Take a New England Ocean adventure from 7 Seas Whale Watch & Harbor Tours sailing daily out of Gloucester Mass. Located just an hour north of Boston at the end of Route 128, featuring a state-of-the-art GPS system that lets you follow along on your journey through the whales feeding grounds. Visit the website for more information.
Marblehead Massachusetts is a picturesque coastal town that is steeped in history. In its early years fishing and the shoe industry were Marblehead's two major sources of income. Today it is mainly a residential community with some minor industry and a few specialty retail stores and is known to be one of the yachting capitals of the world.
The original painting of "The Spirit of ˜76" is housed in Abbot Hall and visitors come from all over the world to see it. Visitors also come to view the scenic harbor and the narrow crooked streets in the Historic district that is lined with antique Colonial and Victorian buildings.
The town of Marblehead offers residents and visitors a series of events during the course of the year that include an arts festival and a tall ships cruise. Also offered are jazz concerts and a Christmas walk.
"Her show, whose selections change with every set, is a celebration of a 13-album career that is one of the most stable in jazz. She has an easy mastery of bebop, bossa nova, chanson and soft rock, to name four of the many styles in which she is comfortable. A hallmark of Ms. Allyson's performances is her casual attitude toward phrasing and interpretation. In her unstudied approach she is a cheerful, gamin roustabout hanging out with the guys...." - --Stephen Holden NY Times
With a repertoire that includes several original arrangements from the influential "Birth of the Cool" recordings, this band might appear to be a mere recreation of the Davis nonet. Yet that legendary unit of the late '40s is only one of the models that have inspired this new unit. Also identified are two Blue Note albums from the late '60s, McCoy Tyner's "Tender Moments" and Herbie Hancock's "The Prisoner," as specific inspirations. With that historic nod in mind, jazz composer and arranger Greg Hopkins has created yet another body of works for the same instrumentation in his own unique and original voice ... Alongside Hopkins, other luminaries in the group are: Pianist Tim Ray Drummer Bob Gullotti Bassist Keala Kaumeheiwa Trombonist Jeff Galindo French hornist Ken Pope Tubist Greg Fritze Saxophonists Shannon LeClaire and Allan Chase.
When: Aug 9, 2014 7 PM to Aug 9, 2014 10 PMin Marblehead, Massachusetts Cost: 27 - 37 USD (Sat, 09 Aug 2014 19 )
On Mandolin Orange's third release, This Side Of Jordan, there's a Lightnin' Hopkins lyric, "If fate's an old woodpecker then I'm an old chunk of wood." "I love the imagery that creates," Andrew Marlin, the duo's lyricist says, "You just picture death as this woodpecker that lands on your shoulder and starts chipping away at you until there's finally nothing left." In 2011 around the release of Mandolin Orange's acclaimed Haste Make/ Hard Hearted Stranger, Marlin had a near fatal accident. "It was scary," Emily Frantz, the other half of the North Carolinian duo says, "But ultimately it brought us together during a time when we needed a nudge in that direction." This Side Of Jordan is the story of that healing process, with tales of love and loss, told honest and bare. The opener, "House of Stone," quietly fades in with the hush of Frantz's fiddle then Marlin's guitar joins her, blooming. This moment of beauty is a gentle easing into the record that's drenched deep in the traditional music of Southern Appalachia. Since meeting at a local jam in Chapel Hill in 2009, Marlin and Franz have intertwined gospel, folk, and bluegrass but never so seamlessly as now. Recorded at the Fideltorium in Kernersville, North Carolina with bassist Jeff Crawford and a backing band, This Side Of Jordan still maintains Mandolin Orange's modest aesthetic with pure and calming sounds. It's a fitting juxtaposition to Marlin's undeniable lyricism. Religious faith and fable thread throughout the record with Biblical references used to "convey a different point," Frantz says. "In the south especially, we hear the Bible construed in any and every way to justify people's comforts and discomforts," Marlin further explains, "and it's so frustrating to watch those stories be used to limit people's happiness." This sentiment inspired "Hey Adam," where Marlin and Frantz urge in unison during the chorus, "Our Father loves you all ways." But this is not strictly a lyrical record. The duo's understanding of classic country, rock, and blues naturally appears. "Waltz About Whisky" swings like a honky tonk thanks to Nathan Golub's bending pedal steel as Marlin and Frantz plead, "Won't someone dance with me to a waltz about whisky and turn my sad songs to lullabies?" When Marlin's busy guitar weaves "Black Widow," Josh Oliver's sparse piano chords frame the track until its eerie conclusion. And "Morphine Girl" lazily trudges to James Wallace's drum while Ryan Gustafson conjures on electric guitar. The closer, "Until The Last Light Fades," was written before Marlin met Frantz. With just Marlin's mandolin and Frantz's guitar, it's the most fragile track on the record. Although it's always been one of the duo's favorites to play, it didn't feel right on either of their previous releases. "It was so rewarding to have held out and have it come full circle," Frantz explains in choosing the track to end the record. And as Frantz sings, "Born to die, born to die, darling you'll live no longer than your years," it comes across like an old adage, something faintly familiar. Marlin and Frantz have rambled through the dark and came out together on This Side Of Jordan more confident than ever. They've made simply structured songs with easy chords and humble harmonies. These are the hymns that Mandolin Orange was meant to offer. JONAH TOLCHIN Jonah Tolchin's Yep Roc debut album Clover Lane will be released in July 2014, and Tolchin will be back on the road, touring with Dave Alvin & Phil Alvin, Joseph Arthur, Christopher Paul Stelling, and other artists. This follows recent appearances with Tom Paxton, Chris Smither, Rickie Lee Jones, Deer Tick, Burton Cummings, and Tony Joe White. Tolchin has also appeared at SXSW Music Festival, Folk Alliance International, the Newport Folk Festival, and Falcon Ridge Folk Festival. The album, produced by Marvin Etzioni (Lone Justice) and engineered by Anderson East in Nashville, includes Chris Scruggs, Steve Berlin (Los Lobos), John McCauley (Deer Tick), Mickey Raphael (Willie Nelson), and more. It was mixed in Silverlake, California with Sheldon Gomberg (Charlie Musselwhite, Ben Harper) and mastered by Bernie Grundman. Previously, Tolchin independently released Criminal Man, recorded at Dirt Floor with Eric Lichter along with the help of musicians Ben Knox Miller of Low Anthem and Brown Bird's MorganEve Swain and the late, great David Lamb. His album 5 Dollar EP, also produced by Etzioni, came out in 2013. Clover Lane gets its name from an astonishing coincidence. Tolchin grew up in New Jersey on Clover Lane. As he tells it, "My parents bought the Clover Lane house in 1996. Fast forward to 2012. At the suggestion of a friend, record producer Marvin Etzioni came out to a show of mine in Los Angeles (Room 5). After an inspired conversation, a few weeks later Marvin and I were recording an album together in Nashville." The pivotal phone call to Etzioni that night had come from Jonah's friend, singer-songwriter Alex Wright. He and his wife Chris had met Marvin through their friend and neighbor in LA, Anna Serridge. When Jonah met Anna at the Wright's, he discovered, quite by chance, that she had lived in the very same house on Clover Lane and had sold it to Tolchin's parents sixteen years earlier. Tolchin says, "I am a believer in a deeper meaning behind life. This record is a passionate manifestation of the cosmos in perfect harmony. The house I grew up in on Clover Lane is the center of the spider's web from which the interconnected strands have been woven into these songs and recordings." In his younger days, a self-described "rebellious child," Tolchin ended up dropping out of his local public high school, running afoul of the law, and lapsing into depression. He spent a year being homeschooled on Clover Lane while honing his guitar skills. "I realized that I needed an outlet for this energy I had," he says, looking back. "It was then that I found out that my dad had lived in Mississippi for a time. He introduced me to the blues. I really felt a connection with that way of expressing myself and dealing with these pent up feelings and problems that we all have." Tolchin's interest in electric blues grew to encompass its acoustic predecessors, which in turn lead to him discover and embrace other traditional folk forms. From Guthrie's talking blues to the unyielding pulse of oldtime stringband music, Tolchin absorbed it, attempted to play it, and in the process found his own voice as a songwriter and a singer. His style, illustrated so convincingly on his Yep Roc debut Clover Lane, bridges the gap between classic folk self-sufficiency and punk's DIY defiance with a uniquely poetic, openhearted sensibility at its core.
When: Oct 3, 2014 8 PM to Oct 3, 2014 10:03:00 PMin Marblehead, Massachusetts Cost: 10 - 14 USD (Fri, 03 Oct 2014 20 )
North Shore Studio
Refine your technique this summer with Boston Ballet School’s master faculty! Master Class Series offers experienced students an opportunity to improve technique and learn Boston Ballet repertoire, including excerpts from Swan Lake. North Shore YMCA members save 10%!
When: Aug 4, 2014 9 AM to Aug 4, 2014 11 AMin Marblehead, Massachusetts (Mon, 04 Aug 2014 09 )
Griffin House was born and raised in Springfield, Ohio. His father worked in a tire shop and his mother helped place children with foster families. In high school, the athletically gifted House landed a role in a musical and was surprised to learn that he had a natural talent for singing. House bought his first guitar for $100 from a friend, turned down a golf scholarship to Ohio University and instead went to Miami University in Oxford, Ohio and started to teach himself how to play the guitar and write songs. House began writing and recording and issued his first independent release, Upland, in 2003. His music attracted attention from Nettwerk, a Vancouver-based management company and record label, and House partnered with the label's American branch to issue Lost & Found in 2004. In August 2004, on CBS Sunday Morning, music journalist Bill Flanagan (MTV/VH1) raved about Lost and Found, putting the newcomer on his short list of the best emerging songwriters in the U.S. "I bought House's CD after a show in New York City," said Flanagan, "and this never happens: I took it home and must have listened to it 20 times that weekend. I was knocked out." Several self-released albums followed, and in 2008 House released Flying Upside Down, produced by Jeff Trott and featuring Mike Campbell and Benmont Tench. House has released the majority of his records on his imprint label, Evening Records. House has toured extensively, opening for artists such as Ron Sexsmith,Patti Scialfa, Josh Ritter, John Mellencamp, Mat Kearney, and The Cranberries. Since 2007 House has been a national headliner.
When: Dec 12, 2014 8 PM to Dec 12, 2014 10 PMin Marblehead, Massachusetts Cost: 10 - 20 USD (Fri, 12 Dec 2014 20 )
MEG HUTCHINSON Meg Hutchinson is an award-winning songwriter who artfully documents the human condition. With a poet's ease, she makes the personal universal, allowing people's stories to come alive through her unique vocals and haunting melodies. Since the release of her Red House Records debut COME UP FULL in 2008, she has won high praise for her songwriting and has been featured nationally on NPR Music, XM/Sirius Radio and several times on the syndicated show Mountain Stage. Publications like The Winnipeg Free Press have compared her songwriting with that of veterans Mary Chapin Carpenter and Joni Mitchell. Growing up in the Berkshire Mountains of Western Massachusetts, the woods and rivers were her childhood muses, as were songwriters like Greg Brown and Joni Mitchell, and poets like Mary Oliver, William Stafford, and Robert Frost. When Hutchinson inherited her grandmother's 1957 Martin guitar at age eleven, her love of words found an inspiring instrument, and there was no turning back. "Songwriting is not something I chose, I've just somehow always known that this is what I love to do. This is what I can't help but do," she says. After graduating from college with a degree in creative writing, Hutchinson quit her longtime job on an organic farm and settled in Boston. In between gigs at pubs, coffeehouses and train stations, she won a Kerrville New Folk Award (2000) and was nominated for a Boston Music Award for her first studio album AGAINST THE GREY. She went on to win awards at the Rocky Mountain Folks Fest, the Telluride Troubadour Songwriter's Showcase in Colorado and The Chris Austin Songwriting Contest at Merlefest in North Carolina, all in the course of a year, causing national publications like Performing Songwriter to take notice. They called Hutchinson "A master of introspective ballads filled with understated yearning and an exquisite sense of metaphor." Teaming up again with Crit Harmon, Hutchinson recorded her Red House debut COME UP FULL over the course of more than a year in Boston. An instant folk hit, the album was one of the most played on folk and college radio and landed her on many "best of the year" lists. In fall the of 2009, Meg Hutchinson joined fellow songwriters Antje Duvekot, Anne Heaton and Natalia Zukerman to record the holiday EP WINTERBLOOM: TRADITIONS REARRANGED. A collection of eclectic holiday and wintertime tunes, the CD features original and traditional songs from a variety of backgrounds from a German hymn to a Yiddish folksong to a midwinter Greg Brown ballad. In 2010 Hutchinson released her second album on Red House Records, THE LIVING SIDE, showing that she was a songwriter who had fully arrived. With this album the lens grew larger as Hutchinson tackled some of the big issues of the time, all while maintaining that intimate and relatable voice which makes her songs resonate deeply. In her newest album, BEYOND THAT (releases September 24th 2013 on Red House Records) Hutchinson teams up once again with veteran Boston producer Crit Harmon for what is her most modern and intricate production to date. NATALIA ZUKERMAN Natalia Zukerman grew up in New York City, studied art at Oberlin, worked in mural arts in San Francisco, began her songwriting career in Boston, and now resides, writes, plays and paints in Brooklyn NY. The daughter of Classical musicians Eugenia and Pinchas Zukerman, Natalia found her sound in other strings those on slide guitar, lap steel, dobro. She found kinship in the earthiness and honesty of Folk, Bluegrass, Jazz and Blues music. Zukerman released her first studio album Mortal Child in 2001. In 2003, Zukerman recorded her second album in Brooklyn at Headgear Studios (The Yeah Yeah Yeahs, TV On The Radio). In 2006, Natalia collaborated with Melissa Ferrick to record "Only One" a collection of home studio recordings fans cherish today for their intimacy. The album artwork featured a line drawing of Natalia done by New Yorker character artist Andy Friedman one of the first inklings of Natalia tying in art with music. In 2008, Natalia collaborated with guitar hero Willy Porter who produced "Brand New Frame," her first album on Porter's label Weasel Records. Also in 2008, Natalia recorded and toured with "Daisycutter" a super group of fine instrumentalists from across the Folk circuit founded by standout fiddle player Sara Milonovich. In 2009, Zukerman teamed up with fellow songwriters Antje Duvekot, Anne Heaton and Meg Hutchinson to form "Winterbloom." Together they recorded "Winterbloom: Traditions Rearranged," a series of original and traditional winter and holiday songs. Winterbloom continues to tour each December and play winter and summer festivals, most recently Lilith Fair. (www.winterbloom.com) Zukerman is a professional guitar player and collaborator. She regularly records and tours with well known and respected musicians including Catie Curtis, Janis Ian, Willy Porter and Susan Werner. She enjoys playing with diversely talented friends/colleagues. She has toured major Folk, Jazz, listening rooms, Rock clubs and theaters in almost every US state, and has performed at American and Canadian festivals including Lilith Fair, Philadelphia Folk Fest, Michigan Womyns Fest, Ottawa Folk & Blues Fests, Summerfolk Owen Sound, Rocky Mountain Folks Fest, Telluride Bluegrass Festival, Sisters Folk Festival, National Women's Music Festival, and has toured overseas in The Netherlands, Germany and Japan.
"Rebecca Parris with her Trio: Brad Hatfield on Piano Peter Kontrimas, Bass and Jim Gwin drum plus special guests Steve Marvin, vocals and Mike Monaghan on reeds. Performing the Great American Songbook, Steve Marvin sings with the style and soul of Frank Sinatra, the Jazz feel of Jon Hendricks and the balladry of a Mel Torme. Each musician is highly-experienced, with some holding international acclaim. Emmy award winner Brad Hatfield is a composer and one of Boston's most prolific and popular musicians. His musical compositions have been heard on many movies and TV series You can also hear him playing solo piano for the opening scene and end credits of Clint Eastwood's film, Mystic River. Hatfield, Monaghan and percussionist Jim Gwin all play with the Boston Pops. Kontrimas is a Boston Music award winner and a leading recording engineer with his own recording studio, PBS Studios.
When: Aug 23, 2014 7 PM to Aug 23, 2014 10 PMin Marblehead, Massachusetts Cost: 27 - 37 USD (Sat, 23 Aug 2014 19 )
North Shore Studio
Tuesday, September 2, 2014
• Purchase Dress code from On Your Toes Dancewear
• Learn how to make a ballerina bun
• Enter-to-win a ballerina birthday party
• Special Adult Student offer: Purchase a 10 class card get your 11th class free
• Placement/Trial Class for 9-19 year olds 5:30-6:30pm
• Trial Children’s Class for 2-7 year olds 5:30-6:00pm
• Adult Event-free barre (possibly stretch and strengthen) class 6:00-6:30pm
"What's so bad about happy?" John Fullbright sings on the opening track of his new album, 'Songs.' It's a play on the writer's curse, the notion that new material can only come through heartbreak or depression, that great art is only born from suffering. "A normal person, if they find themselves in a position of turmoil or grief, they'll say, 'I need to get out of this as fast as I can,'" says Fullbright. "A writer will say, 'How long can I stay in this until I get something good?' And that's a bullshit way to look at life," he laughs. That plainspoken approach is part of what's fueled the young Oklahoman's remarkable rise. It was just two years ago that Fullbright released his debut studio album, 'From The Ground Up' to a swarm of critical acclaim. The LA Times called the record "preternaturally self-assured," while NPR hailed him as one of the 10 Artists You Should Have Known in 2012, saying "it's not every day a new artistearns comparisons to great songwriters like Townes Van Zandt and Randy Newman, but Fullbright's music makes sense in such lofty company." The Wall Street Journal crowned him as giving one of the year's 10 best live performances, and the album also earned him the ASCAP Foundation's Harold Adamson Lyric Award. If there was any doubt that his debut announced the arrival of a songwriting force to be reckoned with, it was put to rest when 'From The Ground Up' was nominated for Best Americana Album at the GRAMMY Awards, which placed Fullbright alongside some of the genre's most iconic figures, including Bonnie Raitt. "I never came into this with a whole lot of expectations," says Fullbright. "I just wanted to write really good songs, and with that outlook, everything else is a perk. The fact that we went to LA and played "Gawd Above" in front of a star-studded audience [at the GRAMMY pre-tel concert], never in my life would I have imagined that." John onstage at the Grammys, 2013 Onstage at the GRAMMY Awards. But for Fullbright, it hasn't been all the acclaim that means the most to him, but rather his entrance into a community of songwriters whose work he admires. "When I started out, I was all by myself in a little town in Oklahoma where whatever you wanted, you just made it yourself," he explains. "I didn't grow up around musicians or like-minded songwriters, but I grew up around records. One of the most fulfilling things about the last two years is that now I'm surrounded by like-minded people in a community of peers. You don't feel so alone anymore." If there's a recurring motif that jumps out upon first listen to 'Songs,' it's the act of writing, which is one Fullbright treats with the utmost respect. "When I discovered Townes Van Zandt, that's when I went, 'You know, this is something to be taken pretty damn seriously,'" says Fullbright. "'This is nothing to do with business, it has to do with art and identity.' You can write something that's going to outlast you, and immortality though song is a big draw." But just as important to Fullbright as writing is careful editing. "I can write a first verse and a chorus fairly easily, and it's important just to document it at the time and come back to it later," he explains. "That's the labor, when you really get your tools out and figure out how to craft something that's worthwhile." Fullbright inhabits his songs' narrators completely, his old-soul voice fleshing out complex characters and subtle narratives with a gifted sense of understatement. "My songwriting is a lot more economical now," he explains. "I like to say as much as I can in 2 minutes 50 seconds, and that's kind of a point of pride for me." The arrangements on 'Songs' are stripped down to their cores and free of ornamentation. Fullbright's guitar and piano anchor the record, while a minimalist rhythm section weaves in and out throughout the album. That's not to say these are simple songs; Fullbright possesses a keen ear for memorable melody and a unique approach to harmony, moving through chord progressions far outside the expected confines of traditional folk or Americana. The performances are stark and direct, though, a deliberate approach meant to deliver the songs in their purest and most honest form. Studio 2013 Working in the studio with Wes Sharon on 'Songs.' "I'm a better performer and writer and musician now, and I wanted a record that would reflect that," he says. "We tracked a lot of it live, just me and a bass player in a room with a few microphones. The basis is a live performance and everything else supports that. I think you just get as much energy and skill as you can into a take, and then start building from there. And what we found is that you don't have to add too much to that." The songs also reflect how drastically Fullbright's life has changed since the release of 'From The Ground Up,' which launched him into a rigorous schedule of international touring. "Going Home" finds him appreciating the simple pleasure of heading back to Oklahoma, which he likens to The Odyssey. "When you're gone for so long, once you know you're headed in the right direction to your own bed and your own home, that's one of the greatest feelings you can have," he says. "I Didn't Know" is a song he premiered live at concert hosted by Emmylou Harris & Rodney Crowell, a story he tells still somewhat incredulously, while "When You're Here" is a somber piano love song, and "The One That Lives Too Far' is a raw account of the strain that distance can put on a romantic relationship. "All That You Know," which features just voice and Wurlitzer, implores listeners to appreciate what's right in front of them, and the finger-picked "Keeping Hope Alive" is a song of resilience through hard times. To be sure, 'Songs' has its moments of darkness, tracks born from pain and heartbreak, but for a craftsman like Fullbright, there are few greater joys than carving emotion into music, taking a stab at that lofty goal of immortality through song. It makes himand his fanshappy, and there's nothing bad about that. GREG KLYMA Greg Klyma is a prolific songwriter, multi-instrumentalist and seasoned performer, bringing to every stage a catalog of material that assumes his audiences are both smart and able to laugh. His birth date puts him squarely in the middle of Generation X, but Greg is an old-school troubadour. His enduring themes, articulate and amusing stories, and populist ideals make him one of those rare young artists who is carrying the torch of Woody and Ramblin' Jack. He rolls in off the road, pulls out a guitar, and proceeds to take us back to the basics: family, love, gratitude, and laughter. It's the timeless art of the true troubadour, keeping alive the American folk tradition. 15 years into a career that has yielded seven albums, dozens of national tours, and the acclaim of folk's most prestigious reviewers, Greg's eager fans paid for his new album. Completing the online fundraising well ahead of schedule, Klyma delivers an emotionally charged blend of fan favorites from recent tours, and plenty of never-before-heard material on his eighth album, Another Man's Treasure. Long known as a passionate and largely positive populist, Klyma's new album showcases an impressively matured songwriting talent. Travelling the perilous landscape of love, Another Man's Treasure admits sadness, anger, regret and profound tenderness. Going beyond the Woody Guthrie/Mark Twain sass of recent years, Klyma shows himself navigating intimacy as a thoroughly modern man. But this blue-collar boy knows when to swallow the heartbreak, and so the album rallies with an equal measure of punky sing-alongs and bootstrap lifters. Solo tracks feature Klyma's adroit guitar and banjo picking, while the band numbers rollick with great energy and a chorus of harmonies, thus welcoming the listener to Klyma's universe: long drives alone full of solitary contemplation, landing somewhere in America to shake the rafters and remind everyone of the love and dedication that keeps us going.
When: Nov 21, 2014 8 PM to Nov 21, 2014 10 PMin Marblehead, Massachusetts Cost: 10 - 18 USD (Fri, 21 Nov 2014 20 )
John McCutcheon's first award-winning song was titled The Ponderosa No-Cream-in-My-Coffee Blues, penned at the greasy spoon of the same name in his Wisconsin hometown. He was all of 15 years old and it won him his high school talent show. "My best friend claims that he still has a cassette of the song," McCutcheon recently disclosed, "and if we ever have a serious falling out it's going right up on YouTube." Since those early creative days John McCutcheon has gone on to write hundreds of songs and garnered more than his share of accolades. His eclectic catalog of ballads, historical songs, children's songs, love songs, topical satire, fiddle and hammer dulcimer instruments, and even symphonic works are among the broadest in American folk music. His thirty-six albums have earned 6 Grammy nominations. His songwriting has been hailed by critics around the world; his song Christmas in the Trenches is considered a classic and was recently named one of the 100 Essential Folk Songs. "What sets McCutcheon's songs apart is that he's actually writing about something!" observed well-known folk music DJ Bob Blackman. Whether it's a musical snapshot of a day in the life of an Alaskan salmon fisherman, a child's pondering the loss of her first tooth, remembering a moment that was omitted from our history books, lampooning the latest foibles on the national political scene, or celebrating the joy of old love McCutcheon's songs are always about something small and, at the same time, something much bigger. "All big things start with little things," he observed, "the way in which a song is able to open up the universal from the personal is one of the great joys of writing." In addition to his own writing, John has collaborated with some of the major songwriting talents in the folk music world including Tom Paxton, Si Kahn, Holly Near, Steve Seskin, and Tom Chapin. In 2006 he released an album of collaborations entitled Mightier than the Sword, in which he co-wrote songs with some of his favorite authors, including Barbara Kingsolver, Wendell Berry, Rita Dove, Lee Smith, and Carmen Agra Deedy. He has worked in the Woody Guthrie Archives completing some of Guthrie's unfinished songs and has composed musical settings of poetry by Pablo Neruda and Jose Martí. With his deep roots in American traditional music, his approach to writing reflects both a simplicity and a layered complexity that creates songs that are always more than they seem. "He is a master at the difficult craft of the ballad," touted the Boston Globe. "Storytelling with the richness of fine literature," added the Washington Post. "One of our country's best songwriters," said Pete Seeger.
When: Nov 14, 2014 8 PM to Nov 14, 2014 10 PMin Marblehead, Massachusetts Cost: 10 - 20 USD (Fri, 14 Nov 2014 20 )
Study ballet and the wider world of dance daily in a camp-like setting. Enrichment classes include Chinese Dance, Musical Theatre, Drama & Acting, Jazz, Choreography and more. Extended care options available and North Shore YMCA members save 10%!
North Shore Studio
When: Jul 23, 2014 9 AM in Marblehead, Massachusetts (Wed, 23 Jul 2014 09 )
Stop by Boston Ballet School’s North Shore Studio for their Summer Open House on Thursday, July 24 from 1-3pm!
See what our campers have learned this summer, meet our faculty, tour our state-of-the-art dance studios and get to know Boston Ballet School. Enter our raffle to win a special prize, and SAVE $50 when you register for the fall!
TUMBLING BONES Tumbling Bones is a group of young men inspired by old music. Drawing on bluegrass and pre-WWII folk, these songsters play a mix of original compositions and traditional material infused with the infectious energy of the rock'n'roll they were reared on. They make their music with nothing but acoustic instruments, tap shoes, and most importantly, their voices. With more and more string bands popping up every day, these boys have established themselves as one of the preeminent vocally-driven roots groups. With nuanced a cappella gospel numbers and inventive harmony arrangements, Tumbling Bones are enrapturing audiences both in the United States and Europe. Founding members Pete Winne (guitar, foot percussion) and Jake Hoffman (banjo, upright bass) met ten years ago when they were randomly assigned as college roommates. They formed Tumbling Bones in 2011 and two years later joined forces with songwriter and guitarist Kyle Morgan. The addition of Morgan allowed the band to do what they love bestsing in dynamic three-part harmonyand to create a distinct sound weaving Morgan's original songs with their passion for traditional American folk music. These road warriors have sung on street corners and stages across Europe and the United States including an appearance on NPR's A Prairie Home Companion with Garrison Keillor. Their debut EP, Risk Not Your Soul, cracked the Top 10 on the Roots Music Report's folk radio chart. Last year they were chosen as finalists for the extremely selective American Musicians Abroad program, a U.S. State Department-funded project that sends American bands overseas to perform and lead music workshops for students. In spring 2014 they release their first full-length album, which they recorded in an 18th century farmhouse in their home state of Maine. Loving a Foolhalf original songs and half traditional numbers with a Tumbling Bones stamphits Europe in April and breaks into US airwaves in June. Tumbling Bones are passionate about the heritage of American music and their honest, no frills take on it burns with a fire that's all too often missing from the increasingly ubiquitous Americana-by-numbers -Hot Press Wind-up-clock tight and a fresh burst of energy -Philadelphia Weekly CRICKET TELL THE WEATHER Based in the New York-Connecticut area, Cricket Tell the Weather is an indie string band featuring bluegrass-inspired original music. Winners of the 2013 FreshGrass Award, Cricket is rooted in the bluegrass tradition, and expands to include rock, pop, and chamber ensemble elements. Award-winning songwriters Andrea Asprelli (fiddle) and Jason Borisoff (guitar) received a blue ribbon in 2011 at the Podunk Bluegrass Festival Songwriting Competition for their co-written song "Remington". They are joined by NYC native Doug Goldstein on the banjo and Jeff Picker on bass from Portland, OR. The band has twice been awarded the Neighborhood Arts & Heritage Grant from the City of Bridgeport, and is actively involved in providing bluegrass workshops to to students of all ages under their "American Roots Revival" workshop series. Committed to respecting and furthering the traditions of American music, the quartet's voice carries a new spirit that explores a century of influences, owing as much to the traditions that inspired bluegrass to the journey that follows. Cricket Tell the Weather is: Andrea Asprelli, fiddle; Jason Borisoff, guitar; Doug Goldstein, banjo; Jeff Picker, bass. Cricket's extended family is Dan Tressler (mandolin) and Hans Bilger (bass).
The son of a welder from rural New England, Rod Picott is a masterful songwriter and soulful singer who carries with him as fine a suitcase of songs as you'll find anywhere. Slaid Cleaves, Ray Wylie Hubbard and Fred Eagelsmith have recorded Rod Picott songs. A former construction worker who hung up his tools when he released his debut CD in 2000, Picott has carved a career for himself with a run of 6 beautifully crafted self released CDs over the last 13 years and a well earned reputation as a engaging, emotion fueled performer. Hang Your Hopes On Crooked Nail, produced by RS Field [Billy Joe Shaver, Justin Townes Earle, Hayes Carll] is a collection of carefully crafted songs of rugged truth and beauty. Recorded at Joe Pisapia's [KD Lang, Guster] Middletree Studios in East Nashville the CD highlights Picott's particular gift for exploring complex themes in common language. The eleven songs on Hang Your Hopes On a Crooked Nail offer an unblinking albeit wry gaze into our common heart and a clenched fist of defiance against the trials that tear at our humanity. "Accept Rod Picott for what he is; Americana of the highest order" Julian Piper/ Acoustic Magazine "Gems that finely balance despair, desire and optimism with dexterity" Arthur Wood/Maverick Magazine "Hangdog lyrics and deadpan delivery have the ability to strike a chord with anyone who has a heart." Alison Stokes/Country Music People RADOSLAV LORKAVIC Drawing from a multitude of influences ranging from elegant classical and jazz styles to the rawest, most basic blues, country and soul, Radoslav Lorkovic has taken on an unusually broad musical spectrum and refined it into his distinctive piano style. His tenure on the R&B and folk circuits has culminated in five critically acclaimed solo recordings and numerous appearances on the recordings of and performances with artists including Odetta, Jimmy LaFave, Ribbon of Highway Woody Guthrie Tribute, Greg Brown, Richard Shindell, Ellis Paul, Ronny Cox, Dave Moore, Andy White, and Bo Ramsey. His thirty year touring career has led him from the taverns of the upper Mississippi River to the castles of Italy, The Canary Islands, The Yup'ik villages of Alaska, The Kennedy Center and Carnegie Hall. Born in Zagreb, Croatia in 1958, Lorkovic's initial exposure to music can be attributed to two grandmothers. Antonija, his maternal Grandmother, sang him Croatian, Slovenian and Czech folk songs since birth. At age one he was reported to be singing back on pitch. By age three he was putting on floor shows for his grandfather and friends who would respond by showering him with coins yelling "pivaj Radoslav pivaj!" During this time classical music played in the home constantly due to the influence of his paternal grandmother Melita Lorkovic, a internationally renown classical pianist. After this blend of central European musical influences Radoslav moved to the United States at age six. He had a foothold on a classical music career when at age fourteen he was sidetracked by a blues scale that a friend had taught him. After several years and countless hours of expounding on this spark, Lorkovic began touring at age 20 with Bo Ramsey and the Sliders. Lorkovic entered the band having mastered the styles of boogie-woogie greats such as Albert Ammons, Pete Johnson, Freddie Slack etc.. Ramsey's influence drove Lorkovic deeper to the core of the blues. The music of Howlin' Wolf, Muddy Waters and Little Walter shifted Lorkovic's focus to the basics as he began to draw from the styles of Otis Spann and Pinetop Perkins. Several years later Lorkovic and Ramsey joined forces with Greg Brown adding musical authenticity to his deep Iowa Roots. At this time Lorkovic was simultaneously brushing up on his classical heritage and looking south to the polyrhythmic sounds of Professor Longhair and James Booker. He had picked up Tex-Mex and Zydeco accordion as well. In 1990 he made his solo recording debut. Six CDs later, Lorkovic currently tours the world regularly appearing at prestigious events such as the Woody Guthrie Folk Festival, WOMAD, Winnipeg, Calgary, Edmonton and Ottawa folk festivals, Falcon Ridge Folk Festival, Mountain Stage, Prairie Home Companion, eTown as well as a litany of Italian castles and villas.
When: Nov 7, 2014 8 PM to Nov 7, 2014 10 PMin Marblehead, Massachusetts Cost: 10 - 18 USD (Fri, 07 Nov 2014 20 )
North Shore Studio
Tuesday & Thursday, 9-11am
Summer Children’s Program classes introduce young students to the joy of dance in an age-appropriate and fun environment. Students explore the storylines, characters and music of popular classical ballets through movement. North Shore YMCA members save 10%!
When: Jul 23, 2014 9 AM to Jul 23, 2014 3 PMin Marblehead, Massachusetts (Wed, 23 Jul 2014 09 )
The Boston music scene has spawned so many great artists, it's hard to keep up, from flat-out rockers like Aerosmith and Morphine to thoughtful folkies such as Patty Griffin and Ellis Paul. That's where Catie Curtis comes in. With her instantly recognizable voice and insightful and often humorous lyrics, Curtis has steadily gained a sure footing among her peers. Curtis first garnered attention as she toured the house concert and coffeehouse circuit (circa the early '90s) to support her independently released disc, From Years to Hours, which followed the cassette-only release of Dandelion in 1989. Her young sound had echoes of Rickie Lee Jones and her songwriting revealed an innocent yet heartfelt poetry that would only get deeper and richer with more life experience. Hear Music took note and put out Truth from Lies in 1995. That offering got Curtis noticed over at EMI/Guardian, who, consequently, re-released the disc in 1996 and its successor, Catie Curtis in 1997. These albums showcased the evolution of the artist and songwriter, as she moved slowly away from her raw folk roots to a slightly more pop sound. The song "Soulfully," from Catie Curtis, was warmly embraced, and found its way to both radio and television with exposure on Dawson's Creek and Chicago Hope. Crash Course in RosesCurtis continued to build a fan base through extensive touring, even hopping on legs of the Lilith Fair tour. When her label closed its doors, she found another home at Rykodisc and sent A Crash Course in Roses into the world in 1999. This offering centered around the haunting theme of the impact of sudden events on life. After touring with Dar Williams for a spell, Curtis was inspired for the next project. So, for her 2001 effort, My Shirt Looks Good on You, she took a more collaborative approach to the songwriting and teamed up with a number of Boston's finest songwriters, including Billy Conway and Mary Gauthier. She also teamed up with hotshot producer/engineer Trina Shoemaker to redefine her sound while making the record. The result was another surefooted step forward for Curtis and a harbinger of more great things to come. Dreaming in Romance Languages, Curtis' first for Vanguard, appeared in 2004. Long Night Moon, much of which reflected on her life as the new mother of two adopted little girls, arrived in 2006, followed by the aptly titled Sweet Life in 2008. JENNA LINDBO Music Player - Listen Now! Jenna Lindbo - Let There Be Love Follow Jenna: Facebook Twitter RSS One part wise old woman and one part goofy little kid, Jenna Lindbo is going to find a way to your heart. It's only a matter of time. An Oregon native, Jenna travels the country, inspiring audiences from Asheville to Anchorage with her rootsy folk songs and infectious joy. Along the way she keeps meeting folks who love to hear her music, soak up the effervescent energy of her shows, and get smacked upside the heart. "A songwriter with serious spark!" Buoyed by the experience, inspiration, and exposure from touring extensively with Catie Curtis, Jenna's solo career is taking off. She's currently celebrating the release of her new cd, Jasmine Parade (2012), produced by Lorne Entress. With lush arrangements and simply adorned songs, this album beautifully captures Jenna's storytelling and reflects a deepening in her art as well as a rich new chapter unfolding. The songs on Jasmine Parade as well as her first release, Strings & Spokes (2010) bring joyful attention to the sweetness and sorrow of life worth living. Jasmine Parade features appearances by Catie Curtis, Kai Welch (Abigail Washburn), Edie Carey, and Peter Mulvey. "If you don't have fun listening to Jenna, it's pretty much your fault." Peter Mulvey
When: Oct 24, 2014 8 PM to Oct 24, 2014 10 PMin Marblehead, Massachusetts Cost: 10 - 22 USD (Fri, 24 Oct 2014 20 )
Called Canada's finest singer-songwriter by one of the most respected and lauded music journalists of the last 50 years, James Keelaghan is an artist who has proven to be a man for all seasons. As the calendar pages have turned, for almost a quarter of a century now, this poet laureate of the folk and roots music world has gone about his work with a combination of passion, intent and intensity, and curiosity. Fusing his insatiable appetite for finding the next unique storyline Keelaghan also forges his pieces with brilliantly defined craftsmanship and a monogrammed artistic vision, making him one of the most distinctive and readily identifiable voices of not only the Canadian scene, but as a member of the international singer-songwriter community. Armed with a songbook that has enlightened and enthralled, and been embraced, by audiences around the world, Keelaghan's life as an artist is one that is a perpetual journey on so many levels. Most importantly it's a journey that has invited fans of literate and layered songwriting to be a part of his artistic expeditions, some that weave their way through marvelously etched stories of a historical nature with underlying universal thenes , and others that mine the depths of the soul and the emotional trails of human relations. His masterful story telling, over the course of nine recordings, has been part of the bedrock of his success, earning Keelaghan his share of nominations and awards, and acclaim from Australia to Scandinavia. "The necessity to write has always been a double-edged sword. I've always had the urge to write. Some things weren't being said in the way I wanted to say them. Then there are the different sides of what I write about. The narrative writing, the historical material, as well as the personal, where you have to take responsibility for what you are saying," says the Calgary native who has been calling Winnipeg home for the past few years. A disciplined visionary, Keelaghan's aces have long been a love of language, and history, as he earned a history degree years ago, his skills as a thespian that he acquired at an early age, that explain his ability to make an immediate connection with audiences in a live setting, and an ear for a memorable melody, and harmonies that make those melodies glisten. "I'm good for 80 or so books a year, mostly history, non-fiction, but inspiration can come in many forms, I'm always on the lookout for a good story or idea. My sister told me the story that became Kiri's Piano. It was such an image," says Keelaghan that visits a dark chapter in Canadian history, Japanese interment camps in the Second World War. Not only does his deep catalogue include timeless originals like Fires of Calais, Cold Missouri Waters, Jenny Bryce, Hillcrest Mine, and Kiri's Piano. Keelaghan is also a possessive interpreter of outside material, a fine example being his gripping take on Gordon Lightfoot's epic Canadian Railroad Trilogy on the Lighfoot Tribute disc Beautiful. There are a number of illustrations of his interpretive skills on his 2006 recording A Few Simple Verses. The closing tune on that spellbinding set, My Blood written with Jez Lowe, is one of many examples in Keelaghan's career, where he has invited collaboration into his creative process. "I was at the Celtic Colors Festival in 2008 and the producers locked six of us in a house for a week, and the company included Dave Gunning, David Francey, and Rose Cousins, it was an amazing experience. We had to come up with enough material for a show at the end of it. "To go along with a lifelong accumulation of influences, there have been these opportunities to work with equals, whether if be Oliver Schroer, Hugh McMillan, or Oscar Lopez. The sparks of collaboration, batting melodies back and forth, whatever, have produced some wonderful results," says the artist who ties it all together with a powerful voice, delivery, and a commanding presence where he finds a balance between examining the lighter and heavier sides of life. Admiration and respect for his work amongst his peers is best summed up by David Francey who recently stated that, "James Keelaghan sis a voice in contemporary Canadian songwriting that has helped us define who we are as a people. He writes with great humanity and honesty, with an eye to the past and a vision of the future. He has chronicled his times with powerful and abiding songs, with heart and eyes wide open."
When: Jan 16, 2015 8 PM to Jan 16, 2015 10 PMin Marblehead, Massachusetts Cost: 10 - 20 USD (Fri, 16 Jan 2015 20 )
Session Americana is a rock band in a tea cup, or possibly a folk band in a whiskey bottle. This band/collective of talented musicians craft an musical experience unlike any other. On stage is a collapsible bar table wired with microphones, a vintage suitcase recast as a kick drum, an old Estey field organ, a pre-war parlor guitar, a mandocello made by a college room-mate-turned-luthier, a harmonica case fire damaged when Jack's bar went up in flames and graffitied by Depeche Mode roadies, and an assortment of other instruments get passed around in this freewheeling modern hootenanny. The anything-could-happen feel of a Session show depends on craft that's not accidental or easily-won; they bring a kind of ease and genuineness to this timeless music, sometimes presenting the latest batch of original songs and sometimes reaching back into depths of the American "song bag". Session America is an absolute must-see, must-hear. Says David Greenberger of NPR: "I'd give them 100 miles. That is to say, if they're playing anywhere within 100 miles of your home, you drive there and are grandly rewarded for your effort." Eirecana Blog: "the sort of lively, foot-tapin' music that one needs on a Friday night"
Best remembered for his crossover hit "Sunshine," country and folk singer/songwriter Jonathan Edwards was born July 28, 1946, in Aitkin, Minnesota, and grew up in Virginia. While attending military school, he began playing guitar and composing his own songs. After moving to Ohio to study art, he became a fixture on local club stages, playing with a variety of rock, folk, and blues outfits, often in tandem with fellow students Malcolm McKinney and Joe Dolce. In 1967, Edwards and his bandmates relocated to Boston, where they permanently changed their name to Sugar Creek and became a full-time blues act, issuing the 1969 LP Please Tell a Friend. Wanting to return to acoustic performing, he left the group to record a solo album. Near the end of the 1970 sessions, one of the finished tracks, "Please Find Me," was accidentally erased, forcing Edwards to instead record a brand-new composition. The song was "Sunshine," and when it was released as a single the following year, it quickly became a Top Five pop hit. With the release of 1972's Honky-Tonk Stardust Cowboy, Edwards' music began gravitating toward straight-ahead country; his label was at a loss as to how to market the record, however, and over the course of two more albums, 1973's Have a Good Time for Me and the following year's live Lucky Day, his sales sharply declined. Soon, Edwards dropped out of music, buying a farm in Nova Scotia. Elite Hotel In 1976, Edwards' friend Emmylou Harris enlisted him to sing backup on her sophomore record, Elite Hotel; the cameo resulted in a new record deal and the LP Rockin' Chair, recorded with Harris' Hot Band. Sail Boat, cut with most of the same personnel, appeared a year later. Another layoff followed, however, and when Edwards resurfaced -- with an eponymous 1982 live record -- it was on his own label, Chronic. After touring the nation with a production of the musical Pumping Boys and Dinettes, Edwards joined the bluegrass group the Seldom Scene, issuing the 1983 LP Blue Ridge. After a 1987 solo children's record, Little Hands, Edwards moved to Nashville; his 1989 album The Natural Thing generated his biggest country hit, "We Need to Be Locked Away." A follow-up, One Day Closer, appeared in 1994. Two years later, Edwards followed up with Man in the Moon. He released two concert albums during this time, including 2007's Live in Massachusetts and 2010's Rollin' Along: Live in Holland. In 2011, Edwards returned with the studio album My Love Will Keep. JAMES LEE STANLEY t is only a long lived singer-songwriter career that lets JAMES LEE STANLEY unite the unpredictable creative turns and the eclectic elements that make up his world. His remarkable ability as a vocalist and composer allow him to create songs, each recorded with a finely crafted with guitar orchestrations that enhance the lyric. But a whole new dimension is added when James Lee performs live. These incredible songs, coupled with his outragously hilarious repartee, make for an evening of hilarity and tenderness and one of the most entertaining concerts on the circuit. He has been hailed as one of the few all time greats and undisputed geniuses among singer-songwriters. Fi Magazine listed his FREELANCE HUMAN BEING as one of the finest recordings of 1998 and one of the Top 200 Recordings of all time - FI Magazine March 1999. JAMES LEE STANLEY, the true renaissance man, was born in Philadelphia, PA, and has been recording and performing since he was fourteen. He has toured consistently since he returned from the USAF (as a Chinese linguist) and has performed up to three hundred dates a year since then, with such diverse acts as BONNIE RAITT, ROBIN WILLIAMS, NICOLETTE LARSON and even BILL COSBY. STEVEN WRIGHT chose James Lee as his opening act for three years in a row; a testament to his professionalism and talent.
When: Oct 17, 2014 8 PM to Oct 17, 2014 10 PMin Marblehead, Massachusetts Cost: 10 - 26 USD (Fri, 17 Oct 2014 20 )
Join us at On Your Toes Dancewear to celebrate the launch of the new Bodywrappers Slipper designed for Boston Ballet School!
Saturday, August 2 from 11 am–2 pm
Special events include:
• Ballet Story Hours
• Sample warm-up classes by Boston Ballet School faculty
• Raffles, giveaways, and more!
On Your Toes Dancewear
194 Newbury Street
Route 1 South
Peabody, MA 01960
When: Aug 2, 2014 11 AM to Aug 2, 2014 2 PMin Marblehead, Massachusetts (Sat, 02 Aug 2014 11 )
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