The Green Music Center at Sonoma State University celebrates the opening of the brand new Schroeder Hall this weekend, August 23 and 24. The latest addition to the center that already boasts the acoustically perfect Weill Hall, this new, intimate recital space is ideal for choral performances and holds within it the stunning Brombaugh Opus 9 Organ. Named for the beloved piano playing character of “Peanuts” fame, Schroeder Hall opens to the public for a debut weekend that boasts 10 different free concert performances over the two days.
When Donald and Maureen Green first dreamt up the music center, they wanted a permanent home for the SSU Bach Choir. How fitting that the choir, now dubbed the Sonoma Bach Choir and still led by retired SSU music director Bob Worth, kicks off the celebratory Schroeder Hall opening with an 11am performance on Saturday, joined by organist David Parsons.
From there the Hall will show off its versatility, as the rounded stone walls and reverberating nature is tuned to performances from the SSU Faculty Jazz Ensemble at 2pm, local piano legend and Santa Rosa Symphony conductor laureate Jeffrey Kahane at 4pm, and Organist James David Christie of the Boston Symphony Orchestra at 5:30pm. Capping off the first day is contemporary Jazz pianist David Benoit at 8pm.
On Sunday, Schroeder Hall opens up once again to feature such diverse acts as Weill Hall’s own artists-in-residence, Trio Ariadne, at 1pm, SSU chamber music artists-in-residence, Trio Navarro, at 5pm, and faculty and alumni vocal recitals throughout. The curved look of the Hall makes it ideal for vocal chants and choral recitals, and Sunday’s performances will explore the space’s capacity for rich aural effects.
Though the weekend is completely free, the limited seating of Schroeder Hall means tickets are required. Each performance requires it’s own ticket, and many have already been claimed online. Still, there is hope, as the Green Music Center has said some tickets will be held at the door on a first come basis. Also, if you already have seats, get there early to claim them, as any unclaimed tickets will be given out 10 minutes before each performance. Details are online right here.
Last weekend, August 16, the Bohemian held the annual NorBay Music Awards, honoring bands and performers from around the area. Winners were voted by you in ten different categories and many of the races were very close. More photos and coverage is coming this week. For now, here are the Gold Record Award winners of the 2014 NorBays.
Blues and R&B: Lester Chambers & the Mudstompers
Country and Americana: Frankie Boots & the County Line
DJ: Paul Timberman
Folk and Acoustic: Flowerbox
Hip-Hop and Electronic: MC Radioactive
Indie: the Highway Poets
Jazz: Dixie Giants
Punk and Metal: Shotgun Harlot
Rock: Dylan Chambers
World and Reggae: Soup Sandwich
Thanks to all the bands who came out and all of those who voted. Stay tuned for our review of the 24-Hour band contest and the highlights of the show.
Today the Wells Fargo Center for the Arts in Santa Rosa announced two new exciting shows for September, including the first show to utilize the venue’s new flexible theater space. Last year’s $3.3 million renovation allows main floor seats to be removed, creating an open-floor venue that allows for an increased variety of performances. In this configuration, the venue’s capacity increases from 1,681 to 2,023.
Appearing on Saturday, Sept. 20, is Grammy Award-winning singer and songwriter Colbie Caillat. Then, on Tuesday, Sept. 30, rock band O.A.R. (Of A Revolution) makes their Santa Rosa debut and transforms the theater into the new open-floor design. With an intense and exciting live show, O.A.R. is the perfect act to debut the venue’s new look.
Tickets for Colbie Caillat are $59 and $49 (all seats reserved) and tickets for O.A.R. are $59 in the reserved balcony and $49 for general admission (standing) on the main floor. Tickets for both shows go on sale Friday, July 25 at noon and will be available online at wellsfargocenterarts.org, by calling 707.546.3600, and in person at the box office at 50 Mark West Springs Road in Santa Rosa.
“Weird” Al Yankovic is turning into a fantastic insult comic.
He has released two videos so far from his latest album, “Mandatory Fun,” and aside from being spot-on parodies of two of the most popular songs of the year, they are beautifully dickish in an inarguable way.
“Tacky,” a riff on Pharrell’s “Happy,” highlights the terrible fashion trends of Crocs, stripes and plaid, and the idea of taking selfies with the deceased at a funeral. The video features several comedians, mostly notably Jack Black, who is tacky defined with his high-waisted pants, rhinestoned fanny pack and obsessive twerking. It does such a good job of pointing out the stupidity of all these actions and looks, that anyone finding themselves associated with anything mentioned in the song should feel immediate and extreme shame. Then never do that thing again.
“Word Crimes,” a take on Robin Thicke’s “Blurred Lines,” is basically Yankovic being a grammar Nazi. Dangling participles and contractions aside, he belittles those who use numbers for letters and single letters for full words (unless you’re Prince). It’s sweet release for that inner word cop that wants to spring out and beat the mob of uneducated slobs senseless with their own words. Yankovic has saved us much embarrassment and heartache.
The videos are part of his 8 videos in 8 days project, which in itself is a riff on Beyoncé’s latest release. Bey put out an album of 15 songs and 17 music videos available only on iTunes in December, with complete secrecy before its release. It sold a million copies in less than a week. Yankovic will release a full album in physical form, but has hinted that this album, the last under his current record contract, might signal a change. He says on his blog that he’s “weighing his options.”
Here’s hoping those options include a deeper delve into insult comedy.we
He’s got a winning smile and a wicked voice, and this month Chris Isaak shares both with the North Bay. The Stockton-born, Roy Orbison-obsessed songwriter is best known for his definitive song, “Wicked Game,” and for his appearances in cult classic movies. Now, Isaak brings his award-winning croon to the Wine Country, performing at Rodney Strong Vineyards on Sunday, July 13 at 4pm. Tickets are still available, grab them before they go.
The Napa music festival will return in 2015 again as a three-day festival, May 29–31. It will again take place at the Napa Valley Expo, according to an official statement made today by Latitude 38 Entertainment, the festival’s producers. Bands have not yet been announced.
“We’re thrilled to be back at the Napa Valley Expo with the support of our community of music, wine and food lovers for 2015,” says L38 CEO Dave Graham in a press release.
The festival mostly cleared its name this year after a fun-filled first year took a nasty turn after the founders failed to pay nearly $10 million in debts after the five-day event. They sold the brand to the new owners, who hosted the event with just three months of planning and addressed nearly every complaint of the previous festival. Many vendors returned after cajoling by the new owners, and the only major issues seemed to be the exit line on the festival’s second day, owing to about 35,000 fans trying to exit to shuttle buses at the same time.
One of the most powerful voices on Broadway and beyond, soprano singer Sarah Brightman has unfortunately been forced cancel her August U.S. tour, which included an appearance at the Green Music Center’s Weill Hall. From her website:
“I have suffered a hairline fracture to my ankle and have been advised by my doctors to rest it until September by which time it will have fully recovered. I have, regrettably, taken the decision to cancel my forthcoming US dates in August. I truly apologise for any disappointment caused.” -Sarah Brightman
No word on rescheduling yet, as the performer focuses on recovery.
Nestled in the Sonoma Valley’s beautiful Gundlach Bundschu Winery, the 2014 Huichica Music Festival was highlighted by fine wine, warm weather and excellent music. Friday nights kick-off was a nice concert headlined by Vetiver, though Saturday was the real spectacle, with two stages hosting a dozen artists from the Bay Area and beyond. There were young up-and-comers, established favorites and even a few veteran folk artists for good measure. Click to read on and check out the photos below:
Slow Gherkin was one of the best ska bands at a time when fellow skankers the Mighty Mighty Bosstones, Less than Jake, Goldfinger and Reel Big Fish were all over the airwaves, both on radio and television (remember when MTV shows music videos?). They were one of the top acts in the Bay Area, relentlessly touring for six years and gaining a following across the country as well as in Europe throughout the ’90s. “Trapped Like Rats in Myers Flats,” from their second album, Shed Some Skin, is still a singalong hit, as shown by their sold-out New York performance. And to this day, their version of Hava Nagila is one of the best tracks on my “These Songs Will Make Everyone Dance” playlist.
They wrote really good songs, not just fun, dancy teenage punk diddies with poppy, upstrummed guitar. If stripped down to acoustic guitar and voice, they’d be the best song of the night at any cafe’s open mic session. Their lyrics are deep and music moving; songs stands up to any by those who made it really big, and it always felt like it would just take that one catchy lick, that one un-erasable melody to cement Slow Gherkin’s place in music lore.
But, alas, they remain mostly a local memory for Bay Area music lovers who grew up in the Clinton era. Do these two shows in one year—double what they’ve played in the 13 years leading up to this point—signal a full-fledged reunion? One can only hope. But one thing’s sure: if you plan to attend their December show at the Phoenix Theater, it might be good to start polishing those Doc Martins now—they’re probably pretty dusty.
The three-day extravaganza known as Bottlerock began today in Napa, the city known more for restaurants and winetasting than music. To wit, the festival, now in its second year and under new ownership, has focused more on music this year—in addition to bringing internationally famous acts like the Cure and Outkast to Napa, there will also be over two dozen local bands playing at the festival, meaning that over one-third of the bands playing will be from the Bay Area.
This isn’t a new idea—local acts were featured at last year’s festival—but there are more of them this year, and it’s more than just an afterthought. Latitude 38, the company behind this year’s Bottlerock festival, says including local bands was the plan from the start.
“A lot of people didn’t know there were a lot of bands in Napa,” says Latitude 38 CEO Dave Graham. He says they’ve made a new tradition of kicking off the festival with a local band on the main stage. This year, it’s the Napa–based group Grass Child.
On Saturday, the first band to strum a chord, pluck a note, or bang a drum will be local favorites Trebuchet, the indie-folk quartet known for its original songs with glorious harmonies and wide-ranging instrumentation. They’ll be playing on the City Winery Lounge stage at Noon, greeting attendees just inside the main entrance with their explosive tunes and catchy melodies.
The opening slot at a festival is a blessing and a curse. “We don’t have any headliners to contend with,” says Eliott Whitehurst, the band’s mandolinist, guitarist and lyricist. “But at the same time, it’ll be a challenge because we’ve never been in that situation where it’s like, ‘Oh, look there’s all these people,’ and they continue to walk by.”
Whitehurst, who lives in Napa, says he is excited for this year’s festival—not in the least because he’ll be playing in it, but also because the concerns of last year are being mitigated. “Last year, we actually got out of town,” he says. “People in Napa were of one of two minds: either this is going to be awesome… or oh my god, we do not have the infrastructure to handle what is going to be thrown at this city.” With a festival expecting 30,000 people per day for an entire weekend, in a city of 78,340, that’s to be expected. Though he’s sure there will still be challenges, Whitehurst says, “I’m not as afraid of it this year as I was last year.”
Local acts playing in the festival come from as far away as San Francisco, and Whitehurst says about 150 bands sent entries to Thea Whitsil, who also organizes the annual Napa Porchfest, to fill 32 spots. Instead of having an “in” or being owed a favor, as is the case when so many bands are booked for a festival like this, Trebuchet and the other local acts were picked on merit. “That’s why we’re so stoked on it,” says Whitehurst, who knows the industry well, coming from a musical family.
The group made a one-shot montage video as an homage to the big names at Bottlerock, rearranging pieces of about a dozen songs into their own style. It was a hit—garnering over 1,200 Youtube views in just over two weeks. “It didn’t take us too long,” says Whitehurst. “We practiced for a day and maybe did 10 shots of us doing it live.” The festival is filled with nostalgia for those who grew up with the soundtrack of the ‘90s. Whitehurst is no exception. “I can’t deny how fun it will be,” he says. Outkast and Weezer will be great, and, because they’re a sure-fire way to heat things up, he’s also stoked to see Blues Traveler.