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New York City
John Scofield & Jon Cleary Duo @ The Howard Theatre
$30 / $35
John Scofield Aside from being one of the principal innovators of modern jazz guitar, JOHN SCOFIELD is a creative artist of an even rarer sort: a stylistic chameleon who has forged a consistent, rock-solid aesthetic identity. An artist with fan bases in many camps and forty albums to his credit, he has expressed himself in the vernacular of bebop, blues, jazz-funk, organ jazz, acoustic chamber jazz, electronically tinged groove music and orchestral ensembles with ease and enthusiasm. His versatility and technical mastery won him early sideman gigs with Miles Davis, Charles Mingus, Gerry Mulligan, Chet Baker and Cobham/Duke among many. Since that time he remains firmly in the foreground of jazz consciousness as a player and composer, prominently leading his own groups in the international Jazz scene, his own albums (many already classics) including collaborations with many contemporary favorites like Pat Metheny, Steve Swallow, Charlie Haden, Eddie Harris, Medeski, Martin & Wood, Bill Frisell, Brad Mehldau, Mavis Staples, Government Mule, Jack DeJohnette, Joe Lovano and Phil Lesh. He’s played and recorded with Tony Williams, Jim Hall, Ron Carter, Herbie Hancock, Joe Henderson, Dave Holland, among many jazz legends. Regardless of the stylistic setting, his distinct guitar sound and compositions are unmistakably Scofieldesque, always coupled with an improvisational excellence and dedicated to the finest in jazz tradition. Jon Cleary Jon Cleary is known for his salty-sweet voice, masterful piano skills, and a knack for coupling infectious grooves with melodic hooks and sharp lyrics. Born in Kent, England in 1964, Cleary steeped in the sounds of American roots music as a child via New Orleans funk and R&B 45s. Venturing to the Crescent City at 17, he quickly earned the respect of local music community. He spent the '80s gigging as a sideman and bandleader with a rotating cast of New Orleans' best including members of funk forefathers the Meters and delta-bluesman John Mooney. He has balanced the last few years with an international fan base as a member of Bonnie Raitt's group and his own group (with album of the same name) Jon Cleary & the Absolute Monster Gentlemen. Cleary has the self-made Moonburn (Virgin 1999), and his ode to Big Easy R&B - Alligator Lips and Dirty Rice (Ace 1994). All of Jon's talents are manifest on Pin Your Spin, Basin Street Records produced by John Porter. His latest Occapella was released in 2012.
Comedy Kumite III @ DC Improv Lounge
Comedy Kumite is a one-night stand-up comedy tournament -- eight comics enter, but only one comic leaves! Each "match" has two comics doing five minute sets, and the audience picks the winners. It's a showcase presented with the flair of pro wrestling, but probably less spandex. Who will be the next champion?
DECLASSIFIED: Carnival of Sins featuring Storm Large & Hudson Shad with the National Symphony Orchestra @ Kennedy Center Concert Hall
A lead singer with Pink Martini, Storm Large is a "sensational" (The New York Times) entertainer in her own right. She performs cabaret songs plus Kurt Weill's wickedly delightful The Seven Deadly Sins in concert with all-male vocal quartet Hudson Shad. Led by "talented young American conductor" (The New York Times) James Gaffigan, the program also includes Richard Rodgers's fanciful Carousel Waltz. ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ ABOUT DECLASSIFIED: FRIDAYS AT 9 ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ The secret is out! Some of the NSO's Friday night programs are taking on a whole new vibe with a fresh mix of sound and vision plus exciting pre- and post-concert activities, all at a great price. For the 2015–2016 season, the NSO has "unlocked" some of its standard Friday programs and opened them up to fresh concepts in concert-going with DECLASSIFIED: Fridays at 9. Not your typical Concert Hall experience, these late evenings will include an eclectic mix of classic and modern sounds, special guest artists, dynamic multimedia, audience interaction, and pre- and/or post-performance activities. They'll begin at 9
. (an hour later than usual) and last 60–75 minutes (shorter than a typical program), all at a great price for making memorable nights out with a date or a group of friends! If you heard about the NSO's concert at
.'s Echostage in January 2015, you'll know exactly what to expect at these new concerts: - Come as you are: straight from work, in jeans, or whatever suits your fancy. Be ready to move! - Arrive early and/or stay after the concert for added fun to be announced--each night will be a different experience. - Grab drinks or snacks anytime and bring them back into the Concert Hall. - Most importantly, open your mind to a music experience where anything can happen! Performance Timing: Approximately 85 minutes, with no intermission
Daley @ The Howard Theatre
$20 / $25
Behind the signature black frames and hair, lies and honesty and truth of voice increasingly rare in todays musical landscape – it is for this reason Daley has continued to rise on his journey to becoming budding future-soul prodigy. At 24-years-old, the UK singer-songwriter is well on his way to redefining the way heartfelt music and songwriting looks, sounds and feels. “I want my music to feel of it’s time,” the young artist divulges as perhaps the most telling description of his work. “I sometimes refer to it as ‘future-throwback-soul’… everything I write is very much rooted in a feeling, the kind you get from throwback R&B and Soul that I grew up around… then sonically I try to take that and bring it a into the future.” Growing up in Manchester, England, with little around to stimulate his talent, Daley spent time taking in the greats of yesterday and today, nurtured by US and UK sounds growing up, from the all-encompassing musical stylings of Prince and soulful swagger of D’Angelo and Soul II Soul to sparse experimental sonics of Sade, RadioHead and Imogen Heap, he amalgamated a unique sound of his own. Developing his style and pen as a teen through bedroom recordings, which later found there way into the world as he moved away from home and began making a name for himself on London’s underground urban music stages. “It was tough fitting into a Manchester scene, there wasn’t a great deal of musical variety there at the time and I never felt there was a place for me. So I spent a lot of time by myself and in London, exploring how I wanted to sound and what I was capable of.’ He first perked mainstream ears writing the Gorillaz 2010 chart hit, ‘Doncamatic’ after a mutual friend introduced Gorillaz creator Damon Albarn to his music at one of his early London shows. First radio plays on BBC Radio 1 and 1Xtra plus guest spots writing, featuring and touring with UK artists including Wretch 32, Emeli Sande and Jessie J – eventually paved way for Daley’s first solo project, the independently released ‘Those Who Wait’ mixtape. The body of work took on a life of it’s own, garnering over 150,000 downloads worldwide, and spreading his music internationally – fuelled purely by word-of-mouth. “Those Who Wait was a project I put out for free. I wanted my voice to be heard without constraints, to really show people who I am and what I’m about, away from the features I’d done.’ The mixtape continued to generate viral online acclaim, with songs such as title track ‘Those Who Wait’, ‘Smoking Gun’ and ‘Alone Together’ resonating across the Atlantic – eventually securing him a major label deal at Universal Republic Records in 2012. His first official release the ‘Alone Together’ EP came shortly after, furthering his rise with Stateside single, new-classic R&B jam ‘Alone Together’ featuring Grammy nominated former Floetry songstress Marsha Ambrosius. It became a Top 5 Urban radio hit – which New York R&B station WBLS gave its first spins. The US debut EP also garnered Daley ‘Best Newcomer’ nominations from BET, Centric, Soul Train Awards and the MOBOs, made him one of BBC 1Xtra’s most shared acts to date, and has racked up over 16 million YouTube/VEVO views with live performances and music videos, including Jessie J assisted duet, ‘Remember Me’. After touring with the likes of Miguel, Emeli Sande, Gorillaz and label mate Jessie J, Daley has gone on to sell out his own tours all over the UK, Europe and the USA, expanding his audience and picking up fans from the likes of, Maxwell and Jill Scott, to Will.i.am and Pharrell Williams along the way. Part of Daley’s international appeal comes from his ability to combine universally understood sentiments and lyrics, with a sounds that fuses both yesterday and tomorrow. Connected and delivered with the technologies of today, his online following has grown into a solid, loyal foundation of music lovers of all ages. All signs point to a an eagerly anticipated full-length debut from the artist in 2014. Entitled ‘Days & Nights,’ the album balances the young star’s songwriting flair and awe-worthy vocal ability with illuminating vulnerability and substance. “Days & Nights became a diary of sorts for me. I’ve been able to say things on this album that I haven’t even talked about with my closest friends, feelings I’ve only really been able to express through music. When writing I often found myself split, one part of me writing in an optimistic, hopeful, loving perspective, the other describing a much darker, despairing side of my soul.’ he describes. ‘I wanted to identify those ‘light and dark’ elements that balance out and make us human.’ While his palette is rooted in the classics, he pushes the music forward with a futuristic intent. “It’s always soulful at the core, but the sound and production reflects the world the way I hear it – that’s what I find most exiting about making music,” he details. Songs like ‘Time Travel’ transcend to another dimension, with building layered vocals and drum intensity. On “Be,” he employs a warmer approach, loving sentiment and warm piano chords run through ambient, spaced-out production reminiscent of Sade. “Blame The World’ and ‘Broken’ both highlight Daley’s ability to lead vocally over triumphant brass and orchestral backing, while a delicate interpretation of Joan Armatrading’s ‘Love & Affection’ sets him akin to the likes of an Adele, with a beautiful ballad. Pharrell’s production on “Look Up” even manages to capture an essence of Maryn Gaye, without ever falling into Motown-era cliches. Past and present have rarely combined so seamlessly… Daley welcomes the world into his ‘Days & Nights’ without compromise.
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