Music at the Martin

Ray Bonneville
2011-09-17 19:00 - 21:00 (America/Los_Angeles) | Martin Hotel, 94 W Railroad St, Winnemucca, NV, 89445
7:00 PM Saturday, September 17, 2011
Swampy blues, raw Americana & unfiltered folk

Ray Bonneville is a Canadian born, Austin based singer, songwriter, guitarist and harmonica player, who is known for his “loose, darkly funky vibe” (All Music Guide).
His Red House release Goin’ By Feel was named one of the best CD’s of 2008 by DownBeat Magazine and featured the Americana hit “I Am the Big Easy,” which was #1 most played song on folk radio that year and won the Folk Alliance Award for Song of the Year. The tune was a powerful tribute to the resilience of New Orleans, where Ray lived for half a decade and picked up his funky fingerpicking guitar style.
Noted for having one of “the sexiest guitar styles around” (Acoustic Guitar). Ray is a unique player and has performed with such blues luminaries as B.B. King, Muddy Waters, and Robert Cray. He has quickly become a fixture in the Americana scene since moving to Texas, becoming one of the go-to session players for artists like Ray Wylie Hubbard, Mary Gauthier and Eliza Gilkyson.
Following the success of his digital single “Mississippi” (about the flooding of the Mississippi River), Ray releases his new full-length album Bad Man’s Blood. Like this summer’s single, the new songs have a down and dirty quality, capturing the hardships of every day life. Born in French Canada and raised in the United States, he writes from his experience as an immigrant, Vietnam War vet, taxi driver and bush pilot, drawing inspiration from the many places he has called home—Montreal, New Orleans, Colorado, Arkansas, Alaska,Boston, Seattle and Paris, France. Honing his songwriting craft for the last 35 years, Ray’s gritty storytelling and deep-grooving blues style has won him much critical attention. In 1999, Ray won the prestigious Juno Award (Canadian Grammy) for his third album Gust of Wind. His fourth release, Rough Luck, was also nominated for the coveted award. With his 2004 Red House debut Roll It Down, Ray made a name for himself in the US, garnering rave reviews from DownBeat and No Depression. Since then, his star has been on the rise, with his award-winning release Goin’ By Feel, his folk-charting cover of Bob Dylan’s song “It Takes a Lot to Laugh, It Takes a Train to Cry” (featured on A Nod to Bob 2: An Artists Tribute to Bob Dylan on His 70th Birthday) and now, with his new album Bad Man’s Blood.
A world-class guitarist, harmonica player and hard-hitting songwriter, it is no wonder that Ray has received rave reviews from blues, jazz and roots critics alike and can count among his fans such artists as Chris Smither, Tim O’Brien and Ray Wylie Hubbard.
A favorite at festivals and clubs, Ray is currently touring in support of his new album, playing shows across North America and Europe. For more information about Ray Bonneville and his new album, please visit his website at www.raybonneville.com.

The Gillette Brothers
2011-07-30 19:30 - 21:30
Step back into the 1880’s and listen to the music that cowboys were really playing and singing and you may be surprised to hear a diverse and multicultural mix of blues, Irish fiddle melodies, African beats, gospel, old-timey, minstrel, and popular uptown parlor music. This is exactly the experience that an evening with the Gillette Brothers provides. Guy and Pipp Gillette are working to both entertain and educate their audiences about real life and the real people that populated old West. When the music is combined with some yodeling, bones playing, story telling, and medicine show barking, you will be both amazed and amused.

Guy plays the fiddle, banjo, guitar and the bones. Pipp plays the guitar, banjo, harmonica, tambourine and an Irish drum call the bodhron. On top of that, they both have beautiful, strong, and compelling singing voices.
The $10.00 tickets are on sale now at the Martin Hotel, Nature’s Corner, and Global Coffee. You can also buy them online at themartinhotel.com.
They have played at major events and venues around the country including: The 2008 Smithsonian Folklife Festival in Washington DC, The National Cowboy Poetry Gathering in Elko, NV, The Monterey Cowboy Poetry & Music Festival in Monterey, CA, The Santa Clarita Cowboy Poetry & Music Festival in Santa Clarita, CA, The Willow Tree Festival in Gordon, NE, The Arizona Cowboy Poets Gathering in Prescott, AZ; The Cherry Blossom Festival in Macon, GA; The National Arboretum in Washington, DC, The Buffalo Bill Historical Center in Cody, WY, and The National Cowboy & Western Heritage Museum in Oklahoma City, OK, The Museum of South Texas in Edinburgh Texas.
In August 2005, the Gillette Brothers traveled to Japan representing the State of Texas at the World Expo – Aichi/Nagoya, performing their music at the US Pavilion. In October 2008, the Gillette Brothers toured Somerset, England for two weeks, performing in village halls and the Bridgewater Arts Center.
They have demonstrated chuckwagon cooking at the Cowboy and Western Heritage Museum in Oklahoma City; the Ranching Heritage Museum in Lubbock, Texas; The Museum of South Texas in Edinburgh Texas; Dalton Days in Longview, Texas; and the Cherry Blossom Festival in Macon, Georgia.
Their cooking has been spotlighted in Persimmon Hill, the magazine of the National Cowboy and Western Heritage Museum; The National Cowboy Hall of Fame Cookbook by B. Byron Price; A Taste of Texas Ranching by Tom Bryant and Joel Bernstein; and the Spirit of the West: Cooking for Ranch House & Range by Beverly Cox and Martin Jacobs.
The Gillette Brothers were recipients of the 2009 AMERICAN COWBOY CULTURE AWARD for western music from the NATIONAL COWBOY SYMPOSIUM & CELEBRATION. They were awarded the 2003 and the 1998 Will Rogers Award for Outstanding Achievement in the Advancement of Contemporary Cowboy Music Best Duo/Group by The Academy of Western Artists. They have also received the National Cowboy Symposium’s American Cowboy Culture Chuck Wagon Award.
The Gillette Brothers run The Camp St. Cafe & Store in Crockett, Texas a live music venue, much like the Martin Hotel, that has featured some of the top performers in the country. They live on the ranch that their grandfather established in 1912 in Lovelady Texas, a ranch that has a collection of buildings that have often been compared to the National Ranching Hertage Center in Lubbock Texas.
They were also instrumental in getting a life-sized statue of Blues Legend Lightnin’ Hopkins erected in Crockett.

Don Edwards
2011-06-28 19:30 - 21:30
The best purveyor of cowboy music in America today. $15 TICKETS ARE ON SALE NOW!
Don Edwards
Don represents the best of what Great Basin Arts and Entertainment is all about. He is a truly great singer, guitar player, folklorist, storyteller, engaging entertainer, and one of the finest gentlemen we have ever met.
This Grammy nominated singer-guitarist continues to build a legacy that enriches our vision of the American West. In tales of the day-to-day lives and emotions of those who have lived it, his ballads paint a sweeping landscape of both mind and heart, keeping alive the sights, sounds and feelings of this most American contribution to culture and art. The quality of this cowboy balladeer’s music stems from the fact that he is so much more than a singer. Bobby Weaver of the National Cowboy Hall of Fame in Oklahoma City, summed up Edwards’ importance as “… the best purveyor of cowboy music in America today.”
An historian, author, and musicologist, unusually well – versed in cowboy lore and musical traditions, Don brings a rare complement of knowing and loving his craft. Mostly though, there is the soul of a poet; a man who has never succumbed to the temptations of presenting a glamorized or romanticized version of the West. Edwards deals with bad weather, petty motivations, sadness, nostalgia and longing, as parts of the landscape like any other.

The son of a vaudeville magician, Don was aware as a child of a vast cross-section of music from classical to jazz, and blues to western-swing. Many of those influences enter his own music as they did the music of the West. Edwards was drawn to the cowboy life by the books of Will James and was presented the Will James Society’s “Big Enough Award” which is presented annually to someone who personifies the Western and Cowboy way of life and their achievements. He also loved the ‘B’ Westerns of the silver screen, particularly those featuring “sure-‘nuff cowboys” like Tom Mix and Ken Maynard. He taught himself guitar at age ten, and in 1961, he got his first professional job as an actor/singer/stuntman at Six Flags Over Texas. In 1964, Don released his first recording on REN Records of Dallas.
Don became part owner of The White Elephant Saloon in the Fort Worth Stockyards where ballad hunter and historian, John Lomax collected cowboy songs. Subsequently, Esquire magazine named The White Elephant one of America’s 100 best bars. Edwards also began playing throughout Oklahoma and Texas, and with the birth of the Cowboy Poetry Gathering in Elko, Nevada, he achieved widespread recognition. He has now entertained throughout the United States, Canada, Great Britain, Ireland, New Zealand, Europe and the Far East.
Don Edwards has two recorded anthologies of cowboy songs, Guitars & Saddle Songs and Songs of the Cowboy, included in the Folklore Archives of the Library of Congress. These anthologies have been re-recorded and expanded for Western Jubilee Recording Company as the 32-song double CD/cassette, Saddle Songs. This project was awarded first place as the Best Folk/Traditional Album at the annual 1998 INDIE Awards Ceremony. National Cowboy & Western Heritage Museum in Oklahoma City has awarded Edwards five prestigious Wrangler Awards for Outstanding Traditional Western Music. He has received multiple awards from the Western Music Association for Male Vocalist and Performer of the Year. Edwards, along with co-presenter, Waddie Mitchell, was seen on the network-televised Academy of Country Music Awards and was the featured performer for the Los Angeles’ Golden Boot Awards. In April 2000, Edwards was immortalized onto the Walk of Western Stars by the City of Santa Clarita, CA.
Don has presented seminars at Yale, Rice, Texas Christian and other universities. His recordings under the Warner Western label, Goin’ Back to Texas, Songs of the Trail , The Bard & The Balladeer and West of Yesterday spawned a new audience for his craft. The summer of 1997 found Don Edwards in Livingston, Montana portraying the role of Smokey in Robert Redford’s film The Horse Whisperer. In addition to his acting/singing role, Don is featured on the MCA soundtrack. In May of 1998, to coincide with The Horse Whisperer theater release, Warner’s compiled and released The Best of Don Edwards while Western Jubilee offered Don’s My Hero Gene Autry recorded live at Mr. Autry’s 90th Birthday. His next two recordings for Western Jubilee resulted in two more visits to Oklahoma City, both receiving the Outstanding Traditional Western Music Recording of the Year – A Prairie Portrait (April 2001) with Waddie Mitchell and the Fort Worth Symphony Orchestra and Kin To The Wind, Memories of Marty Robbins (April 2002). In the Fall of 2002, Western Jubilee released an important special project: Don Edwards and Bluegrass icon, Peter Rowan teamed up on High Lonesome Cowboy. This recording traces the roots of Western music from Appalachia to Abilene and includes legendary musicians, Norman Blake and Tony Rice. High Lonesome Cowboy resulted in a Grammy nomination for 2002 – the first time Cowboy music has ever been nominated for this prestigious award. In 2003, Western Jubilee offers Saddle Songs II – Last of the Troubadours, 32 more Classic Cowboy Songs, which was followed by Don’s newest book, Saddle Songs – A Cowboy Songbag. 2005 found Don Edwards’ solo concert and personal appearance schedule the busiest to date. The Warner Herzog film production, Grizzly Man was released featuring Don’s recording of Coyotes at the conclusion of the movie. In April 2007, Don Edwards newest Western Jubilee recording Moonlight And Skies received the Wrangler Award (his sixth) for Outstanding Traditional Western Album of the Year from the National Cowboy and Western Heritage Museum. The album contains Coyotes along with 12 other little gems Don found along the trail.
The richness of Don’s voice coupled with an unforgettable stage presentation makes Don Edwards America’s number one Western singer and concert attraction. The accolades have been simply added bonuses for Edwards, who sings what he does out of love and respect for the genre. Don’s career continues to blossom, and luckily for all who care about it, he has because of his sincere approach, added much to the literature and music of the West, passing on to the rest of us a rich legacy.

Foghorn ! The Trio!
2011-06-16 19:30 - 21:30
The Foghorn Stringband plays old time string band music deeply rooted in the American folk tradition. It’s a pre-copyright, post-bluegrass style, but the members of Foghorn put their own stamp on it. Stephen “Sammy” Lind’s fiddle and Caleb Klauder’s mandolin play tight unison lead lines anchored by the bedrock rhythms of Nadine Landry’s bass. It’s a sound that could be coming to you from a big console radio in a 1930?s living room, or an Appalachian front porch; instead it’s being delivered by a group of players from the thriving old time music scene of Portland, Oregon. Proof positive that folk music will remain vital as long as there are folks who want to play it.
Dedication to the music and the band’s sense of camaraderie marks every note the band plays, live or in the studio. Foghorn play in unison, gathered around a single mike, no flashy picking or solos, carried along by their driving rhythms and fierce determination to keep traditional music alive and exciting for this and future generations. The band’s genuine enthusiasm for the music keeps them a mainstay in the folk and old time music circuit.

Halden Wofford & The Hi-Beams
2011-06-11 19:30 - 21:30
Halden Wofford and the Hi-Beams’ throwback and stylish take on the honky tonk genre is a breath of fresh air amidst other wannabe retro acts. With some of the choicest players on the Front Range and a professionalism that is bar-none, the Hi-Beams landed themselves on the famed NPR show “A Prairie Home Companion” in recent years and Wofford’s distinct vocals continue to garner the band well-earned attention. – Marquee Magazine, Boulder, CO
One of Colorado’s most popular and enduring acts, the Hi-Beams celebrate ten years together in 2010. Rootsy but not revivalist, the Hi-Beams’ rollicking stage act features rocked-up Texas honky tonk and western swing, equal parts original and classic.

The Lonesome Heroes
2011-05-24 19:00 - 21:00
We are about to help the Lonesome Heroes add the Martin Hotel to their list of legendary venues, and Nevada to the list of 27 states in which they have performed. This show will also strengthen our connection to Austin, one of THE hotbeds of new music in America today. One thing always leads to another, and when Leo Rondeau got back home, he passed on the word about this great little venue out in the middle of the Great Basin.
The Lonesome Heroes extensive tour schedule is bringing them though Winnemucca, and after giving a listen, we were compelled to set up a show for them. We think you will really enjoy this young duo with their wonderful songwriting skills, plugged in dobro, and their interesting “”chance meeting between Yo La Tengo and Patsy Cline” approach to their music.

On this tour the Lonesome Heroes are:
Rich Russell – Dobro/Guitar/Vocals
Ms. Landry McMeans – Dobro/Guitar/Vocals
Chris Clonts – Harmony Vocals / Guitar / Keys
Proclaimed as “rewriting the rules of alt country” by the Austin Chronicle, The Lonesome Heroes have emerged as a singular talent out of Austin’s music scene. Songwriters Rich Russell and Landry McMeans founded the Heroes in 2005, and the pair has cultivated their Brooklyn and Texan roots into a unique sound that unites Indie Rock, Folk, and Country.
The Heroes’ songs evoke a Western Americana landscape littered with broken hearts, abandoned shopping malls, and crooked highways. Lonesome, yet hopeful, the songs call upon a wide list of influences to step beyond the alt country moniker. McMeans’ lilting voice, meshed with Russell’s drier vocals sits atop a multilayered nest of acoustic guitar, reverb-laden steel, and atmospheric sounds. The result is a haunting city-meets-country feeling that has been compared by Flagstaff Weekly as a “chance meeting between Yo La Tengo and Patsy Cline.”
Not the square kind of country, nor outlaw, or even contemporary country would fit The Lonesome Heroes. Reverb-heavy electric dobro underneath a playful boy-girl vocal blend pushes the indie rock quintet into psychedelia, but not without the songwriting sensibilities of classic country.

INFLUENCES:
Beck, The Silver Jews, Johnny Cash, Smog, Leonard Cohen, Bob Dylan, Wilco, The Velvet Underground, Band of Annuals, Graham Parsons, Lil’ Cap’n Travis, The Magnetic Fields, Neko Case, Hank Williams, Luna, Jan Bell, Yo La Tengo, The Flaming Lips, The Weary Boys, Patty Griffin, Herman Dune, Galaxie 500, Jolie Holland, Kris Kristoferson, The Darling New Neighbors, Will Oldham, Leo Rondeau, Woody Guthrie, Gillian Welch, Lou Barlow, Iron and Wine, Emmylou Harris, The Flying Burrito Brothers…
THE LONESOME HEROES ARE:
Rich Russell: Vocals, Guitar, & Steel.
Landry McMeans: Vocals, Lap Steel, Dobro, Guitar.

RECORDINGS & TOURING BAND:
Jeff Johnston: Electric Bass & Saw.
Jim DeGregorio: Upright/Electric Bass, Banjo.
Chuck Fleming: Drums.
Sarah Stollak: Fiddle
Chris Clonts: Electric Guitar, Harmony Vocals.
Kullen Fuchs: Trumpet, Vibraphone, Keys, Accordion, & textures.
TOURING:

The Lonesome Heroes play 150+ shows a year both locally and nationally. Playing listening rooms as a two piece and large clubs and festivals with their 5 piece touring band.

Alash – Throat Singers from Tuva
2011-05-10 19:00 - 21:00
Alash is a quartet of master throat singers (xöömeizhi) from Tuva, a tiny republic in the heart of Central Asia. The ancient art of throat singing (xöömei) developed among the nomadic herdsmen of this region. Alash remains grounded in this tradition while expanding its musical vocabulary with new ideas from the West.
Background: All members of Alash were trained in traditional Tuvan music since childhood, first learning from their families, and later becoming students of master throat singers. In 1999, as students at Kyzyl Arts College, they formed a group called Changy-Xaya. They practiced in the damp college basement on Kochetovo Street, and soon became the resident traditional ensemble on campus. At the same time they learned about western music, practiced on hybrid Tuvan-European instruments, and listened to new trends coming out of America. Alash. Tuva. 2002 Under the guidance of Kongar-ool Ondar (best known to western audiences for his role in the film Genghis Blues), they began to forge a new musical identity. They introduced the guitar and sometimes even the Russian bayan (accordion) into their arrangements, alongside their traditional Tuvan instruments. They experimented with new harmonies and song structures. The effect is an intriguing mixture of old and new.
Influences: The musicians are inspired by the music of their grandparents, great-grandparents, and the great musicians of Tuva and Central Asia. At the same time they are influenced by such western artists as Sun Ra and Jimi Hendrix. Yet the Alash musicians never sacrifice the integrity of their heritage in an effort to make their music more hip for an American audience. Rather they look for contemporary ideas that mesh well with the sound and feel of traditional Tuvan music.
Alash in America: Alash’s inaugural U.S. tour was sponsored in 2006 by the Open World Leadership program of the Library of Congress and the National Endowment for the Arts. Since then, they have returned to tour extensively, playing to enthusiastic audiences and presenting workshops to eager students of all ages. The Washington Post described their music as “utterly stunning,” quipping that after the performance “audience members picked their jaws up off the floor.”
Alash Collaborations: Members of Alash enjoy working across musical genres. They have collaborated with such diverse groups as the innovative jazz ensemble Sun Ra Arkestra, the bluegrass/fusion/jazz band Béla Fleck and Flecktones, and the classical Chamber Music Society of Lincoln Center’s Student Producers Program. They are guest artists on the Grammy-winning holiday CD “Jingle All the Way” by Béla Fleck and Flecktones.
Awards: Both the Alash ensemble and individual members have consistently won top honors in throat singing competitions. The ensemble was awarded first prize in Tuva’s International Xöömei Symposium competition in 2004. At the Fifth International Xöömei Symposium in 2008, three Alash musicians swept the top prizes for individual throat singing, and the fourth took top honors for his duet performance with his wife. In 2007, Alash member Bady-Dorzhu Ondar was named People’s Xöömeizhi of the Republic of Tuva, the youngest person ever to receive this prestigious award. In 2009, Alash member Ayan Shirizhik was named a Merited Artist of Tuva. Even Alash’s American manager, Sean Quirk, was named a Merited Artist of Tuva for his contribution to Tuvan culture. In addition, Quirk and all Alash members play in the Tuvan National Orchestra, which has won both first prize and grand prize in the All-Russia National Orchestra and Ensemble Competition.

Frank Solivan & Dirty Kitchen
2011-04-28 19:00 - 21:00
Tickets are on sale now!

The first time on our stage
After six years with the US Navy’s elite bluegrass band Country Current, Frank Solivan, master fiddler and mandolin-player, is out on his own with signature passion and precision. With Washington D.C.-based Dirty Kitchen — an impressive rotation of musical powerhouses, including Mike Munford (banjo, vocals) Stefan Custodi(bass, vocals) and Lincoln Meyers (guitar,vocals)– Solivan builds on his smart, heartfelt style. Raised in the bluegrass tradition from California to Alaska, Solivan has been an award-winning musician almost since he was old enough to hold a fiddle, as well as a key mentor to some of bluegrass’s young stars. He lives with his wife, Leah, in Alexandria, Virginia where, when he isn’t playing and singing he can be found in his own (usually clean) kitchen.
Frank Solivan has opened for Reba McEntire, Brooks and Dunn, Odetta, Allison Krauss and Roseanne Cash. He’s been invited to sit in with David Grisman, Peter Rowan, Tom Paxton and the Infamous Stringdusters. Solivan has played all over the country for audiences from the Alaska Folk Festival to the National Mall on the Fourth of July, to the Gettysburg Bluegrass Festival, the California Bluegrass Association’s Grass Valley Festival, the Kennedy Center and the Grand Ole Opry. Solivan has recorded with Rob Ickes, Byron House, David Grier, Kathy Chiavola, Shadd Cobb, Jesse Cobb, Arlo Guthrie, Terry Eldridge, Megan McCormick, Ginger Boatwright and the late great John Hartford.

Chris Cain ~ Blues Guitar Master
2011-04-16 19:00 - 21:00
$15 Tickets are ON SALE NOW
at Nature’s Corner, The Martin Hotel, and Global Coffee
The look on Chris’ face in this photo tells the story. This is Chris clearly in his grove, the almost trance like state that he enters when he simply lets the sound carry him along. We often talk about the magic that often happens at the Martin, and Chris can really bring it.

Chris’ Bio:
Chris Cain’s jazz-tinged, blues soaked guitar and deep, warm vocals have the maturity and authenticity of bluesmen many years his senior. His expressive style is the result of a lifetime of study and the relentless pursuit of music mastery. His passion and intensity are a blend of his mother’s Greek ancestry and his father’s soulful black heritage.
Cain was raised on stories of his father’s childhood upbringing on Memphis’ Historic Beale Street and attended his first B.B. King concert at the tender age of three. Blues music played continuously on the home stereo and family outings were often trips to concerts. Cain recalls, “I remember when I was a kid, my Dad would be mowing the lawn with the stereo blasting Muddy Waters. When I look back, that was pretty cool! There was always music playing at our house, Ray Charles, B.B. King, Freddie King, Albert King, all the greats.”
At the age of eight, Cain taught himself to play guitar and began playing professionally before he was eighteen. Chris studied music at San Jose City College, and was soon teaching jazz improvisation on campus. Over the next twenty years, Cain would also master piano, bass guitar, clarinet, alto and tenor saxophone. The combination of his blues upbringing and his jazz studies melded to form the searing guitar style that sets Chris Cain apart and has moved him to the top ranks of the blues music scene.
Cain’s debut recording, Late Night City Blues (Blue Rock’it Records-1987) garnered four W.C. Handy Blues Award nominations, including “Guitarist of the Year”. Dan Forte of Guitar Player wrote, “An impressive debut album by a top notch guitarist.”
Cain’s next two releases; “Cuttin Loose” (Blind Pig Records-1990) and “Can’t Buy a Break” (Blind Pig Records-1992) collected a long list of awards and accolades. In August of 1995 Blind Pig released “Somewhere Along the Way” his 4th compilation of his unique brand of original music sophisticated blues, funk, jazz and gospel.
In 2003 Patrick Ford produced Chris’s latest CD, “Hall Of Shame” (Blue Rock’it Records-2003). “…this is now the sixth Chris Cain solo release I have produced, not to mention his work with me on projects like the Ford Blues Bands’ “In Memory Of Michael Bloomfield” CD, and I continue to be in awe of his incredible talent. As a guitarist/singer, Chris has been praised by mentors like Albert King and peers like Robben Ford.”
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Larry Nager (syndicated Scripts-Howard music critic) writes, “Nowadays most young blues players are Strat-wielding Stevie Ray Vaughan-a-bes. Not Chris Cain. With a voice that recalls B.B. King and a thick toned Gibson guitar sound reminiscent of Albert King, Cain is forging a unique style. With his own highly personalized songwriting, “Hall Of Shame” is a giant step in the development of one of the most compelling young bluesmen on today’s scene.”
Through his guitar mastery and remarkable songwriting ability, Chris Cain has established himself as a musical force to be reckoned with. And as San Jose Mercury News music reviewer John Orr writes, “more than anyone else, anywhere, Chris Cain represents the future of the blues.”

Master Minstrel Harvey Reid
2011-03-10 19:30 - 21:30
Songwriter and multi-instrumentalist Harvey Reid has honed his craft over the last 35 years in countless clubs, festivals, street corners, cafes, schools and concert halls across the nation. He has been called a “giant of the steel strings” and “one of the true treasures of American acoustic music.” He has absorbed a vast repertoire of American contemporary and roots music and woven it into his own colorful, personal and distinctive style. His 22 recordings on Woodpecker Records showcase his mastery of many instruments and styles of acoustic music, from hip folk to slashing slide guitar blues to bluegrass, old-time, Celtic, ragtime, and even classical.
Reid’s skills and versatility on the guitar alone mark him as powerhouse in acoustic music. He won the 1981 National Fingerpicking Guitar Competition and the 1982 International Autoharp competition. Yet he’s also a veteran musician with a long list of studio and band credits, a strong flatpicker who has won the Beanblossom bluegrass guitar contest, a versatile and engaging singer, a powerful lyricist, prolific composer, arranger and songwriter, a solid mandolin and bouzouki player, and a seasoned performer and captivating entertainer. And he plays the 6-string banjo and the autoharp like you’ve never heard.
Reid prides himself on his independence, and sees himself as a modern embodiment of the ancient minstrels. You’ll find elements of the traditional troubadour, the modern poet-songwriter, the American back-porch picker, the classical virtuoso, and even a good bit of Will Rogers style dry humor and satire. You’ll hear folk, country, classical, blues, ragtime, rockabilly, Celtic, bluegrass, and popular music influences. Although Reid has a vast repertoire of traditional and contemporary songs, his concert material consists mostly of his own compositions and traditional music.

Foghorn Stringband
2011-02-17 19:00 - 21:00
The Foghorn Stringband plays old time string band music deeply rooted in the American folk tradition. It’s a pre-copyright, post-bluegrass style, but the members of Foghorn put their own stamp on it. Stephen “Sammy” Lind’s fiddle and Caleb Klauder’s mandolin play tight unison lead lines supported by Peter Leone’s three-finger banjo picking and anchored by the bedrock rhythms of Nadine Landry’s bass. It’s a sound that could be coming to you from a big console radio in a 1930’s living room, or an Appalachian front porch; instead it’s being delivered by a group of players from the thriving old time music scene of Portland, Oregon. Proof positive that folk music will remain vital as long as there are folks who want to play it.
Dedication to the music and the band’s sense of camaraderie marks every note the band plays, live or in the studio. Foghorn play in unison, gathered around a single mike, no flashy picking or solos, carried along by their driving rhythms and fierce determination to keep traditional music alive and exciting for this and future generations. The band’s genuine enthusiasm for the music keeps them a mainstay in the folk and old time music circuit.
Foghorn has toured extensively throughout the US, the UK, Ireland, Denmark, Sweden, Finland and Malaysia, playing a variety of stages including the Tonder Music Festival, the Newport Folk Festival, the Rainforest World Music Festival, the Chicago Folk and Roots Festival, Pick-a-thon Roots Music Festival, The Seattle Folk Life Festival, The Bristol Rhythm and Roots Festival, Bumbershoot and the ROMP Festival.

Ramblin’Jack Elliott
2011-01-25 19:00 - 21:00
Ramblin’ Jack Elliott is returning to the Martin Hotel for a Great Basin Arts and Entertainment produced concert at 7:00 PM, Tuesday, January 25. Jack played the Martin just one year ago, on his way to Hollywood to pick up his Grammy Award.
This year he is returning, on his way to the National Cowboy Poetry Gathering in Elko, but he is bringing along two of the best sidemen in the business so he can perform some of the songs from his Grammy Award winning record. Van Dyke Parks will accompany Jack on the piano, and David Piltch will play standup bass as Ramblin’ Jack performs some of the classic blues tunes that formed the theme for his latest recording.
One of the last true links to the great folk traditions of this country, with over 40 albums under his belt, Ramblin’ Jack Elliott is considered one of the country’s legendary foundations of folk music.
“Nobody I know—and I mean nobody—has covered more ground and made more friends and sung more songs than the fellow you’re about to meet right now. He’s got a song and a friend for every mile behind him. Say hello to my good buddy, Ramblin’ Jack Elliott.”
– Johnny Cash, The Johnny Cash Television Show, 1969.
Long before every kid in America wanted to play guitar — before Elvis, Dylan, the Beatles or Led Zeppelin — Ramblin’ Jack had picked it up and was passing it along. From Johnny Cash to Tom Waits, Beck to Bonnie Raitt, Ry Cooder to Bruce Springsteen, the Grateful Dead to The Rolling Stones, they all pay homage to Ramblin’ Jack Elliott.
In the tradition of roving troubadours Jack has carried the seeds and pollens of story and song for decades from one place to another, from one generation to the next. They are timeless songs that outlast whatever current musical fashion strikes today’s fancy.
“His tone of voice is sharp, focused and piercing. All that and he plays the guitar effortlessly in a fluid flat-picking perfected style. He was a brilliant entertainer…. Most folk musicians waited for you to come to them. Jack went out and grabbed you….. Jack was King of the Folksingers.” – Bob Dylan, Chronicles: Volume One
There are no degrees of separation between Jack and the real thing. He is the guy who ran away from his Brooklyn home at fourteen to join the rodeo and learned his guitar from a cowboy. In 1950, he met Woody Guthrie, moved in with the Guthrie family and traveled with Woody to California and Florida, from the redwood forests to the Gulf Stream waters. Jack became so enthralled with the life and composer of This Land Is Your Land, The Dust Bowl Ballads, and a wealth of children’s songs that he completely absorbed the inflections and mannerisms, leading Guthrie to remark, “Jack sounds more like me than I do.”
In 1954, along with folksinging pals Frank Robinson and Guy Carawan, Jack journeyed south through Appalachia, Nashville and to New Orleans to hear authentic American country music. He later made this the basis for his talking song, 912 Greens.
In 1955 Jack married and traveled to Europe, bringing his genuine American folk, cowboy and blues repertoire and his guitar virtuosity, inspiring a new generation of budding British rockers, from Mick Jagger to Eric Clapton.
When he returned to America in 1961, he met another young folksinger, Bob Dylan at Woody Guthrie’s bedside, and mentored Bob. Jack has continued as an inspiration for every roots-inspired performer since.
Along the way he learned the blues first-hand from Leadbelly, Mississippi John Hurt, the Reverend Gary Davis, Big Bill Broonzy, Brownie Mcghee and Sonny Terry, Jesse Fuller and Champion Jack Dupree.
He has recorded forty albums; wrote one of the first trucking songs, Cup of Coffee, recorded by Johnny Cash; championed the works of new singer-songwriters, from Bob Dylan and Kris Kristofferson to Tim Hardin; became a founding member of Bob Dylan’s Rolling Thunder Revue; and continued the life of the traveling troubadour influencing Jerry Jeff Walker, Guy Clark, Tom Russell The Grateful Dead and countless others.
In 1995, Ramblin’ Jack received his first of five Grammy nominations and the Grammy Award for Best Traditional Folk Album, for South Coast (Red House Records). Jack was again recognized with a Grammy Award for best Traditional Blues Album in 2009, for A Stranger Here (Anti-Epitaph Records).
In 1998, President Bill Clinton awarded Jack the National Medal of the Arts, proclaiming, “In giving new life to our most valuable musical traditions, Ramblin’ Jack has himself become an American treasure.”
In 2000, Jack’s daughter, filmmaker, Aiyana Elliott produced and directed The Ballad of Ramblin’ Jack, her take on Jack’s life and their fragile relationship, winning a Special Jury Prize from the Sundance Film Festival.
Through it all—though agents, managers, wives and recording companies have tried—Jack resisted being molded into a commercial commodity. He played his shows without a written set list or including any songs that did not ring with his gut feeling of what mattered to him.
Ramblin’ Jack’s life of travels, performances and recordings is a testament to the America of lore, a giant land of struggle, hard luck and sometimes even of good fortune. Ramblin’ Jack takes us to places that spur us on to the romance and passion of life in the tunes and voices of real people.
At seventy-nine, Ramblin’ Jack is still on the road, still seeking those people, places, songs and stories that are hand-crafted, wreaking of wood and canvas, cowhide and forged metal. You’ll find him in the sleek lines of a long haul semi-truck, in the rigging of an old sailing ship, in the smell of a fine leather saddle.
BETTER YET, FIND HIM AT THE MARTIN HOTEL IN WINNEMUCCA ON JANUARY 25.

Langroise Trio
2011-01-08 19:00 - 21:00
wmca

Established in 1991 the Langroise Trio are Artists-in-residence at The College of Idaho, where they form the string faculty. They have performed on chamber music series in Alabama, Florida, Idaho, Oregon and Washington, their fourth c.d. is in the planning stage, and the Trio was one of the first groups to give an “internet archived” concert on the Millenium Stage of the Kennedy Center.
With its personnel among some of the foremost musicians in the country, the Langroise Trio offers an eclectic repertoire. Contemporary works by Idaho composers Jim Cockey and David Alan Earnest have been written especially for them and they stylishly play music from the Romantic, Classical, Baroque and Renaissance eras as well.
Geoffrey Trabichoff is Concertmaster of the Boise Philharmonic. He is the former concertmaster of the BBC Scottish Symphony and former leader of the Paragon Ensemble of Scotland. Geoffrey has broadcast numerous concertos for the BBC. He has been guest concertmaster of the Royal Philharmonic and the London Symphony as well as the Northern Sinfonia, BBC Welsh and BBC Philharmonic Orchestras. He also served as concertmaster of the Mannheim Chamber and Hanover State Orchestras in Germany.
David Johnson has been principal violist of the Iceland Symphony and the Ft. Wayne Philharmonic, and a member of the Freimann Quartet. David was assistant principal violist for the Grant Park Symphony in Chicago and holds a Master of Music degree from Indiana University. He has been a featured soloist on numerous occasions and a featured artist on Iceland National Radio Broadcasts.
Samuel Smith has been principal cellist of the Ft. Wayne Philharmonic where he was a frequent soloist and a member of the Freimann Quartet. Samuel was also a cellist for the Grant Park Symphony of Chicago. He has served as assistant principal cellist of the Florida Symphony, and has been on the adjunct faculty at Anderson College and the summer faculty at Ball State University.

This project is funded in part by a grant from the Nevada Arts Council, a division of the Nevada Department of Cultural Affairs, and the National Endowment for the Arts, a federal agency.

Leo Rondeau & Dynamite Tales
2010-12-07 19:00 - 21:00
Leo Rondeau & Dynamite Tales
7:00 PM Tuesday, December 7, 2010
We have had some pretty interesting trips into old time music, experienced sublime traditional and progressive bluegrass, witnessed amazing modern and traditional folk music of all stripes, we have tasted some great blues, and lately some have been on sort of a streak of outstanding early county music shows.
Here comes another one, from Austin, Texas:
From the Austin Week

Exclusive Interview: Leo Rondeau

Back from tour, Rondeau returns to the Hole in the Wall
By David S. Lewis
The willowy dancer, her dust-blonde hair spilling out underneath the shapeless brown cowboy hat, two-stepping nearly so gracefully as she ducked the amorous advances of her partner, her eyes half-lidded, listening; behind her, on the stage, a young man, his narrow face chiseled from Badlands rock, his sharp features testament to his Native American lineage, his even-toned voice almost matter-of-factly delivering the lyrics:
‘On my way I saw a cavalcade
and a mob at odds with the world
I heard clams clamoring for all of her attention
But I couldn’t take my eyes off the pearl’
The mournful lyrics, a request for reunion with a old flame, belied the energetic stomp of the tune. The singer, Leo Rondeau, fresh off a three-month national tour, has returned to Austin, where he has lived and worked as a musician for six years.
Rondeau is a rarity in Austin, or anywhere, for that matter. He writes his own songs…and makes a living doing it. Now returned, he retakes his throne as the Monday house act at The Hole in the Wall.
Elsewhere in the crowded honky tonk, indie cats with tight jeans listened intently to the lyrics, while the avowed country crowd either leaned against the bar, thumbs hooked in belt loops, or crowded for space on the narrow strip of wood planking that served as the dance floor, boot heels clicking on the ancient boards, the ubiquitous Texas Two-Step the only education required to groove to the bass’s sprightly thwap and Rondeau’s soaring Telecaster slide, its venerable tones moving in and out of the rhythm laid down by the drums and acoustic guitar.
The Hole in the Wall has been a bastion of Austin music for decades. Formerly the stomping grounds of Texas songwriting heroes like Townes Van Zandt and Guy Clark, it doesn’t seem to have exhausted its role as an incubator of legendary musicians…and Rondeau, seemingly poised to take full advantage of the currently popular crossover country/alt-country/indie market, might be unaware of it. When I asked him why so many indie musicians have adopted country-esque fashions and instrumentation, he seemed almost puzzled.
“I don’t have a lot of perspective on that, like why people are gravitating to it, because I’ve always listened to country,” he said. Rondeau blames his Western style on his father.
“I can’t speak for everyone else, but for me, that is basically me turning into my dad,” he laughed. “He always wore snaps, and cowboy boots and a hat, and he had long hair. I’m just turning into my dad.”
Rondeau’s family might also be somewhat responsible for his isolation from indie music and other hip genres.
“I listened to country from the first times I ever listened to music,” he said. “My father and grandfather played country music. When I was in high school, I listened to some of the rock on the radio, but at the same time, I was also listening to Hank Williams, as well. I don’t think that’s common; I think a lot of people come into it late. Like, Vaughn, here (gesturing at the guitar player), he came up listening to punk rock.”
Vaughn, originally a native of West Virginia, said that the Beach Boys, golden oldies, and punk rock were his formative genres, and that he more recently discovered folk music. A long-time guitar picker, one of his responses to that discovery was to pick up the clawhammer banjo, a ancient style of picking that pre-dates bluegrass by a hundred years. Vaughan is able to work the distinct rhythm of the clawhammer into Rondeau’s songs so that it is a complement, and not a distraction, a cheery background jingling rather the usual brassy and prominent role occupied by a banjo. That, and Rondeau’s lyrical style, which is mellow but memorable, his words thrown up in the air a little ways and whirled around so you think he must drop the damned things but instead each coming back down right where it needs to be, at exactly the right place…these elements make Rondeau’s brand of country simultaneously timeless and unique.
Rondeau also spoke with us about Austin, on being back, and coming up country in a city that sometime neglects the genre the first made it famous.
“I pretty well only hang out with the country scene, and there is a good one,” he said. “And so, since that’s all I see, I think, yeah, there’s a huge country scene. But there’s definitely a huge indie scene, too.”
Rondeau noted that while country is popular, it doesn’t get as much attention.
“Just from reading papers, there’s always an indie band that’s getting signed from here. Country bands, they just don’t get much press,” he said. “Most of the press around here is more interested in indie bands…I really don’t know why that is, actually. Maybe they think that country music is not edgy enough…that’s just a guess, though. I really don’t know. I wish that country bands were getting signed.” He was quiet for a good minute, seemingly searching his brain for some bit of information.
“I was trying to think of a country band that got signed recently, and I can’t think of one. That may be a reflection on the industry, as well.”
Rondeau said that despite any shortcomings the city might carry, it’s a great place to come up as a musician.
“For me, it’s great because the creative community is awesome. I love it down here,” he said. “All the friends that I have in bands are great songwriters, and they really push you creatively…I love Austin, glad to be back.”

Brenn Hill~Cowboy Singer/Songwriter
2010-10-30 19:00 - 21:00
Singer/Songwriter Brenn Hill doesn’t just sing about the American West, he reveals its heart to anyone who will take the time to listen. His most recent release “Equine” (2010), clearly defines what might be his most profound work to date, as well as a mirror of his growth as an artist over the last ten years. Its broad theme of horses, the cowboy’s working partner, is but a pathway into and through his own personal journey. No longer just the observer or narrator of our Western story, but its strongest interpreter, life’s trials and tribulations are also his raw material. Faith, trust and love are his guide.
“Overall, I want a listener to know that my music isn’t about me,” explains Hill. “It’s how I make my living and not a vehicle for stardom. My goal is to present a valid story about people, places, and events that are song-worthy. If I can challenge someone’s perspective, or offer a new one on a classic theme or issue, I’ve achieved my goal. I feel a deep sense of purpose with my music and am honored to have the opportunity that I have. I deeply appreciate my listeners. The greatest compliments I receive come directly from those that listen to my music. When a song touches them so profoundly that they tell me, “that song changed my life,” or, “that song got me through a hard time,” or, “that song’s about me,” then I know I got it right. No amount of money or recognition could mean more than that.”
Born into a 6th generation of a family anchored to the West and raised in Utah, Brenn and his music revisit the many stories that come from the land with a fresh, contemporary and personal twist. Home for the Hill’s is Hooper, a rural community in Northern Utah where Brenn resides with his wife, three children and a cavvy of horses. “Time in the saddle is my payoff for the hard miles on the road, the gut-full of showbiz, and the time away from loved ones,” says Brenn. “Horses bring me purpose in life. They provide a foundation and theme for my music and are an endless fountain of inspiration. In a way, horses write a lot of my songs, especially since they are an integral part of my connection to the land. They reveal my character. They’re constant teachers with endless patience and capacity, and likewise, provide an endless bank of inspiration that I can draw from.

Chris Proctor
2010-10-01 19:00 - 21:00
Chris Proctor’s
Solo Guitar Orchestra
Critics call his guitar playing “breathtaking,” “haunting,” and “rich.” Guitar magazines describe his compositions as “spectacular,” “elegant,” and “exquisite,” and praise his twelve-string work as “revelatory.” Media reviewers trace the roots of his style to folk, jazz, pop, and classical music, categorize his playing as “Baroque Folk,” and “Instrumental Americana,” and compare him to Leo Kottke and Michael Hedges.
Another reviewer ventured this analysis: “What to call his unique melange of styles? There’s an aspect of Americana in the echoes of Appalachian and old-timey styles that are apparent in just about every track, but there are also elements of jazz, Celtic folk, and a dash of blues in here somewhere. What Proctor does is create guitar music that reflects the whole heritage of the instrument and still has his own distinct stamp — a tall order, but he’s up to the job”

These luminous and diverse quotes characterize the media’s efforts to describe Chris Proctor’s solo, 6 and 12-string guitar concerts and recordings. Two additional comments typify the first-time listener’s reaction: “Wow- I didn’t know that acoustic guitars could sound like that,” and, ” It seems as if there are three guitarists up there on stage, not just one.”
Here’s more of what critics, listeners, presenters and concert audiences say about Chris Proctor:

He is an acclaimed composer of original music and a wonderful arranger for the 6 and 12-string guitars.
He is a performer with a gift for communicating the tremendous variety, vitality, and accessibility of his music.
His amazing variety of guitar sounds and textures, and the rich tapestry of bass, melody, and inner voices, bring an orchestral quality to his music that surprises and delights audiences who haven’t heard him before.
His compositions and arrangements shine with folk, jazz, pop, classical, and ethnic influences.
He is a superlative workshop, master class and residency/outreach leader, author of numerous instructional articles in the guitar press, and producer of two world-class instructional videos for 6 and 12-string players.

David Jacobs-Strain
2010-10-01 19:00 - 21:00
David Jacobs-Strain, a consummate finger-style and slide guitarist, plays in the blues tradition but isn’t from it. You’ll hear echoes of Skip James, Charlie Patton, Tommy Johnson, and a song or two by Fred McDowell or Robert Johnson in his solo performances. But as a modern roots singer-songwriter, “I come from the language of the country blues, but it’s important not to silence other influences,” he says.
His obsession with sound serves a deeper purpose than a mere desire to display technical wizardry. “For me, there’s something about rural blues that has a transcendent quality, a wide open sound. Think of the rhythm of a train. There’s a cross between spiritual and secular music in Fred McDowell. Compared to commercial electric blues, the Delta blues are more interesting modally and have a spiritual depth to them. You can also hear anger, humor, and empathy. I’m going after the texture, the tone and feel of that.”
“I’ve always been drawn to the trance-oriented, heavier, Delta blues—to the driving, passionate, raw, distraught sound of somebody like Son House,” he says. “When you’re in the flow of the music, there’s an ecstasy to it. Of course, when I was 12, I thought I knew what Robert Johnson’s ‘Come on into My Kitchen’ was all about.” The 24-year-old Jacobs-Strain has refined his youthful expression of raw energy, passion, and technique into powerful, nuanced performances.
He grew up in Eugene, Oregon, in a community that was centered on cultural change and environmentalism. He sees a distinct connection between the principles embodied in his upbringing and the democracy of the blues. “I’m really into hand-made culture—and real people making real music. The voice. One guitar. Even at their simplest, the blues have always been a vehicle for expressing your own situation, whether as an individual or a community. There’s such power in that.”
Jacobs-Strain is a veteran of the national club and festival circuit. He’s been billed with T-Bone Burnett and Bob Weir, and has opened for acts such as Los Lobos, Lucinda Williams, Taj Mahal, Etta James, Boz Scaggs, and the Blind Boys of Alabama. By the time he was 19, he had played at the Philadelphia Folk Festival and MerleFest. His other festival credits include the Strawberry Music Festival, the Newport Folk Festival, the Telluride Blues Fest, the Vancouver Folk Festival, the Montreal Jazz Festival, and the Lugano Blues to Bop Festival in Switzerland. He’s also served as faculty at guitar workshops, most notably at Jorma Kaukonen’s Fur Peace Ranch. In 2008, he was chosen by Boz Scaggs to open his summer tour.
“How do you continue to find inspiration in sound? Why does a certain musical phrase grab you by the hair and heart and brain? How do you continue to make it new? How do you honor the people who poured themselves into the music in the first place?” Jacobs-Strain asks. Whenever he strives to answer these questions, you’ll want to be there to listen.

Mike Beck
2010-09-25 19:00 - 21:00
Mike Beck is well-known for his memorable ballads that capture old California, and the cowboy way of life. He has performed in numerous foreign countries, and throughout the United States. Mike recently returned from doing some shows in Norway and Sweden.
Two of Mike Beck’s songs were listed in the “13 Best Cowboy Songs of All Time” in the April 2009 issue of Western Horseman Magazine (“In Old California” – a song about Jo Mora – and “Don’t Tell Me.”) His song, “Patrick” was listed as one of “The Top 15 Roadworthy Cowboy Songs” in the July 2008 issue of Cowboys & Indians Magazine. His song, “Amanda Come Home” was featured on NPR’s Weekend Edition, and is dedicated to all of the women who served in Iraq. In the Spring 2010 edition of The Cowboy Way, Bill Reynolds writes, “His love of the ways of the vaquero and the Pacific Slope region of the West comes through his songs in superb guitar work.”
Born and raised in Monterey County, California, at age 13, Mike Beck went to the Monterey Pop Festival and liked what he heard. He picked up a guitar and never looked back. Since that time, he has been composing and performing a wide array of folk, rock and Americana music. Mike’s songs reflect his life as a professional musician and a working cowboy in Montana and Carmel Valley near Big Sur.
According to Ramblin’ Jack Elliot, “Mike Beck plays the guitar like a Byrd. His strings do things that mine could never do. They obey the slightest finger-touch commands like a fine Reining Horse.”
Beck is riding high after being recognized by Western Horseman magazine in a recent article naming “The 13 Best Cowboy Songs of All Times” along with songs written by luminaries such as Ramblin’ Jack Elliott, Allison Moorer, Lucinda Williams and Ian Tyson.
“I had two songs on that list, which was kind of cool,” said Beck. “to be alongside some of the other people on that list, like Tom Russell, Ian Tyson. I thought, that’s nice company. That was nice of them to say that.”
Visit Mike Beck online http://www.mikebeck.com
(I found this rather amazing video on YouTube, posted by pagenmaestro; with the notes here below the video. – bill)

I met Mike Beck right after this performance in Austin, Texas, in June of 2004, when he delivered among other originals a gripping solo performance of “Old Man,” a song about one of the resin jaws he met while cowboying in Montana. We stood outside in the humid night heat and, along with horseman Magne Hellesjo of Norway, talked music and horses, and shared some cold beers. A year or so later the three of us convened again at Magne’s farm in Norway where, between horse clinics, Mike joined me and other members of Poisoned Red Berries in the recording of my first produced studio album. Mike’s been working with his band, The Bohemian Saints, for a few years now, playing mainly in California with occasional tours. Mike Beck has also just released a beautiful solo album of songs, called “Free”. If you like the sound of “Old Man,” check out the new solo album. Mike’s songs offer a unique perspective on life, opening on a wisdom earned genuinely through a life of horse whispering, work with Ian Tyson and Ramblin’ Jack Elliott, and Beck’s own take on the old ways of the cowboy life in America. Learn more about Mike and his music at http://www.mikebeck.com

Note: If anyone objects to this video presentation due to copyright infringement, please make contact and it will be promptly removed. DL

The Gillette Brothers
2010-08-07 19:00 - 21:00
Guy and Pipp Gillette, from their home in Crockett Texas, are once again on their way to a series of appearances in California, and they will make a stop for a show in Winnemucca on August 7.
Guy and Pipp appeared at a sold out show in Winnemucca last December, and they were a huge hit. They perform a mix of traditional cowboy songs, and songs reflecting the Celtic roots, country blues, minstrel and medicine show songs that influenced cowboy music. For me it is always worth the price of admission just to watch and hear Guy play the rhythm bones, musical bones they make from cow ribs.
They have played at major events and venues around the country including: The 2008 Smithsonian Folklife Festival in Washington DC, The National Cowboy Poetry Gathering in Elko, NV, The Monterey Cowboy Poetry & Music Festival in Monterey, CA, The Santa Clarita Cowboy Poetry & Music Festival in Santa Clarita, CA, The Willow Tree Festival in Gordon, NE, The Arizona Cowboy Poets Gathering in Prescott, AZ; The Cherry Blossom Festival in Macon, GA; The National Arboretum in Washington, DC, The Buffalo Bill Historical Center in Cody, WY, and The National Cowboy & Western Heritage Museum in Oklahoma City, OK, The Museum of South Texas in Edinburgh Texas.
In August 2005, the Gillette Brothers traveled to Japan representing the State of Texas at the World Expo – Aichi/Nagoya, performing their music at the US Pavilion. In October 2008, the Gillette Brothers toured Somerset, England for two weeks, performing in village halls and the Bridgewater Arts Center.
They have demonstrated chuckwagon cooking at the Cowboy and Western Heritage Museum in Oklahoma City; the Ranching Heritage Museum in Lubbock, Texas; The Museum of South Texas in Edinburgh Texas; Dalton Days in Longview, Texas; and the Cherry Blossom Festival in Macon, Georgia.
Their cooking has been spotlighted in Persimmon Hill, the magazine of the National Cowboy and Western Heritage Museum; The National Cowboy Hall of Fame Cookbook by B. Byron Price; A Taste of Texas Ranching by Tom Bryant and Joel Bernstein; and the Spirit of the West: Cooking for Ranch House & Range by Beverly Cox and Martin Jacobs.
The Gillette Brothers were recipients of the 2009 AMERICAN COWBOY CULTURE AWARD for western music from the NATIONAL COWBOY SYMPOSIUM & CELEBRATION. They were awarded the 2003 and the 1998 Will Rogers Award for Outstanding Achievement in the Advancement of Contemporary Cowboy Music Best Duo/Group by The Academy of Western Artists. They have also received the National Cowboy Symposium’s American Cowboy Culture Chuck Wagon Award.
The Gillette Brothers run The Camp St. Cafe & Store in Crockett, Texas a live music venue, much like the Martin Hotel, that has featured some of the top performers in the country.
They were also instrumental in getting a life-sized statue of Blues Legend Lightnin’ Hopkins erected in Crockett.

Ray Bonneville ~ Slow Burning Blues
2010-07-16 19:30 - 21:30
$15 TICKETS ARE ON SALE NOW AT THE MARTIN HOTEL, NATURE’S CORNER, AND GLOBAL COFFEE.
Ray Bonneville is a roaming blues poet, inspired by the road and the many other places he has called home—New Orleans, Colorado, Arkansas, Alaska, Boston, Seattle and Paris, France. Born in Canada and raised in the United States, Bonneville has lived all over. No place, however, has been more influential than New Orleans.
In the streets and clubs of New Orleans, Bonneville soaked up the prevalent take-your-time attitude that ran through the music being played there. “There’s something about the heat and humidity that makes people slow down,” he says. “New Orleans is where I learned to take my time, to allow space between the notes so the songs could truly groove.” That groove is at the core of Bonneville’s sound. A one-man band, he backs up weathered, storytelling vocals with a highly percussive guitar style, dramatic harmonica lines and a foot that keeps the rock steady beat. The result is a big sound with an almost primitive quality. It’s visceral, raw music.
Like the great American writers of the south and his favorite authors Cormac McCarthy and Flannery O’Connor, Bonneville is inspired by the places he has been and the unusual people he has met throughout his travels. His songs are like short stories, evoking true-to-life characters that stumble their way through a rough and tumble world of violence, hope and despair. Heavily influenced by the natural world, Bonneville finds himself splitting his time these days between Montreal, Austin and Cotter, Arkansas, where he likes to write songs and fly-fish the White River.
Honing his craft for the last 30 years, Bonneville’s gritty storytelling and deep-grooving blues style has won him much critical attention. In 1999, Ray won the prestigious Juno Award (Canadian Grammy) for his third album Gust of Wind. His fourth release, Rough Luck, was also nominated for the coveted award. With his 2004 Red House debut Roll It Down, Ray made himself a name in blues and roots music circles, garnering rave reviews from DownBeat and No Depression. He has toured all over the world, sharing the bill with such blues legends as B.B. King, Muddy Waters, J.J. Cale and Robert Cray and in 2007 wowed the music industry with his bring-down-the-house performances at the South By Southwest and Folk Alliance conference. A world-class guitarist, harmonica player and hard-hitting songwriter, it is no wonder that Ray has received rave reviews from blues, jazz and roots critics alike and can count among his fans such artists as Chris Smither and Ray Wylie Hubbard. For more information about Ray Bonneville, please visit his website at www.raybonneville.com.

Roy Book Binder
2010-07-10 19:00 - 21:00
Roy Book Binder at the Martin 2008
Blues Legend Plays The Martin Hotel
The great Roy Book Binder is set to play a concert at the Martin Hotel on Saturday, July 10th. Something of a national treasure, Book Binder plays blues in the Piedmont style, a very old East Coast tradition based on ragtime and multi-part gospel guitar techniques.
Besides being a musical giant with unexceeded technique, Book Binder is known as a crowd-pleasing entertainer with deft comic timing, an encyclopedic knowledge of American roots music history, and an inexhaustible supply of tales collected over a lifetime of traveling and performing with greats like Brownie McGhee, Sonny Terry, Rock Bottom, Fats Kaplin, Doc Watson, Bonnie Raitt, and Ray Charles.
Book Binder emerged alongside pal Dave van Ronk in the New York City coffeehouse scene of the mid-60s, the beginning of the so-called “folk revival.” And, his repertoire includes “Bookaroo” songs, played in a folk style reminiscent of Rambling Jack Elliot, the New York City surgeon’s son who was Woody Guthrie’s hand-picked protege.
Book Binder’s real bailiwick, though, is blues in the East Coast or “Piedmont” style, named for the plateau that stretches from Richmond, Virginia to Atlanta, Georgia. The style evolved in the 20s, 30s, and 40s, when ragtime, parlor, and gospel guitar players like Blind Blake, Blind Boy Fuller, and Reverend Gary Davis began applying polyphonic finger-picking technique to the blues. Book Binder perfected his Piedmont technique as Davis’s protégé, working as the blind virtuoso’s driver and side-man during the late 1960s.
Book Binder has recorded seven albums, most in a “hillbilly” blues style that includes plenty of colorful banter between the tracks. Often, the stories and jokes stretch back to Book Binder’s formative years on the road with the Reverend Davis. Though based on old-time techniques, his songs sound fresh and relevant, often featuring original lyrics re-spun to reflect contemporary themes.
Book Binder continues to perform solo shows around the world, with more than 30 shows left this year alone. He also teaches at MerleFest and the Fur Peace School, and keeps an entertaining travel “blog” on his website, RoyBookBinder.com.
So, if you’re in town over the weekend, don’t miss the chance to see one of the great bluesmen of all time, up close and personal, right here in Winnemucca. The show starts at 7 PM on Saturday, July 10th, at the Martin Hotel on Railroad Street.

Sweet Sunny South
2010-05-26 19:00 - 21:00
On Wednesday, May 26th the Colorado based old-time bluegrass string band Sweet Sunny South will appear at the Martin Hotel for their only Nevada date in 2010. The band will be featuring material from a new release that includes guest appearances by the Denver based jazz heavy, Ron Miles (Bill Frissell, Elvis Costello) on coronet and Phil Wade(The Wilders) on banjo and dobro. The CD entitled “Carried Off By A Twister” introduces a slew of new tunes and finds the band members stretching out in all sorts of new directions. “Twister” is the 5th CD released by SSS and the band is coming up on their 10th year performing together.
SSS kicks off summer 2010 with a trip to Yosemite, CA for this Memorial Day weekend’s Strawberry Festival (other acts there include Patty Loveless, Richard Thompson and Louden Wainwright III) and winds it up this year with another appearance at SW Colorado favorite Pagosa’s “Four Corners Folk Festival”. Sandwiched between are all kinds of great festival sets, theater shows and summer concert series all across Montana, Nevada, Wyoming, Colorado and more. Sign the email list at www.sweetsunnysouth.com for all the details and to find out about shows as they are added to the tour schedule. Come and get your copy of Sweet Sunny South’s new release hot off the presses “Carried Off By A Twister”!
Sweet Sunny South is a four piece string band hailing from Paonia, Colorado consisting of guitar(Rob Miller), upright bass(Shelley Gray), fiddle(Cory Obert), mandolin and banjo(Bill Powers). The band makes original music that blends elements of bluegrass, old-time, country, and swing to create a decidedly unique sound. Their specialty is creating a full entertainment experience through live performance, a journey if you will, taking the audience along for the ride across dusty landscapes of the American countryside. There’s high lonesome ballads, for the winsome and rocking old-time fiddle tunes for the dancers. All four members sing and play around a single microphone and while this approach brings to mind the glory days of the Grand Ol’ Opry, the band’s sound feels new, fresh and dynamic. Smiles warm the room while real, true music fills the air. Sweet Sunny South’s vibe is contagious and gives everyone permission to feel good.

Nevada Humanaties Event
2010-05-19 17:00 - 18:30
Please join Nevada Humanities
Executive Director Christina Barr & Staff
for an informal gathering of friends
May 19, 2010
5:00 – 6:30 pm
The Martin Hotel
At Railroad & Melarkey Streets
Winnemucca
Visit with Nevada Humanities staff to learn more about
our programs and grants for Nevada’s nonprofit organizations,
libraries, and schools – please join us!
~ Light Basque fare will be served ~
~ Cash Bar ~
For more information please contact Mary Toleno
775-784-6587 or maryt@unr.edu

CeCe Gable and her Jazz Trio
2010-04-17 19:00 - 21:00
CeCe draws the listener into her captivating world of song with an incredible depth of emotion. She swings with rhythmic passion and also has the ability to caress a ballad with effortless interpretation. Influenced by many of the women and men of jazz, she offers her own voice on jazz standards and the American Songbook. She shines on any stage whether she is accompanied by a solo pianist, a trio or an entire orchestra… you’ll find you cannot get enough of this jazz experience.
Well known to audiences up and down the Pacific Coast and throughout the western states, CeCe Gable is rapidly becoming one of the premiere jazz singers in the region.
A native of Barberton, Ohio, and a graduate of Kent State University, CeCe lived in Winnemucca for a few years while she was working as an artist in residence in Winnemucca schools. While she was in Winnemucca she primarily taught dance and creative movement to budding young artist’s. CeCe now makes her home in the Reno/Tahoe area as a performing and recording artist.
A consummate jazz cabaret performer, she has sung in jazz clubs throughout the United States and Europe including New Orleans, Las Vegas, Palm Springs, Fiji, Munich, Athens and at New York City’s Iridium with Les Paul.
She has presented the works of George Gershwin, Thelonious Monk, Stephen Sondheim and Kurt Weill to rave reviews in a variety of venues. According to Metroland (Albany, NY), CeCe Gable is a performer who exudes warmth, sophistication, a generous stage presence and rare versatility. A unique, compelling performer with a style and sound all her own, CeCe has been compared to the song stylists of the ’50’s with a contemporary twist.
Admired as a “quiet surprise” by audiences nationwide, CeCe has become known for delivering an honest performance and has prompted more than one audience member to say “When you sing I see the music flow through you and I believe you.”
Richard Feldman, stage director and arts critic for The Record (Troy, NY) asserts that “CeCe Gable is one of those rare performers whose mellow vocals, stylistic sophistication, diversity of material and intimate delivery combine perfectly to convince us that she’s singing to each of us…personally.”

Sourdough Slim with Robert Armstrong
2010-03-06 19:00 - 2010-03-07 21:00
During the Winnemucca Ranch Hand Rodeo
A marvel of musical ingenuity, yodeling cowboy Sourdough Slim and string instrument wizard Robert Armstrong joyously rekindle the country blues, cowboy classics and string band repertoire of pre-WWII America. A fast-paced performance of music and comedy that showcases their seasoned gift for connecting with audiences.
Whether capturing the haunting refrain of a Jimmie Rodgers blue yodel or swinging out a hot novelty number, everyone gets caught up in the fun these two cut-ups have on stage. Long time fans will remember them as founding members of two of California’s favorite acoustic combo’s, “8th Avenue String Band” and “R. Crumb’s Cheap Suit Serenaders.” Between them they share a provocative array of period instruments including: flat-top guitar, national steel, baritone and soprano ukulele, musical saw, accordion, six-string banjo and harmonica.
Well traveled veterans of stages ranging from Carnegie Hall and The Lincoln Center to The National Cowboy Gathering, Strawberry Music Festival and Prairie Home Companion, these modern day vaudevillians capture a sound and moment in time that consistently delights fun loving music fans everywhere they perform.
“First rate entertainment. A delightfully splendid show. . . full of good time music and laughs galore.” – Diane Brinkman, Seattle Times
“You won’t find better authentic Country or Western music being played anywhere.” – David Barnes, British Archive of Country Music
“Much more invigorating than 9/10ths of the stuff you hear from the current cadre of Western revivalists.” – Ronald Lankford, Jr., Sing Out! magazine
“Good stuff!” – Dallas Dobro, Master of Ceremonies, Strawberry Music Festival

Ramblin’ Jack Elliott
2010-01-26 19:00 - 21:00
THE TUESDAY NIGHT LIVE SHOW IS SOLD OUT.
PLEASE JOIN US ON MONDAY NIGHT 01/25/10 AT 7:00 SHARP FOR A SPECIAL SCREENING OF THE DOCUMENTARY “THE BALLAD OF RAMBLIN’ JACK”.
FREE OF CHARGE!
One of the last true links to the great folk traditions of this country, with over 40 albums under his belt, Ramblin’ Jack Elliott is considered one of the country’s legendary foundations of folk music.
“Nobody I know—and I mean nobody—has covered more ground and made more friends and sung more songs than the fellow you’re about to meet right now. He’s got a song and a friend for every mile behind him. Say hello to my good buddy, Ramblin’ Jack Elliott.”
– Johnny Cash, The Johnny Cash Television Show, 1969.
Long before every kid in America wanted to play guitar — before Elvis, Dylan, the Beatles or Led Zeppelin — Ramblin’ Jack had picked it up and was passing it along. From Johnny Cash to Tom Waits, Beck to Bonnie Raitt, Ry Cooder to Bruce Springsteen, the Grateful Dead to The Rolling Stones, they all pay homage to Ramblin’ Jack Elliott.
In the tradition of roving troubadours Jack has carried the seeds and pollens of story and song for decades from one place to another, from one generation to the next. They are timeless songs that outlast whatever current musical fashion strikes today’s fancy.
“His tone of voice is sharp, focused and piercing. All that and he plays the guitar effortlessly in a fluid flat-picking perfected style. He was a brilliant entertainer…. Most folk musicians waited for you to come to them. Jack went out and grabbed you….. Jack was King of the Folksingers.” – Bob Dylan, Chronicles: Volume One
There are no degrees of separation between Jack and the real thing. He is the guy who ran away from his Brooklyn home at fourteen to join the rodeo and learned his guitar from a cowboy. In 1950, he met Woody Guthrie, moved in with the Guthrie family and traveled with Woody to California and Florida, from the redwood forests to the Gulf Stream waters. Jack became so enthralled with the life and composer of This Land Is Your Land, The Dust Bowl Ballads, and a wealth of children’s songs that he completely absorbed the inflections and mannerisms, leading Guthrie to remark, “Jack sounds more like me than I do.”
In 1954, along with folksinging pals Frank Robinson and Guy Carawan, Jack journeyed south through Appalachia, Nashville and to New Orleans to hear authentic American country music. He later made this the basis for his talking song, 912 Greens.
In 1955 Jack married and traveled to Europe, bringing his genuine American folk, cowboy and blues repertoire and his guitar virtuosity, inspiring a new generation of budding British rockers, from Mick Jagger to Eric Clapton.
When he returned to America in 1961, he met another young folksinger, Bob Dylan at Woody Guthrie’s bedside, and mentored Bob. Jack has continued as an inspiration for every roots-inspired performer since.
Along the way he learned the blues first-hand from Leadbelly, Mississippi John Hurt, the Reverend Gary Davis, Big Bill Broonzy, Brownie Mcghee and Sonny Terry, Jesse Fuller and Champion Jack Dupree.
He has recorded forty albums; wrote one of the first trucking songs, Cup of Coffee, recorded by Johnny Cash; championed the works of new singer-songwriters, from Bob Dylan and Kris Kristofferson to Tim Hardin; became a founding member of Bob Dylan’s Rolling Thunder Revue; and continued the life of the traveling troubadour influencing Jerry Jeff Walker, Guy Clark, Tom Russell The Grateful Dead and countless others.
In 1995, Ramblin’ Jack received his first of four Grammy nominations and the Grammy Award for Best Traditional Folk Album, for South Coast (Red House Records).
In 1998, President Bill Clinton awarded Jack the National Medal of the Arts, proclaiming, “In giving new life to our most valuable musical traditions, Ramblin’ Jack has himself become an American treasure.”
In 2000, Jack’s daughter, filmmaker, Aiyana Elliott produced and directed The Ballad of Ramblin’ Jack, her take on Jack’s life and their fragile relationship, winning a Special Jury Prize from the Sundance Film Festival.
Through it all—though agents, managers, wives and recording companies have tried—Jack resisted being molded into a commercial commodity. He played his shows without a written set list or including any songs that did not ring with his gut feeling of what mattered to him.
Ramblin’ Jack’s life of travels, performances and recordings is a testament to the America of lore, a giant land of struggle, hard luck and sometimes even of good fortune. Ramblin’ Jack takes us to places that spur us on to the romance and passion of life in the tunes and voices of real people.
At seventy-seven, Ramblin’ Jack is still on the road, still seeking those people, places, songs and stories that are hand-crafted, wreaking of wood and canvas, cowhide and forged metal. You’ll find him in the sleek lines of a long haul semi-truck, in the rigging of an old sailing ship, in the smell of a fine leather saddle.
Better yet, find him in at the Martin Hotel in Winnemucca on January 26.

The Gillette Brothers
2009-12-08 19:00
Guy and Pipp Gillette are on their way to the Cowboy Poetry Festival in Monterey California, from their home in Crockett Texas, and they are going to make a stop for a show in Winnemucca on December 8.
The last time the Guy and Pipp Gillette were at the Martin they shared the stage with Don Edwards and Pop Warner, but this time they will have the place to themselves. They perform a mix of traditional cowboy songs, and songs reflecting the celtic roots, country blues, minstrel and medicine show songs that influenced cowboy music. For me it is always worth the price of admission just to watch and hear Guy play the rhythm bones, musical bones they make from cow ribs.
They have played at major events and venues around the country including: The 2008 Smithsonian Folklife Festival in Washington DC, The National Cowboy Poetry Gathering in Elko, NV, The Monterey Cowboy Poetry & Music Festival in Monterey, CA, The Santa Clarita Cowboy Poetry & Music Festival in Santa Clarita, CA, The Willow Tree Festival in Gordon, NE, The Arizona Cowboy Poets Gathering in Prescott, AZ; The Cherry Blossom Festival in Macon, GA; The National Arboretum in Washington, DC, The Buffalo Bill Historical Center in Cody, WY, and The National Cowboy & Western Heritage Museum in Oklahoma City, OK, The Museum of South Texas in Edinburgh Texas.
In August 2005, the Gillette Brothers traveled to Japan representing the State of Texas at the World Expo – Aichi/Nagoya, performing their music at the US Pavilion. In October 2008, the Gillette Brothers toured Somerset, England for two weeks, performing in village halls and the Bridgewater Arts Center.
They have demonstrated chuckwagon cooking at the Cowboy and Western Heritage Museum in Oklahoma City; the Ranching Heritage Museum in Lubbock, Texas; The Museum of South Texas in Edinburgh Texas; Dalton Days in Longview, Texas; and the Cherry Blossom Festival in Macon, Georgia.
Their cooking has been spotlighted in Persimmon Hill, the magazine of the National Cowboy and Western Heritage Museum; The National Cowboy Hall of Fame Cookbook by B. Byron Price; A Taste of Texas Ranching by Tom Bryant and Joel Bernstein; and the Spirit of the West: Cooking for Ranch House & Range by Beverly Cox and Martin Jacobs.
The Gillette Brothers were recipients of the 2009 AMERICAN COWBOY CULTURE AWARD for western music from the NATIONAL COWBOY SYMPOSIUM & CELEBRATION. They were awarded the 2003 and the 1998 Will Rogers Award for Outstanding Achievement in the Advancement of Contemporary Cowboy Music Best Duo/Group by The Academy of Western Artists. They have also received the National Cowboy Symposium’s American Cowboy Culture Chuck Wagon Award.
The Gillette Brothers run The Camp St. Cafe & Store in Crockett, Texas a live music venue, much like the Martin Hotel, that has featured some of the top performers in the country.
They were also instrumental in getting a life-sized statue of Blues Legend Lightnin’ Hopkins erected in Crockett.

Saul Kaye
2009-11-13 19:00 - 21:00
Our friend Saul Kaye, from over in the “Bay Area”, is coming back to Winnemucca. Saul is a guy we really admire. He is a very gifted musician, a great songwriter, has a wonderfully warm stage presence, and each time he has come to the Martin he’s brought a strong band and a wonderful groove. It is very easy to tell that Saul Kaye loves what he is doing.
Now, the interesting thing is, Saul is coming this time to play a solo show. He has been moved to create a whole new suitcase full of blues tunes around his Jewish Heritage, and he’s coming to Winnemucca to try them out on you.
We hope you will join us.
$10 Tickets are on sale now at The Martin Hotel, Nature’s Corner and Global Coffee.
Here is a post about Saul’s new music, written by an Actual Journalist:
From the Bohemian.Com:
Jews and the Abstract Truth
Saul Kaye funnels his communions into ‘Jewish Blues’
By Gabe Meline
At age two, Saul Kaye glued his head to the stereo speakers in his family living room, and one could make the argument that he’s never really unglued himself. In fact, as a teenager, his only weekly ritual was tuning into a radio show called The Blues Train , which played Muddy Waters, Willie Dixon, Son House and other greats from 8pm to 6am while Kaye played along.
Saul Kaye’s new album, Jewish Blues , is the product of two life-altering communions, the first being playing along every week to the radio. His second came at Jerusalem’s Western Wall, where after a period of falling away from his Jewish upbringing, Kaye says, “I went to Israel in my 20s and had a classic ‘wall’ experience. I was at the wall, with my family, and felt a strong reconnection.” <more>

Blame Sally
2009-11-04 19:00 - 21:00
San Francisco Band Finds Unconventional Success
“…the band has the songs, the chops and the pipes to back up their tough-talking, clear-minded folk rock.” Santa Cruz Sentinel
In these strange times of job layoffs and uncertain futures, the San Francisco band BLAME SALLY is characteristically bucking the trend. Pam Delgado, Jeri Jones, Renee Harcourt and Monica Pasqual hit their stride well after the first blush of youth, watching their audiences grow and their independently-released record sales balloon as they set their own career pace and direction. In the fall of 2008, the mid-life women of BLAME SALLY signed a one-of-a-kind, five-year, three -album recording contract in the mid-six figures with Bay Area Opus Music Ventures, backed up by generous creative and tour support that enabled them to finally become full-time musicians. The ink was barely dry on the contract before BLAME SALLY found themselves in a brand new, state-of-the-art recording studio and in the very capable hands of Grammy-nominated producer, Lee Townsend, (Bill Frisell, Louden Wainwright, Noe Venable, Crooked Still).
Give a Listen
The resulting album, Night of 1000 Stars, was released in May 2009. As they have always done, BLAME SALLY uses personal and topical issues to fuel their powerful songwriting and jubilant ensemble musicianship. Whether through the anguished voice of an Afghan war veteran, the cancer survivor finding some humor in new age bromides or the woman who’s passion comes on like a summer thunderstorm, each track on Night of 1000 Stars is rich with authenticity and emotion.
A unique collective of four distinct voices and musical backgrounds, BLAME SALLY has forged a compelling and original sound that has earned the band the well-deserved reputation as “Bay Area phenomenon”. The San Francisco Chronicle raved that BLAME SALLY’s music “…recall(s) the artful romanticism of Jane Siberry, the rich folk harmonies of the Indigo Girls, and the percolating soulfulness of Joy of Cooking.” Poised for greater national attention, they’ve performed for audiences across the US, sharing festival stages with the likes of Los Lobos, Ani DiFranco, Richard Thompson, Roseanne Cash and Greg Brown.
In 2007 BLAME SALLY launched a national radio campaign covering both AAA and Non-Com stations and reached an audience of millions through XM Satellite Radio’s Starbuck’s XM Café where the band’s previous album Severland charted at number one.
BLAME SALLY is already out on the road, touring non-stop, with US and European dates booked through the end of the year.

Shakespeare’s Troupe
2009-10-23 19:00 - 21:00
At one o’clock in the the morning, all kinds of strange things are going on. This army is about to enjoy some well deserved rations to celebrate their victory, and recover from their defeats earlier this evening, as they often met in pitched battle on stage in Winnemucca for their production of Macbeth. The director and the cast of the traveling Nevada Shakespeare Company stopped briefly for a photo during what seemed to be a re-creation of a scene from the play during their late night dinner at the Winnemucca Inn.
And yes, and the sword fights lived up to their billing, the witches were stunning, the whole performance ran like a watch, and they ALL delivered a terrific performance. They still have four shows on their schedule, and they truly deserve to play to a packed house each night.
Their next show is Friday, October 23 at Piper’s Opera House in Virginia City; and then three performances in Reno at the Laxalt Auditorium, October 29, 30, and 31. ADMISSION: All Reno shows are free. Admission to the Piper’s Opera House show is $15 general and $10 for students and seniors. Tickets will be available at the door. ON THE WEB: www.Nevada-Shakespeare.org
If you are member of the troupe, or were in the audience last night, we would love to hear from you. Leave a comment below, and share your thoughts.
From the Reno Gazette Journal’s Sunday edition, later today:
Shakespeare returns with a vengeance
Joe Atack as Macbeth
By Forrest Hartman • forrest@rgj.com • October 18, 2009
Since 2002, Nevada Shakespeare Company has been a scaled-down model of its former self, concentrating on educational outreach programs and small productions requiring only a handful of actors. That changed Friday when the company trotted out its first full-blown stage show in seven years, a touring production of William Shakespeare’s “Macbeth.” more….
