Played at the Ivy Room this past Monday with Aaron Bennett's Gogo Fightmaster. Aaron's a great tenor player and the first time I saw this group a few years ago I really liked what I heard. Aaron and I have done some playing together mainly with Weasel Walter, and our playing styles, though different go well together - lots of energy. Fighmaster has John Finkbeiner on guitar, Lisa Mezzacappa on bass and Vijay Anderson on drums. The music has lots of sixteenth notes and extreme registers. It was a good set.
We'll be playing a saxophone duo set this Friday at the Flux Theater in Oakland.
Tuesday, August 11, 2009
Thursday, July 30, 2009
Shelton Baker Glenn 7-29-2009
Last night played at the Climate Theater in SF with Jordan Glenn and Gene Baker. Michael Coleman had asked me to bring a group for the night, he was playing in his trio Beep with Nate Brenner on bass and Jordan on drums. Our original plan was to improvise, but last minute I thought of bringing some music along - a few pieces that Ton Trio played when we were over in Europe this spring, and some other things. Real glad I did. Plying with Gene and Jordan was great - we improvised and played the tunes, Gene held it down on the Hohner Organ - his bass concept fitting in perfectly on the pieces I brought. I played alto and tenor - the tenor has been fun to get back to (picked one up of the craigslist about a month ago). There was good energy the whole set, and really strong improvising. Basically I had alot of fun playing with those fellows and can't wait for the next time.
Beep! Trio played next - Michael & Nate are great players - and Jordan, subbing for Sam Ospovat, fit in real well with their style. Lots of influences on the music, definitely not a standard piano trio.
So, a good night of music, my first time at the Climate - it's a good space to play in, with good sound and a proper atmosphere. thanks to David for the show.
Beep! Trio played next - Michael & Nate are great players - and Jordan, subbing for Sam Ospovat, fit in real well with their style. Lots of influences on the music, definitely not a standard piano trio.
So, a good night of music, my first time at the Climate - it's a good space to play in, with good sound and a proper atmosphere. thanks to David for the show.
Wednesday, July 15, 2009
It's been a while! Europe in May
Okay, it's been waaaay too long since I last posted. Seeing as it's July and the last post was in mid-April, that means somehow 3 months have passed without a post. This includes trips to France, Poland, Serbia, Chicago and Los Angeles and about 20 shows. So, I've alot to catch up for....
I'll start with the Ton Trio dates in Europe. This happened at the very end of April and the first week of May. Kurt Kotheimer and I flew over to Paris to meet up with Sam Ospovat, who's been living there since last October. He's been enrolled in school, teaching English, and getting acquainted with some players on the Parisian scene and having a good time of it. It was hard for us to book dates in Paris, and though we were there for 5 days, we were only able to arrange 1 concert. This with many months of lead time. However, this gave us some days to get back into the music from The Way, and to work on some new pieces that I brought for this trip. We had some rehearsals in a space that was somewhat of a catacomb - borrowed a bass from one of Sam's friends that lives up on the 6th floor (with no elevator) - and prepared for our concert at a space called Nouveau Cosmos. A bar and cafe, we had a decent crowd and made a good night of it. We also had Quentin Sirjac join us for a few songs on piano. It was my first time in Paris, and after being there and talking to musicians about the difficulties of doing concerts there, I felt better about only having one date there. Apparently it's pretty tough to get shows there, especially creative music.
So, Ton Trio headed over to Poland for concerts with stops in Krakow, Warsaw and Poznan. The concerts were good, and I felt like we played together better than we ever had. And as in my previous visits, the folks having the concerts for us were very helpful. But, the attendance at the shows was less than I had expected, which was kind of a downer. Our last show was in Poznan, and in talking to the promoter, it seems there is somewhat of an audience crisis happening there - somewhat due to the worldwide economic thing - a tough time to be trying to get your foot in the door of European festival promoters and audiences in general. Not that playing this music is ever easy, in terms of getting the music out there be it through recordings or live shows. But, we were made very welcome by our hosts; after staying in Poznan an extra day and recording the new material, we had a few extra days before Kurt & Sam needed to return to Paris, so we went down to Krakow, and had a good time at Alchemia one night - and got to go to a great spot up on a hill overlooking the southern parts of the city. A good visit.
Sam & Kurt went back to Paris and I went back to Warsaw, where I stayed for a few days before the next part of my trip. I stayed with my friend Wojciech Traczyk, the bassist from the Light, one day we recorded some music, the last night I was in Poland I went with him to a concert he was playing at the Hard Rock Cafe Warsaw - funny place. Ran into Waclaw Zimpel a few times - he was busy at the time playing in several groups. It felt good to see some more of the ongoings of the scene in Warsaw - the musicians I know there are staying real busy, with a big variety of projects. Inspiring.
So my next stop on the trip was a rendezvous with the Fast Citizens in Belgrade. Several Chicago groups were asked to be part of the annual Ring Ring Festival. There programming tends to be slanted towards more improvised and electroacoustic music. So, I'm not sure if they thought that our music would fit in. We got in a day early and had a full rehearsal the day of the concert in the space, which was quite boomy - it took us a long time to decide where to actually play, on the floor or on the stage. For playing it sounded better on the stage, as a listener it was better on the floor. We finally decided on the floor. Pretty much right on time (20:00) the audience showed up, and the concert went very well. The Necks played the first set that night, they really pulled in the audience with their minimalist aesthetic - Tony Buck sounded great on drums. As we took over for the second set, the crowd of a few hundred rearranged, with a chunk of people sitting on the stage behind us - this created a great feeling with people all around, and I think it worked well to tame the acoustics in the room. The response to the music was very positive, which was extra rewarding after the smaller events in Poland and France.
The organizers were completely helpful, arranging for our accommodations for several days and being ready and willing to talk about the festival, and Belgrade itself, a very interesting city that has seen it's share of troubles. The city is a real mix between old and new, with a sprawling ancient citadel close by the club where the festival took place - Rex. Lots of capitalist style commercialism in the fashion stores and sidewalk cafes with stray dogs taking naps at bus stops and homeless children (young) close by. (Why is it that the homeless know better English than store owners? Pure finances) Boyan was a great help to all of us, it was great to talk to him about the history of Serbia including Yugoslavia.
So, my next stop was Berlin. I've never been and have heard so many great things about Berlin that I decided when booking this trip that I had to make a side trip. I arranged a solo concert at the Electronic Church, which I happened to share with Liz Allbee and George Cremaschi, both of whom are now ex-Oaklanders. George moved to the Czech Republic full time a bit over a year ago, and Liz has decided to move to Berlin. Why is it that I know more musicians who move to Europe from the Bay Area than from Chicago? Is it because it is farther away and you may as well just move there if you want to have a presence on the continent? Is it because in Chicago there are more established series and contacts? Perhaps a combination? I was glad to share the bill with Liz & George and talk to them about their plans. It's inspiring to see people taking a chance by moving to new countries - I hope the best for them.
The Electronic Church is a smaller space, the show was on a Sunday and there were something like 5 other creative music shows that night including one with Tony Buck, one with Axl Dorner & Fred Lonberg-Holm, etc... but, we still had a nice little crowd and I was glad to meet a few people - thanks Shintaro for arranging it! I didn't have alot of time in Berlin - 2 nights - so spent one day wandering - mainly in the former East Berlin. Went by the Reichstag, and the Brandenburg Gate - touristy. Good to see though. I was really into the feel of Berlin as a city - the transit is great - goes everywhere, is affordable - I had the best falafel I think I've had in a looong time at Babel, enjoyed the streets and neighborhoods - kind of like Chicago with more trees - kind of like Portland with more city. Lots of cyclists - relaxed though, not speeding around like here in the states. Also, don't think I saw a single bike helmet. Really glad I went, and want to get back there sometime soon!
My trip was almost over and I had to fly out of Paris, and had to get back there. I had been in touch with Audrey Chen and she had a concert happening at Atelier Tampon that she invited me to take part in the night before my flight back to the states. Perfect. So, I flew from Berlin on Monday morning, had a 2 hour layover, got into Paris around 5, met Sam at his apartment on Q'uai d'Orsay around 6, dropped off my things and then took the Metro to the space. Thankfully I'd been in Paris the week before and knew how to get around, otherwise it wouldn't have worked out so well! The space is one of the few places in Paris that has creative music concerts and has hosted all sorts of people including Henry Grimes in it's small confines. There was an opening at the same time with lots of delicious organic wine - the red was almost effervescent! Very good. First Audrey played a duo with Id M Theftable, a fellow from Maine who does electronics and voice improv, then I joined them for some playing. A good concert, with food afterwards in the upstairs apartment. A great last night of music on the continent. We stayed late and eventually took a taxi all together, even though I was staying in a totally different part of town. I didn't get much sleep, but this was for the best, as I caught up for it on the plane headed back to California, getting a leg up on the jet lag.
I'll start with the Ton Trio dates in Europe. This happened at the very end of April and the first week of May. Kurt Kotheimer and I flew over to Paris to meet up with Sam Ospovat, who's been living there since last October. He's been enrolled in school, teaching English, and getting acquainted with some players on the Parisian scene and having a good time of it. It was hard for us to book dates in Paris, and though we were there for 5 days, we were only able to arrange 1 concert. This with many months of lead time. However, this gave us some days to get back into the music from The Way, and to work on some new pieces that I brought for this trip. We had some rehearsals in a space that was somewhat of a catacomb - borrowed a bass from one of Sam's friends that lives up on the 6th floor (with no elevator) - and prepared for our concert at a space called Nouveau Cosmos. A bar and cafe, we had a decent crowd and made a good night of it. We also had Quentin Sirjac join us for a few songs on piano. It was my first time in Paris, and after being there and talking to musicians about the difficulties of doing concerts there, I felt better about only having one date there. Apparently it's pretty tough to get shows there, especially creative music.
So, Ton Trio headed over to Poland for concerts with stops in Krakow, Warsaw and Poznan. The concerts were good, and I felt like we played together better than we ever had. And as in my previous visits, the folks having the concerts for us were very helpful. But, the attendance at the shows was less than I had expected, which was kind of a downer. Our last show was in Poznan, and in talking to the promoter, it seems there is somewhat of an audience crisis happening there - somewhat due to the worldwide economic thing - a tough time to be trying to get your foot in the door of European festival promoters and audiences in general. Not that playing this music is ever easy, in terms of getting the music out there be it through recordings or live shows. But, we were made very welcome by our hosts; after staying in Poznan an extra day and recording the new material, we had a few extra days before Kurt & Sam needed to return to Paris, so we went down to Krakow, and had a good time at Alchemia one night - and got to go to a great spot up on a hill overlooking the southern parts of the city. A good visit.
Sam & Kurt went back to Paris and I went back to Warsaw, where I stayed for a few days before the next part of my trip. I stayed with my friend Wojciech Traczyk, the bassist from the Light, one day we recorded some music, the last night I was in Poland I went with him to a concert he was playing at the Hard Rock Cafe Warsaw - funny place. Ran into Waclaw Zimpel a few times - he was busy at the time playing in several groups. It felt good to see some more of the ongoings of the scene in Warsaw - the musicians I know there are staying real busy, with a big variety of projects. Inspiring.
So my next stop on the trip was a rendezvous with the Fast Citizens in Belgrade. Several Chicago groups were asked to be part of the annual Ring Ring Festival. There programming tends to be slanted towards more improvised and electroacoustic music. So, I'm not sure if they thought that our music would fit in. We got in a day early and had a full rehearsal the day of the concert in the space, which was quite boomy - it took us a long time to decide where to actually play, on the floor or on the stage. For playing it sounded better on the stage, as a listener it was better on the floor. We finally decided on the floor. Pretty much right on time (20:00) the audience showed up, and the concert went very well. The Necks played the first set that night, they really pulled in the audience with their minimalist aesthetic - Tony Buck sounded great on drums. As we took over for the second set, the crowd of a few hundred rearranged, with a chunk of people sitting on the stage behind us - this created a great feeling with people all around, and I think it worked well to tame the acoustics in the room. The response to the music was very positive, which was extra rewarding after the smaller events in Poland and France.
The organizers were completely helpful, arranging for our accommodations for several days and being ready and willing to talk about the festival, and Belgrade itself, a very interesting city that has seen it's share of troubles. The city is a real mix between old and new, with a sprawling ancient citadel close by the club where the festival took place - Rex. Lots of capitalist style commercialism in the fashion stores and sidewalk cafes with stray dogs taking naps at bus stops and homeless children (young) close by. (Why is it that the homeless know better English than store owners? Pure finances) Boyan was a great help to all of us, it was great to talk to him about the history of Serbia including Yugoslavia.
So, my next stop was Berlin. I've never been and have heard so many great things about Berlin that I decided when booking this trip that I had to make a side trip. I arranged a solo concert at the Electronic Church, which I happened to share with Liz Allbee and George Cremaschi, both of whom are now ex-Oaklanders. George moved to the Czech Republic full time a bit over a year ago, and Liz has decided to move to Berlin. Why is it that I know more musicians who move to Europe from the Bay Area than from Chicago? Is it because it is farther away and you may as well just move there if you want to have a presence on the continent? Is it because in Chicago there are more established series and contacts? Perhaps a combination? I was glad to share the bill with Liz & George and talk to them about their plans. It's inspiring to see people taking a chance by moving to new countries - I hope the best for them.
The Electronic Church is a smaller space, the show was on a Sunday and there were something like 5 other creative music shows that night including one with Tony Buck, one with Axl Dorner & Fred Lonberg-Holm, etc... but, we still had a nice little crowd and I was glad to meet a few people - thanks Shintaro for arranging it! I didn't have alot of time in Berlin - 2 nights - so spent one day wandering - mainly in the former East Berlin. Went by the Reichstag, and the Brandenburg Gate - touristy. Good to see though. I was really into the feel of Berlin as a city - the transit is great - goes everywhere, is affordable - I had the best falafel I think I've had in a looong time at Babel, enjoyed the streets and neighborhoods - kind of like Chicago with more trees - kind of like Portland with more city. Lots of cyclists - relaxed though, not speeding around like here in the states. Also, don't think I saw a single bike helmet. Really glad I went, and want to get back there sometime soon!
My trip was almost over and I had to fly out of Paris, and had to get back there. I had been in touch with Audrey Chen and she had a concert happening at Atelier Tampon that she invited me to take part in the night before my flight back to the states. Perfect. So, I flew from Berlin on Monday morning, had a 2 hour layover, got into Paris around 5, met Sam at his apartment on Q'uai d'Orsay around 6, dropped off my things and then took the Metro to the space. Thankfully I'd been in Paris the week before and knew how to get around, otherwise it wouldn't have worked out so well! The space is one of the few places in Paris that has creative music concerts and has hosted all sorts of people including Henry Grimes in it's small confines. There was an opening at the same time with lots of delicious organic wine - the red was almost effervescent! Very good. First Audrey played a duo with Id M Theftable, a fellow from Maine who does electronics and voice improv, then I joined them for some playing. A good concert, with food afterwards in the upstairs apartment. A great last night of music on the continent. We stayed late and eventually took a taxi all together, even though I was staying in a totally different part of town. I didn't get much sleep, but this was for the best, as I caught up for it on the plane headed back to California, getting a leg up on the jet lag.
Tuesday, April 14, 2009
March & April 2009
Quite a bite has been going on the last month or so and I just haven't been writing about it. It's spring in California, and though I'm sure to those of you in other parts of the country that can be a struggle, out here it's generally good. For me it's been good as I've been looking for "work", and have had extra time for practicing, writing music, and concerning myself with an upcoming trip to Europe.
March went by pretty well, had a trip down to Los Angeles with the Pink Canoes where we played a good show at the Pharoah's Den down in Riverside (and now I know why Orange County is considered a totally different thing than LA) and a fun if ill-attended show at the Echo Curio in Echo Park. Stayed in Bel Air - went to the Getty Museum, nice trip. We finished that trip in Santa Cruz, a long day of driving up from LA, to the show, then back to the Bay that night. All in all I think Pink Canoes played 5 shows in March, had a good one at the Hemlock where Gerrit Wittmer played a set, and then another one at Travis' house the Golden Trapperkeeper Lodge where it was Earth Hour, so we played a rare acoustic set.
Jordan Glenn's trip Weiner Kids played a couple of shows too - at the Hemlock and then one up at the Ivy Room in Albany. That music is getting more and more fun to play - two saxes and drums - Cory Wright playing baritone in the group, me on alto. We're getting to know the music better and having more fun with it. Going to record next week.
Weasel's Quintet has played a few shows too - last night we played over at Kimo's in SF - a good, short set, plenty of energy, but afterward Darren got the terrible news that his house had been set on fire by the crackhead who lives downstairs from him! I drove him to his place in the Castro, I couldn't see the building, but on the way he talked to his girlfriend and it seemed like the important things (people, cats) were okay. Here's hoping the rest is salvageable.....
Ton Trio played at the Ivy Room last month too. I asked Jordan Glenn to fill in for Sam Ospovat and he did a great job. It was good to play that music again, and now I'm writing more trio music to have when I head over with Kurt to Europe in a few weeks to meet up with Sam and play in Paris and Poland.
And finally, last weekend I took a trip over to New York with Jen. We found cheap flights a while back and decided to head over there. I put together a group with Matt Bauder, Jason Ajemian, and Harris Eisenstadt. I've been wanting a group with Matt for a while, and I think that this may be the start of that. Probably go back sometime in the fall to work more on it, but this was a good start. Played at a space in Long Island City called the Chocolate Factory. We only had one rehearsal and the set was on the short side, but the chemistry is good. We will see.
March went by pretty well, had a trip down to Los Angeles with the Pink Canoes where we played a good show at the Pharoah's Den down in Riverside (and now I know why Orange County is considered a totally different thing than LA) and a fun if ill-attended show at the Echo Curio in Echo Park. Stayed in Bel Air - went to the Getty Museum, nice trip. We finished that trip in Santa Cruz, a long day of driving up from LA, to the show, then back to the Bay that night. All in all I think Pink Canoes played 5 shows in March, had a good one at the Hemlock where Gerrit Wittmer played a set, and then another one at Travis' house the Golden Trapperkeeper Lodge where it was Earth Hour, so we played a rare acoustic set.
Jordan Glenn's trip Weiner Kids played a couple of shows too - at the Hemlock and then one up at the Ivy Room in Albany. That music is getting more and more fun to play - two saxes and drums - Cory Wright playing baritone in the group, me on alto. We're getting to know the music better and having more fun with it. Going to record next week.
Weasel's Quintet has played a few shows too - last night we played over at Kimo's in SF - a good, short set, plenty of energy, but afterward Darren got the terrible news that his house had been set on fire by the crackhead who lives downstairs from him! I drove him to his place in the Castro, I couldn't see the building, but on the way he talked to his girlfriend and it seemed like the important things (people, cats) were okay. Here's hoping the rest is salvageable.....
Ton Trio played at the Ivy Room last month too. I asked Jordan Glenn to fill in for Sam Ospovat and he did a great job. It was good to play that music again, and now I'm writing more trio music to have when I head over with Kurt to Europe in a few weeks to meet up with Sam and play in Paris and Poland.
And finally, last weekend I took a trip over to New York with Jen. We found cheap flights a while back and decided to head over there. I put together a group with Matt Bauder, Jason Ajemian, and Harris Eisenstadt. I've been wanting a group with Matt for a while, and I think that this may be the start of that. Probably go back sometime in the fall to work more on it, but this was a good start. Played at a space in Long Island City called the Chocolate Factory. We only had one rehearsal and the set was on the short side, but the chemistry is good. We will see.
Tuesday, March 03, 2009
Out Today: Ton Trio's The Way
Glad to announce the release of The Way, the debut album by Ton Trio:
The Oakland based Ton Trio is made up of Aram Shelton on alto saxophone and bass clarinet, Kurt Kotheimer on bass, and Sam Ospovat on drums. All three found their way to the San Francisco area after time in the Midwest, and each became active playing creative music shortly after their arrival. Ton Trio formed in the summer of 2007.
The music of Ton Trio is written by Shelton. Some pieces use the melodic and rhythmic material in a more traditional head format while in others the parts are interchangeable and can be explored extensively by each player, with parts being rearranged simultaneously to create new harmonic relationships.
‘The Way’ is the debut album by Ton Trio and the first CD release by Singlespeed Music. Six compositions by Shelton cover a lot of ground from high-energy freedom to compositional rearrangement.
‘The Way’ is available directly from Singlespeed Music, and through CD Baby.
Downloads will be available through iTunes, Rhapsody, Last.fm and others.
Sunday, February 15, 2009
Shelton / Healy 2-13-2009
Friday the 13th! Scary!
Not really. Freddy vs Jason? Alien vs Predator? Terrible movies definitely, but before this show started I had a pretty long talk with these flicks with Jordan Glenn, Chuck Johnson and Ben Bracken, all of whom also played this night at the Totally Intense Fractal MindGaze Hut in Oakland.
The first set was a piece by Chuck Johnson called Polystate. It's an audiovisual piece that he developed as an installation but is also able to perform with. The basics are the use of scales to control audio and visual processes. Ben Bracken performed it with him. The sound was very measured and steady - a full blanket of sound.
Trevor Healy and I played the second set. it was one of the most focused sets that I remember us playing and we made great transitions from place to place with only one thing agreed on before we played - the note to start on. I liked this. We created some very full sounding sections and really moved our dynamics throughout the set. I think Chuck recorded the set - so I'm looking forward to hearing that.
The third set was the duo of Jordan Glenn and Kanoko Nishi. Drums and Koto. They covered alot of ground, at first I thought the drums would be too dominant as the room has some reverberation which can lend itself to too much drum - but Jordan knows what he's doing and the balance worked well. They ended the set in a super solid way, completing the night. All three sets had similarities in terms of timing and patience, though the way that each duo achieved these qualities was very different.
Not really. Freddy vs Jason? Alien vs Predator? Terrible movies definitely, but before this show started I had a pretty long talk with these flicks with Jordan Glenn, Chuck Johnson and Ben Bracken, all of whom also played this night at the Totally Intense Fractal MindGaze Hut in Oakland.
The first set was a piece by Chuck Johnson called Polystate. It's an audiovisual piece that he developed as an installation but is also able to perform with. The basics are the use of scales to control audio and visual processes. Ben Bracken performed it with him. The sound was very measured and steady - a full blanket of sound.
Trevor Healy and I played the second set. it was one of the most focused sets that I remember us playing and we made great transitions from place to place with only one thing agreed on before we played - the note to start on. I liked this. We created some very full sounding sections and really moved our dynamics throughout the set. I think Chuck recorded the set - so I'm looking forward to hearing that.
The third set was the duo of Jordan Glenn and Kanoko Nishi. Drums and Koto. They covered alot of ground, at first I thought the drums would be too dominant as the room has some reverberation which can lend itself to too much drum - but Jordan knows what he's doing and the balance worked well. They ended the set in a super solid way, completing the night. All three sets had similarities in terms of timing and patience, though the way that each duo achieved these qualities was very different.
Weasel Walter Quintet 2-9-09
Last monday night played at the Ivy Room up in Albany with Weasel's quintet. Our last date was at the Uptown in Oakland. the big difference between that night and this one is that we've been rehearsing almost regularly, so we know the music better, and are able to take some more liberties with it. Easier for the horns to get away from the material and then back into it with smaller cues - which makes it flow better from composition to improvisation. Darren had a really great solo about midway through. We all played with alot of energy - you can see in this video:
Weasel Walter Quintet > Performance 2-9-2009 from weasel walter on Vimeo.
The first set of the night was the duo of Jacob Felix Heule and Tony Dryer - they did a very quiet set and had setup in a spot surrounded by the audience - a good way to counteract the muffled acoustics in the space while playing very quietly.
The last set was Bad Paradise, a group made up of Steve Dood, Cansafis of No Doctors and Andrew - electronic / experimental / weird / dance - a good set to cap off the night - the three sets were VERY different - which I like.
Weasel Walter Quintet > Performance 2-9-2009 from weasel walter on Vimeo.
The first set of the night was the duo of Jacob Felix Heule and Tony Dryer - they did a very quiet set and had setup in a spot surrounded by the audience - a good way to counteract the muffled acoustics in the space while playing very quietly.
The last set was Bad Paradise, a group made up of Steve Dood, Cansafis of No Doctors and Andrew - electronic / experimental / weird / dance - a good set to cap off the night - the three sets were VERY different - which I like.
Thursday, January 29, 2009
Fast Citizens January 2009
I'm back in Oakland now, but I'll post what I wrote when I wrote it:
I'm sitting in Keefe Jackson's apartment in Pilsen, listening to the rough mixes of the Fast Citizens recording session from the last two days. It's tuesday January 27, a week after I arrived on a flight coming from Florida that happened at the same time that Barack Obama took the office of the President. It was a huge relief to know that by the time I would get into Chicago, he'd be in charge of the country.
I came to Chicago in the middle of the winter to put together music for a new Fast Citizens recording. The idea had come about back in the summer. I had talked to Keefe and Josh about the need to continue the Fast Citizens. I suggested that the next album have a new leader from within the group. Maybe because I brought it up I was picked to be the next leader. So, Aram Shelton's Fast Citizens were born. I wrote 5 new pieces during the last week of December and spent the following week developing them and creating the parts with the idea that the clearer the ideas and notation, the easier it would be to actually pull off making a new album in a small amount of time. Over the course of the last five days we had one long rehearsal, one short rehearsal, 3 gigs and two days in the studio. Productive!
We set up three dates: the first was on Friday up in Milwaukee at Bruno Johnson's bar called the Sugar Maple. A beautiful space on East Lincoln with a room specifically made for concerts. Fred wasn't able to make that gig, and we had two sets to fill, so we used a good amount of material from the first album. Not having Fred there changed the dynamic of the group in a big way - he adds a vital texture to the sound of the Citizens. I was glad to have him back for the next two shows. The second was on Saturday at the Heaven Gallery in Wicker Park. We shared the bill with two duos: Ben Boye on piano with Frank Rosaly and Charles Rumback on drums with Dave Rempis. The last was Sunday night at the Hungry Brain. That night we shared with Han Bennink solo (!) and Fred Lonberg-Holm's Valentine Trio.
Though there were many strong moments all three nights, the first two dates felt like live rehearsals, whereas the set at the Brain was a real performance, with the parts being much more internalized by everyone. The crowd that night was great too - even though we played last on the 3 set night, the room was full with plenty of listeners. Not to say that we didn't have good turn-outs the other nights, but Sunday was the best.
In all I'm very happy with what we were able to accomplish in a short amount of time and will do all I can to make sure this album comes out sometime this year.
I'm sitting in Keefe Jackson's apartment in Pilsen, listening to the rough mixes of the Fast Citizens recording session from the last two days. It's tuesday January 27, a week after I arrived on a flight coming from Florida that happened at the same time that Barack Obama took the office of the President. It was a huge relief to know that by the time I would get into Chicago, he'd be in charge of the country.
I came to Chicago in the middle of the winter to put together music for a new Fast Citizens recording. The idea had come about back in the summer. I had talked to Keefe and Josh about the need to continue the Fast Citizens. I suggested that the next album have a new leader from within the group. Maybe because I brought it up I was picked to be the next leader. So, Aram Shelton's Fast Citizens were born. I wrote 5 new pieces during the last week of December and spent the following week developing them and creating the parts with the idea that the clearer the ideas and notation, the easier it would be to actually pull off making a new album in a small amount of time. Over the course of the last five days we had one long rehearsal, one short rehearsal, 3 gigs and two days in the studio. Productive!
We set up three dates: the first was on Friday up in Milwaukee at Bruno Johnson's bar called the Sugar Maple. A beautiful space on East Lincoln with a room specifically made for concerts. Fred wasn't able to make that gig, and we had two sets to fill, so we used a good amount of material from the first album. Not having Fred there changed the dynamic of the group in a big way - he adds a vital texture to the sound of the Citizens. I was glad to have him back for the next two shows. The second was on Saturday at the Heaven Gallery in Wicker Park. We shared the bill with two duos: Ben Boye on piano with Frank Rosaly and Charles Rumback on drums with Dave Rempis. The last was Sunday night at the Hungry Brain. That night we shared with Han Bennink solo (!) and Fred Lonberg-Holm's Valentine Trio.
Though there were many strong moments all three nights, the first two dates felt like live rehearsals, whereas the set at the Brain was a real performance, with the parts being much more internalized by everyone. The crowd that night was great too - even though we played last on the 3 set night, the room was full with plenty of listeners. Not to say that we didn't have good turn-outs the other nights, but Sunday was the best.
In all I'm very happy with what we were able to accomplish in a short amount of time and will do all I can to make sure this album comes out sometime this year.
Wednesday, December 17, 2008
Weasel Walter Quintet Uptown 12-16-2008
Last night there was another free show at the Uptown in downtown Oakland. This one was put together by Sarah Lockhart. The first set was John Gruntfest's Ritual Resurrection Band, which is led by John on alto and words. It was pretty theatrical, and the line up of 2 drummers, 2 keyboards, and 4 saxophones made for a full sound and opportunities for small group pairings for improvising.
The second set was SL Morse - the duo of Sarah and Aurora Josephson. Now I think that Sarah was reading a composition the whole way through and it seemed that Aurora was free - had some good moments and the simple pairing of voice and percussion worked well.
Weasel put together a quintet with me on alto, Aaron Bennett on tenor, Darren Johnston on trumpet and Damon Smith on bass. He wrote a long-form piece for the group that we played for the first time at 21 Grand about a month ago. That time we didn't have a chance to actually rehearse it before hand, and this time we did - the piece has Weasel and Damon being free for the majority of the piece and alot of written material that is in time for the horns to play together - compositionally the opposite of the SL Morse set. The music is all high energy, with the piece opening up after about 10 minutes into long solo sections for each horn player to work with the rhythm section. Darren's trumpet solo sounded great and despite the mic set up for this purpose, Aaron went without in a real high energy section with Weasel and Damon. I started mine and didn't feel so strong for awhile - I don't know if it's the extra work I've been doing or that it's actually kind of cold around here, but I just didn't feel like my playing was working - maybe a bad reed. These things happen.
Good to work on that music again - I think we'll be recording it soon.
And here is the video!
Weasel Walter Quintet @ The Uptown 12-16-08 from mxxx palmer on Vimeo.
The second set was SL Morse - the duo of Sarah and Aurora Josephson. Now I think that Sarah was reading a composition the whole way through and it seemed that Aurora was free - had some good moments and the simple pairing of voice and percussion worked well.
Weasel put together a quintet with me on alto, Aaron Bennett on tenor, Darren Johnston on trumpet and Damon Smith on bass. He wrote a long-form piece for the group that we played for the first time at 21 Grand about a month ago. That time we didn't have a chance to actually rehearse it before hand, and this time we did - the piece has Weasel and Damon being free for the majority of the piece and alot of written material that is in time for the horns to play together - compositionally the opposite of the SL Morse set. The music is all high energy, with the piece opening up after about 10 minutes into long solo sections for each horn player to work with the rhythm section. Darren's trumpet solo sounded great and despite the mic set up for this purpose, Aaron went without in a real high energy section with Weasel and Damon. I started mine and didn't feel so strong for awhile - I don't know if it's the extra work I've been doing or that it's actually kind of cold around here, but I just didn't feel like my playing was working - maybe a bad reed. These things happen.
Good to work on that music again - I think we'll be recording it soon.
And here is the video!
Weasel Walter Quintet @ The Uptown 12-16-08 from mxxx palmer on Vimeo.
Friday, December 12, 2008
Quartet at Blue Six 12-11-2008
Last night played at Blue Six in the Mission. Small space at 24th street and Treat. Played with Darren Johnston, Lisa Mezzacappa, and Kjell Nordeson. We'd gotten together a few months ago at Lisa's place - the different instincts from the players in this group allows for some interesting playing - also, everyone is willing to really go for it so strong music happens.
We played two sets this night, I brought both alto and bass clarinet, Darren played mainly trumpet and some flugelhorn. Both sets were varied - I think in the first we stayed towards higher energy while in the second we took our time to develop ideas. Playing with a talented trumpeter is always great as a reed player, the combination of the sounds enhanced by the range that Darren plays with - we were trading lines that stretched throughout several octaves while I was on bass clarinet - with him matching the range of that instrument easily. Kjell is such a strong player in terms of instant composition - he builds parts that develop over time - the quartet interacted with smaller motifs that he would introduce throughout both sets, and the overall energy that he brings to the kit acted as a guide for much of the music.
In terms of improvised music, what I really like about this group is that while we all have many skills at our disposal, the result is strong music that is not dominated by special techniques. Instead, those techniques are used as parts to create music that is complex on many levels, while being about both the interaction of the individual players and the music created as a group.
Thanks to Joe for having the show at his place -
We played two sets this night, I brought both alto and bass clarinet, Darren played mainly trumpet and some flugelhorn. Both sets were varied - I think in the first we stayed towards higher energy while in the second we took our time to develop ideas. Playing with a talented trumpeter is always great as a reed player, the combination of the sounds enhanced by the range that Darren plays with - we were trading lines that stretched throughout several octaves while I was on bass clarinet - with him matching the range of that instrument easily. Kjell is such a strong player in terms of instant composition - he builds parts that develop over time - the quartet interacted with smaller motifs that he would introduce throughout both sets, and the overall energy that he brings to the kit acted as a guide for much of the music.
In terms of improvised music, what I really like about this group is that while we all have many skills at our disposal, the result is strong music that is not dominated by special techniques. Instead, those techniques are used as parts to create music that is complex on many levels, while being about both the interaction of the individual players and the music created as a group.
Thanks to Joe for having the show at his place -
Tuesday, December 09, 2008
Paper Leg at Ivy Room 12-08-2008
Up in Albany at the Ivy Room they've been having shows on Monday nights. Eric Leppo tends bar there on Mondays and keeps this series going - thanks to him!
Played with Trevor Healy for the first time in a bit. I brought my alto and bass clarinet, used Max/MSP for processing, and was able to use his guitar sounds as well. Trevor makes big thick walls of sound with his guitar and electronics noise changing tools (pedals) including of course the electronic system for wind instruments. Our method of playing together has stayed consistent during our hiatus - we tend to take our time getting moving through different spaces in music, which makes a two hour rehearsal move by fast, and a 45 minute set that much faster.
Andrew Conklin's band Quinn played second, a rock band with a good variety of songs - and then Jordan Glenn's & Karl Evangelista's instrumental band Host Family - pretty complex arrangements with multiple meters and pieces finding unexpected ways into others.
Played with Trevor Healy for the first time in a bit. I brought my alto and bass clarinet, used Max/MSP for processing, and was able to use his guitar sounds as well. Trevor makes big thick walls of sound with his guitar and electronics noise changing tools (pedals) including of course the electronic system for wind instruments. Our method of playing together has stayed consistent during our hiatus - we tend to take our time getting moving through different spaces in music, which makes a two hour rehearsal move by fast, and a 45 minute set that much faster.
Andrew Conklin's band Quinn played second, a rock band with a good variety of songs - and then Jordan Glenn's & Karl Evangelista's instrumental band Host Family - pretty complex arrangements with multiple meters and pieces finding unexpected ways into others.
Wednesday, September 17, 2008
Flockterkit 9-16-2008
It's been a little while since Flockterkit had a show - since last December when I played the music in Chicago. Last November I recorded the music with the west coast lineup - Andy Strain, Jordan Glenn, Kurt Kotheimer, Caroline Penwarden and Anantha Krishnan. The recording turned out very good - but we hadn't had a chance to play the music out here until now. This was a free show at the Uptown in Oakland, I put together a bill with Painted Cakes (Eli Reitz, Shumit DasGupta and Andrew Kitchen), and Ben Bracken playing solo. It was a good night.
Painted Cakes played first - minimalist rock with long forms and interweaving patterns between the guitar, bass, and drums. Ben Bracken's set was one long piece, using feedback from his acoustic guitar to set up a bed for musical thoughts and sounds.
The Flockterkit set felt great - we took our time with improvising and solos - Jordan on drums and Anantha on tabla make a solid percussion section, and Kurt holds it down in between the two. Caroline used pump organ on the entire set, which is a great sound, long sustain, creaky, with dexterity as well.
The crowd that came was mixed, but mainly listeners - each group had a different sound and style which made for a balanced night of music. The good thing about the setup of the Uptown is that the bar is separate from the music room, so the people that don't want to listen can do their talking somewhere else. If only every place was built that way....
Painted Cakes played first - minimalist rock with long forms and interweaving patterns between the guitar, bass, and drums. Ben Bracken's set was one long piece, using feedback from his acoustic guitar to set up a bed for musical thoughts and sounds.
The Flockterkit set felt great - we took our time with improvising and solos - Jordan on drums and Anantha on tabla make a solid percussion section, and Kurt holds it down in between the two. Caroline used pump organ on the entire set, which is a great sound, long sustain, creaky, with dexterity as well.
The crowd that came was mixed, but mainly listeners - each group had a different sound and style which made for a balanced night of music. The good thing about the setup of the Uptown is that the bar is separate from the music room, so the people that don't want to listen can do their talking somewhere else. If only every place was built that way....
Thursday, September 11, 2008
Pink Canoes at Knockout 9-4-2008
Last week the Pink Canoes played at the Knockout in San Francisco. It'd be a couple of months since we played, and this show was put together pretty quickly. Two sets by noise groups made the meat of this dance party / noise night. It was good - we went with all energy in the beginning, Zach doing more processed vocals these days, in the phot he's the blur - Noah and Travis acted in some ways as the rhythmic backbone.
Monday, August 11, 2008
Arrive at the Whig "On Time"
Arrive plays "On Time"
Arrive is Aram Shelton, alto sax; Jason Adasiewicz, vibes; Jason Roebke, bass; Tim Daisy, drums.
Recorded July 26, 2008 in Columbia, SC.
Arrive is Aram Shelton, alto sax; Jason Adasiewicz, vibes; Jason Roebke, bass; Tim Daisy, drums.
Recorded July 26, 2008 in Columbia, SC.
Wednesday, August 06, 2008
Arrive Tour, Ash pt 2, to NYC. July 28-31, 2008
The second week of our tour was a lot more work than the first. While we were able to spend some quality time in the Carolinas, we had alot of ground to cover on the back half of our trip. From Charlotte we went back to Asheville to play at the Admiral, a new polace run by the same folk that have brought us the Whig in Columbia. They took care of us with great food and we played two sets, possibly our best playing night of the tour. I think a few things contributed to us playing well = one of which was a detour in a river that feeds into Lake Lure about 30 miles east of Asheville. A good time.
After our second stop in Asheville the driving started - we headed up to Richmond, a 6 hour drive, and played a show at the Camel. The band Glows in the Dark played first. The next day we headed to Philly, a 4 1/2 hour jaunt, not so bad, but we left town right after the show to drive into NYC to beat the traffic. Philly was good - got into town with plenty of time to hang out before the show which was downtown at the Gershman Y, a nice building that houses the Jewish Athletic Hall of Fame. Bowerbird put on a nice show for us with Dan Blacksburg's Synthesis Music playing a set. The room was a gallery but with good acoustics. The crowd was small but enthusiastic, and it was a good night.
Driving into NYC at night was a good decision. We got in around 2 AM, and were able to sleep in - though it was a hot one in the city. We spent the day hanging out with Matt Bauder, played basketball in the park where we lost by a pretty big margin to some neighborhood kids, but at least were able to feel good about the fact that they were arguing over some points and with each other form time to time. Pus, Daisy was wearing sandals and Matt's game was off. if we'd brought some water we would've been dangerous & not just dehydrated.
We played at Zebulon that night, lot's of great pictures can be seen here (Look for July 31, 2008 Arrive). The first set was Mary Halvorson, Tatsuya Nakatani, and Reuben Radding - they played a set that got pretty loud, I hadn't seen Tatsuya play loud before, and it sounded great - he was bringing out all his trademark colors and textures, but with an incredible volume.
We played the second set, and there was a good crowd - though there were a fair share of talkers. The night felt like one at the Hungry Brain in Chicago - lots of younger musicians, plenty of people to meet and run into. Bauder's Day in Pictures played last - Tomas Fujiwara on drums, Jason Ajemian on bass, Nate Wooley on trumpet, and Jeremy Wilms on guitar.
We left New York that night after the show - drove a few hours and found a hotel.
After our second stop in Asheville the driving started - we headed up to Richmond, a 6 hour drive, and played a show at the Camel. The band Glows in the Dark played first. The next day we headed to Philly, a 4 1/2 hour jaunt, not so bad, but we left town right after the show to drive into NYC to beat the traffic. Philly was good - got into town with plenty of time to hang out before the show which was downtown at the Gershman Y, a nice building that houses the Jewish Athletic Hall of Fame. Bowerbird put on a nice show for us with Dan Blacksburg's Synthesis Music playing a set. The room was a gallery but with good acoustics. The crowd was small but enthusiastic, and it was a good night.
Driving into NYC at night was a good decision. We got in around 2 AM, and were able to sleep in - though it was a hot one in the city. We spent the day hanging out with Matt Bauder, played basketball in the park where we lost by a pretty big margin to some neighborhood kids, but at least were able to feel good about the fact that they were arguing over some points and with each other form time to time. Pus, Daisy was wearing sandals and Matt's game was off. if we'd brought some water we would've been dangerous & not just dehydrated.
We played at Zebulon that night, lot's of great pictures can be seen here (Look for July 31, 2008 Arrive). The first set was Mary Halvorson, Tatsuya Nakatani, and Reuben Radding - they played a set that got pretty loud, I hadn't seen Tatsuya play loud before, and it sounded great - he was bringing out all his trademark colors and textures, but with an incredible volume.
We played the second set, and there was a good crowd - though there were a fair share of talkers. The night felt like one at the Hungry Brain in Chicago - lots of younger musicians, plenty of people to meet and run into. Bauder's Day in Pictures played last - Tomas Fujiwara on drums, Jason Ajemian on bass, Nate Wooley on trumpet, and Jeremy Wilms on guitar.
We left New York that night after the show - drove a few hours and found a hotel.
Thursday, July 31, 2008
Arrive Charlotte Century 7-27-2008
An easy drive from Columbia back into NC to go to Charlotte, the queen city. Brent Bagwell set up a date for us at Century, a vintage shop that hosts concerts in it's back room. AS the drive was short we didn't leave Columbia until about 4:30, got into twon around 6 and got some BBQ foods around the corner. The heat really started getting intense this day. Thankfully in the south people recognize this as a fact of life and have the AC to deal with it. (Unlike in NYC where I'm writing these posts from.)
Brent brought his Project Bluebird this night. It's a six piece group made up of 4 musicians from Charlotte and two from Raleigh / Durham over in the eastern part of NC. The full lineup is Ben Kennedy on cello and violin; Carrie Shull on oboe and English horn; Crowmeat Bob Pence on alto and baritone saxophones and bass clarinet; Brent Bagwell on tenor and baritone saxophones and clarinet; Ron Brendle on bass; and newcomer Molly J. Brown on tuba. Nice instrumentation with interesting arrangements and a distinct aura of musicality happening. My favorite group we've played with on the tour yet.
Our set went well - though the room is dry, it's not difficult to play in, and as a listener, everything is clear. Afterwards we hung out at the Snug Harbor and got into a nasty game of cornhole - a good time. Stayed at Brent's new place and was able to hang out a little bit with him & his son Charlie the next day. Thanks Brent!
Brent brought his Project Bluebird this night. It's a six piece group made up of 4 musicians from Charlotte and two from Raleigh / Durham over in the eastern part of NC. The full lineup is Ben Kennedy on cello and violin; Carrie Shull on oboe and English horn; Crowmeat Bob Pence on alto and baritone saxophones and bass clarinet; Brent Bagwell on tenor and baritone saxophones and clarinet; Ron Brendle on bass; and newcomer Molly J. Brown on tuba. Nice instrumentation with interesting arrangements and a distinct aura of musicality happening. My favorite group we've played with on the tour yet.
Our set went well - though the room is dry, it's not difficult to play in, and as a listener, everything is clear. Afterwards we hung out at the Snug Harbor and got into a nasty game of cornhole - a good time. Stayed at Brent's new place and was able to hang out a little bit with him & his son Charlie the next day. Thanks Brent!
Arrive Columbia 7-25 & 26 2008
Back on down to the capitol of South Carolina, Columbia. Our man Ross set up two dates for us, the first at the Columbia Museum of Art and the second at the Whig. Both places are on Main Street, separated by a few blocks. The Museum show was first, on Friday night. There was a good amount of press for this show and there was quite a good turnout - a close to full house in the auditorium. We played two sets, the first a bit longer than the second and the audience was quite attentive and appreciative. Someone took a few videos of the concert and have posted them up on youtube - here's one - On Time:
We went back to Ross's for a cookout after the show - Mahi Mahi. (Being at a Museum it was a earlier show than ay of the other ones on the tour and finished by 9pm.) We enjoyed the southern night and I fell asleep watching Sans Soleil by Chris Marker.
The next day was basically a day off as our show at the Whig wasn't to start until after 10pm. We got some great food at the Blue Cactus and wasted time in little 5 points before we went back to Ross's and had a second cookout in as many days, this time with Salmon and Chicken. Delicious. By the time we got to the Whig to load in there was already a good sized crowd and the two sets we played were punctuated by plenty of applause and a fair amount of bizarre comments from random folks. The particularly memorable ones made by a fellow wearing sunglasses and mardi gras beads. A great stay in Columbia, two shows with more than a hundred people seeing the music. Got our tour on the right track.
We went back to Ross's for a cookout after the show - Mahi Mahi. (Being at a Museum it was a earlier show than ay of the other ones on the tour and finished by 9pm.) We enjoyed the southern night and I fell asleep watching Sans Soleil by Chris Marker.
The next day was basically a day off as our show at the Whig wasn't to start until after 10pm. We got some great food at the Blue Cactus and wasted time in little 5 points before we went back to Ross's and had a second cookout in as many days, this time with Salmon and Chicken. Delicious. By the time we got to the Whig to load in there was already a good sized crowd and the two sets we played were punctuated by plenty of applause and a fair amount of bizarre comments from random folks. The particularly memorable ones made by a fellow wearing sunglasses and mardi gras beads. A great stay in Columbia, two shows with more than a hundred people seeing the music. Got our tour on the right track.
Saturday, July 26, 2008
Arrive Asheville Bobo 7-24-2008
A short 2 hour drive to Asheville from Knoxville in the late afternoon. Shane Perlowin set up a date for us at the Bobo Gallery - a home away form home for many of us from Chicago. Brad, the owner, is a genuine good fellow and is so supportive of what we do. It's a good thing. As we got into town, barricades were being set up all around the downtown district, and keeping us away from the Gallery. After about a half hour of circling, we finally found a place to park about 4 blocks away and had to hike in all the equipment. We set up and took a walk around downtown Asheville, getting some dinner. This was a our first real show of the tour. A good crowd formed by the time we played - Shane opened with a quartet of Joe & Michael of Mind vs. Target plus a bassist Trevor Stoia, an improvised set with a structure. We played all the new material and it's starting to feel really good - Shevitz really came our of the gates - his first solo was super on, just navigating all over the bars with the four-stick mallets - fun to watch and hear. The added energy from the crowd really pushed us on throughout the set. There Was is now working.
Arrive is the quartet of Aram Shelton, Jason Adasiewicz, Jason Roebke, and Tim Daisy. They are on tour from July 21st to August 6th.
Arrive is the quartet of Aram Shelton, Jason Adasiewicz, Jason Roebke, and Tim Daisy. They are on tour from July 21st to August 6th.
Arrive Knoxville Pilot Light 7-23-2008
Had to get up early in Bloomington - on the road at 8:00 in order to get to Morehead State College an hour east of Lexington for a workshop. A few hundred high school students in a summer program. Most of them played music, but not all. The workshop was largely an open rehearsal. We worked on a piece called "There Was" that I first wrote several years ago, but have not yet been able to get the kinks out. This was a good opportunity to work on the piece, I explained as we worked through the different sections, describing the way we were playing cells of different lengths to create overlapping parts. We answered questions and played two more pieces. Lots of the kids were enthusiastic afterwards ad came up to the stage to ask us questions. We had lunch at a taqueria in Morehead and then took a break in a city park for an hour before heading down to Knoxville and the Pilot Light. It was a low turnout there - an inauspicious beginning to the tour to have two slow nights in a row. But, we were able to work on music before the show and once again we stayed with very generous people, this time Van and Margaret Walker, so this night was definitely worthwhile.
Arrive is the quartet of Aram Shelton, Jason Adasiewicz, Jason Roebke, and Tim Daisy. They are on tour from July 21st to August 6th.
Arrive is the quartet of Aram Shelton, Jason Adasiewicz, Jason Roebke, and Tim Daisy. They are on tour from July 21st to August 6th.
Arrive Bloomington Cinemat 7-22-2008
First night of the tour - a four hour drive from Chicago. This date was set up with pretty short notice as our usual connection in Lexington had to cancel the date due to fire marshal regulations. David Miller, a trumpet player, set up a date for us at a space called Cinemat. My first time in Bloomington. We shared the bill with two other groups - a trio of Dan Wicks, Tony Salas and DeRobertis; David Miller's group DMC Improvisers Trio with Marty Belcher, plus guest Vicky Alexandra. Due to the turnout it was more a night to hear each others music. Each of the opening bands had nice moments and were similar in that there was no drummer in either group. We played a set of 4 newer songs and two older. There are a number of new parts, so this date was definitely a bit on the unrefined side but still felt good. Marty put us up at his place slightly on the outside of town - a beautiful home surrounded by trees with lots of windows and space. Thanks to him & David.
Arrive is the quartet of Aram Shelton, Jason Adasiewicz, Jason Roebke, and Tim Daisy. They are on tour from July 21st to August 6th.
Arrive is the quartet of Aram Shelton, Jason Adasiewicz, Jason Roebke, and Tim Daisy. They are on tour from July 21st to August 6th.
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