Jon Stickley Trio (Album Pre-Release Show)

The Grey Eagle and Worthwhile Sounds Present

Jon Stickley Trio (Album Pre-Release Show)

Blair Crimmins and The Hookers, Shane Parish

Fri, March 10, 2017

Doors: 7:00 pm / Show: 8:00 pm

$12.00 - $15.00

This event is all ages

STANDING ROOM ONLY

Jon Stickley Trio (Album Pre-Release Show)
Jon Stickley Trio (Album Pre-Release Show)
On the tail of their critically acclaimed 2015 album, Lost at Last, Jon Stickley Trio independently released a brand new 5-song EP, Triangular, on December 2, 2016. With roots in gypsy jazz, bluegrass, and hip-hop in an “exhilarating all-acoustic swirl” (Acoustic Guitar Magazine), Jon Stickley Trio combines Jon Stickley’s rapid-fire flatpicking guitar with the sultry and wild, yet refined, melodies of Lyndsay Pruett on violin set over the deep groove of Patrick Armitage on drums.

“In a time when a lot of instrumental music feels more like math than art, Jon Stickley Trio's Triangular reminds us of the pure joy that can be created and shared through music,” says Greensky Bluegrass’ Anders Beck.

The EP, Triangular, was recorded at Blue Sprocket Sound in Harrisonburg, VA this summer and was sent early to anyone that donated $10 or more to their recent successful Kickstarter Campaign to help them get back into Echo Mountain Recording Studio in December with Producer Dave King (Of The Bad Plus) to record a yet un-named new full length album due out in April 2017.

"I like to think of music as a two way street, a reciprocal experience between musician and audience,” says Lyndsay Pruett. “The Kickstarter campaign really affirms my view on that. And it truly becomes about more than the money. Money is the thing we all know we need to make the world go around, but this process allows people to have an extra level of personal involvement. We have conversations with people we've met at shows from all over the country, and they become involved in the next record. Then when we go back to those places to play the music for them the experience is more substantial, and more fun, of course."

Triangular features five songs leading out with with “Blackburn Brothers”, of which Beck says, “While the opening notes remind the listener of Tony Rice's Manzanita (one of the greatest acoustic guitar albums of all time), one is suddenly catapulted into Jackson 5 territory a few minutes later in the same song. Sure, comparisons to previous musicians are a good way to explain a new artist to the masses, but to do so is to cheat Stickley of what he really is: a damn genius, a musical mastermind, and one of the most unique, creative, and inventive guitar players I've ever heard.”

“Since bluegrass players started delving into jazz, they've been composing progressive acoustic music, but so much of it has lacked the comfort in its own skin that Stickley's songs possess.” Anders Beck says of Stickley’s style,“I could go on and on about how amazing it is that his twisty and turny songs don't feel forced, and always bob and weave at the right time; or how Stickley's guitar playing shares as much in common with the flow of the greatest rappers of all time as it does with his flatpicking heroes...”

With the success of Lost At Last making it into rotation on radio stations both nationally and internationally, the Trio has traveled over 50,000 miles, performing at over 100 festivals and venues across the country in 2016 (Including the Kennedy Center in Washington, DC), attracted attention of thousands of new fans, and teamed up with a national booking agency. Jon Stickley Trio heads into the studio in early December to record the yet unnamed full length album with Dave King, who also produced Lost At Last which garnered praise from The New York Times, NPR's Heavy Rotation, NPR's World Cafe, Premier Guitar Magazine, Acoustic Guitar Magazine, and many others.

Jon Stickley Trio has evolved into a fully formed, musical identity that was just beginning to take shape on the first record. Stickley realizes, “Our musicality has matured individually, and collectively to the extent that we can read each other, and respond to each other in a completely intuitive and natural way. We can’t wait to take our matured sound back into Echo Mountain with our mentor and producer, Dave King and release the new album in Spring 2017”

All of this interlocks, and is propelling the band into the future. Music City Roots’ Craig Havighurst says “A new generation of bluegrass-reared instrumental explorers is coming into its own, and the Stickley Trio is in the vanguard.”
Blair Crimmins and The Hookers
Blair Crimmins and The Hookers
Blair Crimmins began his current music career in Atlanta, Georgia, with a determination to bring Ragtime and 1920's style Dixieland Jazz to new audiences. What he created was a sound that is at once modern while being deeply rooted in the past. Now four years, and five hundred shows later, he has toured the Eastern United States playing large venues and has opened for national acts such as Mumford & Sons and O.A.R. A multi-instrumentalist and music academic, Crimmins writes songs and arrangements for a classic New Orleans style horn section consisting of Trumpet, Clarinet, Trombone. His debut release "The Musical Stylings Of" became a college radio sensation on WRAS Atlanta making him the most requested band on the air.

His last release and video "State Hotel" landed them a full feature in Creative Loafing Atlanta. In 2012 Crimmins showed his musical diversity by writing and recording the full score for the independent short film "Old Man Cabbage". 2013 will be another landmark year for Blair Crimmins when he begins touring to support his highly anticipated next album entitled "Sing-a-longs". The new Blair Crimmins and The Hookers album promises to be a break through record which showcases a band who have polished their signature sound from years of touring.

“Blair Crimmins & The Hookers will make a jazzbo out of you. This ain’t your great-grandfather’s ragtime, and Blair Crimmins isn’t any quaint Dixieland revivalist. He’s a rock star — and Sing-A-Longs is a boisterous good time. Swing, Hookers, swing!” – James Man (Ink 19)

“Ragtime and 1920’s Dixieland Jazz have got a champion in Blair Crimmins. Sing-a-Longs is a perpetual motion machine of notes, rhythms and words and, while all albums should be just that, this one proves its worth as it shimmies, shakes, rattles and roars Ragtime.” – The Alternative Root
Shane Parish
Shane Parish
Guitarist, Shane Parish. How does one arrive at the creation of an album like “Undertaker Please Drive Slow”?

Here is a boy who, at age 14, picks up a guitar for the first time and decides “this is it!” This is the escape hatch from the tragedy and trauma of an unstable childhood in the sweltering heat, chaos and congestion of sunny Fort Lauderdale, Florida. In music Parish finds stability and eternity and truth, elevated beyond the work-a-day grind and fight for mere survival. There is no music in his childhood home aside from what is being administered on the TV and radio, so music must be sought out and discovered, in the days before everything is instantly discoverable. There is jazz and blues and Cuban and classical music in South Florida. There are innumerable Florida death metal bands and Marilyn Manson is an unsigned local act. Riffs by Iron Maiden and Metallica and Pink Floyd are being passed around by friends, and the friends form bands, and write songs, and try to be original. The ego is broken down and made permeable by the ingestion of psychedelics, and music and life become integrated on a cellular and spiritual level… Naturally, school and work hold very little interest at this point, and the boy Parish drops out and tells everyone he is going to just play guitar.

Here is a young man who, at age 26, has just played his first international jazz festival in Austria with his confrontational, no-holds-barred, avant-garde, instrumental rock band, Ahleuchatistas [AH-LOO-CHA-TEES-TAS]. It’s really just a punk band in this incarnation, almost like Fugazi meets Captain Beefheart. The crowd loves it and the world feels less lonely. Parish is on the cusp of wrapping up a university degree in philosophy, in which he becomes deeply immersed in the anarcho-musico-Buddhist ideas of composer John Cage. He has long dipped his toe in different styles of guitar playing, but has barely scratched the surface, really. Parish’s explorations are now led by an ethos of wide open curiosity and awareness. Jazz is an obsession and John Coltrane is a guiding light in any situation. There is a radio interview with Coltrane in the early 60’s, just before he goes on to record “A Love Supreme”, in which he talks about how he is currently trying to “deepen his roots” because he “skipped over a lot of stuff”. This conversation leaves a lasting impression.

Here is a family man who, at age 38, makes his living playing gigs and teaching lessons. Still very much the experimentalist, touring musician and collaborator, with over 20 albums in his discography, he has spent the past decade cultivating a more embodied approach to playing the guitar: how to pull out the most beautiful sound, or whatever desired effect, by following the breath and touching the string just so. Parish has taught himself classical guitar, as a practice like meditation or Yoga or Tai Chi. As a boy he thought the tape was warped and that was why Andres Segovia’s guitar sounded like flowing water. Now Parish knows that being completely in the moment is the real cause. He turns to the blues and folk music where a universal magic is being shared and passed down generations and permeating every other form of music. Elizabeth Cotten and John Hurt hypnotize and heal with a simple root-five bass line, like a pulse, in four-four time and fill up all the cracks with sparkling melody. Parish sings folk songs to his young daughter and, through her new ears, begins to truly appreciate the regional music of his adopted home in the Appalachian town of Asheville, North Carolina. One winter’s night, just before bed, he thinks, “I’ll write an arrangement of ‘The Cuckoo’ for solo guitar.” Instead, Parish records 45 minutes of music, twelve folk songs, in a trance-like effortless stream of free association. He goes to sleep. It’s as if someone else played it, and he listens to the recording in the coming days twenty or more times. He sends it to friends and labels. The music catches the ear of the great and famous composer and saxophonist, John Zorn, who lives up in New York City. Zorn asks Parish if he would like to record on better equipment, offering him a small budget, and tells him that he can record it whenever he feels ready.

Six months later a recording session in a cabin in the woods yields a 15-song album of original arrangements and improvisations of gospel, folk, blues, field hollers, Child ballads, Scottish traditionals, and Appalachian tunes. Undertaker Please Drive Slow.

"A long time resident of the Appalachian town of Asheville, North Carolina, Shane Parish is the mastermind behind the cutting edge rock band Ahleuchatistas.

Here he steps out with a remarkable and soulful acoustic solo project that digs deep into Appalachian roots. Taking classic old timey folk songs, Shane has abstracted them in utterly fascinating ways evoking the haunting and brooding world of the American South.

At times reminiscent of John Fahey and Robbie Basho, at times of John Cage and Morton Feldman, Shane uses these beautiful songs as launching pads for his creative flights of fancy, at times boiling them down to their very essence." -John Zorn

"Shane Parish is one of the most interesting new guitar voices to come out of the country blues tradition of Mississippi John Hurt, Lightin Hopkins… via John Fahey, and the folkie fingerpickers….this recording finds Parish standing at the cross-roads between playing the country blues and… deconstructing? Devolving? Destroying?…them.
Some of the miniatures are stunning, haunted by an Anton Webern-like economy. Check it out!" -Marc Ribot
Venue Information:
The Grey Eagle
185 Clingman Ave
Asheville, NC, 28801
http://www.thegreyeagle.com/