With special guest, Peter Bruntnell
From his earliest recordings in the 1990s as a founding member of Uncle Tupelo, Jay Farrar has been a keen observer of the American landscape: its beauties and its tragedies, salvations and poisons.
It’s a perspective that’s been hard-won by steady touring and travel through this nation, and Farrar’s almost two-decades as the leader of Son Volt (as well as impressive turns as an acclaimed solo artist and collaborator) have only deepened and sharpened his gift for capturing the sights and sounds of his American journey – a gift which is in evidence once again on Son Volt’s sixth studio album: Honky Tonk.
Farrar will be joined by his Son Volt bandmate, Gary Hunt, on fiddle, mandolin, and guitar for his Clifton Center appearance.
Formed in 2011, Trio Brasileiro has already made a name for itself as an ensemble worthy of international attention. Their stunning virtuosity is matched with remarkable musicianship and a deep devotion to the language of music, allowing them to achieve a one-of-a-kind sound that shares equal parts understated subtlety and irresistible groove. But it is their love of the traditional music of Brazil and the connection between brothers – by birth and by bonds of friendship – that create a very rare and profound beauty.
Half of the highly regarded Brazilian Choro ensemble, Caraivana, Trio Brasileiro includes the celebrated guitarist and full time member of the award-winning Brasil Guitar Duo, Douglas Lora; one of Brazil’s finest mandolin virtuosos, Dudu Maia, and the amazing percussionist and brother of Douglas, Alexandre Lora.
Join us for an evening of free jazz and poetry with guitarist, composer, and poet Misha Feigin. Misha will be joined by local musicians Steve Good on bass clarinet, Jim Molrowe on baritone sax, and Gregory Acker on woodwinds and percussion.
A Moscow native, Misha Feigin, has performed and recorded with such artists as Dave Liebman, Elliot Sharp. Peter Kowald, Ladonna Smith, and Davey Williams. He also won Thomas Merton poetry prize in 2000.
This concert will be held in the Clifton Center’s Eifler Theater with the audience joining the musicians on stage for an intimate performance.
In the last of his five performances at the Clifton Center as part of the 2013-14 Live at the Clifton Center concert series, Dick Sisto and his quartet present the first complete performance of the music he composed for the documentary chronicle of Thomas Merton’s life by award-winning filmmaker, Morgan Atkinson. The music, which has been widely praised, was described by one critic as “bringing life and substance to the story.”The concert, like the first four in the series, will be held in a unique and intimate setting in which the audience is seated on stage with the musicians with the beautiful Eifler Theater as a backdrop.
Enjoy sampling savory nibbles and sweet treats from over twenty of the finest restaurants along Frankfort Avenue! This year will mark the 22nd anniversary of The Taste, which serves as the Clifton Center’s largest fundraising event.
This much-anticipated annual event celebrates the wonderful and unique restaurants located on and near Frankfort Avenue. Participants include some of Louisville’s finest gourmet eateries including Porcini, Varanese, Bistro 1860, Volare, and Bourbon’s Bistro, as well as high quality casual favorites such as North End Café, Irish Rover, Gary’s on Spring, Silver Dollar, Coal’s Artisan Pizza, Homemade Ice Cream & Pie Kitchen, Crave Café, Boombozz Pizza, the Comfy Cow, Vint, and Heine Brothers Coffee.
New this year, we’re offering a limited number of Patron tickets that provide supporters with extra amenities like guaranteed on-site parking, two complimentary beverages, and a chance to win a season pass for the 2014-2015 Live at the Clifton Center concert series. Best of all, your Patron level ticket purchase will help the Clifton Center as it continues its efforts to become one of the region’s premier cultural institutions. All money raised at the annual Taste of Frankfort Avenue helps the Clifton Center fulfill its mission to serve as a gathering place for art, culture, and ideas that enrich our community.
Las Cafeteras Live on KEXP
Las Cafeteras create a vibrant musical fusion with a unique East LA sound and a community-focused political message. Their Afro-Mexican rhythms, zapateado & inspiring lyrics tell stories of a community who is looking for love & fights for justice in the concrete jungle of Los Angeles. A remix of traditional Son Jarocho sounds, LAS CAFETERAS add Afro-Caribbean marimbol and cajón, poetry in English and Spanglish, and instruments like jarana, requinto, a donkey jawbone and a wooden platform called the Tarima.
In addition to their concert performance, the Clifton Center will present members of Las Cafeteras in outreach events at schools and community centers in the Louisville area.
“One of the top oud players in the world”
- San Francisco Chronicle
“Unique combination of traditional and innovative performance techniques. Alhaj’s spontaneous inventions are constantly fascinating.”
- Los Angeles Times
Rahim AlHaj, virtuoso oud musician and composer, was born in Baghdad, Iraq and began playing the oud (the grandfather of all stringed instruments) at age nine. Early on, it was evident that he had a remarkable talent for playing the oud. Mr. Alhaj studied under the renowned Munir Bashir, considered by many to be the greatest oud player ever, and Salim Abdul Kareem, at the Institute of Music in Baghdad, Iraq. Mr. AlHaj won various awards at the Conservatory and graduated in 1990 with a diploma in composition. He holds a degree in Arabic Literature from Mustunsariya University in Baghdad. In 1991, after the first Gulf War, Mr. AlHaj was forced to leave Iraq due to his activism against the Saddam Hussein regime and began his life in Jordan and Syria. He moved to the US in 2000 as a political refugee and has resided in Albuquerque, NM ever since. Rahim became a US citizen on August 15, 2008.
Rahim has performed around the world and is considered one of the finest oud players in the world. He has won many accolades and awards including two Grammy nominations. Rahim has recorded and performed with other master musicians of varied backgrounds and styles including genre-busting American guitarist Bill Frisell, modern accordion innovator Guy Klucevsek, Indian sarod maestro Amjad Ali Khan and indy-rock pioneers REM. He has composed pieces for solo oud, string quartet, symphony and beyond. Rahim’s music delicately combines traditional Iraqi maqams with contemporary styling and influence. His compositions evoke the experience of exile from his homeland and of new beginnings in his adopted country. His pieces establish new concepts without altering the foundation of the traditional “Iraqi School of Oud”.
Rahim has released seven CDs. His March 2009 release, Ancient Sounds (UR Music), a duet recording with Amjad Ali Khan, was nominated for a 2010 Grammy® in the Best Traditional World Music Recording category. In November of 2009 he released a special recording Under The Rose with Ottmar Liebert, Jon Gagan and Barrett Martin, with all net proceeds benefitting Direct Aid Iraq. Home Again (UR Music, 2008), is a tour de force of touching and evocative original compositions portraying his trip to Iraq after 13 years in exile. When the Soul is Settled: Music of Iraq (Smithsonian Folkways Recordings) was also nominated for a Grammy® in 2008.
In early 2012, Grammy award-winning Carolina Chocolate Drops released their studio album Leaving Eden (Nonesuch Records) produced by Buddy Miller. The traditional African-American string band’s album was recorded in Nashville and featured founding members Rhiannon Giddens and Dom Flemons, along with multi-instrumentalist Hubby Jenkins and cellist Leyla McCalla, already a familiar presence at the group’s live shows. With Flemons and McCalla now concentrating on solo work, the group’s 2014 lineup will feature two more virtuosic players alongside Giddens and Jenkins – cellist Malcolm Parson and multi-instrumentalist Rowan Corbett — illustrating the expansive, continually exploratory nature of the Chocolate Drops’ music. Expect a new disc from this quartet in 2015.
The Chocolate Drops got their start in 2005 with Giddens, Flemons and fiddle player Justin Robinson, who amicably left the group in 2011. The Durham, North Carolina-based trio would travel every Thursday night to the home of old-time fiddler and songster Joe Thompson to learn tunes, listen to stories and, most importantly, to jam. Joe was in his 80s, a black fiddler with a short bowing style that he inherited from generations of family musicians. Now he was passing those same lessons onto a new generation. When the three students decided to form a band, they didn’t have big plans. It was mostly a tribute to Joe, a chance to bring his music back out of the house again and into dancehalls and public places.
With their 2010 Nonesuch debut, Genuine Negro Jig—which garnered a Best Traditional Folk Album Grammy—the Carolina Chocolate Drops proved that the old-time, fiddle and banjo-based music they’d so scrupulously researched and passionately performed could be a living, breathing, ever-evolving sound. Starting with material culled from the Piedmont region of the Carolinas, they sought to freshly interpret this work, not merely recreate it, highlighting the central role African-Americans played in shaping our nation’s popular music from its beginnings more than a century ago. The virtuosic trio’s approach was provocative and revelatory. Their concerts, The New York Times declared, were “an end-to-end display of excellence… They dip into styles of southern black music from the 1920s and ’30s—string- band music, jug-band music, fife and drum, early jazz—and beam their curiosity outward. They make short work of their instructive mission and spend their energy on things that require it: flatfoot dancing, jug playing, shouting.”
Rolling Stone Magazine described the Carolina Chocolate Drops’ style as “dirt-floor-dance electricity.” If you ask the band, that is what matters most. Yes, banjos and black string musicians first got here on slave ships, but now this is everyone’s music. It’s okay to mix it up and go where the spirit moves.
“An appealing grab-bag of antique country, blues, jug band hits and gospel hollers, all given an agreeably downhome production. The Carolina Chocolate Drops are still the most electrifying acoustic act around.” -The Guardian
“The Carolina Chocolate Drops are…revisiting, with a joyful vengeance, black string-band and jug-band music of the Twenties and Thirties—the dirt-floor dance electricity of the Mississippi Sheiks and Cannon’s Jug Stompers.” —Rolling Stone
Acoustic guitarist Leo Kottke was born in Athens, Georgia, but left town after a year and a half. Raised in 12 different states, he absorbed a variety of musical influences as a child, flirting with both violin and trombone, before abandoning Stravinsky for the guitar at age 11.
After adding a love for the country-blues of Mississippi John Hurt to the music of John Phillip Sousa and Preston Epps, Kottke joined the Navy underage, to be underwater, and eventually lost some hearing shooting at lightbulbs in the Atlantic while serving on the USS Halfbeak, a diesel submarine.
Kottke had previously entered college at the U of Missouri, dropping out after a year to hitchhike across the country to South Carolina, then to New London and into the Navy, with his twelve string. “The trip was not something I enjoyed,” he has said, “I was broke and met too many interesting people.”
Discharged in 1964, he settled in the Twin Cities area and became a fixture at Minneapolis’ Scholar Coffeehouse, which had been home to Bob Dylan and John Koerner. He issued his 1968 recording debut LP Twelve String Blues, recorded on a Viking quarter-inch tape recorder, for the Scholar’s tiny Oblivion label. (The label released one other LP by The Langston Hughes Memorial Eclectic Jazz Band.)
After sending tapes to guitarist John Fahey, Kottke was signed to Fahey’s Takoma label, releasing what has come to be called the Armadillo record. Fahey and his manager Denny Bruce soon secured a production deal for Kottke with Capitol Records.
Kottke’s 1971 major-label debut, “Mudlark,” positioned him somewhat uneasily in the singer/songwriter vein, despite his own wishes to remain an instrumental performer. Still, despite arguments with label heads as well as with Bruce, Kottke flourished during his tenure on Capitol, as records like 1972′s “Greenhouse” and 1973′s live “My Feet Are Smiling” and “Ice Water” found him branching out with guest musicians and honing his guitar technique.
With 1975′s Chewing Pine, Kottke reached the U.S. Top 30 for the second time; he also gained an international following thanks to his continuing tours in Europe and Australia.
His collaboration with Phish bassist Mike Gordon, “Clone,” caught audiences’ attention in 2002. Kottke and Gordon followed with a recording in the Bahamas called “Sixty Six Steps,” produced by Leo’s old friend and Prince producer David Z.
Kottke has been awarded two Grammy nominations; a Doctorate in Music Performance by the Peck School of Music at the U of Wisconsin, Milwaukee; and a Certificate of Significant Achievement in Not Playing the Trombone from the U of Texas at Brownsville with Texas Southmost College.
In addition to our regularly priced tickets, we’re offering a special dinner package! Enjoy a pre-concert dinner at Varanese, one of Louisville’s finest restaurants and just a short stroll from the Clifton Center. Click here for more information.
“This young musician and composer is at once reestablishing the artistic, cultural, and social tradition of jazz while creating an entirely new jazz language for the 21st century.”
– MacArthur Foundation,2008.
Multiple Grammy Nominee and Guggenheim and MacArthur Fellow Miguel Zenón represents a select group of musicians who have masterfully balanced and blended the often-contradictory poles of innovation and tradition. Widely considered as one of the most groundbreaking and influential saxophonists of his generation, he has also developed a unique voice as a composer and as a conceptualist, concentrating his efforts on perfecting a fine mix between Latin American Folkloric Music and Jazz.
Born and raised in San Juan, Puerto Rico, Zenón studied classical saxophone at the Escuela Libre de Música in Puerto Rico before receiving a bachelor’s degree in Jazz Studies from Berklee College of Music, and a master’s degree in Jazz Performance at Manhattan School of Music. Zenón’s more formal studies, however, are supplemented and enhanced by his vast and diverse experience as a sideman and collaborator. Throughout his career he has divided his time equally between working with older jazz masters and working with the music’s younger innovators –irrespective of styles and genres. The list of musicians Zenón has toured and/or recorded with includes: The SFJAZZ Collective, Charlie Haden, Fred Hersh, Kenny Werner, David Sánchez, The Village Vanguard Orchestra, The Mingus Big Band, Bobby Hutcherson and Steve Coleman.
His latest release Oye!!! Live in Puerto Rico (Miel Music, 2013) features the debut recording of The Rhythm Collective, an ensemble first put together in 2003 for a month long tour of West Africa. The group includes Aldemar Valentín on Electric Bass, Tony Escapa on Drums and Reinaldo de Jesus on percussion; all native Puerto Ricans and some of the most coveted musicians in their respective fields. Fed by the energy of the full capacity audience in attendance, the group delivers a high intensity performance which includes originals by Zenon and covers of Tito Puente’s “Oye Como Va” and Silvio Rodriguez’ ”El Necio”.
He is a founding member of the groundbreaking SFJAZZ Collective, a group whose past and current members include Bobby Hutcherson, Joe Lovano, Joshua Redman, Brian Blade, Nicholas Payton, Dave Douglas, and Eric Harland. In 2012, Zenón’s association with SFJAZZ will further expand to include his new role as resident artistic director along with Bill Frisell, Jason Moran, Regina Carter and John Santos.