Rock and Wrap it Up Presents
Jackie Greene & Friends: Grateful Dead Appreciation Night feat. Jeff Chimenti, Mihali Savoulidis (Twiddle), Al Schnier (moe.), Leslie Mendelson, Scott Sharrard & more
A fundraiser to help the homeless of New York; live auction, silent auction, & raffle!
Thursday, September 14th, 2017
Doors: 6:00 pm / Show: 8:00 pmBrooklyn Bowl
$35.00 - $2,000.00
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 the box office on the night of the show starting at 6:00 PM. All admissions at the door will be first come first serve, one ticket per customer, with no re entry. $35 at the door, cash only.https://www.brooklynbowl.com/event/1533004/
Back to Birth - Greene's seventh album and his Yep Roc Records debut - is more than worthy of some serious attention. The 11-song set showcases the multitalented artist's uncanny knack for synthesizing his deep affinity for American roots styles into timeless, personally-charged music. Armed with a persuasive voice, a vivid songwriting skill and an instinctive mastery of several instruments, Greene has carved out a unique musical niche, and the album marks another creative landmark in his already compelling body of work.
Produced by Los Lobos member and frequent Greene collaborator Steve Berlin, Back to Birth underlines Greene's remarkable evolution as a performer and writer. With such new compositions as "Silver Lining," "Trust Somebody," "Now I Can See For Miles," and the stirring title track, the artist's distinctive melodic sensibility is matched with thoughtful, introspective lyrics that confront some profound philosophical issues with plainspoken eloquence.
"Musically, this album is kind of a return to the simplicity of the records that I started with, although I feel like I have a much better idea of what I'm doing now," Greene observes. "I think the lyrics are the part that have really evolved. A lot of these songs explore the notion of a cyclical existence, and the sense that life goes in a circle. I want the songs to come from a place that's meaningful to me, but I also want to keep them as simple and direct as I can. I look at old blues songs, or Hank Williams songs, and they're so simple and direct but they can convey some pretty deep ideas."
Although Back to Birth is Greene's first new solo release in five years, he's hardly been idle. In fact, he's spent much of the past few years engaging in a series of collaborative musical adventures that have teamed him with several notable veterans.
In 2013, Greene joined the reunited Black Crowes as lead guitarist on their worldwide tour, and the following year released the self-titled debut album of supergroup Trigger Hippy, which Greene is a member of along with Joan Osborne and Crowes drummer Steve Gorman. Greene continues to be a frequent member of Grateful Dead bassist Phil Lesh's touring ensemble Phil Lesh & Friends, for which he has contributed lead guitar and vocals since 2007. Greene also toured as part of WRG, an acoustic trio with the Grateful Dead's Bob Weir and Black Crowes frontman Chris Robinson, and he performed with Levon Helm as part of Helm's fabled Midnight Ramble shows.
The same qualities that attracted such legendary figures to work with Greene are prominent throughout Back to Birth, which Greene and producer Berlin cut at Portland's Supernatural Sound with a sympathetic crew of mostly jazz-steeped players, with Greene stretching out on a number of instruments, including guitar, piano, organ and drums.
"This is the third album I've done with Steve," he says. "I've known him for about 12 years, and he's really good at challenging me and getting it out of me. We know each other well enough at this point that we can be blunt with each other, and he'll tell me that I'm full of it if that's what I need to hear."
The musical passion and creative integrity that drive Back to Birth have been constants in Jackie Greene's musical life from the start. While growing up in Northern California, he taught himself to play piano and guitar. His musical reference points shifted radically when, at the age of 14, he ran across a cache of his parents' vintage rock, country, blues and R&B LPs in the family's basement.
Still in his teens and inspired by his discoveries, Greene began writing songs and performing them at a local coffeehouse while recording his compositions in his makeshift garage studio and burning CDRs to sell at his gigs. He saved the money he made selling those discs to fund his debut album, the self-produced, self-released Rusty Nails. Despite being a D.I.Y. release with minimal promotion, the disc received substantial regional attention from fans and press alike.
His popularity led to a deal with a local independent label, which released his second album, Gone Wanderin', in late 2002. The disc won considerable national attention, leading to a series of national tours opening for the likes of B.B. King, Buddy Guy, Susan Tedeschi, Huey Lewis, Mark Knopfler and Taj Mahal.
Greene continued to win critical acclaim and expand his fan base with 2004's Sweet Somewhere Bound and 2006's American Myth. In 2007, Greene began moonlighting with Phil Lesh and Friends, while continuing his own musical evolution with his own releases Giving Up the Ghost and Till the Light Comes, released in 2008 and 2010, respectively.
"The musicians that I really admire and try to emulate are the ones who have the whole package: they're great songwriters, great singers and great instrumentalists, and they have a vibe about them that's real," he states, adding, "When I go to make a record, I'm not thinking about where I can fit in a bunch of guitar solos. I'm thinking, 'What does this song feel like? What's it saying?' So my goal, when writing a song or making a record, is to find the core of that emotional experience and convey that."
Although he's already racked up a multitude of impressive musical achievements, Greene isn't one to look back. Instead, he continues to look to the future - and looks forward to getting back on the road to bring Back to Birth's soulful songcraft to the loyal, wildly diverse fan base that he's built through talent, vision and hard work.
"I still plan on making a lot of different kinds of records in the future, but I can't tell you what they're going to sound like, because I really have no idea," he asserts. "All I can do is write songs and make music as honestly as I can. That's what I believe people appreciate about what I do. They trust me to be honest with them, and I'd never want to abuse that trust."
Most laud Mihali for his dexterity on guitar, but it’s his lyrics and songwriting capabilities which set his solo act apart. It is the soul of what many hope to find in a solo act. His mastery of pedals, specifically the repetitive phenomena known as “looping,” beat boxing, and guitar riffs, all prep a multi-textured canvas for song. Mihali’s words are genuine. Shaped by his journey through grief and redemption, he writes songs that serve as a light to many who find themselves lost in their own darkness.
“I've been struggling for way way too long
It's time for a change I’m ready to move on.
And, yes, I'm scared to right all my wrongs.
But I'll be ok- I'm stronger than I thought.”
- Lost in the Cold
Inspired by artists including Kurt Cobain, Bradley Nowell and Bob Marley, Mihali’s music carries a passionate intent for good. During his twelve years with Twiddle, Mihali has shared the stage with members of Phish, Blues Traveler, Big Gigantic, Matisyahu, Nahko and Medicine for the People, Trevor Hall and jammed with his all-time favorite guitar player, Jamaican reggae legend, Ernest Ranglin, just to name a few. Mihali currently resides in the green mountains of Vermont, where he's lived since he met his brothers in Twiddle in 2004. When not on tour he can usually be found writing music in the company and of his pride and joy, his wife, daughter, and three golden retrievers.
Most of Al’s early guitar education was gleaned from classic rock albums and forays into punk rock. He spent most of his formative years following the Grateful Dead up and down the East Coast, which as he puts it, “surely informed my notions about live improvisational music.”
Al has been playing in bands ever since he could play a few chords. “Some of the best days of my youth were spent in basements and garages around Central New York.” In the fall of 1991, he moved to Buffalo and almost immediately began playing with Rob and Chuck. “I started merely as a sub, and I’m still here with them, twenty years later.” Since then, moe. has performed with various members of The Dead, The Allman Brothers, Robert Plant, The Who and many more. Al has engineered and produced several albums, in addition to the work with moe. and still keeps busy with studio work when not on the road with his ‘day job’.
Al is also an avid gearhead and has been ever since he played with Erector sets as a little kid. “Erector sets led to Legos, which gave way to BMX bikes and eventually guitars and amps.” He explains. He has dissected tons of guitars, amps, and fx and spends a lot of his free time (if you can call it that!) tinkering in his shop. Al just recapped his first amp from the ground up (a vintage Hiwatt). Al can often be found lurking on a variety of gear pages (instead of practicing).
Along the same lines, Al loves hoarding vintage guitars, amps and FX – and hopes to have one of every kind (in every color) in his stash someday. “Half of the fun is the thrill of the chase and I often spend days off on tour hitting pawnshops and local used guitar shops!”
Produced by Mark Howard (Bob Dylan, Lucinda Williams), Love & Murder is a sparse, raw collection of ten folk songs. Opening with “Jericho,” a haunting number that sets the tone for what’s to come, it makes clear that the album lies more within darker spaces that artists like Sharon Van Etten, Lana Del Rey and Dusty Springfield inhabit. Songs like “Murder Me,” “Coney Island,” and “Chasing the Thrill” find Leslie exploring loss in ways that feel personal and metaphorical, where the stories within are multifaceted. She also recorded three covers: the classic-country infused “Cry, Cry Darlin’,” a take on Bob Dylan’s classic “Just Like a Woman,” played on the ukulele, and a duet with The Grateful Dead’s Bob Weir on Roy Orbison’s “Blue Bayou.” In fact, Mendelson was unwittingly adopted by the West Coast jam scene after Weir heard her take on “Friend of the Devil” and recruited her to perform with him.
On Love & Murder, however, Leslie Mendelson offers a different side of her artistry that isn’t present in her early work or recent collaborations. “This collection is just about the songs and my voice,” she says. “That's what people can connect with. It shows where I am right now as an artist and where I want to go.”
Listen here: https://soundcloud.com/lesliemendelson/sets/love-and-murder-1/s-ZZLt1
Watch Leslie perform “Jericho” https://youtu.be/XYdCOPg_Keo
Watch Leslie perform “Love You Tonight” https://youtu.be/cYG1tkSREsw
61 Wythe Avenue
Brooklyn, NY, 11249