3/12 THE DIRTY DOZEN BRASS BANDhttp://www.charlestonpourhouse.com/wordpress/wp-content/uploads/slideshow-gallery/dirty_dozen_brass_band.jpg
3/13 ERIC LINDELL AND COMPANYhttp://www.charlestonpourhouse.com/wordpress/wp-content/uploads/slideshow-gallery/eric_lindell.jpg
3/19 Melvin Seals and JGBhttp://www.charlestonpourhouse.com/wordpress/wp-content/uploads/slideshow-gallery/melvin_seals_jgb.jpg
3/28 SOL DRIVEN TRAIN “DANCE” Album Release Party w/ BIG SOMETHINGhttp://www.charlestonpourhouse.com/wordpress/wp-content/uploads/slideshow-gallery/sol_driven_train.jpg
One of our most sought after traditions is just around the corner – Spring is almost here and what better way to celebrate the season then to wine and dine outside! We will be hosting our seasonal Dinner on The Deck on Tuesday, April 7th, featuring a 4-course meal crafted by Chef Alex Lira on the Pour House Deck with twinkling lights, great tunes, and even better company.
Cocktail hour is from 6-7pm and dinner is from 7-10pm.
Wine Pairing by the Country Vintner presented by Zingo Munger
Tickets are $75 per person or $140 for two
Which includes a 4-course dinner, live music, and wine pairing.
Tickets are limited so reserve your spot today!
Rain or Shine!
We look forward to seeing you there!
Poho Family Jazz Quartet
Looking like a man from leaner and meaner times, Willie Watson steps on stage with a quiet gravitas. But, when he opens his mouth and lets out that high lonesome vocal, you can hear him loud and clear.
His debut solo album, Folk Singer Vol. 1, was produced by David Rawlings at Woodland Sound Studios, the studio he co-owns with associate producer Gillian Welch in Nashville, TN, over the course of a pair of two-day sessions, for their own Acony Records label. The album spans ten songs from the American folk songbook ranging from standards like “Midnight Special,” “Mexican Cowboy” and Richard “Rabbit” Brown’s “James Alley Blues” to the more obscure, like Memphis Slim’s 12-bar blues, “Mother Earth,” Gus Cannon and the Jug Stompers’ “Bring it With You When You Come,” Land Norris’ double-entendre kids chant, “Kitty Puss” and St. Louis bluesman Charley Jordan’s sing-song “Keep It Clean.” Like the music, Willie can be murderous, bawdy or lustful, sometimes in the course of a single song, with a sly sense of humor that cuts to the quick. He counters a masterful bravado with the tragic fragility of one who has been wounded. “There’s a lot of weight in the way Willie performs,” says Rawlings, longtime friend and producer of Watson’s previous band, Old Crow Medicine Show. “He’s had some tragedy in his life, which has informed his art. There’s an emotional edge to what he does because of who he is as a human being. Willie is the only one of his generation who can make me forget these songs were ever sung before.”
Born in Watkins Glen, N.Y. – best-known for its race track and the rock festival of the same name which took place there, featuring the Allman Brothers, Grateful Dead and The Band – Watson grew up listening to his father’s basement record collection, including Bob Dylan and Neil Young, before stumbling on a Leadbelly album at the age of 12. Combined with having heard plenty of local string bands – featuring old-time banjo and fiddle – Willie experienced an epiphany.
“As soon as I heard that record,” he recalls, “I was hooked.”
With a voice that could quaver in the operatic style of his favorite, Roy Orbison, Willie went on to discover North Carolina Appalachian fiddle and banjo players Tommy Jarrell and Fred Cockerham, who played songs like “Cripple Creek,” “Sugar Hill” and “John Brown’s Dream” on a compilation cassette of “round peak style” music. He began to unearth Folkways albums, including the label’s groundbreaking 1952 Harry Smith compilation, Anthology of American Folk Music, which helped kick-start the ‘60s folk revival lovingly captured in the Coen brothers’ Inside Llewyn Davis. He discovered like-minded souls in Old Crow Medicine Show.
“When we started that band, I found people that were cut from the same musical cloth,” he says. “They were my age, into the same thing, going down a similar road. We started sharing our influences, trading records and playing together.”
A few years down that road, Watson’s work with Old Crow is already a large part of the reason that banjo and guitar driven music is heard everywhere in the air these days. On Folk Singer, we find Willie defending his musical turf. A true solo album in every sense, Watson is now center-stage, armed with an acoustic guitar, banjo and the occasional mouth harp. Indeed, hearing Watson’s skillful and subtle banjo and guitar accompaniments and soaring vocals unadorned for the first time is a revelation.
“Part of me always toyed with this idea of going it alone,” he explains. “I had to relearn some things, how to fill out all that space.” Watson takes the skeletons of these songs and breathes his own life into them, on stage and on record.
Cabinet will perform at The Charleston Pour House on Wednesday, March 18, 2015
KYLE HOLLINGSWORTH BAND:
25 years ago, Kyle Hollingsworth set out on a career in music. Since then, with a wealth of desire and an abundance of ability, Hollingsworth has established himself as a formidable and versatile music talent, with the ability to contribute, collaborate, compose, and communicate on a number of levels and within a vast spectrum of musical environments.
Today, as a member of acclaimed jam masters The String Cheese Incident, Hollingsworth is revered by both peers and fans for his ability to write and perform in a mosaic of styles, from rock to classical, ragtime to bebop. Playing in SCI has allowed him unrestricted access to the world of music, and has bestowed on him the kind of fearlessness a composer needs to flirt with such disparate genres. Those who’ve seen SCI know that they can jerk from funk to bluegrass on a chord change. “In the jam world, where there are no set ways of doing things, we’re not afraid to move in and out of genres,” he says, “and because of that I’ve learned to be creative, not only onstage but in the studio. I can get on board with something pretty quickly. You have to.”
Hollingsworth also has a good ear, which helps when you’re constantly immersed in unfamiliar situations. “I’ve always felt the instrumentals I create in my home studio are tailor-made for films,” he says. “As far as communicating musical passages, I write pretty good hooks and I know what it takes to get to the point.” He’s proven that already with a variety of work that he’s already done for advertising, television, film, and even video games.
Kyle has developed soundtracks for EA Sports’ popular Sims 2007 and is currently dabbling in other video game projects. There are examples of his work on his website. He explains, “For video games, it has been fun writing in more of a classical vein. By utilizing timpani, strings and other classical elements, I am able to create tension beds and action sequences that help make the scenes come alive.” Most recently, Kyle contributed to the soundtrack of a Warren Miller film. “The key to good cinematic music,” he explains, “is to not overpower the visuals. My job is to add to the scene without making my music the focal point. I try to add emotion, not take it away.”
While his versatility and quick-study nature have become his signature skills with SCI, they have also proved tremendously helpful on stage during collaborations with a bunch of major acts, including Paul Simon, Bruce Hornsby, Bob Weir, Little Feat, and banjo master Bela Fleck. One summer he toured with Phil Lesh in a band that also included Steve Kimock, John Molo, and Warren Haynes. In another amazing highlight, Kyle also toured with Mike Clark in a band that starred nearly all the original Head Hunters.
These gigs prove that Hollingsworth is as unafraid to step out of the limelight as he is to step into it. “When I play with these performers it’s about showcasing them, to support the main role in the best possible way. Seasoned musicians can be tasty and laid back, too!”
While the jam scene has brought him much exposure as a talent—a relentless tour schedule will do that for a guy—it’s also allowed him to meet some of the very best musicians in popular music. With all that ability floating around between acts, it’s hard to resist the temptation to form “side projects.” Hollingsworth’s current musical hobby is called soleside, and it features Speech from Arrested Development and turntablist DJ Logic. soleside is Kyle’s brainchild, but it’s a true collaboration. “I’ve been a fan of Arrested Development for a long time,” he says, “and Speech has a great message in his lyrics, they are inspired and from the heart. It goes well with the SCI vibe of getting outside, playing with nature and finding spirituality in one’s self. Logic was the first person I thought of to help bridge the gap between the hip-hop and jam band scenes.”
Together, Kyle, Speech and Logic look to meld their experiences, in a place where their shared dialects—Sly Stone, the Staple Singers, the Brand New Heavies—have tripped upon exciting and funky ground to explore: “We’re looking for new musical adventures,” says Kyle, “and with a lineup as diverse as the three of us, there’s a lot of new ground to discover.”
All this incredible experience has turned Hollingsworth into a fluid talent with a wide range of abilities: as a sideman, a studio session player, a songwriter, soundtrack composer, bandleader, arranger, and film scorer.
Who knew it would come to this when he started this learning process 25 years ago? Back then, as a young kid sitting on his front porch, he’d immerse himself in the sounds of his older siblings’ records: the Grateful Dead, Bob Dylan, Joni Mitchell, Yes, and the Beatles. He started playing in bands at 12, and by last count, that total has climbed to about 30.
His first real group, a psychedelic rock band called Black Friday, made waves in and around his Baltimore home base. In college, at Towson University in Baltimore, he took a sharp left turn; he chose to study jazz giants like Hancock, Corea, Peterson, and earn his degree in Jazz Piano Performance.
Kyle’s first solo album release in 2004 reflected his jazz tastes. Titled Never Odd or Even, Joshua Redman and Robert Randolph guested, among others. Never or Odd or Even was the recording Hollingsworth had always wanted to make since he was a kid. In addition to his jazz influences, the album’s music demonstrates Kyle’s ability to seamlessly fuse genres.
Kyle moved west to Colorado in 1993, and quickly gelled with a handful of Denver- and Boulder-based musicians. After his young band Durt opened for an early version of SCI, the band invited him into the fold for a tour they were doing. That stint led to a full-time gig and, consequently, a career in music. Today, 12 years after joining SCI, the learning process Hollingsworth began as a child is now flourishing into an impressive and rewarding career. “I’m always looking for challenges,” he says. “I thrive on the challenges posed by unique groups of musicians.”
ASSEMBLY OF DUST:
“As a child I can remember locking myself in my room with a big old set of headphones and listening to The Band’s Music From Big Pink album over and over again,” said Reid Genauer, the lead singer and founder of the New York based quintet Assembly of Dust. “Besides loving the hell out of the music, I was intrigued with the production value in the recordings. As I listened I felt almost like I was there in the room with The Band at a moment of perfection. That intimate listening experience drew me in and is what inspired me to be a musician.”
Drawing on that influence and countless others, over the last ten years Assembly of Dust has crafted a unique sound that recalls the likes of The Band, Traffic and Neil Young. They have taken that early 70′s Americana swagger, put their own funky spin on it, and earned comparisons to the next generation of Americana heroes including Ryan Adams, Mumford and Sons and Wilco. Hooky melodies, poetic lyrics, and a profound depth of musicianship promptedUSA Today to say Assembly of Dust has what it takes to “dazzle the Alt-Country universe.”
The allure of spacious production value has clung with Genauer his whole life and when he listened to Ray Lamontagne’s 2010 album God Willin’ & The Creek Don’t Rise, he heard something that struck a chord deep within him. After just a few seconds sniffing around the liner notes he found the name he was looking for and within a couple of months Assembly of Dust was in the studio with engineer Ryan Freeland.
With three Grammy’s on the shelf and credits that include musical luminaries like Bonnie Raitt, Joe Henry, and Art Garfunkel, Freeland’s aesthetic was exactly what Genauer was going for on Assembly of Dust’s fourth studio album Sun Shot. “I’ve always had a penchant for acoustic music” said the songwriter. “While Sun Shot isn’t an acoustic record by any stretch of the imagination it has the touch and nuances that allows the listener to be nearer to the music. It’s certainly a mellower record, it’s a vibey record, and it’s the most singer-songwriter record we’ve done.”
While the recording processes used on Sun Shot harkens back to an analogue past, the rest of the project was decidedly technology driven. In the summer of 2012, as they struggled with the realities of financing an artistic venture of this scale, the band launched a crowd sourced funding campaign through Kickstarter. Looking back on it Genauer talks about the project as more of a spiritual journey than simply a fund raising exercise.
“When we went into it we were thinking of a black and white exchange of goods and services, but what we discovered was a weighty emotional interchange” he admitted. “The Kickstarter contributors demand something beyond a record and we found it to be a really intimate experience to craft special rewards for people who genuinely care about us and our music. It helped us truly appreciate the passion our fans feel for us and the depth of our community.”
Sun Shot is one part Singer-Songwriter, one part Alt- Country and one part Rock and Roll, but the thread tying it all together is Genauer’s heartfelt and beautifully written lyrics. In 2009 The New York Times praised Genauer’s songwriting skills as some of the most eloquent “to emerge in the long wake of the Grateful Dead” and the songs on Sun Shot may be the best work of his career.
The raw building blocks of Genauer’s songs stand strong on their own and they are polished to brilliance in the hands of the band he’s surrounded himself with: Adam Terrell (Lead Guitar), John Leccesse (Bass), and two newer members Jason Crosby (Piano and Violin) and Dave Diamond (Drums). Together Assembly of Dust has created an album laced with the influences Genauer recognized as a child. It’s a recording with many rooms. Some are flashy and aloof, others bony and pale, but collectively they are Sun Shot.