Julian Lage & Chris Eldridge w/ Shane Parish

The Grey Eagle and Worthwhile Sounds Present

Julian Lage & Chris Eldridge w/ Shane Parish

Shane Parish

Fri, March 3, 2017

Doors: 8:00 pm / Show: 9:00 pm

$17.00 - $20.00

This event is all ages


Julian Lage & Chris Eldridge
Julian Lage & Chris Eldridge
Julian Lage & Chris Eldridge first met backstage in Boston following a Punch Brothers show. Over the course of several years, a casual friendship led to a solid musical partnership that produced the 2013 EP Close to Picture and 2014’s full-length release Avalon, produced by Kenneth Pattengale of The Milk Carton Kids. Known for pushing the envelope of folk, bluegrass, and jazz, Lage & Eldridge showcase, as the New Yorker writes, a “familiarity with the fretboard...so extravagant and capacious that they bring flourishes to this music that it simply hasn’t enjoyed before.” Their performance is sure to astound.

The Grammy-nominated Lage has been highly regarded in jazz and new music circles for his own work as well as for his collaborations with such artists as Nels Cline, Fred Hersch, and Jim Hall, among many others. A former child prodigy, Lage has been recognized for his remarkable musical ability from a very young age, which was displayed in the acclaimed 1996 Oscar-nominated short documentary, Jules at Eight. Fellow Grammy-nominee Eldridge, an Oberlin Conservatory grad who studied with bluegrass guitar legend Tony Rice, is equally noted in the progressive bluegrass world for his stints with the Seldom Scene and The Infamous Stringdusters, which led to his joining Chris Thile’s adventurous quintet, Punch Brothers.
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