Guernsey's, Relix and Headcount Present
Wolf (Jerry Garcia's Legendary Guitar) Live Auction with performance by Joe Russo’s Friends with Benefits
featuring Joe Russo, John Scofield, Nels Cline, Neal Casal, Billy Martin, Cass McCombs, Dave Dreiwitz, Dave Harrington, Tom Hamilton, Delicate Steve, Scott Metzger, Jon Shaw, Erik Deutsch, Alecia Chakour, Eric D. Johnson, Jonathan Goldberger, Cochemea Gastelum
Wednesday, May 31st, 2017
Doors: 7:00 pm / Show: 8:00 pmBrooklyn Bowl
$75.00 - $100.00
This event is 21 and over
Advanced tickets to this event are SOLD OUT! We will have a limited number of admissions available to purchase at 7:00 PM. All admissions at the door will be first come first serve, one ticket per customer, with no re entry. $100 at the door, cash only.
All Auction and Show proceeds donated to Southern Poverty Law Center.
Joe Russo's Friends with Benefits featuring:
- John Scofield
- Nels Cline (Wilco)
- Neal Casal (Chris Robinson Brotherhood, Circles Around The Sun)
- Billy Martin (Medeski Martin & Wood)
- Joe Russo
- Cass McCombs
- Dave Dreiwitz (Ween, Joe Russo's Almost Dead)
- Dave Harrington (Darkside, Hooteroll? + Plus)
- Tom Hamilton (Joe Russo's Almost Dead)
- Delicate Steve
- Scott Metzger (Joe Russo's Almost Dead)
- Jon Shaw (Bob Weir, Shakey Graves)
- Erik Deutsch (Charlie Hunter, Hooteroll? + Plus)
- Alecia Chakour (Tedeschi Trucks Band)
- Eric D Johnson (Fruit Bats)
- Jonathan Goldberger (Red Baraat, Hooteroll? + Plus)
- Cochemea Gastelum (Dap-Kings)
For millions of passionate Grateful Dead fans, there is only one “Wolf”: Jerry Garcia’s beloved guitar. Customized by luthier Doug Irwin, Wolf was delivered to Jerry and first appeared in a 1973 New York City performance the Grateful Dead gave for the Hells Angels. Over the following two decades, Wolf became almost as well known as the performer himself as it appeared in countless concerts and on treasured recordings throughout Jerry’s fabled career.
Years after the musician’s passing, Wolf returned to Doug and was sold in a 2002 Guernsey’s auction conducted at NYC’s electric Studio 54, where it fetched close to $1 million, more than doubling the existing world record. Now, Wolf’s buyer, wishing to support the important efforts of the Southern Poverty Law Center and its continuing fight against racism and hate groups, has returned Wolf to Guernsey’s for an unprecedented one lot auction of this most treasured guitar. The proceeds of the winning high bid on this extraordinary instrument will go to SPLC. This Guernsey’s event, additionally supported by the Relix Group, will be held on May 31st, live at the fabulous Brooklyn Bowl in New York City. Absentee bidders will also be accommodated.
From San Francisco’s Winterland Ballroom to NYC’s Palladium to Egypt’s Great Pyramids, Jerry and Wolf travelled, appearing in front of massive, passionate audiences. It is no wonder that the devoted Deadhead who purchased the Wolf in 2002 has said, “I’ve been a fan of The Dead since I was a kid, and playing this iconic guitar over the past 15 years has been a privilege. But the time is right for Wolf to do some good. My wife and I have long supported the efforts of the Southern Poverty Law Center, and if ever we needed the SPLC, we sure do need them now.”
Rarely, if ever, has there been an item as memorable and noteworthy as the Wolf being sold in support of such a worthy cause. Guernsey’s is thrilled that the return of Wolf will go a long way to combat racism and injustice across the country.
Brooklyn Bowl is proud to present on May 31st a spectacular Guernsey’s auction event, where celebrated musicians will have a chance to play Wolf one last time before it finds a new owner. Those interested in bidding on Wolf, or attending the auction and preview events should visit www.guernseys.com or contact the auction house in New York at 212-794-2280.
The Southern Poverty Law Center was founded to ensure that the promises of the civil rights movement became a reality for all.
By the late 1960s, the civil rights movement had ushered in the promise of racial equality as new laws ended legal apartheid in the United States. But the new laws had not yet brought the fundamental changes needed in the South.
Blacks were still excluded from good jobs, decent housing, elective office, a quality education and a range of other opportunities. There were few places for the disenfranchised and the poor to turn for justice. Enthusiasm for the civil rights movement had waned and few lawyers in the South were willing to take controversial cases to test new civil rights laws.
Alabama lawyer and businessman Morris Dees sympathized with the plight of the poor and the powerless. The son of an Alabama farmer, he had witnessed firsthand the painful consequences of prejudice and racial injustice. Dees decided to sell his successful book publishing business to start a civil rights law practice that would provide a voice for the disenfranchised.
His decision led to the founding of the Southern Poverty Law Center.
“I had made up my mind,” Dees wrote in his autobiography, A Season for Justice. “I would sell the company as soon as possible and specialize in civil rights law. All the things in my life that had brought me to this point, all the pulls and tugs of my conscience, found a singular peace. It did not matter what my neighbors would think, or the judges, the bankers, or even my relatives.”
Dees joined forces with another young Montgomery lawyer, Joe Levin. They took pro bono cases few others were willing to pursue - the outcome of which had far-reaching effects. Some of their early lawsuits resulted in the desegregation of recreational facilities, the reapportionment of the Alabama Legislature, the integration of the Alabama State Troopers and reforms in the state prison system.
The lawyers formally incorporated the Southern Poverty Law Center in 1971, and civil rights activist Julian Bond was named the first president. Dees and Levin began seeking nationwide support for their work. Committed activists responded from across the country, and the SPLC carried forward its mission of seeking justice and equality for society’s most vulnerable.
In the decades since its founding, the SPLC has shut down some of the nation’s most dangerous hate groups by winning crushing, multimillion-dollar jury verdicts on behalf of their victims. It has dismantled institutional racism in the South, reformed juvenile justice practices, shattered barriers to equality for women, children and the disabled, and protected low-wage immigrant workers from abuse. It also has reached out to the next generation with Teaching Tolerance, a program that provides educators with free classroom materials that teach students the value of tolerance and diversity.
As the country has grown increasingly diverse, the SPLC’s work has only become more vital. And its history is evidence of an unwavering resolve to promote and protect our nation’s most cherished ideals by standing up for those who have no other champions.
Suddenly, the cold weather outside is a distant memory, chased away by the heat generated by three great musicians hitting their stride. Old friends and longtime musical partners, guitarist John Scofield and his trio mates--bassist Steve Swallow and drummer Bill Stewart--are aglow with camaraderie and spontaneous invention. The three throw off sparks as they bob, dip and weave through a tightly knit set of jazz standards and savvy original compositions. More than just a collection of tunes, the trio is playing music that embodies the spirit that has kept jazz vigorous and visceral since its birth.
Hundreds of fortunate music fans, residents and visitors alike shared this experience when the John Scofield Trio played that week in December 2003. If you were there, you'll always remember it. And happily, Verve Records was there as well, preserving the experience for posterity as EnRoute, Scofield's seventh Verve release.
Previously recorded outings by Scofield have found him performing in elaborate settings. His works range from the plugged-in, electronically tweaked jamming of his last Verve release, Up All Night, to the full orchestral setting of the recent Scorched, a collaboration with British composer Mark-Anthony Turnage issued earlier this year on the venerable classical imprint, Deutsche Grammophon. But for EnRoute, Scofield wanted to focus on the high-wire interaction of a small, closely knit band in the heat of a live setting. He arrived at the Blue Note armed only with his trusty guitar, amp and whammy pedal, and left his more elaborate electronic gear at home.
"I wanted to make a real jazz-improvising statement in a live situation with two of my favorite musicians," Scofield says. "It's really challenging. You don't rely on arrangements as much as on the way the group plays together. You don't rely on anything other than good playing, and you know there's no lifejacket or safety net involved. That doesn't happen as often in a studio setting: I think the big difference is the audience. There is a symbiotic affinity between the artists and the audience that makes for something special."
Scofield wanted EnRoute to document the flow of a typical live set on a hot night. For jazz buffs, that's precisely why the live trio record stands as one of the purest representations of the art form. He's quick to name his own favorites: "Bill Evans' [Sunday] at the Village Vanguard is one that I like a lot. Sonny Rollins' A Night at the Village Vanguard, Jim Hall's Jim Hall Live!, and John Coltrane, Live at the Village Vanguard: On 'Impressions' and 'Take the Coltrane,' there's no piano, so it's a trio -- and those are sides that changed my life."
On EnRoute, Scofield proves that he, too, has mastered the art of constructing an exceptional live document. In one sense, the album turns the clock back to the formative years of his long, illustrious career as a bandleader: two early live trio albums, Shinola and Out Like a Light, were also recorded during a week of December performances, back in 1981. "I remember being a lot more uptight when I played back then!" Scofield recalls with a laugh. "Now, I'm just able to embrace the moment more and enjoy it. I really had a good time making this record."
Scofield has come a long way as a player and leader since those early years, but one thing that EnRoute has in common with those early dates is Steve Swallow. "There is no other man like him in music," Scofield says with genuine admiration. Not only does he play like an upright player--like the great, seasoned jazz veteran that he is--but he's also an electric bassist who can play chords and solos like a guitarist. He adds that whole other element; what we can do is so strong harmonically."
Drummer Bill Stewart, the third side to the triangle on EnRoute, has also logged many miles with Scofield, having first played with the guitarist some 14 years ago. "I think he's playing as good as any drummer in the history of jazz," Scofield states. "Bill knows everything that I'm playing harmonically, and with that understanding, he responds to what Steve and I play in an incredibly musical way. And also, he's got great time: His inner clock is set and it does not move!"
Stewart's rock-steady pulse and unique rhythmic conception are readily apparent from the opening bars of "Wee," the Denzil Best-penned bop standard that opens EnRoute. "We got into playing this tune years ago because Bill plays a fantastic beat on it," Scofield explains, "and the way Steve breaks it up on bass, no one plays like that. It's a jazz tune and it's swinging, but it's grooving in another kind of way, too. I wanted to start the album with this because it's so happy, and also because the way these guys play it is so unique.
"Toogs" was inspired by the two miniature dachshunds that guard the Scofield home. "'Toogs' stands for 'two dogs,'" he explains, somewhat sheepishly. The generous, loping melody paints a scene of domestic bliss. Midway through, however, Scofield and Stewart launch into a heated exchange more than slightly reminiscent of Coltrane and Jones's legendary duels, while Swallow settles into a backing vamp. "It starts as this pretty little thing," Scofield says, "and then there's a dogfight at the end!"
The third selection, "Name That Tune," is a timely reminder that bassist Swallow is also a composer of distinction. Hailing from his 1997 release, Deconstructed, the mysterious tune might seem oddly familiar. "Steve wrote an entire album of melodies over the changes of existing jazz standards," Scofield explains, "and this one is on the changes to 'Perdido.' We take it at a breakneck pace. It's bebop for 2003, but very much rooted in the tradition."
Scofield's 16-year-old son Evan provided the oddly poetic title of "Hammock Soliloquy," which rocks back and forth between a slow Stewart strut and a breezier uptempo beat. '"I played him a rehearsal tape of this, and right away he said, 'Hammock Soliloquy." The quirky title deftly combines a Shakespearean reference with the to-and-fro rocking of the composition -- poetic indeed.
The next tune 'Bag' is a rollicking blues. "Swallow started calling Bill 'Bag' a long time ago," Scofield says. "I'm not sure why, except maybe that Bill's suitcase is always a complete wreck, and Swallow's is always pristine." Since Stewart was the one who reminded Scofield of the tune (written in the earliest years of their collaboration), the guitarist felt it only fair to name it for the drummer.
Scofield and his bandmates stretch out and intertwine with familiar grace and ease in "It Is Written." The song spices up the set list with its perky rhythm and sophisticated chord progression.
Burt Bacharach and Hal David's "Alfie" is a timeless standard. "It's one of my favorite songs of all time, especially Dionne Warwick's recording," Scofield says. It's really not so easy to improvise on, because the form is very long. It takes a special treatment; that's probably why not so many jazz artists have played it." The ballad affords Swallow a breathtaking solo in the top range of his instrument, which lets him sound like the masterful guitarist he is.
The busy, bustling "Travel John" gives a sense of forward momentum with no time out to stop and catch your breath.
Finally, borrowing the same trick that Swallow used for "Name That Tune," Scofield based "Over Big Top" on the bass line and rhythm of one of his own tunes -- "Big Top," from his 1995 album, Groove Elation. "I just had 'Over Big Top' written on the top of the lead sheet," Scofield explains. The tune's twangy melody and funky strut inspire Scofield to uncork one of his most unfettered solos, rousing the audience to its most boisterous reaction. Stewart's rambunctious rhythmic displacements and ringing accents help end the set on a high note.
And in the end, that's what EnRoute is all about: three musicians grooving in front of an enthusiastic audience and the special synergy that unfolds between them. "It's impossible to judge your own work completely," Scofield says, "but I think this is some of my best playing. We definitely hooked up as a group, and it brought us to places we don't usually get in the studio."
Twin brother of Alex Cline.
For the Good Charlotte guitarist/keyboardist, please use Billy Martin (2).
For the American composer and songwriter who collaborated with Larry Martin (7) and Tom Glazer, please use Billy Martin (5).
Brooklyn, United States
Invigorated by a busy and exciting 2014 that found him on the road with a number of touring acts, Hamilton can be considered “the hardest working person in show business,” and looks forward to funneling that creative energy into American Babies’ newest studio effort. “Everything that’s happened since October 2013 has been surreal,” says Hamilton, “the reception of Knives and Teeth was overwhelming. The tours throughout 2014 were all so fun and exciting. And then there were the incredible opportunities that arose playing with Joe Russo’s Almost Dead, Phil Lesh, and Bill Kreutzmann, as well as reuniting with Clay Parnell on stage, which all had a huge influence on the narrative of my year. I’m excited to lock myself back in the studio and see how all of these events and new experiences shape the next batch of songs.”
Although American Babies began as a side project for Tom Hamilton with a rotating cast of musicians, the lineup has recently solidified to include Hamilton’s longtime partner-in-crime bassist Clay Parnell (Particle, Brothers Past), keyboardist Adam Flicker (The Brakes), drummer Al Smith, and rhythm guitarist Justin Mazer. With American Babies, Hamilton has turned his focus to songwriting and crafting lyrics that share tales of trials and tribulations ranging from working class hard truths and political chaos to personal relationships gone sour.
Fearlessly blending a passion for songwriting with the electronica-based improv rock that Hamilton and Parnell developed with Brothers Past, American Babies are pioneering a new sound — fusing serious songs with an open-ended sense of adventure that encourages full-group improvisation in the live setting.
When the world first met Delicate Steve in 2011, Steve Marion and the band he principled were an artfully crafted fiction. Tasked with introducing Wondervisions, Delicate Steve’s beguiling debut record of highly evocative and emotionally concise guitar-driven songs, Luaka Bop, the seminal David Byrne-owned New York indie label, balked. There was the music to get to; itself essentially reference-less and unqualifiedly unique. But what of the guy who created it? The guitarist who wrote the whole thing, who played every instrument. An enormous unknown talent without an attendant backstory to match the spectral and boundless qualities of his music. Enter Chuck Klosterman. The celebrated writer was brought on to completely fabricate a biography based on a band and album he was asked not to listen to.
While the record racked up high praise from outlets including The New York Times and NPR, nearly everything music fans read about Delicate Steve was a fiction. Listeners were left to the music alone to determine who Steve was.
As is often the case, some of the first people to recognize Delicate Steve’s music were fellow artists who became vocal supporters, as the young guy from upstate New Jersey began to develop a growing fanbase in small New York clubs like Glasslands, Union Pool, and Mercury Lounge. Following the 2012 release of Positive Force, Delicate Steve had cornered the status of ‘your favorite band’s favorite band’, as Steve himself became a fixture in and an on-demand collaborator among disparate scenes, players, and bands, making some of the most celebrated and forward thinking music today: Co-signs and work with David Byrne, Dirty Projectors, tUnE-yArDs, Mac DeMarco, Dr. Dog, and elder statesmen like Lee Ranaldo and Built to Spill. Likely the only guitarist alive who will cut records with Sondre Lerche and Death Grip’s Zach Hill. Handpicked to open a sold out North American tour for Tame Impala. And most recently, providing guitar on Paul Simon’s new record.
These wild artistic relationships came to be because Steve happens to be one of the most talented songwriters and guitarists currently working. But they are also a direct reflection of the person, the soul of a guy any artist or fan who’s met him will identify immediately. It’s the same soul that fills his songs.
This is Steve, Delicate Steve’s first new record in 4 years, and first for the ANTI- imprint, is an articulation of this spirit. Joy. Love. Positivity. Perseverance. Meditation. A general communion with the people and world around him. Easy to call such things hackneyed in this cynical time, but in Steve’s case, it’s very hard to separate the person from the art. It’s real. It’s pure. This, is Steve.
Melody begins with the needle drop on This is Steve, and it’s this hallmark as a songwriter on display in tune after tune that has defined all of Delicate Steve’s work. It’s his incredible capacity to write wordless songs that are impossible not to sing along to. He works in no genre, there are no words, but there is never a question as to what he is saying.
Tunes like “Animals,” “Help,” and “Nightlife,” establish their hooks immediately, and drop you with Steve as he runs alongside leopards, scales a Western peak, nurses a boozy Kingston come-down, before clocking out at under three minutes and depositing you somewhere else on a technicolor continuum. Throughout the set, Steve’s guitar melodies rise and crest, unguarded expressions of wonderment and positivity.
Steve produced and played all the instruments on this record. He created it as an introduction from himself to you, and named it appropriately. If there is a question as to who This is Steve’s creator is, you’ll find it imbued in these ten songs. As he has done from the start, Steve lets the music speak for itself. Without a word.
61 Wythe Avenue
Brooklyn, NY, 11249