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Abby Normal: The Melvins, July 18 at RIBCO PDF Print E-mail
Music - Feature Stories
Written by Jeff Ignatius   
Wednesday, 10 July 2013 05:33

The Melvins

Buzz Osborne said that some concepts for the Melvins’ 30th-anniversary tour – which stops at RIBCO on July 18 – got nixed.

“My idea at first was 30 songs in 30 minutes for 30 bucks,” the guitarist/singer/bandleader said in a phone interview last month. “That didn’t fly. Or one 30-year-long set.”

Those sound like jokes, but if you’re at all familiar with the highly influential and forcefully odd band, you’ll recognize that Osborne might have at least entertained them as real possibilities. Because – major-label or car-company deals be damned – the Melvins have done things their way for three decades.

 
Photos from Rock the District, June 29 in the District of Rock Island PDF Print E-mail
Music - Feature Stories
Written by Matt Erickson   
Tuesday, 02 July 2013 14:47

Photos from the Rock the District concert in the District of Rock Island on June 29, 2013, headlined by Theory of a Deadman and also featuring 3 Pill Morning, Candlelight Red, and 3 Years Hollow. For more work by Matt Erickson, visit MRE-Photography.com.

Photo by Matt Erickson, MRE-Photography.com

 
Photos from the Goddamn Gallows Concert, June 20 at RIBCO PDF Print E-mail
Music - Feature Stories
Written by Matt Erickson   
Tuesday, 25 June 2013 09:15

Photos from the Goddamn Gallows concert at RIBCO on June 20, 2013, with opener Lou Shields. For more work by Matt Erickson, visit MRE-Photography.com.

The Goddamn Gallows:

Photo by Matt Erickson, MRE-Photography.com

 
Photos from the John C. Reilly & Friends Concert, June 21 at Codfish Hollow Barn PDF Print E-mail
Music - Feature Stories
Written by Roberta Osmers and Matt Erickson   
Monday, 24 June 2013 12:55

Photos from the John C. Reilly & Friends concert June 21 at the Codfish Hollow Barn in Maquoketa, Iowa, with opener Andru Bemis.

For more work by Matt Erickson, visit MRE-Photography.com. For more from Roberta Osmers on the Quad Cities music scene, visit OfTechAndMusic.Blogspot.com.

John C. Reilly & Friends

Photo by Roberta Osmers, OfTechAndMusic.Blogspot.com

 
A Steady Diet of Curveballs: Portland Cello Project, June 27 at the Redstone Room PDF Print E-mail
Music - Feature Stories
Written by Jeff Ignatius   
Thursday, 20 June 2013 07:13

The Portland Cello Project. Photo by Tarina Westlund.

For its June 27 performance at the Redstone Room, the Portland Cello Project will be featuring the music of Beck (Hanson), (Dave) Brubeck, and (Johann Sebastian) Bach. Alliteration aside, the grouping of a contemporary rock artist, a jazz icon, and a Baroque composer is relatively natural for an ensemble known for aggressively omnivorous appetites.

“It really started with the Beck,” said Doug Jenkins, the Portland Cello Project’s artistic director, in a recent phone interview. “When we heard last August that he was going to put out an album of sheet music rather than actually recording an album, we got really excited, because it just seemed like it was right up our alley – to grab that and play with it and adapt it to our larger orchestral ensemble. And so we booked the show immediately. ... It was coming out December 7, so we booked the shows on December 13 [and] 14 – even having no idea what we were going to get. ... We got the music, and we basically camped out 24/7 to learn all 20 songs and get them all ready to go for the performances. ... They’re wonderful songs. ... We recorded them right away, too, a week later, and then put out that CD.

“That was a month or two after Dave Brubeck passed away. [He actually died December 5.] We did kind of a tribute to Dave Brubeck at the same time. And Brubeck and Beck, they actually went together really well. The kind of old-timey feel of the Beck songs from the Song Reader, and of course Brubeck is just wonderful, timeless stuff. ... And then the Bach just seemed like, as a cellist, a logical thing to throw onto it.”

Brubeck channeled Bach in his “Brandenburg Gate,” and one instrumental piece from Song Reader has a classical vibe, Jenkins said. So “there’s already this reaching among the composers who obviously had no idea what we were ever going to do with it. We can find a lot of middle ground, a lot of places to connect things together.”

 
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