Friday,
July 11, 8pm
Billy McLaughlin
$14/$16 at door
"McLaughlin is well known in hard-core guitar circles
as a mystical guitar guru." -- Brookings Register
"When audience members close their eyes during a Billy
McLaughlin performance,
they don't believe what they're hearing is a single acoustic guitar.”--
Daily Mining Gazette
Billy McLaughlin has been
changing people’s idea of what an acoustic guitar can sound like since
the 1980’s.
He is recognized as an innovative performer and composer who embraces the
advantages of acoustic guitar amplification, unorthodox techniques and altered
tunings while celebrating a gift for melody. His vision of an acoustic guitar
that sounds as big as a grand piano but which plays fluidly like a violin
has carried him around the world, to Billboard’s Top-Ten Chart and
most recently through a devastating medical disorder called focal dystonia.
McLaughlin is in the early stages of what might be described as “one
of the great musical-comeback stories of all time.”
Billy grew up in a Minneapolis, Minnesota, and studied music at the University of Southern California. He became interested in the minimalist compositions of Phillip Glass and Steve Reich. Hearing recordings by guitarists Michael Hedges and Steve Tibbets, McLaughlin launched into a period of intense exploration and began composing for his first CD released on his own record label in 1986. Many of the new pieces featured a technique using both hands on the fingerboard in which the notes are “tapped” in a series of hammer-ons and pull-offs creating a harp-like effect. The technique became McLaughlin’s stylistic signature and by the early 90’s he was touring coast-to-coast, primarily on university campuses. McLaughlin found the style very useful in both settings for either solo guitar or with his nine-piece ensemble who toured with him often.
In 2000, Billy was diagnosed with a neuromuscular disorder called focal dystonia. Choosing to go against doctors’ recommendations to quit music and look for other work, McLaughlin focused on his songwriting and returned to his ensemble which was less demanding for his hands. Drawing upon every resource of faith, prayer, and determination, McLaughlin began the unlikely journey of teaching himself to play in his signature style, left-handed. Warned by doctors of a higher likelihood for developing focal dystonia in his remaining good hand, McLaughlin chose to press on towards an ambitious goal he had yet to achieve – to perform and record a new project with a string orchestra.
In January 2007, McLaughlin published a limited release of Into the Light, a concert recording of compositions for acoustic guitar with string orchestra. This collaboration with Grammy nominated arranger, Eugenio Toussaint, is McLaughlin’s first as a left-handed guitarist. Into the Light will be released nationally in the Fall of 2007 accompanied by a companion concert DVD.
“Many people fail because they quit too soon.” reads the fortune cookie saying McLaughlin taped to his dashboard in 2001 – it remains there to this day.
Learn more about this incredible performer and amazing human being at his website
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Saturday,
July 19, 8pm
Lucy Kaplansky
$24/$26 at door
"New York songwriter Lucy Kaplansky is becoming the troubador laureate of modern city folk."- Boston Globe
Folk singer/songwriter Lucy Kaplansky returns returns to Crossings' stage with her rich voice, compelling lyrics, and her new album, Over the Hills.
She started out singing in Chicago bars. Then, barely out of high school, Lucy Kaplansky took off for New York City. There she found a fertile community of songwriters and performers—Suzanne Vega, John Gorka, Bill Morrissey, Cliff Eberhardt, and others—where she fit right in. With a beautiful flair for harmony, Lucy was everyone’s favorite singing partner, but most often she found herself singing as a duo with Shawn Colvin. People envisioned big things for them; in fact, The New York Times said it was “easy to predict stardom for her.” Lucy temporarily left the musical fast track to pursue a doctorate in Psychology and open her own private practice, although she continued to sing. Lucy was often pulled back into the studio by her friends (who now had contracts with record labels), wanting her to sing on their albums.
Now, after returning to recording and performing
full-time, Kaplansky’s voice continues to remain in high demand by
her peers. She harmonized on Colvin’s Grammy-winning Steady On, on
Nanci Griffith’s Lone Star State of Mind and Little Love Affairs,
and on four of John Gorka’s albums. She also landed soundtrack credits,
singing with Suzanne Vega on Pretty in Pink and with Griffith on The Firm,
and several commercial credits as well—including “The Heartbeat
of America” for Chevrolet. She can also be heard on the Greg Brown
tribute album Going Driftless (also featuring: Ani DiFranco, Iris Dement,
Mary Chapin Carpenter, Gillian Welch, Eliza Gilkyson, and others). She
teamed with Dar Williams and Richard Shindell to form the supergroup Cry
Cry Cry, the three choosing to celebrate the amazing revitalization in contemporary
songwriting. The resulting album, Cry Cry Cry (which The New Yorker dubbed
“a collection of lovely harmonizing and pure emotion,” and to
which Entertainment Weekly gave an “A” rating), has been an
astonishing success in stores and on radio. A national tour of sold-out
concerts by the trio served to introduce Lucy’s luminous voice to
a new expanse of eager listeners.
Released in 2007, Lucy’s album Over the Hills is a collection of songs that explore love and the dark, winding road that leads us there. Her new life as a mother has not hindered her musical life but has enhanced it, deepening the emotional depth of her songwriting. Lucy continues to tour extensively across North America, reminding audiences why she has been hailed as “a truly gifted performer…full of enchanting songs” (The New Yorker).
Listen to Lucy's music and learn more about this phenomenal star at her website!
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Sunday,
July 27, 7:30pm
George Maurer Trio
$18/$20 at door
“A piano…a bass...a guitar…all
you really need on stage to create an evening of fun. Well, you might want
to include the guys who play the instruments, too….”
The George Maurer Trio knows how to handle unique performance
settings; from big concert halls to ballroom corners at wedding receptions
(where the potted plants are slightly more prominent than the musicians
parked under them) -- they’ll perform them all with ease. They have
gigged from the swaying decks of riverboats to mosquito-infested park band
shells, they have been the featured core of 15 piece big bands, and have
just about the hippest version of the Charlie Brown theme song Linus and
Lucy on the planet. From the Beatles to bebop, Gershwin to Led Zepplin,
swing to Bob Marley, and beyond, there is no musical style not left untouched
by this fun-filled jazz trio.
A common love of jazz for the sake of playing jazz is the main motivator
behind these "genre bending eclectictites" (Jazz 88 FM, Minneapolis).
They are a gathering of the best of friends and the rarest of professionals,
and their individual creativity and artistry continually pushes so-called
“limits”. Other entertainers have noticed; individually or collectively,
GMG members have performed Carnegie Hall, The Montreaux Jazz Festival, the
Fitzgerald, Ordway & the Dakota, for members of Congress and the White
House, and have performed with Eric Clapton, Dick Clark, The Crickets to
Bob Hope and many many more.
But don't remind them of such accomplishments, as they might start looking
like they do know what they are doing, start to dress funny, or start without
each other……
Led by pianist/composer George Maurer, the George Maurer
Trio consists of George, on piano, Muggsy Lauer, guitar
and vocals, and Jeff Engholm on bass and vocals. They perform
traditional jazz to swing, blues to bebop, and a healthy dose of originals.
They are “one of the preeminent small jazz groups on the scene. Recommended."
(David Nathan, All About Jazz). Come tap your toes to the "irreverent
style and sly musical humor" (the Dakota Jazz Club, Minneapolis) of
the George Maurer Group, a gathering of three well dressed friends who play
jazz the way it was meant to be – with instruments.
Check George Maurer out on his website
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Saturday,
August 2, 8pm
Prudence Johnson & Dan Chouinard
$18/$20 at door
The Smooth Jazz duo of Prudence Johnson and
Dan Chouinard returns to Crossings
One of the hottest duos in the Twin Cities
jazz scene, eclectic vocalist Prudence Johnson and piano
wizard
Dan Chouinard, returns to Crossings by popular demand to
deliver their smooth mix of Gershwin tributes, Parisian music and more.
Dan is sure to have his accordion along so expect some French and Italian
gems as well as American classics from Gershwin and the like, and a few
new things they've picked up along the way.
Prudence has found an ideal collaborator in pianist Dan Chouinard. They released ‘s Gershwin in 2004 and appear together on concert stages across the country, performing the music of Carmichael, Gershwin and other greats, and taking side trips to the café music of France and Italy with Dan on accordion. They co-wrote and perform together Another Song About Paris, a loving look at the City of Light through stories and songs.
Dan has criss-crossed the country playing with
Peter Ostroushko, Neil and Leandra, and Maria Jette, wrote and starred in
"Café Europa" for Minnesota Public Radio. He's working
hard on the all-new version of Cafe Europa, returning on May 31 to the Fitzgerald
Theater. It’s the next chapter of the 2005 show for MPR about a summer’s
ramble around Europe with bike and accordion! There’ll be more tales
of pedaling and playing the streets of towns big and small, with music by
the Rose Ensemble, the Brass Messengers, Peter Ostroushko, Maria Jette,
John Munson, Josette Antomarchi, Diane Jarvi, Sima Shumilovsky and Dennis
Curley. And perhaps an extra accordionist or two for good measure.
More about Prudence
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Thursday,
August 7, 7:30pm
Tannahill Weavers
$26/$28 at door
"These guys are a bunch of heroes every time they go
on tour in the States"-Garrison Keillor
"Among the half-dozen most popular groups leading the current
revival of Celtic traditional music,
the Tannahill Weavers…probably make the most explicit connections
between tradition
and the electric folk reels of bands like Big Country and U-2." - Stephen
Holden, New York Times
"Travelling overseas to perform always thrusts the artist
into the role of cultural ambassador.
If that is the case, the Tannahill Weavers make Scotland out to be a country
to desire,
one with a utilitarian appreciation of the old, an acceptance of the new
and a quick and playful wit." -Ithica Journal
The Tannahill Weavers are one of Scotland's premier traditional bands. Their diverse repertoire spans the centuries with fire-driven instrumentals, topical songs, and original ballads and lullabies. Their music demonstrates to old and young alike the rich and varied musical heritage of the Celtic people. These versatile musicians have received worldwide accolades consistently over the years for their exuberant performances and outstanding recording efforts that seemingly can't get better...yet continue to do just that.
The Tannahills have turned their acoustic excitement loose on audiences with an electrifying effect. They have that unique combination of traditional melodies, driving rhythmic accompaniment, and rich vocals that make their performances unforgettable. As the Winnipeg Free Press noted, "The Tannahill Weavers - properly harnessed - could probably power an entire city for a year on the strength of last night's concert alone. The music may be old time Celtic, but the drive and enthusiasm are akin to straight ahead rock and roll."
Born of a session in Paisley, Scotland and named for the town's historic weaving industry and local poet laureate Robert Tannahill, the group has made an international name for its special brand of Scottish music, blending the beauty of traditional melodies with the power of modern rhythms. The Tannahill Weavers began to attract attention when founding members Roy Gullane and Phil Smillie added the full-sized highland bagpipes to the on-stage presentations, the first professional Scottish folk group to successfully do so. The combination of the powerful pipe solos, Roy's driving guitar backing and lead vocals, and Phil's ethereal flute playing breathed new life into Scotland's vast repertoire of traditional melodies and songs.
Visit the Tannie's website to learn more and listen to some of their amazing music
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Saturday,
August 9, 8pm
John Gorka
$24/$26 at door
Listening to John Gorka sing, one can get goosebumps all over.
There are many reasons-fresh lyrics, a stunning, emotional baritone voice,
his twisted humor-but to focus on one limits the experience. -The New
York Times
In 1987, the young Minnesota-based Red House Records caught wind of John Gorka’s talents and released his first album, I Know, to popular and critical acclaim. With unusual drive and focus, John hit the ground running and, when an offer came from Windham Hill’s Will Ackerman in 1989, he signed with that label’s inprint, High Street Records. He proceeded to record five albums with High Street over the next seven years: Land of the Bottom Line, Jack’s Crows, Temporary Road, Out of the Valley, and Between Five and Seven. His albums and his touring (over 150 nights a year at times) brought new accolades for his craft. Rolling Stone called him “the preeminent male singer/songwriter of the new folk movement.” His rich multi-faceted songs full of depth, beauty and emotion gained increasing attention from critics and audiences across the country, as well as in Europe where his tours led him through Italy, Belgium, Scotland, Ireland, Holland, Switzerland and Germany.
Godfrey Daniels is one of the oldest and most venerable music institutions in eastern Pennsylvania. A small neighborhood coffeehouse and listening room, it has long been a hangout for music lovers and aspiring musicians, and in the late 1970s, one of these was a young Moravian College student named John Gorka. Though his academic course work lay in Philosophy and History, music began to offer paramount enticements. Soon he found himself living in the club’s basement and acting as resident M.C. and soundman, encountering legendary folk troubadors like Canadian singer/songwriter Stan Rogers, Eric Andersen, Tom Paxton and Claudia Schmidt. Their brand of folk-inspired acoustic music inspired him, and before long he was performing his own songs — mostly as an opener for visiting acts. Soon he started traveling to New York City, where Jack Hardy’s legendary Fast Folk circle (a breeding ground for many a major singer/songwriter) became a powerful source of education and encouragement. Folk meccas like Texas’ Kerrville Folk Festival (where he won the New Folk Award in 1984) and Boston followed, and his stunningly soulful baritone voice and emerging songwriting began turning heads. Those who had at one time inspired him — Suzanne Vega, Bill Morrissey, Nanci Griffith, Christine Lavin, Shawn Colvin — had become his peers.
A visit to John
Gorka's website gives stunning glimpses into the past, present and future
of this brilliant talent.
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Friday,
August 15, 8pm
Michael Johnson
$18/$20 at door
"A dazzling guitarist and wonderfully expressive singer. No
two shows are alike."
-Billboard Magazine
"I doubt if any concert performer works an audience better or cherishes
the power of a well placed wisecrack more than Johnson does."
Rick Shefchik, News Tribune, Duluth MN
His name is Michael Johnson. He has no plans to put on a cowboy hat, affect an accent, wear one glove or be anyone but himself. Moreover, he is "The" Michael Johnson, and he has performed and lived more music and recorded more hits than you would imagine, and this year marks his induction into the Minnesota Rock and Country Hall of Fame.
His voice immediately identifies him as the man who sings "Bluer Than Blue", "Give Me Wings", "That's That", "This Night Won't Last Forever" and other landmark songs. His music shows a diversity, depth and heart that only come from years of dedication to a labor of love.
When asked what he would have you know about himself, Michael says:
"Tell them that I love it." He started playing at age thirteen and just never quit. Singing, playing, writing and recording are the only things he's ever done and he loves it.
"Tell them I play guitar." He really plays guitar. He studied in Barcelona and he plays on all his records with a unique and distinctive style. His playing is an important part of his show.
"I am a soloist at heart." Michael often performs alone, and he has elevated the art. He prefers the intimacy and spontaneity of a show that can change with the moment.
"Tell them I'm a showman. I like to talk to people and I love to make them laugh. And, of course, I have to move them with the music. That's the whole thing. Without that, there is no reason to be on stage."
What one remembers of Michael is the texture of his voice, the meaning of the lyric and the music of the guitar -- singer, song and sound. And the feeling of being at home with a friend.
Michael's music and concerts have taken him all over the world. He has performed many times in Spain, Japan, Holland, Switzerland, The Philippines, Alaska and elsewhere. He spent 1993 on the road with the Clint Black -Wynonna Judd tour. In 1997 he toured with Alison Krauss and Union Station.
His annual December 26th concert in Minneapolis is legend. He has performed with many symphony orchestras. Among the artists whom Michael is proudest to have appeared with are: Judy Collins, George Carlin, Vince Gill, Roger Miller, Bill Monroe, John McGloughlin, Josh White Sr., Cheryl Wheeler, David Sanborn, Wynonna, Trisha Yearwood, Andy Kaufman, Jennifer Warnes and many others.
Visit this philosopher-balladeer-singer-songwriter's
website to hear, read,
and learn more.
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Friday,
August 22, 8pm
Storyhill
$22/$24 at door
"Their sound recalls the harmonious interplay of Simon
and Garfunkel and the acoustic juice of the Indigo Girls”
- Billboard
Crossings is thrilled to announce the return of acoustic/pop duo Storyhill to their stage! This compelling acoustic/pop duo brings sharp, observant songwriting together with close, brother-like harmonies. With voices reminiscent of The Everly Brothers and Simon & Garfunkel, they create a sound both classic and completely fresh. Like label-mates Greg Brown and Jorma Kaukonen, Storyhill has a deep appreciation for many musical styles—rock, roots, blues and country. Mixing those influences with their own unique sound, they have grown an impressive fan base that includes a wide variety of music lovers. Storyhill’s infectious melodies and captivating performances have made them favorites at clubs and theaters across the country and have earned them high praise from fellow musicians and critics. Storyhill’s music is a perfect blend of Americana, folk and pop and recalls the early alt-country sounds of The Jayhawks.
They recorded their first tape as Chris and Johnny in 1989. Upon graduating from high school in 1993, they toured the country, playing the college circuit. For three years they toured constantly and recorded several self-released albums, selling an impressive number at their shows. Finding themselves pulled in different directions, Chris Cunningham and John Hermanson, or Storyhill as they were now known, embarked on a series of farewell concerts (much to fans’ dismay). Chris moved west to Seattle, then back to Bozeman where he continued to play his own songs and collaborated with Minneapolis-based singer-songwriter Justin Roth, resulting in a live recording—2 forms of ID. John, on the other hand, went east, moving to Norway for a year. There he wrote material that would result in his first solo album, recorded when he returned to Minneapolis. He began performing solo and with his band Alva Star.
Storyhill fans continued to clamor for more
so Chris and John played a few sold-out reunion shows in
Minnesota and Montana. Discovering the old chemistry was still there along
with some new creative energy, they reformed Storyhill and fully committed
themselves to touring and recording as a duo. They enlisted the help of
rock/pop songwriter and Grammy nominee Dan Wilson (Semisonic, Dixie Chicks,
Trip Shakespeare) to produce Storyhill, their first release on independent
roots label Red House Records. The album is a return to the basics that
have made Storyhill so popular—strong melodic songs. While the album
is largely acoustic, Wilson provides some piano, bass and guitar parts,
and Eric Fawcett (N.E.R.D., Mike Doughty, Spymob) plays drums and percussion.
For more information, video and sound files, click here!
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Saturday,
September 6, 8pm
Cam Waters & the DitchLilies
$16/$18 at door
Cam Waters has spent the last twenty-odd years crisscrossing the country and honing his unique style on the stages of coffeehouses, clubs, concert halls, and festivals. Music writers across the country and in Europe consistently commend his understated, expressive singing and his simple yet inventive fingerstyle and slide guitar playing.
His literate, tradtion-based songwriting mixes seamlessly with his arrangements of rural blues, jug band songs, and American folk music. He has appeared in concert with Doc Watson, Dave Van Ronk, David Bromberg, Maria Muldaur, Greg Brown, Spider John Koerner, Roy Book Binder, Steve James, Bob Brozman, Robin and Linda Williams, and many more of acoustic music's most well-respected performers. This performance you will see him paired with the wondrously talented Ditchlilies.
While Cam is a native of Iowa, most of his adult life has been in Minnesota. He recently settled in Rochester, with his wife Tracy. In addition to being an inveterate music addict, he has studied graphic design and guitar building and holds a degree in elementary education.
The DitchLilies have dedicated
the bulk of their adult lives to learning and playing Old-Time Country Music.
Kari Larson (mandolin, guitars, lap steel, ukulele and vocals)
& Lisa Schultz (guitar, mandolin, claw hammer banjo
and vocals) bring to this duo the talent and grit that it takes to fairly
represent rural music from country music's Golden Era.
From Western Swing to jug band, honky-tonk to bluegrass, their love for it all can send audiences on a musical ride from Bakersfield to Galax. You can expect to hear vocal and instrumental duets performed on guitars, mandolins, banjo, ukulele and lap steel guitar.
The DitchLilies have worked together as a duo for over eight years, playing along the Wisconsin side of the Mississippi. They have also been working with a quartet for over four years in the Twin Cities area and have a self-titled CD out with other Lilies, Meghan Dudle and Julie Young.
Learn more and listen to the versatile DitchLilies here!
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Sunday,
September 14, 7pm
April Verch
$18/$20 at door
"April Verch sings with such stark, direct intensity...
her fiddle playing has touches of flash as well as fire.”
-Nashville City Paper
“Among the most promising new fiddlers in roots music
today… Verch is never afraid to lace her playing with
clever twists of bluegrass, blues, and pop.”
-Boston Globe
Experiencing an April Verch show is like hopping a supersonic freight train from an old lumber camp in northern Ontario, across the wide open prairie, through the Appalachians, down the Mississippi to the Louisiana Bayou, across the sea to Brazil, France, the Scottish Highlands and back, with stops at Carnegie Hall and church thrown in for good measure. An April Verch concert is equal parts invigorating, surprising, heartbreaking, heartwarming, haunting, charming, thrilling, foot-stomping, faith restoring, and smile inducing — all in all, utterly unforgettable. It’s a musical journey you do not want to miss, one that will have you entranced from start to finish, and ultimately not wanting to get off that train that you hopped on just two hours earlier. In addition to April’s talents, the April Verch Band features world-class musicians Marc Bru on percussion, Lincoln Meyers on guitar, and Cody Walters on upright-electric bass.
Born, raised and now living in Pembroke, Ontario, a land of rolling woodlands and pristine waters where her family has lived for generations, April grew up in an area with a rich, distinctive musical and stepdancing tradition shaped by the diverse roots of the immigrants drawn to the region's lumber camps.
April is not just a world-class fiddler, she is a world-class stepdancer and a singer whose voice has been hailed as “absolutely captivating” by the Toronto Star. She tours tirelessly, winning over audiences not only with sheer technical ability, but also with her charm, humor, and boundless energy on stage. She crosses genres easily from bluegrass to Brazilian to Celtic, from a jaunty Canadian folksong to a poignant contemporary ballad, and the audience is with her all the way..
Rounder Records' Ken Irwin spotted her at the annual Folk Alliance conference in 2000, and April-still in her early 20s-had matured into a self-assured, vibrant performer. Signed to the label on the spot, she released Verchuosity, her first Rounder CD, almost immediately. Earning rave reviews and a JUNO ("Canadian Grammy") award nomination, the album also served to introduce her to new audiences in the US, where she has appeared at venues ranging from Washington, DC's Kennedy Center to bluegrass and folk festivals across the country.
Learn more about this brilliant talent at her website!
Watch April's promo video on Real Player here
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Saturday,
September 20, 7:30pm
Collective Unconscious
perform the entire Beatles album in its entirety
Abbey
Road
Performance at the STATE THEATER in Zumbrota
$24/$26 at door
Back by the most popular of demands, Collective Unconscious will be joined by long-time friend and accomplished pianist, George Maurer to perform the Beatles’ “Abbey Road” in its entirety on period instruments. This group of talented, witty and “shockingly nice-looking” friends and musicians will bring you the Beatles in their finest form, with a note-for-note, nuance for nuanced version of one of the albums that has most influenced them.
‘Abbey Road’ was the last studio effort from the Beatles, but Collective Unconscious' founding member Jeff Engholm, says it stands triumphantly from the rest because “the vibes shoot out from it: mellow, never rushed, carefully crafted, playful, soulful, beautiful.” Never failing to recognize and display the joy inherent in each cut, CU executes each of the seventeen tracks with precision, reverence and honor. And in each performance to date the band has such fun that it’s impossible for the crowd not to join in.
Visit Collective Unconscious' website!
Check out the State Theater here
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Sunday,
September 21, 7pm
Jayme Stone
Mansa Sissoko
Africa to Appalachia
$18/$20 at door
"An intent focus on all aspects of music…
one of the most open-minded banjoists around."
BANJO NEWS
Jayme "has jam band fans doing cartwheels in the street
and
hardcore jazz fans re-examining their priorities."
NOW MAGAZINE
Juno Award winning banjoist Jayme Stone and Malian griot singer / kora player Mansa Sissoko build a boundary-crossing musical bridge on their new collaborative album Africa to Appalachia. West Africa and North America come closer together with the banjo being the bridge. The unshackled American banjo has gone back to Africa and returned with many stories left to tell. Jayme and Mansa will be joined this evening by Grant Gordy on guitar and Harris Eisenstadt on percussion.
On his musical mecca to Africa, Jayme Stone rarely let locals know of his accolades and burgeoning recording career in North America. He went to immerse himself in the high-spirited soundscapes, the daily life and lore of Africa. What he came home with was knowledge of two banjo ancestors never revealed before in the West, aspects of African music that eluded its American counterparts, and musical friendships that reach across continents.
He began searching for the banjo’s surviving ancestors, and the Canadian virtuoso became curious about what aspects of African music did not make it across the ocean with slavery. “The culture of slavery in North America, which nobody likes to talk about, was clearly not the best context for an authentic and meaningful cultural transmission of music,” Stone explains. “I wanted to find out how music is made on their turf.”
This project was a long time in the making. An auspicious four years before setting foot on Malian soil, Stone met Mansa Sissoko, a griot singer and master-player of the kora (a 21 string African harp). “Not knowing how well-loved Ali Farka Toure was over there, I jokingly said I only knew one song from Mali,” remembers Stone, “and I started to play ‘Allah Uya,’ which I had learned from Toure’s Niafunke album. Sissoko lit up and immediately started singing along. Ali Farka Toure is like Bob Dylan over there and everyone knows his songs by heart. In Mali when I’d meet kids on the street corner, I’d play it. It became the ultimate icebreaker.” Now, the song can be heard on Stone and Sissoko’s upcoming release.
“With little common language between us, we turned to music for communication,” Stone recalls of his first meeting with Sissoko. “This tangible heart-to-heart connection was there immediately and I knew that he was the perfect collaborator for the project. African music is not designed to be analyzed. It is learned by doing, by immersing yourself in the sound, rhythm and story. It is participatory. This quality has deeply affected my own relationship to music, compositional philosophy, teaching and audiences. I’ve become more attuned to the communal aspect of making music, particularly the powerful effect it has on our daily lives, emotional experience, sense of ritual and feeling of belonging.”
Through this deep engagement, Stone picked up other life lessons along the way. On one recent visit, Sissoko shared something his mother had instilled in him. “When you make music, you grow a light inside your body. Other people will be attracted to you, but it's not you they seek but this light. Don't mistake the two or the light will be put out.”
Visit Jayme Stone's website!
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Saturday,
September 27, 8pm
Sara Thomsen
$14/$16 at door
"Thomsen’s soulful voice, poetic lyrics and unforgettable
melodies
cut through to the heart and the soul of human experience.”
Minnesota Women’s Press, St. Paul
"The Twin Ports folk singer picks up the torch carried
by the balladeers of decades past:
Joan Baez, Pete Seeger, Holly Near, Ronnie Gilbert, and Peter, Paul, and
Mary... Her voice is lovely yet strong,
held aloft by her faith and conviction. She's everyone's guide and mother,
a goddess who,
instead of teetering on a pedestal, stands before you in blue jeans and
looks you in the eye.
She could make Conan the Barbarian drop his sword and collapse blubbering.
Reader Weekly, Duluth, MN
Sara Thomsen is a singer-songwriter with a soulful voice, poetic lyrics, and haunting melodies. Her music comes from the heart, and that's where it takes you. With a voice richer than the best mid-west soil, her songs carry you inward and outward—in, to the particulars of your own life, and out into the shared humanity of us all.
Compared by fans to Joan Baez and Joni Mitchell, important musical influences include these legends as well as troubadours of song Pete Seeger, Bernice Johnson Reagon and Mercedes Sosa. Sara has shared the stage with Dar Williams, Peter Mayer, Carrie Newcomer, Catie Curtis, Claudia Schmidt, and Ferron, artists who have also influenced her music. Her performance style is easygoing and full of humor and depth, capturing the audience’s full engagement. Sara’s music gently enfolds and unfolds the listener.
Sara Thomsen’s new release, Everything Changes (2008), is an intimate portrayal of the heart breaking open and apart, tumbling through transformation with elegance and grace. The album modulates from joy to despair, crusty to tender, illustrated with a variety of musical styles. Peppering an acoustic folk base are hints of jazz, country, latin groove, celtic and bluegrass. Sara and her acoustic guitar are joined by talented musicians adding flavor and pizzazz to an exquisite musical mix: piano, bass, drums, dobro, banjo, trumpet, lead guitar, flute, violin, cello, and harmony vocals. Sara's sensuous voice and penetrating lyrics cut through to the heart and soul of human experience, transporting the listener to a place within that says: sit down, listen, relax, laugh, cry, dance and remember.
In the tradition of Pete Seeger, Holly Near, and Woody Guthrie, Sara is a weaver of song and community singing. At concerts, conferences, classrooms, workshops, retreats, jails, places of prayer, and lines of protest, to be with Sara is to want to sing. Increasing wonder and awareness, deepening spiritual connection, and widening social engagement through song is at the heart of her work. Sara's ability to get people singing magically transforms gatherings into communities empowered with possibility.
Learn more and listen too at Sara's website
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Sunday,
October 5, 7pm
Willy Porter
with special guest
Natalia Zukerman
$24/$26 at door
"An acoustic picker with the Olympian speed of Leo Kottke
bolstered by rootsy vocals and twisting,
offbeat lyrics that evoked John Hiatt..."
— Boston Globe
"Milwaukee's Willy Porter is a dazzling acoustic guitarist with
a moody baritone..."
— The Washington Post
Growing up in a musical family, it’s no surprise that
Natalia Zukerman became a musician herself.
It is a surprise, though, that the daughter of a flutist and a violinist
should grow into a
folk artist heavily influenced by jazz and the blues.
Brian Jewell - Bay Windows
It’s been a few miles across America,
Canada, the UK and Europe since Willy Porter released his
debut CD,
The Trees Have Soul in 1990. Back then he traveled
in his Volkswagen selling discs out of the trunk, mesmerizing audiences
with his guitar chops and original tunes. In 1994, he released his second
independent CD Dog Eared Dream. The album marked
Porter’s artistic growth from his constant touring and a more developed
songwriting perspective and highlighted his pop songwriting
sensibility. and also his acoustic guitar work that would grow into a style
uniquely his own – a mixture of Leo Kottke, Michael Hedges, Richard
Thompson, and Lindsey Buckingham. European and American tours with Rickie
Lee Jones, Tori Amos, and The Cranberries followed over the next year and
a half. Porter’s combined experience at both major and independent
record labels ultimately fueled the drive to release a wider variety of
music on a more frequent basis, and led Porter to start his own imprint,
Weasel Records in December, 2005. His latest release, Available
Light, features Porter at the peak of his powers as a guitarist,
singer, songwriter, and recording artist.
Ian Anderson of Jethro Tull recently described Porter’s musicianship this way: “Willy Porter’s music demonstrates admirably that the technical excellence of his guitar playing will never overwhelm the essence of the song itself. In perfect symbiosis, the disciplines of performance and songwriting combine together to create the unique work for which he is admired by professional peers and audiences alike. Oh – and a damn fine singer too. Thank goodness he doesn’t play the flute.”
Opening this night for Willy Porter and returning to Crossings' stage is Natalia Zukerman. Natalia has a sound that’s strong yet delicate, gentle yet insistent. You can call the music she makes folk if you want, but there’s jazz in it, too, and blues, and a soulful something or other that you can’t quite put into words. Whether onstage or on record, she presents herself just as she is—no gimmicks, no flashy pyrotechnics, only the solid musicianship of someone who knows and loves her craft.
Warning: You may not be able to get over the mesmerizing guitar chops of the talented Natalia, but if you can, you will discover layers. Country roads that lead to red barns, antique shops, glass bottles, resonators, lap steels, finger-picking and trembling slides. And alongside these winding roads are back alleys, flagging cabs, and the buzz of a streetlight clicking with kick drums, pleading organs, and speeding electric guitars behind lyrics that delve boldly into work, love, temptation and the journey to personal reinvention.
Natalia's new release entitled Brand New Frame was produced by Willy Porter and introduces listeners to her rich layers of top notch guitar playing, contemporary beats and dark, sweet, provocative vocals. Musically sophisticated, intimate and irreverent all at once, this record highlights what’s best about Americana music.
Visit Willy Porter's website
and Natalia Zukerman's website
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Saturday,
October 11, 7:30pm
New Roots Duo
$14/$16 at door
"The sheer power of American finger-style guitar proves
that a) Jimmy Page and all those characters
may as well make their axe collections into rec room lamps, and b) at the
hands of guys like
Ben Woolman and Dan Schwartz and Michael Hedges and Billy McLaughlin there
is life
in that six-string paddle after all." -Downtown Edition
- Milwaukee, WI
New Roots Duo is a unique combination of finger-style guitarists Ben Woolman and Dan Schwartz. Based in the Twin Cities, both artists have successful solo careers performing throughout the country but have now joined forces to write, record, and perform music as a duo. Together, exploring new terrain and new instruments (acoustic baritone guitar, acoustic lap-steel guitar respectively), they are creating the finest music of their careers. Currently, they are touring in support of their newly released CD entitled, Roots Run Deep, an inspired collection described as, "Instrumental, melody driven, roots based pop music."
This evening on Crossings' stage you can expect a variety of music tied together with engaging stories that relate back to real life experiences; family, travels, and friendship. Their combined set list contains a diverse mix of original compositions covering various musical genres such as: American roots, pop, Latin, and African music.
Between the two of them they have over 15 CDs and thousands of shows to their credit. They have worked with a constellation of musical greats including Jimmy Jam and Terry Lewis, Billy McLaughlin, Dean Magraw, Peter Mayer, Tim Sparks and Pat Donohue.
Both have written for and have been featured in several national/International guitar magazines including: Guitar Player, Guitar Teacher, Acoustic Guitar, Fingerstyle Guitar and Chitarre, and they have been featured artists on the Internationally released Narada compilations. Their music can be heard around the world on various international radio outlets as well as Minnesota and National Public Radio programming.
Visit the New Roots Duo website to learn more and listen to their music!
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Saturday,
October 18, 7:30pm
Twin Cities Hot Club
$18/$20 at door
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Sunday,
November 2, 7pm
Donohue, Newton & Raynor
$17/$19 at door
This trio plays traditional Delta blues, rags, jug-band music, and 20th century popular songs. An adventuresome ensemble that thrives on interplay and spontaneity, these talented musicians draw on a deep repertoire ranging from Robert Johnson to the Beatles, from Tin Pan Alley to Tangos. Years of experience and rich musical backgrounds allow the trio to infuse their selections with jazz, rock, soul, eclectic, and ethnic influences.
If the combination of guitar, bass and accordion isn't unique enough in itself, layer in good-natured chestnuts, obscurities, and originals (both sincere and tongue-in-cheek), drench it all in great musical skill and showmanship, and you have an unforgettable evening's-worth of entertainment: Pat Donohue on guitar, accordionist 'Daddy Squeeze' Dan Newton, and Bassist Gary Raynor.
You’ll recognize these musicians from the movie soundtrack “A Prairie Home Companion.” All three play with Guy’s All-Star Shoe Band. They bring years of experience and rich musical backgrounds allow the trio to infuse their selections with jazz, rock, soul, eclectic, and ethnic influences.
If the combination of guitar, string bass and accordion isn’t unique enough in itself, layer in good-natured chestnuts, obscurities, and originals (both sincere and tongue-in-cheek), drench it all in great musical skill and showmanship, and you have an unforgettable evening’s-worth of entertainment.
Grammy-nominated Guitarist Pat Donohue is a member of the Guy’s All-Star Shoe Band, a National Fingerpicking Guitar Champion and an innovative songwriter. His songs have been recorded by Chet Atkins, Suzy Bogguss, and Kenny Rogers. Atkins called him one of the greatest finger pickers in the world today; Leo Kottke called his playing “haunting.” Over the years he has captivated audiences with his unique original compositions, dazzling instrumentals and humorous song parodies.
Accordionist Dan Newton has been a full-time performing musician since 1980. He frequently appears as a guest on A Prairie Home Companion and has appeared on recordings by Prudence Johnson, Peter Ostroushko, Peter Mayer, Ann Reed, The Proclaimers, Son Volt, and Neal & Leandra. In 2004, Newton released his 11th CD, “Le Disque Francais” with Café Accordion Orchestra.
Bassist Gary Raynor is a member of Guy’s All-Star Shoe Band. He has toured with Sammy Davis Jr. and has performed with the Count Basie band and the Minnesota Pops Orchestra. Raynor is featured on Janet Jackson’s hit single, “Again,” performs with the New York-based “Soul on Fire,” and has recorded and performed locally with the original Rio Nido, Debbie Duncan and Prudence Johnson. Gary teaches at McNally Smith College in St. Paul.
Visit this
site for more information about these talented guys as well as some
sound files of their music!
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Saturday,
November 29, 8pm
Cliff Eberhardt
$18/$20 at door
“If life were fair and stardom based on raw talent, Cliff
Eberhardt would be a household name.”
—The Washington Times
On his sixth album, Eberhardt couches his ballads in rootsy,
folksy arrangements that emphasize his bluesy guitar playing and his soulful,
Ray Charles-like vocals. Eberhardt's melodies, however, are as sophisticated
as ever --
he is the missing link between Paul McCartney and Cole Porter. - Seth Rogovey
2007 marked Cliff Eberhardt's
new release entitled "The High Above and the Down Below".
Included in
USA Today's list of the top 5 albums of the year,
it features 12 new original songs backed by a tight jazz combo that allows
his powerful voice and strong guitar playing to shine in a way that they
never have before. Showcasing his heavy pop and jazz influences, Cliff reinvents
himself on this new collection destined to become a classic, and you can
catch his dazzling performance in a rare, up close and personal setting
at Crossings.
Cliff knew by age seven that he was going to be a singer and songwriter. Growing up in Berwyn, Pennsylvania, he and his brothers sang together and their parents played instruments. His dad introduced him to the guitar and he quickly taught himself to play. Fortunate enough to live close to the Main Point (one of the best folk clubs on the East Coast), he cut his teeth listening to the likes of James Taylor, Joni Mitchell, Bruce Springsteen, Howlin’ Wolf, Muddy Waters, Bonnie Raitt, and Mississippi John Hurt — receiving an early and impressive tutorial in acoustic music. At the same time, he was also listening to great pop songwriters like Cole Porter, the Gershwins, and Rodgers and Hart, which explain his penchant for great melodies and clever lyrical twists.
At fifteen, Cliff and his brother Geoff began touring as an acoustic duo, playing the Eastern club circuit until Cliff turned twenty-one and moved to Carbondale, Illinois. There he found space to develop his own voice within a vibrant and supportive music scene that included Shawn Colvin. After a couple of years there and a short stay in Colorado, Cliff moved to New York in 1978.
Long one of the most respected songwriters on the club scene, his peers often mine his catalog for themselves. Cliff’s song “Memphis” was included on Cry Cry Cry, an album of collaborative covers by the “folk supergroup” of the same name (comprised of Dar Williams, Lucy Kaplansky and Richard Shindell). Other performers who have recorded his songs include Richie Havens, Shawn Colvin, Russ Taff and Buffy Sainte Marie. A collection of his songs has recently been published in The Cliff Eberhardt Songbook (Cherry Lane Publishing).
Learn more about this incredible talent and get a preview of his music at his website!
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