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Keller Williams: What The Funk 2014 Tour – Jon Wayne and the Pain

  1. Keller Williams: What The Funk 2014 Tour – Jon Wayne and the Pain
    Event on 2014-02-27 00:00:00

    Keller Williams

    Those whove followed Keller Williams recording career to date know that he has given each of his albums a single-word title: Laugh, Buzz, Dance, Home, Loop, Odd, etc. Each title serves not only as a concise summation of the concept guiding the particular project but also as another piece of the jigsaw puzzle that is Keller Williams. Grass, for example, is a bluegrass recording, cut with the husband-wife duo the Keels. Stage is a live album and Dream the end product of a wish list: Keller collaborating with some of his greatest musical heroes.

    The naming trend has continued with 2010s Thief and Kids, respectively a set of cover songs and Williams first childrens record. What all of the titles reveal, when taken together, is an artist of great stylistic breadth and infinite imagination, a singer, songwriter and musician, always on a quest for the new. Keller Williams has never followed the prescribed path laid out by the conventional music business but rather one of his own making. Its a path that has served him well.

    Since he first appeared on the scene in the early 90s, Williams has defined the term independent artist. And his recordings tell only half the story. Keller built his reputation initially on his engaging live performances, no two of which are ever alike. For most of his career he has performed as a one-man bandhis stage shows are constructed around Keller singing his compositions and choice cover songs while accompanying himself on an acoustic guitar connected to a Gibson Echoplex delay system that allows him to simulate a full band. That approach, Williams explains, was derived from hours of playing solo with just a guitar and a microphone, and then wanting to go down different avenues musically. I couldnt afford humans and didnt want to step into the cheesy world of automated sequencers where you hit a button and the whole band starts to play, then youve got to solo along or sing on top of it. I wanted something more organic yet with a dance groove that I could create myself.

    Williams solo live showsand his ability to improvise to his determinedly quirky tunes despite the absence of an actual bandquickly became the stuff of legend, and his audience grew exponentially when word spread about this exciting, unpredictable performer. Once he began releasing recordings, starting with 1994s Freek, Williams was embraced by an even wider community of music fans, particularly the jam band crowd. While his live gigs have largely been solo affairs, Williams has nearly always used his albums as a forum for collaborations with fellow musicians. An alliance with The String Cheese Incident on 1999s Breathe marked Williams first release on the bands label SCI Fidelity Records, an imprint he still partners with today for recordings. Dream, Kellers 2007 release, found him in the company of such iconic musicians as the Grateful Deads Bob Weir, banjo master Bla Fleck, bass great Victor Wooten and many others.

    That album took, from start to release time, says Williams, about three years. The object was to get people that I admire musically to play my stuff, so when Im old I can crank this album in my pimped-out golf cart and have something that Im really proud of. I was going for the historical effect for my own personal listening pleasure.

    Each record, he continues, is a little snapshot of history. I like to think of it as a period piece for an artist. Each record is a little bit different but all of them have some kind of common thread, which is my musical ability as far as I can take it. They each show how I progress with age. I enjoy making records. In some peoples eyes, theyre a dying breed, but Im very passionate about it. They document where my head is at that time in my career and where I am in my songwriting.

    Williams story begins in Virginia, just south of Washington, D.C. There he was exposed to a wide variety of music at an early age, starting with country and bluegrass and working his way up through hip-hop and go-go, a brand of funk particular to that part of the country. Once he began playing guitar, Williams sphere expanded to what he calls the post-pseudo-skateboarder punk-rock rebellious type of thing, Black Flag and Sex Pistols and Ramones, Dead Kennedys, things like that. That slid into the more melodic college rock, like the Cure and the Cult, the Smiths, R.E.M.s first five or six records.

    Then came the Grateful Dead, a seminal influence on Williams own music. I studied and learned their music and went to the shows, he says, adding that the impact of Jerry Garcia on his attitude toward music remains incalculable. Another major influence was Michael Hedges, the late virtuoso acoustic guitarist. He was really excelling in a whole different world from what I knew, says Williams.

    After relocating to Colorado, further exposure to bluegrass music and progressive acoustic artists such as Bla Fleck and the Flecktones also had a major impression on Williams. As he began to develop his own distinctive compositional and performing style, Williams incorporated all of the lessons hed learned from the long list of artists whod found their way into his world, then filtered their music through his own experiences until something wholly unique emerged. The list of artists whose music he has covered either in concert or on his recordings constitutes a mind-blowing spread: songs originally performed by everyone from Pink Floyd and Ozzy Osbourne to Ani DiFranco and old-school rappers the Sugar Hill Gang!

    When he first started out, Williams played in regional bands but also performed as a solo artist, me sitting on a stool playing covers, like a happy hour situation, he says. Id get dinner and maybe tips. There were bands in high school and in college. But it turned out I could get the same money playing solo that I was getting with the band. Around that time I was also doing temporary jobs like landscaping, and I was making the same amount playing music as I was shoveling mulch and digging up weeds for eight hours in the summertime at minimum wage. So it seemed like the obvious choice was to play music. I started to work and over the years I incorporated more technology. The looping thing started to happen and tickets were sold and people came to shows, so there wasnt any reason to fix something that wasnt broken.

    What Williams calls the looping thing is actually a big part of what has made him such a compelling live performer. Basically, I have these machines that are essentially delay units, he explains. What I do is step on a button and sing or play something. Then I step on the same button in time and it repeats what I just played or sang. Once that initial loop is created, I can layer on a bass line or a drum line and then have this layer that I just created in front of an audience that I could sing over and solo over. Nothing is pre-recorded. Everything is created onstage in front of the audience.

    If it sounds complicated, it is: but the basic thrust is that the technology has allowed Williams to go out on tour week after week, year after year, and play music by himselfwithout limiting his sound to what we most often associate with the solo singer-songwriter: a guy strumming a guitar and singing. With his arsenal of tech toys, Williams can expand his reach onstage by, in essence, jamming with himself.

    But he has, on several occasions, also performed with real bands. The summer of 2010 found Keller sharing a bus with two of his biggest heroes, former Grateful Dead drummers Bill Kreutzmann and Mickey Hart, as a member of their powerhouse assemblage the Rhythm Devils. That was a very surreal experience, Williams says. We rehearsed for a few days and then we were on a bus with 12 people, two of them being the original drummers from the Grateful Dead. On that tour, Williams was put in the enviable position of singing many songs from the Grateful Dead catalog for audiences that loved every minute of it.

    Williams has also toured as part of a string trio with singer/guitarist Larry Keel and his wife, singer/bassist Jenny Keel, hitting key stops on the bluegrass festival circuit. And he has a band of his own, with Keller on rhythm guitar and vocals, Jeff Sipe on drums, Keith Moseley on bass and Gibb Droll on lead guitar. They toured throughout the spring of 2007 to the fall of 2008, and subsequently released a double live record with a companion DVD. In true Keller Williams fashion, its called Live.

    If it seems as if this is a man who never stops, that would be about right. Having already released the amusingly titled Thiefhis all-covers project with the Keelsearly in 2010, Williams was getting ready to release Kids, his sixteenth album, in the fall. A father of two himself, Williams was, of course, inspired by his own offspring but, he says, some of the songs were written before his children were born. When Not For Kids Only by Jerry Garcia and David Grisman came out, I knew that there was hope for me with kids music, he says. I was really attached to that record. The songwriting for Kids, Keller says, was not necessarily singing to the kids. A lot of it was me singing from the perspective of the kids. That was my plan, to get on their wavelength, on their level, and be one of them, so its kind of like one of their friends singing to them.

    The tracks, with titles like Car Seat, Because I Said So, Mama Tooted and Taking a Bath, are witty, catchy and never speak down to the intended audience. All of them will resonate with any parent as well as the little ones. I was thinking not only of the kid getting it but also of the parents having to listen to it, Williams says. That played a large role in the writing of this record. Ive been in the place of the parent having to sit through something the kid loves but Im not so into. And the music, of course, had to be light and positive but still organic and not too far away from where my musical head is. This records not a compromise from what I normally do. To coincide with the release of Kids, Williams planned several live dates as a touring member of the Yo Gabba Gabba! tourand if you have no idea what that is or think its a Ramones cover band, you probably dont have young kids of your own.

    As if all of this doesnt keep him busy enough, Kellers thirst for music of all kinds has also led him to the world of radio. For the past several years he has hosted Kellers Cellar, a weekly syndicated program available on both terrestrial stations and online at www.kellerwilliams.net. Williams describes the show as a self-indulgent, hour-long narrated mix tape of stuff Im into. Its rule-less except for what the FCC says we cant do. I dont play contemporary country music. I dont play contemporary Christian musichowever, there is possibly some old gospel. I dont play opera. Everything else is fair. World music from all aroundAfrican music from all the countries, jazz, funk, reggae, techno, chill, lounge, lounge singers, rub-a-dub, dancehall. I pretty much stay away from smooth jazz. Its definitely a fun outlet for me. Im trying to do something different.

    Something different. That, we can assume, is how it will always be with Keller Williams.

    at Cains Ballroom
    423 North Main Street
    Tulsa, United States

  2. Yanni
    Event on 2014-09-04 20:00:00

    Out of Town:

    When: 09/04/14 @ 8:00pm
    Cost: .50/.50
    Call: 800-511-1552
    Web: www.pabsttheater.org

    More Information:
    The World's True Global Artist

    A true global ambassador for peace, good will, and understanding, YANNI is one of the most recognizable composer performers of our time. He is, without a doubt, a musical phenomenona rare artist whose music defies borders and boundaries. His music speaks to people of all races and all nations.

    YANNI has accumulated more than 40 platinum and gold albums globally, with sales totaling over 25 million copies, including the double-platinum 1997 Tribute album, which sold more than a million albums within six weeks of it's release, and his 1994 Live at the Acropolis album, which has sold more than 7.5 million copies worldwide (5 million in North America). He earned Grammy nominations for his 1992 album Dare to Dream, and the 1993 follow-up, In My Time.

    The Tribute DVD debuted at #2 on the Music Video charts and earned double-platinum status, while the Live At The Acropolis DVD is six-times platinum, the second-best music video of all time (selling more than 12 million copies globally). His concerts have been broadcast on television in more than 40 countries with upwards of 2 billion people around the world experiencing his TV specials.

    For over two decades, YANNI has been one of the top global touring acts seen by over five million people around the world. His North American concert tours in 1995, 1998 and 2003-2005 (finding out on how recent tours have done) each finished in the Top 10 concert tours of the year, as ranked by Performance Magazine and Pollstar, as well as selling out 10 consecutive shows at Radio City Music Hall in New York, opening the Burj Kahlifa in Dubai, and performing inside the Kremlin in Russia.

    YANNI's song, "Aria," was composed for the award winning British Airways commercial which is still today the most successful and longest running commercial ever. His music is also a staple as a soundtrack for television, especially major sporting events, including the Olympic Games, The Super Bowl, The Tour De France, and the PGA Golf Championships, since 1988.

    YANNI has continued to tour extensively throughout the world performing sold-out concerts in Eastern Europe, the Middle East, Asia, North America and South America. As YANNI travels throughout the world, he continues to support children, music and education in the countries he visits. He has become a spokesperson for NASA and has entered into a collaboration with the World Wildlife Fund, the first of it's kind.

    During his most recent visit to China, YANNI performed live on CCTV during their Spring Festival Gala broadcast to over 1 billion people globally. YANNI was the first non-Chinese artist to participate in this event.

    YANNI's World Tour continues with an ALL NEW show for 2014. YANNI and his world-renowned orchestra will perform audience favorites from throughout his career, as well as selections from his latest studio album, Truth of Touch (2011).

    For more information, visit: www.Yanni.com

    Presented by Bartolotta Restaurants

    116 E. Wisconsin Ave. Milwaukee, WI 53202


    .50 .50
    with a Limited Gold Circle at
    The Pabst and The Riverside Box Offices
    (414) 286-3663 (800) 511-1552

    Tweet!function(d,s,id){var js,fjs=d.getElementsByTagName(s)[0],p=/^http:/.test(d.location)?'http':'https';if(!d.getElementById(id)){js=d.createElement(s);js.id=id;js.src=p+'://platform.twitter.com/widgets.js';fjs.parentNode.insertBefore(js,fjs);}}(document, 'script', 'twitter-wjs');

    at Riverside Theatre
    116 West Wisconsin Avenue
    Milwaukee, United States

  3. SocialBiz – Bay Area Social Media Meetup
    Event on 2014-03-11 16:30:00
    This SocialBiz BayArea Meetup group focuses on helping small businesses learn all about Social Media tools, tips, techniques and strategies to help you have a strong online marketing presence.

    Community (as defined by Merriam-Webster) ~ a unified body of individualsan interacting population of various kinds of individuals in a common locationa body of persons having common social and economic interests and especially professional interests

    Welcome to the Bay Area SocialBiz community!!!

    Each bi-monthly meetup will feature different speakers on a variety of topics. This is our chance to network, share our passion for social media and learn about this ever evolving world of new media tools…

    Light snacks will be provided. There's also a great no-host bar at the Adobe Creek Golf Club should you wish to get yourself a libation before heading upstairs to our event.

    Upcoming Meetups:

    September 28

    October 12

    Random eZanga Sponsor Link related to FANDUEL –

    October 26

    November 9

    November 30 (due to Thanksgiving holiday during the 4th week of the month)

    December 14

    Unless noted otherwise, all SocialBiz Meetups will take place on the 2nd/4th Tuesday of each month from 4:30pm-6:30pm at the Adobe Creek Golf Clubhouse.

    at Adobe Creek Golf Course
    1901 Frates Rd
    Petaluma, United States


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