As always, you can find me on Bass Guitars at the Mason Lounge on S. Park ST every Tuesday night, with the Five Points Jazz Collective! We’ll have the full sextet this week, featuring Charlie Painter on guitar, Trey Grimm on keyboard, Rin Ribble on violin, Kyle Rightley on trombone/euphonium, and Eric Shackelford on drums! Sure to please with funk, latin-jazz, swing, and blues along side the wonderful selection of craft brew that the Mason rotates on tap. Warning! Jazz occurs between 9p-12a.
Built on an improvisational base, Boat Patrol (pictured above) uses a trove of influences and techniques ranging from bluegrass to avant-garde jazz to create extensive musical landscapes and textures.
Boat Patrol began creating music in the fall of 2017 in the Northwoods of Wisconsin. Avoiding simple categorization, boat patrol explores every nook and cranny of the musical palate with each live performance serving as a unique portrait of the band. Featuring Cai Mountjoy – bass/madolin/guitar, Daleth Mountjoy – keys/synths, Evan Verploegh – drums/theremin
Labrador. The band. are a mellow, moody three-piece that sounds like the type of estro-rock you might hear in The Bronze on an episode of Buffy the Vampire Slayer.
Improviser extraordinaire and road warrior Jack Wright and his trio Roughhousing is back in Madison for a show at The Vault! Roughhousing features bassist Evan Lipson and guitarist Zach Darrup. Read more about the trio here > Roughhousing EPK. Potluck starts at 6pm – bring a tasty dish to share and enjoy; music starts by 8pm. Enjoy a night of free improv at one of Madison’s most notorious DIY venues with a trio that aims to strip away the layers of facades that plague the digital marketing age.
Lovely Socialite is a Madison-based six-piece that combines the aesthetics of modern jazz with contemporary classical, driving rock, and hip hop. Lauded for their bold and intricate compositions, the group often draws comparisons to Frank Zappa and the Mothers of Invention. The bands original music combines strict notation with moments of improvisation and maintains a healthy balance of dark and heavy rock grooves with quirky jazz obscurities.
While Lovely Socialites unusual mix of strings, traditional Chinese instruments, brass, and a jazz rhythm section suggest that the group might be a contemporary music ensemble, it is their use of stomp boxes, vocal processors, and other electronics that makes the group a suitable fit for any rock, hip-hop, or jazz bill. In fact, Lovely Socialite has been privileged to share the stage with such artists as Dessa, of Minneapolis hip-hop collective Doomtree, as well as performing live on the UW Madison Terrace with Brian Ritchie of the Violent Femmes.
This summer Lovely Socialite released their new Rock EP “DoubleShark”, come hear it live at The Shitty Barn!
There he was, this musically lucked child of a once-priest and a near-nun, 12 years old and piled high with a Radio Shack combo stereo, stacks of records, and pockets full of dubbed tapes. It was 1984 and Martin Dosh was orchestrating the soundtracks to his junior high school dances, playing only the choice cuts for the budding romantics and perspiring wallflowers: Run DMC, Prince, Devo, the Cars, New Order… At age 3, Marty had started harassing his folks to bone up for piano lessons (after three years of persistence, they gave in); that he’d developed considerable musical taste before hitting puberty should come as no real surprise.
Call him a one-man band, a virtuoso, a gifted collaborator or a family man, Martin, Marty, Dosh or Dad, our subject has gotten to now by what seems an uncanny path (perhaps call it fate). When they met, Dosh’s father was a Catholic priest with pile of degrees, and his mother was living in a convent in Minneapolis preparing herself for nunhood. They left the fold for marriage; subsequently the elder Dosh found himself blacklisted from local employment, and so they left Minnesota as well. Martin was born in the greater Los Angeles area, but at age 2, his health problems and the city’s endless sprawl delivered the family back into the musically nurturing arms of the Twin Cities.
Returning to the Midwest, Martin was enrolled in a Montessori school (and piano lessons). By comparison high school was, “academically, horseshit” so Dosh seized his destiny at 16 and moved east to study jazz and drums at Simon’s Rock College of Bard in Massachusetts. What followed was a flurry of summer jobs, road trips to see the Grateful Dead, van living around various college outposts in Mass and NY, Zappa-esque noodling in his band Como Zoo, further schooling, the requisite amount of pot, and a little too much partying. But Dosh wanted more for his music and less for his student debt, so he swallowed his pride and returned (at 25) to his parents’ in Minneapolis.
He figured the move would be temporary — he’d save up money and practice drums until he became a self-sustaining virtuoso –but Dosh was going to shows every night and meeting more and more people in the local music-rich scene (a collision of avant jazz, freewheeling rock and progressive hip-hop), quickly realizing that what he needed had been there all along. And throughout his dedicated solo drum-and-keyboard sessions in mom and dad’s basement, he’d record, record, record, accumulating a massive library of sound. Soon he’d be a touring member of Andrew Broder’s Fog, and full-time player in their instrumental counterpart Lateduster.
In 2003 Anticon proudly released Dosh’s virtuoso debut, Dosh, a loop-building collage of shimmering Rhodes, atypical drumming grounded in groove, field recordings and spontaneous performance (much of the album was pieced together using the 100-plus hours of tape he’d recorded at his parents’). By then he’d developed his untouchable live one-man show (swiveling on his drum stool between a kit, his modified Rhodes piano, a few pots and pans, and a simple looping pedal with a 12-second recording limit), and took to the road. Back in Minneapolis, the city he’d finally recognized as home, Dosh had been teaching drum lessons to children and falling in love on the side. He formed a family with his wife Erin (who he’d wooed by handing her a copy a song called “I Think I’m Getting Married”) and her 6-year-old son Tadhg. Soon he’d be composing a track titled “Building a Strange Child,” and so they would. Dosh’s second full-length, Pure Trash was inspired by his life’s most pleasant turns, and though the album was instrumental (minus cameos by Erin, Tadhg, the newborn Naoise, and his students), it emoted all the warmth and anticipation, fear and relief that comes with building a family.
Dosh’s third album, The Lost Take, showcases the man’s unique approach to sound with an expanded musicality and growing guest-list including Andrew Bird and members of Tapes ‘N Tapes.
His Fourth record, Wolves And Wishes, adds to the ever-impressing oeuvre with the explorative wonderment of a debut album. To date Dosh has recorded with Bonnie ‘Prince’ Billie, Fog, Jel, Odd Nosdam, Neotropic, Andrew Bird, Redstart, Vicious Vicious, Poor Line Condition, Lateduster, Why?, the Interferents, members of Tapes ‘N Tapes, and just about any Twin Cities band with a collective ear for good taste and experimentation. He has shared the stage with Andrew Bird, Wilco, WHY?, Damo Suzuki, Gary Wilson, Golden Smog, Sole, My Morning Jacket, Tapes ‘n Tapes, cLOUDDEAD, Sage Francis, Devendra Banhart, Kid Dakota, Alias, Themselves, Peanut Butter Wolf, P.O.S., Happy Apple, Joseph Arthur, Pizza Boys, the Bad Plus, The Jayhawks, Atmosphere, DJ Vadim and many more.
Lovely Socialite (lovelysocialitemusic.com) “DoubleShark” ep release
Lovely Socialite, formerly Lovely Socialite Mrs. Thomas W. Phipps, is a Milwaukee/Madison-based six-piece that combines the aesthetics of modern jazz with contemporary classical, driving rock, and hip hop. Lauded for their bold and intricate compositions, the group often draws comparisons to Frank Zappa and the Mothers of Invention. The band’s original music combines strict notation with moments of improvisation and maintains a healthy balance of dark and heavy rock grooves with quirky jazz obscurities.
Left Field Quartet at UW Madison, where they met and cut their teeth together on Jazz.
Left Field Quartet “Please Take Us Seriously” album release
Left Field Quartet is a collaborative group of Midwest-raised musicians specializing in eclectic, original music. With a unique and versatile tone, the group has scored plays and politically-charged events in the local community. What makes Left Field work so cohesively together is their adventurous desire for creativity in all of its multifaceted forms. “Please Take Us Seriously” is the band’s first official album release which combines gritty and fiery grooves with a personal touch and a playful sound.
And Illusions is a collaboration of local experimental musicians Emili Earhart and Michael Groome. With a focus on the psychedelic and long patient song structures, And Illusions occupies a wonderful space somewhere between noise music and kraut rock. It is at once meditative and soothing, a balancing act of angular and rounded tones.
Tues, 7/11 | 8p $8adv/10do @ Arts + Literature Laboratory
2021 Winnebago St, Madison, WI 53704
JONAH PARZEN-JOHNSON (Brooklyn, NY)
BC GRIMM (Madison, WI)
Brooklyn based saxophonist and composer Jonah Parzen-Johnson performs at Arts + Literature Laboratory on Tuesday, July 11, 2017, with Madison multi-instrumentalist Brian Grimm opening. Tickets are $8 in advance online at http://parzenjohnson.bpt.me/ or $10 at the door. Online sales end one hour before the show.
Jonah plays lofi experimental folk music for solo baritone saxophone and analog synthesizer. Imagine the raw energy of an Appalachian choir, balanced by a fearlessly exposed saxophone voice, resting on a strikingly unique combination of analog synthesizer components sitting on the floor in front of him. It all breathes together, as Jonah uses his feet to weave square and sawtooth waves into a surging base for folk inspired saxophone melodies, overblown multi phonics, vocalizations, and patiently developed circular breathing passages. Every element is performed and recorded at the same time, by one person, without any looping, overdubbing or recorded samples. “I want to make music that has texture, and depth, but most of all I want it to be direct and grounded. Touring and playing solo is all about being connected to the folks listening. I want you to feel like I’m looking you in the eye while I’m playing.”
Click for Tix!
In BC Grimm’s solo set, you may hear dances of the unaccompanied Bach cello suites; ever popular melodies of the Erhu Chinese fiddle adapted for cello; as well as original compositions from his dance/theatre scores & solo albums. Cellist & composer Brian Grimm grew up surrounded by Chinese string instruments of every sort. After initiating lessons in with virtuosos Yang Wei (pipa) & Daxun Zhang (bass) of the Silkroad Ensemble, Brian was lucky to continue his Chinese music studies on guqin (zither), pipa (lute), gaohu (fiddle) & daruan (bass lute) in Hong Kong with members of the 香港中樂團 Hong Kong Chinese Orchestra & Wuji Ensemble 無極樂團. Over the last 15 years Grimm has developed a deep language of Free Improvisation & Composition with groups such as The Brothers Grimm, Lovely Socialite, and Brennan Connors & Stray Passage.