James Hunter is little more than the sum of his influences, but when those are Sam Cooke, Smokey Robinson and James Brown, who could ask for more? The British blue-eyed soul singer, praised by Van Morrison as one of music’s best voices and best kept secrets, He’s got a skin tight band and bucketful of great tunes.
Tripping Lily blends a unique sound of traditional and contemporary genres. A group of musicians who draw their inspiration from within, Tripping Lily has deeply explored songwriting with their personal and passionate work. Touted as fresh, energetic, and alive, Tripping Lily’s pop-rock roundwork is cross-fertilized with folk music and cutting edge vocal harmonies. The band’s unique ability to absorb traditional music while speaking to the here and now is proof of their versatility as contemporary musicians.
the ‘Mericans are an Experimental Roots Rock Band from Rhode Island who have won the Providence Phoenix Best Music Poll for the past two years. ‘Mericans singer Chris Daltry has been called a ‘visionary (local) founding father of rootsy rockers’ by the Providence Phoenix and the band’s two albums have been met with critical praise: ”Where All Dead Leaves Go’ is one Magical Listen and one of the Year’s Best Discs’ and the band’s ‘Southern-Fried Roots Shine across Warm with Tremolo, Hooks and Harmonies akin to Retro Gems from bands like Galaxie 500’ and the Phoenix has also described band’s music as ‘Quiet Music you Want to Crank.’ Brown Bird is an original 3 piece band which draws influence from Country, Blues and Eastern European musics. Brown Bird began over five years ago as the brain child of songwriter David Lamb and has developed into a miniature orchestra of harmonized voices and instruments carrying Lamb’s haunting lyrics on surging waves of Appalachian, gypsy, and shanty music. The group hails from Rhode Island and pulls from the talents of each member to create a diverse folk music that swells into high- spirited, foot-stomping madness. Route. 44 -Via saxophones, standup bass, viola, guitars, precise drums and percussion, and sultry-sly vocals, the band winds down roads as simple as electric folk and as densely complicated as full-on gypsy rock. Listing all the sounds they hit on here would take too much space, but it’s not stretch to say that no matter what they take on, they nail it.
You could say that Sara Watkins’ solo debut has been a lifetime in the making. The 27-year-old singer-songwriter and fiddle player spent nearly two decades’all of her teenage and young adult life’as one-third of Nickel Creek, the Grammy Award’winning acoustic trio that used contemporary bluegrass as a starting point for its no-genre-barred sound. Along the way, she’s hinted at her desire to do a project of her own and even organized some exploratory sessions in Los Angeles about six years ago. Now, with Nickel Creek on indefinite hiatus, she is releasing her self-titled solo disc, recorded in Los Angeles and Nashville and produced by former Led Zeppelin bassist John Paul Jones. It features an impressively wide range of backing players and old friends, including itinerant alt-country duo Gillian Welch and Dave Rawling, Tom Petty and the Heartbreakers keyboardist Benmont Tench, Elvis Costello drummer Pete Thomas; fellow travelers from the bluegrass world like Tim O’Brien, Chris Eldridge, Ronnie McCoury and Rayna Gellert; and her Nickel Creek bandmates.
GuitarOne magazine calls guitarist/vocalist Coco Montoya ‘the hottest southpaw in the blues’ and raves about his ‘master touch and killer tone.’ The Boston Globe succinctly states that Montoya’s music is ‘hot, blistering soul.’ From his early days as a drummer to his current status as one of the top-drawing guitarists and vocalists on the blues-rock scene, Montoya earned his status through years of hard work and constant touring.
He’s got some Blind Willie McTell and some Fats Waller, some Buddy Guy and some Taj Mahal. He’s got some Zora Neale Hurston and some Garrison Keillor. He’s a musician, composer, actor, director and writer. But most importantly’Guy Davis is a bluesman. The blues permeate every corner of Davis’ creativity. Throughout his career, he has dedicated himself to reviving the traditions of acoustic blues and bringing them to as many ears as possible through the material of the great blues masters, African American stories, and his own original songs, stories and performance pieces.
The collaborative work of two photographers, Chris Blake and Brian Shriver, is presented in ‘A Room with Some Views,’ panoramic images of the Narragansett Bay area. Their aerial photography specializes in south coastal Massachusetts and Rhode Island architecture and landscapes. Their collection of photos of the Narrows Gallery, performance space and artist studios can be seen here: Narrows’ Panoramas The work will be on exhibition in the Narrows Caf?? Gallery April 20 – June 16, 2010.
Opening Reception: Sunday, April 25th 2:00 ‘ 5:00 pm
Chris Blake | Artist Statement
‘How did you get into that?’ That’s the question I get from people viewing my website or one of my prints. If it’s a ‘little planet view’ they are often tipping their head or in some cases shaking it. I guess you could say there are two elements that draw me to this kind of photography. One would be getting high and the other would be looking around with a wide angle view.
I’m not sure where the getting high thing started. Perhaps it was my dad putting me on a booster seat in his Piper Comanche and letting me do the elevator and ailerons while he did the rudder. I couldn’t reach. Perhaps it’s a 60s thing. I won’t go into that too much. It’s a blur anyway. Getting up high has not always worked out for me. From falling out of the top bunk in Indian Guides to tumbling backwards out of a willow tree from 40′ at the age of 10 to a botched hang gliding launch at the age of 38, I have certainly taken my lumps. I suspect my wife and mother think this accounts for the ‘little planet views’. Oh well, you can’t please everyone. At least they tolerate me. I guess that’s not always easy. In spite of all this I must say I have enjoyed the sensation and the view some altitude provides, from late afternoon flights with an Eagle just off my glider’s wingtip, to sunsets perched in a cave on the side of a cliff. I suppose I’m getting stodgy because I get my views from a remote control camera mount on a tethered blimp or a 45′ pole with a robot named Ansel on top but somehow I still manage to get my fix.
The wide angle view thing I think stems from my ‘day job’ doing computer aided design. I’m always rotating 3D models and zooming in and out so when I saw my first interactive panorama on the web I was hooked quickly. I also think It just goes with getting high. You climb the cliff to get the wide angle view. I’ve heard a spherical panorama described as ‘all that can be seen from a point’. I like to think of ‘little planet views’ and ‘tunnel views’ as all that can be seen from a point seen all at once. I hope you all ‘enjoy the view.’ More of my work can be seen at aerialvr.com or at Chris Blake
Brian Shriver | Artist Statement
The world spins and the sun and moon move through their precisely appointed arcs in the sky spilling light down upon the surface of our blue planet. Sometimes when I arrive at ‘just the right spot’ with ‘just the right light’ and aim my camera in ‘just the right direction’ I feel like I’m celebrating the workings of our immense celestial mechanism and the beauty of our blue planet as it spins through space. With my panoramas, I’m trying to provide the viewer a soothing moment of reverence for God and Man’s handiwork.
We’re living in interesting times when the technology to do this is better than it has ever been. I work with extremely high resolutions which make it possible to step back and appreciate the beauty and composition of the whole but to also move forwards and zoom in in order to enjoy the details. I use a digital camera to shoot an array of overlapping images that I assemble together on my computer. I display the images on the web at socopano.com using Zoomify technology which makes them fun to browse.