Annie Haslam’ signed copies will be available through the band’s website: www.renaissancetouring.com
Ten Jinn have taken upon themselves a monumental task. It’s one thing to do a cover song of a famous artist and quite another to do an entire album covering that one artist. And when the artist being covered is someone as huge as David Bowie, the mountain to climb looks pretty forbidding. Additionally, when that artist has recently left us and everyone is quite likely wanting to do tributes but at the same time perhaps having second thoughts about touching the sacred shrine so soon, there’s every reason to leave the notion well alone. Ten Jinn, however, have boldly decided to pay their respects to Mr. Jones by following their hearts and recording an album entirely of Bowie covers.
They say that the best way to do a cover song is to either make it totally your own and arrange it in a completely different style (as Deep Purple used to do with Beatles‘ songs) or to strike that delicate balance between capturing the original song’s motif and its appeal while simultaneously putting the covering band’s own stamp on it. I have never been a Bowie fan (I totally respect his talent and what he gave to popular music but I just never became a fan) but I am familiar with many of his hit songs. So it’s very interesting for me to hear what Ten Jinn has achieved with their Ziggy Blackstar album because I can hear the Bowie in the music, and even at times in the vocals, but at the same time these songs sound fresh and new to me. Some of the songs Ten Jinn have covered are unfamiliar to me so they sound like new material, and if asked for my opinion I might say that they have a Bowie-esque quality to them. Vocalist John Paul Strauss manages to affect some very close Bowie-isms but never sounds like a hopeful mimic. He is confident in his own voice and that’s one of the reasons the songs come across not as copycat tribute songs but as interpretations by John Paul Strauss and Ten Jinn.
The music nearly all sounds original to me. I don’t know most of the original songs well enough to say how close Ten Jinn‘s versions are to the originals, but from my perspective, they have gone ahead and arranged the music to their capabilities and once again I am hearing fresh new music. I admit I was surprised by the album opener “I’m Afraid of Americans” because that is one Bowie song I have always really liked thanks to Trent Reznor‘s involvement. During the first listen to Ten Jinn‘s version I felt that they made a valiant effort but could not beat the original. But after the second listen I changed my view. They still can’t beat the original but what they have done with the song is, once again, made it their own and in the end, their result is a stand-alone effort. It’s like when you hear Paul McCartney praise a band for their personal take on a Beatles cover; I think Mr. Jones would have approved.
Other moments that caught my attention were the insane piano solo in “Aladdin Sane” (I don’t know if that’s in the original but it’s very cool here) and the surprising (to me) intro to “Future Legend” because it sounds so Ayreon.
Basically, I’ll say this: Ten Jinn‘s album sounds great to someone who does not have a deep familiarity with David Bowie‘s music. It can be enjoyed as an album on its own. Bowie fans might be more critical and zero in on details that go past me. But I think Ten Jinn have done a splendid job of doing an album entirely of Bowie cover songs. They struck the right balance between tribute and originality.
Started as a one-man studio project in 2005 by multi-instrumentalist Giancarlo Erra before evolving into a full band, Nosound inventively combines influences from ’70s psychedelia, ’80s/’90s ambient, soundtracks, contemporary alternative and post-rock. The music is evocative and intense with personal songwriting and uses a variety of vintage and modern electronic instruments.
“Time has arrived for a radical change towards an alternative and electronic direction, being the music I have enjoyed the most in recent years.” Erra
The new album will be released on 21st September, and you can listen to the first two singles “Shelter” and “Don’t You Dare”
The new album from Nosound, Allow Yourself, is a new expression from the group who have grown alongside our own evolving sound on Kscope. The new material is a stripping back of what has come before, and its inspirations are in a different field altogether, based on founder and songwriter Giancarlo Erra’s own shifting interests.
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