Pieta Brown is a striking poet-songwriter with a haunting voice and an unmistakable style. Her unique blend of alt-country, folk, blues and indie-rock speaks to music fans around the world and has garnered rave reviews from the likes of the BBC and Boston Globe, as well as a variety of hip music blogs and indie radio stations. Even her own musical hero Iris DeMent is a fan, saying she is “the best poet I’ve heard in a long damn time.” An artist with cross-genre appeal, Pieta has toured with such diverse artists as John Prine, Ani Difranco, Calexico, J.J. Cale and Mason Jennings.

more information at pietabrown.com

“a young artist with vision, intensity, and the talent to combine them into compelling music.” -Amazon.com

“Ms. Brown’s sleepy voice and clear-eyed songs impress the most.” -Wall Street Journal

“A joy to behold and to be heard…remarkable” -PureMusic.com

• a classic Muddy Waters tune

• “Faller,” from her new record

With a career that spans over three decades, John Hammond is one of a handful of blues musicians who was on the scene at the beginning of the first blues renaissance of the mid-’60s. That revival, brought on by renewed interest in folk music around the U.S., brought about career boosts for many of the great classic blues players, including Mississippi John Hurt, Rev. Gary Davis, and Skip James. Some critics have described Hammond as a modern-day Robert Johnson, and Hammond does justice to classic blues by combining powerful guitar and harmonica playing with expressive vocals and a dignified stage presence. Within the first decade of his career as a performer, Hammond began crafting a niche for himself that is completely his own: the solo guitar man, harmonica slung in a rack around his neck, reinterpreting classic blues songs from the 1930s, ’40s, and ’50s.

keep up with John at johnhammond.com

• John tears through a Tom Waits tune

• John makes his resonator guitar sound like a full band here

Chris Potter, saxophones

Robin Eubanks, trombone

Steve Nelson, vibraphone

Nate Smith, drums

The Dave Holland Quintet—Genius At Work And Not To Be Missed

Mario Carrington, jazzpolice.com

(Review of Monday, June 1 at the Dakota)

The first show of a two night engagement by the Dave Holland Quintet at the Dakota in downtown Minneapolis was exceptional and should be considered an appointment concert for one of the two remaining performances at 7pm or 9:30pm on Wednesday, June 2.  The Quintet is composed of Dave Holland on bass, Steve Nelson on vibes, Robin Eubanks on trombone, Chris Potter on sax and Nate Smith on drums.  There is no need to go in search of excellence as it is on full display with this extraordinary band that has been together for 13 years.

In Holland’s native United Kingdom, there is the awe inspiring Stonehenge.  How did the boulders get there?  Who put them in that formation?  Are they all that remain from the river that may have flowed through there thousands of years ago?  Is it a former landing area for aliens?  After walking around awhile you just come to accept Stonehenge as one of the wonders of the world.  Just like the Dave Holland Quintet.

This sublime band of Holland’s is unquestionably the most wondrous quintet currently performing in jazz and their virtuosity is nonpareil.    The musicality of their individual improvisations which were impressive was surpassed by their collective simultaneous improvisations that defined harmonic rapture.  Compositions were played from several albums and genius was in exhibition all evening.  Two of the songs written by Holland that were played were worth the price of admission by themselves—‘How’s Never?’ from his latest release, “Pathways,” and ‘Prime Directive’ from the album of the same name.

The band members were having fun on stage as they were enjoying each others’ performances (smiles of appreciation, nods of acknowledgment, wide eyed amazement) as much as the audience.  Potter is sensational, Nelson is ethereal, Eubanks is fantastic and Smith is fabulous.  The manner in which Holland orchestrates his band is ultra cool and you could easily imagine him playing the part of the most interesting man in the world in those Dos Equis beer commercials—‘stay musical, my friends’.

I’m not sure what the criteria is for being knighted in England but Holland surely must be given serious consideration.  If the standards include significant contributions in your field, give him a check for having played in the bands of Miles Davis as he entered his epochal electric phase (see “In A Silent Way,” “Bitches Brew”, etc.).  If it’s versatility, give Holland a check mark for being able to contribute mightily as a sideman or leader in a trio, quartet, quintet, sextet, septet, octet and big band format in his career thus far.  If it’s for achieving master status in your chosen profession, continuing to evolve and bringing joy to countless fans around the world for a sustained period of time, give him another check.  Sir Dave Holland fits, and if a write in effort is needed, let’s start a Betty White-style Facebook campaign.

The Dave Holland Quintet

Now in his 5th decade of performing, Holland is one of the grand masters of modern jazz, and his bass playing and composing is without equal. From his early days with Miles Davis to his Grammy Award-winning big band recordings (2002 and 2005), Holland has consistently changed the game at every turn.

Holland was a student at London’s Guildhall School of Music and Drama, playing gigs at night, when Miles Davis heard him at Ronnie Scott’s nightclub. Miles hired him to be a part of his quintet, and Holland left immediately for New York. Dave was the bass player on Davis’ influential electric recordings: In a Silent Way, Bitches Brew and the sublime Filles de Kilimanjaro. After leaving the Miles group, Holland moved on to a number of projects, working with artists like Anthony Braxton and Sam Rivers. His debut recording as a leader, Conference of the Birds, was released in 1972.

The current Dave Holland Quintet is a perfect representation of Holland’s stature in the jazz world, and is one of the most exciting acoustic ensembles performing today. Each member has a solo career of his own, but collectively create something very powerful.

• Dave talks about the Newport Jazz Festival and the Quintet plays “Metamorphos”

• an amazing solo version of “Goodbye Pork Pie Hat”

Combining R&B and jazz with a fresh neosoul sound, Erica West has fast become one of the most sought after female vocalists in Minneapolis. Growing up as a very focused dancer it wasn’t until the Spring of 2003 that she really started to focus on her singing career. She first began performing as a lead vocalist for the R&B group, The Project, which was featured every Tuesday night at Bunkers Music Café. Currently, Erica is performing with Twin cities R&B band High & Mighty.

catch up with the band at davinaandthevagabonds.com

Davina Sowers hit the Minneapolis scene and it didn’t take her long to start making a name for herself. With amazing vocals and stellar piano chops, she commands attention onstage and leaves everyone smiling.

Lately she has been garnering regional and even international attention, wowing crowds throughout the Midwest and stealing the show at the Thunder Bay Blues Festival, the Sierre Blues Festival in Switzerland, and the International Blues Challenge in Memphis.

“Two things remain consistent at all her shows though: her throaty but cushiony voice, which has a sort of hard-mattress comfort to it that’s part Bonnie Raitt, part Etta James and a little Amy Winehouse; and her band’s rollicking New Orleans flavor, driven home by dueling horn players and a bayou-thick standup bass.” -Chris Riemenschneider, Star Tribune

• Check out the Vagabonds outdoors

• and braving a July thuderstorm

• MN Original captured one of Davina’s originals here

AWB are widely regarded as one of the best soul and funk bands in music. Though perhaps best known for their timeless instrumental mega-hit ‘Pick Up the Pieces,’ the band’s strength actually lay in their consistently accomplished song-writing, stretching across several gold selling albums and multi-Grammy nominations. Somewhat incongruously, given their Scottish roots, the six piece took the influences of their R&B heroes – people like Marvin Gaye, James Brown, Donny Hathaway and others – and developed their own ‘authentic’ sound which was eagerly adopted by audiences in the US and elsewhere.

The current line-up of the band – this time with noted US recruits augmenting founding members Alan Gorrie and Onnie McIntyre – continues to record and tour around the world to ongoing critical and audience acclaim. All this and more is perfectly illustrated in the band’s latest release, Soul And The City, which showcases the breadth and depth of the band’s material, all captured within the excitement of a 2006 live performance.

EARLY SHOW: Doors at 5pm – Dinner and music at 6 – headline at 8.
• Ticket prices:
$100 Basic seating
$120 Preferred seating
$130 Premium seating
All EARLY SHOW tickets include a 4-course dinner. Beverages are not included in the ticket price.
A 15% gratuity will be added to the bill for dinner and drinks.
• Dinner music from one of our local favorites will start at 6:00.
• The menu will be posted on line starting December 6th.

LATE SHOW: Doors at 10:30, music at 10:45, headliner at 11:30.
• Ticket prices:
$100 Basic
$130 Preferred
$300 Premium
All late show tickets include a champagne toast at midnight and party favors.
• The opening music will be a lively set of approximately 40 minutes.
• Dinner and dessert will be available a la carte until midnight.
• Champagne will be passed out just before midnight.

*Special note for A-Train members: the A-Train discount for these shows is 10%, limit 2 tickets. Please call the Box Office at 612.332.JAZZ with questions.

In his 40-plus years in the music business, guitarist and songwriter Michael Johnson has quietly compiled an impressive catalog as performer and songwriter. He has shared the stage and studio with the likes of John Denver, Leo Kottke and Peter Yarrow, and his songwriting credits include two #1 Country hits, a #1 Pop hit and a #1 R&B song. Johnson has established himself as a craftsman of gentle, virtuosic music, replete with thoughtful lyrics and unpretentiously dazzling guitar playing.

This Denver native got his start in music in a very different way. At age 13, he contracted a severe case of pneumonia, which kept him bedridden for several months. Stuck in bed next to his brother (who had a broken leg), the two of them learned the guitar at the same time, their mutual exploration of the instrument proving to be a great catalyst. By the time they recuperated, they got booked for their first gig, and Michael knew he had found his calling.

A talent contest win cut Johnson’s collegiate career short, and he started touring clubs extensively. He took a break from this to study with guitar master Graciano Tarrago in Barcelona, and even spent a year acting in an off-Broadway play. Upon his return to the music scene, he adopted a jazzy, folk feel and created some of his most enduring music, including “Bluer Than Blue”.

Johnson spent nearly 20 years living in Minneapolis, and his annual Christmas shows at the Guthrie Theater became the stuff of legend. Now residing in Nashville where he is a busy songwriter, Johnson relives those concerts in a more intimate setting.

• His hit “Bluer Than Blue”

• Johnson jamming with Leo Kottke

The Bad Plus reestablish their Midwestern roots with their annual appearance at the Dakota, where they first appeared under the name “Dave King Trio” in 2000. With their fiercely iconoclastic sound and brilliant original music, they have achieved a level of success that few jazz groups have ever elevated to.

“If the Coen Brothers put together a jazz trio, perhaps it would be like this, the comic and the dramatic rolled together.”
- The Guardian

“With the most distinctive sound of any three-piece outfit since Nirvana, The Bad Plus again demonstrate vitality few bands– rock, jazz, or whatever–can match.”
- Amplifer

• One of their amazing original tunes, “Dirty Blonde”

• “Anthem For the Earnest”

Soul man Alexander O’Neal established himself nearly 30 years ago as one of the greatest pure singers the genre had ever seen. With his new record, Five Questions… the New Journey, O’Neal proves he hasn’t lost a step, bringing fresh songwriting to his classic soul-funk sound. With a sweet, gritty voice and take-no-prisoners stage show, he has frequently been compared to Otis Redding, and his ties to the Minneapolis scene make him a local legend.

“…Mr. O’Neal is one of the great singers in pop, partially a latter-day soul singer but also something else, a singer who can produce ethereally pure notes that have no relationship to the soul tradition at all.” -Peter Watrous, New York Times

Born in Natchez, Mississippi, O’Neal spent his formative years touring in a rock cover band, honing his distinctive vocals. His touring brought him to Minneapolis, where he joined a band and production company called Flyte Time, led by Jimmy Jam and Terry Lewis. After two years with the group, O’Neal went his own way, making room for a young singer named Morris Day to take over vocal duties.

With the help of Jam and Lewis, O’Neal launched his solo career in 1984 with his self-titled debut record. While the U.S. audience was slow to catch on, the record produced a Top 10 Hit in the U.K. O’Neal’s second record, Hearsay, is considered by many to be the finest recording Jam and Lewis ever produced. His singles “Fake” and “Criticize” achieved club anthem status, and he sold hundreds of thousands of records worldwide.

“Had it been 20 years earlier, Alexander O’Neal would have been compared to Otis Redding. As it was, he was dismissed by the cognoscenti but adored by the masses.” -BBC, review of “Hearsay”

The early 1990s saw the end of O’Neal’s relationship with Flyte Time studios, but not the end of sold out arenas and Gold Records. O’Neal’s unique vocal sound combined with his tremendous songwriting have resulted in music that stands the test of time, becoming hits not only for him but for artists who remix and sample his music.

He has been called Minnesota’s premier jazz pianist and gained acclaim with the George Maurer Jazz Group and Trio as well as his collaborations with vocalists. A performer, a composer, a producer… George Maurer is all three. But if you asked him to trim his talents to a single word, he would simply say “collaborator”. Whether he’s composing a score for a movie or helping Eric Clapton with a few chords, George has a genius for working as part of a creative team and realizing a collective artistic vision.

George’s innate interest in many forms of music and his versatility as a performer have led him on many collaborative adventures. Jazz fans know him from his regular gigs with the George Maurer Jazz Group at acclaimed Twin Cities venue The Dakota Jazz Club and also his collaborations with vocalists such as Debbie Duncan, Prudence Johnson, Ruth McKenzie and Ann Michels. The nine-piece George Maurer Jazz Group and rambunctious George Maurer Jazz Trio have wowed crowds, sold out venues and earned stellar reviews across Minnesota. They infuse their shows with humor, wit and musicianship, earning them a spot among the Midwest’s jazz elite.