Maceo Parker: his name is synonymous with Funky Music, his pedigree impeccable, his band: the tightest little funk orchestra on earth.

Everyone knows by now that he's played with each and every leader of funk, his start with James Brown, which Maceo describes as "like being at University"; jumping aboard the Mothership with George Clinton; stretching out with Bootsy's Rubber Band. He's the living, breathing pulse which connects the history of Funk in one golden thread. The cipher which unravels dance music down to its core. Read More...


Concert Reviews & Interviews:

"Maceo is in the house, and he is blowing a tempest."
-The Seattle Times

"Maceo put a complex funk spin to the famous Parker name playing his horn more like a drum than a melodic instrument. The result is an insanely percussive style, which forces everyone within ear shot to dance like a giddy geek." - David Todoroff (music journalist)

"If anyone wasn't dancing at this show they were either dead or outside having sex. Wow." - Austin Chronicle

"[F]rom the opening tune, "Funky Fiesta," things didn't let up for the next three hours... Parker's sax playing was the star of the evening; searing, punchy, it wove in and out of the groove with confident ease, never taking no for an answer... It was a stunning performance." - The Washington Post

Maceo Parker - 2% Jazz, 98% Funk. As Maceo has claimed time and again, those are the ingredients that comprise his soul. But, after a quick check under the hood, it immediately becomes apparent that the aforementioned recipe is incomplete. To recreate Maceo truly an impossible task but if you insist on trying, you must also add: 100% Innate Funk Talent, 100% Legend and 110% Love-Fueled Energy.


100% Innate Funk Talent:

"If James Brown had played saxophone instead of sung, he'd sound like Maceo Parker." The Godfather of Soul was the superstar but Parker was "as important as anyone else could be" in Brown's show, said [Alan] Leeds, who co-authored "The James Brown Reader" and is working with director Spike Lee on a JB biopic [and formerly served as road manager for James Brown and Prince]. "What Maceo added to the James Brown legacy was a branch on that tree that no one else could have put there, and no one else has been able to replicate, because Maceo was that alter ego." - Star Tribune (Minneapolis), February 29, 2008


100% Legend:

"Maceo Parker was a vital part of the straight funk of James Brown. He helped put the 'P' in the P-Funk of George Clinton, and lately, Prince has had Maceo stirring up the funk with him, as you may have seen last Sunday during the Grammys. But those in the know would tell you that Maceo has his own fame. He and his smokin' versatile band haven't had a real break in years. His latest record is called "Made by Maceo," and I am happy to have with me, dare I say the funkiest horn player in the world, Maceo Parker, the teacher." -Tavis Smiley, program host National Public Radio, February 10, 2004


110% Love-Filled Energy:

"He's an absolute road rat," said Twin Cities R&B historian Alan Leeds, who as former road manager for [James] Brown and Prince has known Parker 40 years. "This is a guy who goes crazy if he's not on a stage. He will play anytime, anywhere -- he just wants to play for people." -Star Tribune (Minneapolis), February 29, 2008

National Public Radio Interview with Tavis Smiley: "[TAVIS] SMILEY: ...watching you guys play at 3 in the morning. I don't know how you do it. How do you keep up with Prince, playing at 2 and 3, not finishing, going on, at 2 and 3 in the morning, after all these years, man? Mr. PARKER: He loves to play. He loves to perform. He loves people, sort of like me. . . SMILEY: He is a workaholic, but from what I hear, though, Mr. Brown was a perfectionist. He wanted things right and tight, and he had a system, too. Mr. PARKER: And that's why it's so easy for me to sort of keep up with Prince, too... And, you know, it's almost like history repeating itself a little bit... And I guess there's an element of it in there that, you know, you're having fun at the same time. It doesn't even feel like work. SMILEY: Yeah. Mr. PARKER: You know what I mean? It's a party for me, it really is." -Interview with Tavis Smiley, program host National Public Radio. February 10, 2004

National Public Radio Interview with Michele Norris: "I've always loved performing, and especially love for the people. That's what keeps me going." Maceo Parker, -"All Things Considered", National Public Radio, February 18, 2008


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Autobiography by Bill Kreutzmann: I was born May 7, 1946 in Palo Alto, California, and was the drummer for the legendary rock band the Grateful Dead for its entire 30-year career. I started playing drums at the age of 13, despite the fact that my sixth grade music teacher told me I couldn't keep a beat. As a teenager, I had the good chance to meet the mystic English writer Aldous Huxley, who encouraged me in my drumming. In 1962, I started working at Dana Morgan's Music Store in Palo Alto. One day a young picker named Jerry Garcia stopped in to purchase a banjo. Shortly thereafter, Jerry was also hired at Dana's (to teach guitar lessons) and we forged a musical friendship that would span four decades.

In November of 1965, the Warlocks became the Grateful Dead. Mickey Hart soon joined the new group, making it one of the first (and few) rock bands to feature two drummers. The remarkable cohesion, synchronicity and the driving power of our combined drumming became a hallmark of the Grateful Dead's sound for the next thirty years and earned us the nickname "The Rhythm Devils." Our ten-minute drum duets, a feature of every Grateful Dead show from 1978 to 1995, were without equal in the rock world. I remained with the Grateful Dead until its dissolution following the passing of Jerry Garcia in 1995, making me one of the four members to play at every single one of the band's 3,500 shows along with Garcia, Weir and Lesh.

In 2006, I teamed up with my erstwhile bandmate Mickey Hart, former Phish bassist Mike Gordon and lead guitarist Steve Kimock to launch a band called the Rhythm Devils - a nod to the old GD nickname. The group featured songs from all of our previous bands as well as new songs written by Jerry Garcia's longtime songwriting companion Robert Hunter.

The Grateful Dead, along with artists including the Who and Ornette Coleman, was honored with a prestigious Grammy Lifetime Achievement Award at the 2007 Grammy Awards in Los Angeles. I am also a visual artist, and in 2001 I began releasing limited edition reproductions of my digital artwork, some of which can be seen on my website: www.billkreutzmann.net. My new band is really fun! Scott Murawski and I were introduced in Costa Rica at a meeting facilitated by none other than PHISH bassist Mike Gordon. Our musical chemistry was limitless and compelling, it was like playing with Jerry again! Shortly after, Burbridge joined the band and it became obvious that the trio should pursue further musical adventures. The trio is currently working on a debut release slated for the fall of 2008, and KBM hit the road this past summer to give fans a chance to capture the MAGIC of this electrifying combination.


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"It is a rare combination when an artist can be as good a singer and guitarist as Brett is, but it is his commitment to the word that makes his songs live and breathe. His music has a playfulness in its bounce, while the lyrics ring with a truth beyond his years." -Michael Franti

"Top 10 Artist to Watch in 2008." -Rolling Stone Magazine

"A beautiful and spirited record, instantly likeable. [referring to Dennen's CD, 'So Much More']" -John Mayer

2008 Touring: Headliner at Coachella, New Orleans Jazz & Heritage Festival (Jazzfest), Wakarusa, Telluride Bluegrass Festival and Rothbury Music Festival. Full summer tour with John Mayer. Performances on Jay Leno, Jimmy Kimmel Live and Carson Daily.

Of the numerous striking qualities Brett Dennen has displayed during his ascendance onto the national music scene, it is perhaps simply his own authenticity that accounts for his remarkable rise in popularity and acclaim. With his long red hair, headband and guitar held high on his stocky frame, he may seem like an unlikely front-man for 2008, but the 28 year-old singer/songwriter/musician is the rare performer that radiates confidence and ease in his own skin, a quality that has earned him an increasingly devoted fan-base. And in tandem with constant touring, word-of-mouth buzz, high profile media attention and a successful album, So Much More, Dennen has arrived as a significant new artist to watch.

In the spring of 2006, with over a year of constant touring under his belt, Dennen began recording the songs that would comprise his second album (and first for Dualtone Records). Working quickly at Jackson Browne's studio in Santa Monica, and picking the songs that, as Brett recounts, "were the strongest, and had some DNA in common with the other songs I had written," they recorded the album in five days, mixed it shortly afterwards, and in November of 2006, So Much More was released. As Brett recalls, "Things started slowly...but then it all started to happen."

The dramatic increase in popularity that followed came about through a confluence of factors. But it's Brett's impact as a live performer, and the undeniable connection he's made with listeners everywhere he's played that's been essential to his rise. Dennen has played and won over audiences that have little to do with one another - except for an incredible reaction to his music. That reaction is undoubtedly due to Dennen's unyielding commitment to be no one other than himself. As he declares, "I make a conscious effort when I'm playing music to stay true to myself. I'm going to do my thing, take my shoes offstage and just be me. Maybe I could have had quicker success if I tried to make myself more poppy. But the success isn't the reason I'm doing it. It's about making people feel good."

Brett's other mission is to connect art with what he calls, "positive change." He's done so by creating Love Speaks, an organization that helps non-profit foundations in every town that Dennen plays in. He explains, "I think every show is an opportunity to make a difference in people's lives and communities. I'd love for people to know what's going on in their communities and hopefully, they may get involved. I'm not looking to push or preach. When we're together at a show, it's bigger than just an audience and a performer in a room, with music and alcohol."

Brett Dennen has proven to be one of the brightest emerging talents in music, an artist who connects with audiences through both his records and his performances like very few currently do. In 2008, there are great expectations being laid upon him, but it's obvious that Brett will continue being no one other than Brett Dennen, a fact that so far, has made all the difference.


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"...Logic is the Miles Davis to Faust's James Brown, the John Fahey to Z-Trip's Eddie Van Halen." - Spin Magazine

"DJ Logic provides a glimpse into the future and has developed an improvisational style fiercely attentive to pitch, rhythm and space...his debut album, Project Logic, might be described as the ultimate turntablist jazz record." - New York Times

"There's all kinds of talk about DJ Logic-how he's using turntables to reinvent electronic jazz; how he's not just scratching, but leading a band; how he's turning hiphop notions around by shooting them through Miles Davis..." - Philadelphia Weekly

"One of a few turntablist visionaries who sees a future for the tables beyond shallow virtuosity contests, old skool reconstructions, and rap metal rhythm generators, DJ Logic treats his tables like a legitimate instrument and hears live musicians as if they're all part of his vinyl world. A hip-hopper with thirsty ears and improvisational instincts, Logic has become the darling of the New York jazz and improvisational scene, going where few turntablists have." - Time Out NY

"Logic certainly can make a claim as a jazz artist after building an impressive resume from playing with some of the past decade's most adventurous jazz musicians." - Downbeat

"Logic flips the DJ script, layering styles and sounds with each song instead of simply playing different sounds and songs within a musical style. Hip-hop is tempered with jazzy high hats. Reggae is electrified with synth squiggles. House music? Check. Drum-and-bass? Funk? Reggae? All present. Yet Logic employs these styles with such a deft touch that they're hard to pinpoint. The Anomaly sounds less derivative than freshly conceived, a new millennium urban milieu..." - Washington Post

Biography:

In a business rooted in the sweaty dance floors of packed clubs, preciously few Dj's can lay claim to having performed on such grand stages as the Bonnaroo Music Festival, Red Rocks Amphitheater, Monterey Jazz Festival and the Blaisdell Arena (at Jack Johnson's inaugural Kokua Festival). Although the understated Dj Logic would never boast of such accomplishments, he is one of the few Dj's in the world to have successfully taken Dj performance to the next level.

Interestingly, he has done so by not only delivering unique, genre bending and blending Live sets (Logic is widely credited for introducing jazz into the hip-hop realms), but also by collaborating on studio recordings with many of today's most revered funk bands, as well as a host of other members of music nobility. Since his emergence in the early nineties amidst the Bronx hip-hop scene, the New York City based deejay has established himself as a true instrumentalist - recording with an amazingly deep and broad array of musicians including: Medeski Martin & Wood, Karl Denson, Christian McBride, Vernon Reid, Charlie Hunter, John Mayer, Ben Harper, John Popper, Mos Def and The Roots, to name but a few.

Logic's body of work also includes three highly accomplished solo albums (Zen of Logic; The Anomaly; DJ Logic Presents Project Logic). Whether the scratch artist instructs tablas to flirt with drum 'n' bass (such as on his Nina Simone and Billy Holiday remixes found on Sony Legacy's Remixed and Reimagined volumes) , or while meshing free styling MC's with Afro-Cuban rhythms (such as on 'Share Worldwide Funk' - a remix produced for Jack DeJohnette and Golden Beams Collected, Volume 1) , Logic can always be found paying homage to his predecessors while contributing his vision to the deejay genre. With a growing catalogue of recordings under his belt, Dj Logic's supreme musicianship and catholic tastes will allow him to journey wherever an infectious groove may take him.


DJ Logic Collaborations:

Ahmir "?uestlove" Thompson I Allman Brothers Band I Antipop Consortium I Arlo Guthrie I B-52's I B.B. King I Bela Fleck I Ben Harper I Bernard Purdie I Bernie Worrell I Bill Ware I Black Rock Coalition I Blue Oyster Cult I Bob Weir I Buckethead I Charlie Hunter I Chocolate Genius I Chris Whitley I Christian McBride I Cyro Baptista I Deantoni Parks I Del McCrory I Derek Trucks I Dirty Dozen Brass Band I DJ Olive I DJ Spooky I Don Byron I Fuzz I Galactic I Graham Haynes I Headhunters I Jack Johnson I J-Live I John Popper I John Scofield I John Mayer I John Zorn I Joshua Redman I Karl Denson I Karriem Riggins I Karsh Kale I Kenny Garrett I King Curtis I Living Colour I Marc Ribot I Marco Benevento & Joe Russo I Maroon 5 I Medeski, Martin & Wood I Mike Clark I Mike Gordon I Mister Rourke I moe. I Mos Def I North Mississippi All Stars I Oteil Burbridge I Page McConnell I Particle I Pat Martino I Prince Paul I Rat Dog I Rob Wasserman I Robert Randolph I Robert Walter I Ron Miles I Rusted Root I Scratch I Sex Mob I Skerik I Slick Rick I Soulive I Stanton Moore I Steven Bernstein I Steve Cannon I String Cheese Incident I Studs Terkel I Subconscious I Teo Macero I Tom Tom Club I Trey Anastasio I Uri Caine I Ursula Rucker I Vida Blue I Widespread Panic


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"When I write Indian songs, I try to imagine what might come out of Monk's mouth...." -Dr. John

In January, tens of thousands of Hawaii residents descended into New Orleans carrying plenty of Aloha and boisterous fervor for the University of Hawaii Warriors football team. Big Chief Monk Boudreaux is now returning the favor by sharing his Mardi Gras Indian spirit with Honolulu.

Monk is THE Big - Big Chief, both a cultural leader and icon in the Crescent City. To many New Orleans residents, Mardi Gras Indians are the soul of both Mardi Gras and the city, and for almost fifty years, Monk has been a driving force in Mardi Gras Indian performances and traditional practices. The rituals were originally created by African-Americans in the 1800's to pay tribute to Native American Indians who frequently assisted slaves in their quest for freedom. Those traditions were heavily influenced by both Native American and African culture with the Mardi Gras Indian costumes featuring the intricate beadwork of Native Americans and Mardi Gras Indian music focusing on African call and response rhythms.

Since it's formation, the Mardi Gras Indian culture has been passed down from generation to generation by people like Monk Boudreaux, and the culture's influence on the Crescent City cannot be understated. Much of the jazz and funk that has for so long defined New Orleans grew out of Mardi Gras Indian music with 'trademark' New Orleans songs such as "Iko Iko" clearly coming from Indian music. In addition, the city's world renowned Mardi Gras celebration centers on Mardi Gras Indian practices.

Amidst this great tradition, Monk Boudreaux's performances and recordings have become the bench mark for traditional music and dance in New Orleans. As stated by Dr. John, "When I write Indian songs, I try to imagine what might come out of Monk's mouth...." To put Monk's role into local context, he is one of the most respected kumus in the community. That admiration has been well-earned through the passion, talent, commitment and caring that Monk has exuded for so many years.

Further insights into the wonderful Mardi Gras Indian Culture are provided below along with news articles delving into the life of Big Chief Monk Boudreaux and Mardi Gras Indian Practices.

News Articles:

"Perfectly Suited", Gambit Weekly, February 21, 2006: "With needle, thread, beads and 40 years of experience, Big Chief Monk Boudreaux builds yet another new suit for Mardi Gras..." Read More

"Trail of Feathers", Gambit Weekly, March 13, 2007: "The current fortunes of Mardi Gras Indians run the gamut in the same way that the fortunes of all inhabitants of New Orleans do..." Read More

"For This Super Sunday, It's All About Mardi Gras Revelry", New York Times, March 22, 2004: "It took Tootie Montana an hour to put on his suit this particular Sunday. That's because his suit was an architectural marvel..." Read More

"A Colorful Farewell for the Chief of Chiefs", New York Times, July 11, 2005. Read Article


Mardi Gras Indian Culture:

The Traditions and Rituals of Mardi Gras Indians are Spiritual Experiences and a Way of Life:

"You start sewing when the spirit hits you, and you aren't going to stop. . . It's not just masking. It's a true feeling that runs deep inside. . . It's the true feeling, the spirit in you that guides you." - Big Chief Monk Boudreaux

"The tradition is still strong. It's not going to die out. Masking is very spiritual. Being an Indian is a way of life. People won't give that up." - Chance Hamson-Nelson, daughter of the late Big Chief Donald Harrison Sr. of the Guardians of the Flame

"I'm a black Mardi Gras Indian, but every time I sew a patch -- a piece of beadwork -- it's spiritual, and it's about the Native American." - Larry Bannock, the Big Chief of the Golden Star Hunters

"A lot of people this year lost their pieces in the flood. I lost mine, and I started last week, but I'm going to make a new suit no matter how many people say it's impossible. . . I'm compelled to do it. I have to do it, especially this year [the 1st Mardi Gras following Katrina]. This year my suit has a million beads. I have a hard time breaking away from sewing. The depth of my suit is so great that I get into a trance and I have to pull myself out of it. The suit pull me in, and then I have to pull myself out. It holds me." - Big Chief Victor Harris of Seventh Ward's Fi-Yi-Yi Tribe


New Suits:

• It is a long-standing tradition for the Big Chief of a Mardi Gras Indian tribe to spend countless hours and thousands of dollars making a new suit each and every year.


• The process, known as "masking," typically consumes 12 months of effort as an endless collection of beads, feathers and jewels must be interwoven to make each new suit.


• The styles of suits vary by region with downtown New Orleans being famous for three dimensional suits best exemplified by the late Chief of Chiefs Tootie Montana and uptown New Orleans suits hailed for intricate beadwork such as the beautiful designs of Big Chief Monk Boudreaux.

Parades:

• The New Orleans calendar contains three major Mardi Gras Indian parades each year: Mardi Gras Day (Fat Tuesday), St. Joseph's Day and Super Sunday.


• Mardi Gras Day: One of the most celebrated Mardi Gras Indian traditions is for members of a tribe to gather at the Big Chief's house at daybreak on Lundi Gras Day (Fat Tuesday, the day before the commencement of Lent) and wait for their leader to emerge in his new suit. The Big Chief, who often has stayed up all night finishing his suit and suits for his children and/or grandchildren, leads his tribe on a day long march through their neighborhood and surrounding areas.


• St. Joseph's Day: Every year, on the night of March 19th (St. Joseph's Day), Mardi Gras Indians lead a momentous parade about the city. St. Joseph's Day is an Italian-catholic holiday and is celebrated by the Mardi Gras Indians due to their long-standing ties with the New Orleans Italian community which has a long and rich history in New Orleans. Historically, the day after St. Joseph's Day, Big Chiefs begin preparing their new suits for next year's Mardi Gras celebration.


• Super Sunday: Super Sunday typically takes place on the Sunday after St. Joseph's Day. It involves two parades (one uptown and one downtown) with nearly every tribe in the city taking center stage - free of the distractions of Mardi Gras.

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"What's your favorite two-piece act? The White Stripes? Death From Above 1979? Donny and Marie? After this show it might be the Portland duo Helio Sequence : singer/guitarist/harmonica player Brandon Summers and drummer/keyboardist Benjamin Weikel. . . Helio Sequence's live shows hardly lack punch -- when Summers puts harmonica to mouth, the resulting jams strangely recall late-era Stone Roses. But the pair's predominant vibe is that of a Sgt. Pepper's--ized Postal Service." -SF Weekly - San Francisco, CA

Ask local taste makers, such as indie rock deejay Ross Jackson (KTUH 90.3 fm), to list their favorite indie bands, and a name that you will repeatedly hear uttered is: The Helio Sequence. After a short listen to their music, it's not hard to understand why.

The endorphin attack begins quickly with catchy anthems that virtually force you to reach for the volume knob. But that is certainly just the beginning. After repeated, unavoidable listens to their 2008 release, "Keep Your Eyes Ahead," you begin to notice perfectly blended, rich layers of rhythm and tone. Soon thereafter, you reach for the liner notes and shockingly discover that their big beautiful sound is created by a mere two mortals who also just so happened to self-produce all four of their albums. While most young bands with an apparent bright future run to high priced producers, Brandon Summers (vocals/guitar) and Benjamin Weikel (drums/keys), chose to let their musicianship stand completely on its own.

But the admirable qualities don't stop there. In 2004, just after releasing their third album, "Love & Distance," The Helio Sequence were on track for mega stardom getting rave reviews on both their album and Live performances while touring alongside Modest Mouse and Kings of Leon. Just as everything seemed to be falling into place for The Helio Sequence, it all fell apart. Summers voice succumbed to his fiery concert performances and became so damaged that doctors questioned whether he would ever be able to sing again. But instead of letting this mighty blow tear him to shreds, Summers responded by sharpening his focus on both his health and craft.

After two months of doctor-ordered silence, months of intense vocal therapy thereafter and channeling folk greats such as Bob Dylan throughout the healing process, Summers emerged with an even deeper understanding of song and new recording ideas. Those visions found their way onto the band's recent release, "Keep Your Eyes Ahead," and the album's early success completes a triumphant chapter of the band's career. With recent performances on Jimmy Kimmel Live and a grand stage at the Sundance Film Festival, The Helio Sequence appears poised to become household names much like their Portland, Oregon brethren The Shins and The Decemberists.


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"Legendary UK dub colossus The Mad Professor, aka Neil Fraser, came to Wellington and whipped up a dancehall reggae storm. Even curmudgeonly old rock critics were seen shaking a tail feather." -The Evening Post - Wellington, New Zealand

Infectious dance grooves continue to radiate from the Halloween Hallowbaloo with the versatile stylings of Mad Professor. Rising to prominence in the reggae world in the late '70's as a producer, engineer and record-label president (Ariwa Sounds), The Professor has since become a renowned reggae dub and electronica DJ touring heavily around the world (Israel, Japan, New Zealand, Australia, etc., etc.) for the past 15 years.

Mad Professor (a.k.a. Neil Fraser) possesses an uncanny ability to harness the spirit of nearly any type of music. Name the genre, and he has tapped into it - or in some cases created it (e.g. Jungle) - to turn clubs into molten dance jubilations. His talents extend to the recording studio as well. Over the last 25 years, his albums Dub Me Crazy, Beyond the Realms of Dub and The African Connection, along with his collaborations with artists as diverse as Lee 'Scratch' Perry, The Beastie Boys & Massive Attack, have made him a superstar with an appeal that cuts across all musical borders.

Fraser earned his ever so appropriate moniker, Mad Professor, when he was just a young boy. At the tender age of 9 while living in his native land of Guyana, Africa, the Professor built a radio out of scraps. That childhood fascination with electronics has served him and music lovers around the world remarkably well. After moving to England at the age of 13, the Professor was introduced to reggae music, and in the late 70's, when just barely past his teen years, the Professor applied his electronics skills to build his own recording studio. Word of the Professor's talents as both an engineer and producer spread fast, and the Professor quickly became an integral part of the vibrant UK reggae scene. Shortly thereafter, he launched his own, independent record label, Ariwa Sounds, which now stands as Britain's most successful UK-produced record label.

The list of Ariwa Sounds accolades are many, but Hawaii residents will likely most recognize the successes of Macka B. Shortly after the formation of the label, Macka B signed on with Ariwa Sounds, and the Professor produced every Macka B album from that time up until new millennium, including the immensely popular "Hold Onto Your Culture" album featuring the international smash hit, "Bob." The collaborations with Macka B also extend far beyond the recording studio with the Professor touring with Macka B and laying the musical foundation for all Macka B's Live performances up until 2001.

Thanks to Mad Professor's close relationship with Macka B, Hawaii residents have heard the Professor's Live exploits on numerous occasions. The Hallowbaloo show, however, offers reggae lovers, electronica fiends and dance freaks an opportunity to dive much deeper into the Professor's bag of talent. As the headliner at the Hallowbaloo show at NextDoor, Mad Professor will have an untouched canvas on which to build as many layers of rhythm and emotion as he desires.

"Although this particular gig happened a few weeks ago, its memory still deserves attention; for an evening with the Mad Professor and his well loved scientific experimentation in roots and dub reggae is not easily forgotten... During the course of the gig an MC reminded the audience of how lucky they were to be in the company of the Mad Professor; but a sea of dancing shapes disagreed, we knew exactly how special each layer of sound was and were appreciating every minute of it. These were beats that could change the world - soothing and optimistic - we took deep breaths and floated away." - North Devon Journal, November 23, 2006

"[P]igeonhole Mad Professor at your peril. The man often traverses a range of genres and his stage show can also be a carnival of colour and style. -Nottingham Evening Post, England

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"In 2004 Thursday's set by Papa Mali [at the Bonnaroo Music Festival], a joyful explosion of soulful, funky grooves and bluesy, screaming slide guitar, introduced him to the scene in a big way. Even after sets by many bigger name bands, Bonnaroovians were still buzzing about Mali's tasty gumbo of Texas blues and New Orleans funk. Since then, the singer/guitarist has been riding that buzz and working his magic in clubs across the country... With the recent tragedy in New Orleans, people are more aware than ever before that the music and culture of the Crescent City are unique and precious. Papa Mali is living proof of that, and to hear him wailing away on a song like "Walk On Gilded Splinters" is to witness a kind of invocation of the spirit of New Orleans, a voodoo ritual that summons up the essence of that enchanted piece of swamp." - jambase.com Bonnaroo Review

Papa Mali (a.k.a. Malcolm Welbourne) returns to the islands after recently delivering solo performances as the opener for Derek Trucks' island-wide tour. This time, though, Papa is packing more potent ammunition - a five-piece, all-star band ready to unleash Papa's distinctive brand of voodoo blues and southern funk. That band includes iconic drummer, Bill Kreutzmann (co-founder of the Grateful Dead who performed at all 3,500+ shows during the band's illustrious career), New Orleans' Mardi Gras legend, Big Chief Monk Boudreaux and bassist Ron Johnson who regularly performs with superstar funk band, Karl Denson's Tiny Universe as well as New Monsoon.

Malcolm Welbourne's personification "PAPA MALI" is a salute to his home territory of north Louisiana. Malcolm was raised in Shreveport, where absorbing the blues along Bayou Pierre was just as much a matter of course as chasing the mosquito fogging truck with friends -- and equally intoxicating. He spent his summers with grandparents in New Orleans digging that city's rhythm (and blues) and after hearing the Wild Tchoupitoulas and the Meters on the streets of New Orleans at age eleven, he developed an early and ongoing attachment to Crescent City funk.

Today, Papa Mali is a musicians' musician - with an abundance of talent, tremendous experience (having toured extensively for over 25 years) and a calm, friendly demeanor. His debut solo album, 'Thunder Chicken,' is widely regarded as one of the best swamp rock albums of the 21st Century, earning praise from a cauldron of avid fans as well as funk luminaries such as Zigaboo Modeliste (drummer for the Meters). On his second album, 'Do Your Thing', Papa dug deeper into his New Orleans roots collaborating with many of the city's most revered players - including Big Chief Monk Boudreaux, Henry Butler and tuba king Kirk Joseph of the Dirty Dozen Brass Band. The recording stays true to Papa's fine formula of greasy, soulful blues intertwined with driving southern funk.

Papa Mali's musicianship extends far beyond the studio though. He has also garnered a reputation for his impassioned, foot stomping live performances. In recent years, Malcolm has headlined many of America's largest music festivals (including Bonnaroo and Wakarusa) where his shows have frequently been the talk of the festival - major praise considering the staggering collection of bands that these festivals feature each year.

"Thunder Chicken [Papa's debut album] is a beautiful dose of voodoo blues and raucous pumped up Southern funk and roll. Produced by the Dan Prothero, the true king of raw, Thunder Chicken is one of the few truly wild and unruly records to come from the rock & roll tradition in the 21st century... This record is timeless, sexy, and dangerous in its roots-man groove." - allmusic.com

"Malcolm Welbourne, aka Papa Mali, is an enigmatic, somewhat mysterious, and overtly friendly character whose lifelong embrace of roots music creates a deep, multi-layered live show. This is a man who was an integral part of the well-regarded reggae band, the Killer Bees, who organizes a gospel jam every Sunday in Austin when he's off the road (in order to "get right" with the Lord), and who plays the guitar with soul, purpose, and taste that this reviewer has rarely encountered." - jambase.com

"Thunder Chicken [Papa's debut album] conjures up a potent gris-gris bag of tribal rhythms and true New Orleans-style funk, peppered with judicious touches of slide guitar and more than a bit of bayou joie de vivre. The vocals are delivered with a soulful swagger, almost as if Jimi Hendrix had been raised in the swamps on a steady diet of James Brown, the Meters and scratchy Delta blues. The Instagators cover a lot of familiar territory, but they do so with a greasy authority, touching on key New Orleans classics with in-the-pocket instinct. A raucous, insinuating debut" - New Orleans Gambit

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Guy Cruz has been surrounded by music his entire life, having come from an extremely talented, well-known musical family in Hawai'i. His father Ernie Cruz, Sr. is a composer/singer with several laudable recordings to his credit. He passed on to his children the love, understanding and passion of music. All of Guy's siblings are involved with music in some form or fashion. Some chose to express their abilities in dancing while others delved into composing, singing and recording CD's on their own. His older brother John released his debut album 'Acoustic Soul' in 1996 and received numerous Hoku nominations winning two of them. His oldest brother, Ernie, Jr. was half of the well known duo Ka`au Crater Boys and has been recording for years and is a recipient of several Hokus as well. There's also the very talented sisters who dance as well as sing. Mom, who has a beautiful voice, has also recorded on her sons' albums.

Guy, who was reluctant to become yet another Cruz family member in the music industry, tried to avoid the concept of becoming a musician. He chose to enlist into the Army for four years. Finding himself away from home and alone without any family around him, he quickly became homesick. It brought to reality the meaning of family, friendship, and support of friends. He spent numerous hours in quiet reflection and expressed those thoughts in songs. Following his time in the Army, Guy returned to his home in Hawai`i. He continued to compose songs, still procrastinating the inevitable, all while supporting both of his brother's successes in the music industry, watching them rise to the top of the Hawai'i music business. Guy would join them on stage for a song or two and enjoyed singing at family barbecues but still preferred to limit sharing his talent to only those close to him.

Guy's reluctance to enter the music world finally gave way soon after he was approached by his brother John to record an album and share his songs with the world. With John at the helm as producer, Guy embraced the opportunity and released his debut album, 'Judgment Time.' The album quickly became a hit in Hawai'i and thus, another Cruz name was added to Hawaiian music charts. Guy sings with passion that makes your heart melt. His original songs reflect a universal love that anyone can relate to. Whether it's reggae, country, blues, or contemporary; Guy stirs feelings in those that listen. Watching him live, you can see his soul shining through with every song.

Guy will open the Hallowbaloo Street Festival at 5:30pm on the Loloweeny Stage alongside his long-time playing partner/guitar ace Marc Pearlman. Guy has in large part stayed out of the limelight in recent years, and excitement is building amongst the Hawai'i music community for his Hallowbaloo performance. The buzz hails from the musicians and singers who have witnessed Guy perform in 2008. They cannot wait to see the joy that will be brought to so many smiling faces when Guy shares his captivating and soulful vocals that have been on par with many of the greatest singer-songwriters of our time.


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In an island State which consumes a large and steady diet of reggae, Ooklah The Moc has risen to the forefront through unfaltering commitment to their art. As proven by iconic roots reggae bands such as Black Uhuru, the mellow beats of the genre transform into soul-penetrating, rousing rhythms when set amidst a large orchestra of layered horns, drums and vocal harmonies. Ooklah the Moc delivers just such an enthralling sound via a grand, 10 piece band. The inherent costs associated with such a large group are many, and at a time when music industry revenues are shrinking year in and year out, Ooklah's dedication to their music is as commendable as their recordings themselves.

Formed on Oahu in 1997, Ooklah The Moc's first incarnation consisted of a 3 piece group performing hardcore punk music while staying in tune with reggae (in similar fashion as hardcore bands such as The Clash). Ooklah eventually adopted reggae as their primary sound and dedicated themselves to capturing the soul of roots reggae and presenting it in a progressive manner. During that time, the founding influences consisted of bands like the Bad Brains/HR, Black Uhuru, Foundational Dancehall (1980-85) and early reggae remixes and electronic creations by various Jamaican artists including the drum and bass tradition of Flabba Folt, Robbie Shakespeare and Style Scott.

Great diversity can be heard and seen when witnessing a Live performance by Ooklah. With four vocalists, a multi-piece percussion section, a multi-piece horn section plus keyboards and bass in the mix, Ooklah revels in their ability to propel a crowd into a fiery, percussion-driven frenzy and then, when the time is right, cool them down with songs centered on soothing vocal harmonies.

On October 28 (the Tuesday before the Hallowbaloo), Ooklah The Moc will release 'Vaults', their fourth, full-length album and follow-up to their wildly popular 'Rearrange Your Positive' CD. Select songs from 'Vaults' are already posted on Ooklah's MySpace page (www.myspace.com/ooklahthemoc), and the initial reaction indicates that Ooklah has once again struck a major chord with its legion of reggae fans. Ooklah is slotted for a long set on the Loloweeny Stage during the heart of the free Hallowbaloo Street Festival. Riding the heels of their brand new release, Ooklah undoubtedly has all the ingredients in place to make their performance a highlight of the inaugural year of the Hallowbaloo.


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Ron Art..is and The Family Band is one of Hawaii's musical treasures, a source of original songs and distinctive sounds from one of the Aloha State's premier artistic clans. The Family Band is lead by Ron Artis, Sr. - a pianist and multimedia specialist whose murals have been seen all over Hawai'i and around the world. Artis has a rich musical background performing for years as a Los Angeles studio musician, backing such diverse artists as Chaka Khan, Luther Vandross, Michael Jackson, and Van Halen. His years in that demanding environment equipped him with the skills to communicate a variety of emotions through his art. With his Family Band, Artis has passed those skills on to a new generation, with inspiring results. Their sound is fresh and innovative; their message is one of joy and hope. The result is a danceable, eclectic mix of styles that draws on the best of yesterday to craft music that will stand the test of time. As Artis says, "To be authentic, the artist must innovate and go beyond where anyone else has gone."

Over the past five years, the Family Band has closely heeded those words. They have taken an entirely unique approach to music, embracing the new dynamics of the 21st Century to the point of creating their own musical paradigm.

Rather than focus on the age old industry norms of living in tour buses and molding music to appease record labels, Ron Artis, his wife Victoria and their eleven children stepped off the fast train and built a world 100% focused on musical inspiration. At the center of that universe lies "Resurrection City" located in historic Haleiwa town. This sanctuary serves as a concert hall, recording studio, art gallery and community center. Every day of the week, the countless friends, tourists and general passer-bys who walk in its doors are treated, for free, to Live musical performances, recording sessions and heaps of uplifting spirit.

In addition to serving as the Family Band's canvas, 'Resurrection City' also functions as the Family Band's primary business center. Visitors buy CD's (often of performances that they witnessed) and upon returning to their homes promote the Family Band by circulating word about the band's recordings and online videos (several of which have been viewed nearly a half million times) - Art...is YouTube Video

If one were to use happiness to measure the success of the Family Band's venture into this new musical realm, Ron & Victoria Artis have clearly struck a gold mine. Upon entering 'Resurrection City', a calmness immediately overtakes you; voice mails, text messages and your daily calendar disappear from thought - replaced by the sights of visitors with grand grins and the feeling that everyone around you is immersed in a sea of bliss. Leading this wave of contentment is the Family Band, smiling, talking and laughing while skillfully playing every type of music under the sun.

At 8pm on Halloween night, Honolulu residents and visitors will have a rare chance to see Ron Art...is and The Family Band perform outside of their Haleiwa home. Expect to see them fully harness the energy of the thousands of onlookers and generate an eclectic mix of music that raises the night's energy to incendiary levels.


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THE ART OF UNDOMESTICATION. It's soul music for a generation of Nintendo babies (those of you more well versed in the melody of Tetris rather than "My Funny Valentine") - a hybrid of hip-hop, cock rock, electronic and nouveau jazz beats. It's provocative poetry spit by an evangelical snake charmer...songs about life.


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Dj Sovern-T (aka Taharba James) continues to blaze his own trail in Hawai'i and his large throng of followers remains as impassioned as ever. That is of no surprise to anyone who has witnessed his command of the tablas. Whether he is warming-up a crowd for a world-renowned drum n' bass Dj, closing a concert following a performance by two-time Grammy winners and latin/hip-hop/funk extraordinaire Ozomatli or headlining in one of the many Honolulu clubs where he holds residence, Dj Sovern-T delivers music that moves you. He does so by maintaining a tight grip of a vast array of musical styles and tempos.

Thanks to the diverse line-up of the Hallowbaloo street festivities, Dj Sovern-T will not be penned into any particular genre or mood. Instead, at 9pm when he takes over the decks of the Loloweeny Stage fronting Marks Garage, he will have carte blanch to take the groove wherever he sees fit, and for anyone who has a stitch of dance in them, that is something to be truly excited about.


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Seductive, provocative, and at times outlandish, Cherry Blossom Cabaret (CBC) is Honolulu's ticket to a surreal and exotic adventure that will captivate you from beginning to end.

CBC debuted in July 2006 at Ong King Arts Center as a modest duo known as "Cherry Blossom Burlesque;" the group has since "bloomed" into an ten member troupe that regularly leaves audiences begging for more. Not wanting to be strictly regarded as a "burlesque" troupe, the group recently changed its name to "Cherry Blossom Cabaret" to highlight that the performers do more than shimmy and shake out of their costumes; they also dance, act and sing. Those who see CBC perform will be amazed by the group's diverse jaw-dropping repertoire. The Honolulu based cabaret has various influences ranging from classic vaudeville-style theatre, b-grade horror and science fiction, film noir, kitsch, historical and political satire, comedic sketches, retro fashion, an eclectic array of music, and of course the classy yet sassy art of tease. CBC also regularly performs with a number of local acts including the charming and alarming Dave Noodle, The Hell Caminos, Black Square, and the Cherry Bomb Boys to name a few.


What is Burlesque?

Burlesque means "in an upside down style," turning social norms head over heels. It was a form of musical comedy popular from about 1840 through the 1960s. Performances in the early years were parodies performed primarily for the middle and lower classes of society in which actors would poke fun at the social habits of the upper class. In the late 1860s burlesque was brought to America, it focused on theatrical spoofs featuring women playing men's roles wearing costumes considered revealing for the time. Vaudeville, cabaret, striptease, the follies of the twenties and thirties, and the girlie shows of the forties and fifties have their roots in burlesque.

The Neo-burlesque revival exploded in the early 1990s in Los Angeles and New York City, and the art form is continuing to grow in different varieties from classy to raunchy, kitschy to political, gender bending to straight laced tease, and a whole lot more. CBC is bringing this revival to Honolulu by captivating, entertaining and enticing audiences island wide. Come to a show and see why Honolulu loves CBC.


Members:

Members of CBC include: Megan Meyham, Lola Love, Miss Fortune, Mishy Le Fleur, Catwings, Mabsy, Violetta Beretta, Nina Rose, Kitty Chow, and Vivian Vallo.


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Hailing from Honolulu, Dj Mr. Nick is an off the beaten track type of selector, specializing in laying down eclectic mixes of jazzy, style bending beats alongside Downtempo, House, Breaks, and Drum & Bass. A typical set will pull from the far corners of the world with music ranging from a sexy, jazzy sax solo, to a gently swaying samba, to a spinning sitar driven house number. As the divergent sounds of Mr. Nick's international mix go in his listeners' ears and straight to their souls, his overriding message rings loud and clear: through sound, we are all interconnected, and through communication, honesty, and harmony we can flatten the world.

It is that energy which has quickly propelled Dj Mr. Nick to becoming one of Honolulu's premier Dj's and made him a seemingly constant presence at Honolulu's biggest dance events. Those events include his opening for international luminaries like Ursula 1000, Fort Knox Five Doc Martin, Dj IRA and the Greenskeepers. His talents have also made Dj Mr. Nick easy to find on a weekly basis. His recent residencies include 39 Hotel and NextDoor, and every Wednesday night, he takes over the controls at KTUH (90.3 fm) and shares his musical visions for three hours starting at 6pm.

As the masses file into the grand circus tent at the Hallowbaloo (aka Nu'uanu Avenue), they may not spot Dj Mr. Nick's diminutive frame on the Grandest Spectacle Stage, but they will certainly pick-up on his music, sounds that will at once put them at ease while simultaneously lifting their spirits through irresistible rhythms.


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The multi-talented (percussionist/instructor/choreographer/actor) Reggae McGowen has been a fixture in the African drum and dance scene in Hawai'i for over 10 years. His latest project, Badenyaa, is his most aggressive and successful to date. Nearly 100 members strong, Badenyaa serves as both weekly therapy for its participants and a pulpit for its leaders.

Their message is one of unity and harmony. At public shows at packed venues such as the Hawaiian Hut, Badenyaa connects both performers and spectators through traditional African drum and dance as well as contemporary performances that blend African drumming with Live Dj mixes and Emcees. The latter concoctions make a direct link between centuries old African rhythms and today's hip-hop and other contemporary styles of music. In a 2008 interview with Rolling Stone magazine, Keith Richards and Jack White proclaimed that a driving force in their success was their intense study of the music of their heroes' heroes. Badenyaa ensures that if you are an aspiring musician or a voracious listener, you will not have to look far to gain a deep understanding of traditional African rhythm and dance that serve as the foundation of so much of today's music.

Badenyaa will inject thundering, hypnotic rhythms and authentic African culture into the Hallowbaloo street festivities. Their early performance (6:30pm) will feature traditional African drum and dance with all performers in full African regalia. As most parents have witnessed, affinity for rhythmic beats is not something that is taught but something that is born into nearly everyone's soul. For those who bring their children the street festival's Trick or Treat Gallery Walk, this early show is a can't miss performance which will surely captivate the keiki. In Badenyaa's late set (8:00pm), they will create sounds more accessible to teens and young adults by blending traditional drum beats with hip-hop and other modern styles of music.


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