Tickets will be available at the door for the Richard Thompson show on Saturday, October 18th!!

The Box Office will open at 6:30 p.m. There will be approximately 75 tickets for sale. Amanda Shires opens the show at 7:30 p.m followed by Richard Thompson at about 8:30 p.m.

We look forward to seeing you there.

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Tickets will be available at the door for The Quebe Sisters with special guest, Tim Shelton, tonight at Parrish Audtorium.

Showtime is 7:30 p.m. Cash and checks accepted at the door.

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Tickets will available at the door for both the John Cowan and Pokey LaFarge shows. Amanda Shires will open for Richard Thompson.

Both shows start at 7:30 p.m.

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Interview with John Cowan about his new Album, Sixty by Jewly Hight (www.cmtedge.com)

Lest there be any question, the old adage “you never get a second chance to make a first impression” is equally applicable to music. Ask John Cowan. He’s just released Sixty, an eclectic album that marks the milestone birthday of its title.

But he was first introduced to the acoustic scene in the ‘70s as a fresh-faced, longhaired, powerfully projecting singer and electric bassist with a mandolinist who occasionally reverted to fiddle, a banjo player and an acoustic guitarist for bandmates.

“It’s bizarre,” says Cowan. “That band broke up on New Years of 1990. Twenty-four years later, that’s still how I think I’m thought of more than anything. People think, ‘Oh, I remember John Cowan from New Grass Revival.’”

The other thing to keep in mind about Cowan is that he’s a fantastically broadminded musician, the kind of artist who’ll find ways to embroider outside elements into a seemingly straight-ahead gig and stock his album with ‘grassy, prog-rock, folk-rock and jazz-pop flavors.

CMT Edge: I’m used to seeing musicians celebrate their 20th, 40th or 50th year in the business, rather than a landmark birthday. Why did you go that route?

Cowan: I had a really cool birthday party last year. It was kind of like my record. Everybody that I’d ever known in Nashville showed up [and performed]. As we were working on this record and everybody ended up calling [and asking] to be a part of it, it seemed like it was [a significant] event, and that just seemed an appropriate thing to do. There are no original songs on it. It’s a snapshot of everything I’ve ever done since I started playing music.

You’ve got a bunch of songs from the ‘60s and ‘70s — the Beatles, Marty Robbins, the Burrito Brothers, the Youngbloods. Even the Jimmie Rodgers song came from a Doc Watson album from the ‘70s. And then there’s a Fleet Foxes song.

There’s a bunch of everything. There’s stuff that I grew up with, stuff that I continue to listen to that’s contemporary. That’s kind of how I am. I’ve always been kind of schizophrenic musically.

Since your background was in Southern rock, boogie rock, that sort of thing, what possessed you to audition for a hybrid acoustic band like New Grass Revival?

I dropped out of college to pursue music. I knew when I was 14 that I wanted to be a musician. And they were a band that had already made a record. I was working at a car wash, and it was like, “Oh, you mean I can go play music for a living with a band that makes records? OK, where do I sign?” …

I had seen them play, since I lived in Kentucky, and someone had dragged me out to see them. I knew who they were, and I thought they were cool. If someone had said to me at that point, “Here’s a million dollars. Go make the music you want to make,” that [style of music] wouldn’t have been it. However, I thought they were cool. They looked like me. They just played banjos and mandolins.

I’ve seen people who aren’t fans of acoustic music take an interest in it because of hearing you sing, especially folks whose tastes run to R&B or rock.

I’ve heard that my whole life. In New Grass, we heard that a lot: “I didn’t really like bluegrass. I didn’t want to like it. And I heard you guys, and there was a touchstone there I could relate to since I was a rock ‘n’ roller.”

Why do you think it’s still rare to see a vocal style like yours paired with a string band decades later?

Because I think it doesn’t necessarily make sense on paper. The truth is, I grew up listening to Aretha Franklin, Stevie Wonder, the Allman Brothers and Bonnie Bramlett. When I sang, this gospelish, R&B voice came out of me. Here I am in a band with a banjo, a fiddle and a mandolin. They know I can sing, I know I can sing, so the obvious thing was to go, “Let’s let him sing. Maybe it’ll make it even cooler.” But on paper, it doesn’t make a lot of sense.

I think what the Allman Brothers did was very close. They were a bunch of young, hippie guys that liked jazz and rock ‘n’ roll. They were a template for us. They took blues and injected rock n’ roll into it. We took bluegrass and did the same thing.

You’ve gone on to work with a number of foundational country-rockers, guys from Poco, the Eagles, the Byrds, the Burritos, the Doobies. What role did New Grass play in introducing you to those musicians?

Here’s the truth about that: My tenure in New Grass Revival opened a million doors for me. It’s really curious because though we never had any hits, we were so well thought of by our peers. It just opened so many doors for me. Musicians always knew who New Grass Revival was, and we were always on the periphery of being successful, though we never actually were.

I read an interview where you said that you learned you weren’t really a country singer during your time in the Sky Kings. Can you tell me more about that realization?

My singing was already in place at that point. With New Grass, when we were putting singles out on Capitol, and they were 100 percent behind us and we had a couple that made little dents here and there on the charts, I was just singing the way I sing.

Here’s what happened when [the Sky Kings] tried to do this country deal with RCA and eventually Warner Brothers: I continued to sing the way I sing, but we were trying to get on the charts and compete with everything that was contemporary in country at that moment. …

This is kind of interesting for me to say to the press, but something seemed inauthentic for me about it. I don’t know why. I just know it didn’t work. It could have been about timing. I think that was a really good band, and I think we did some really good work.

It was interesting to hear you sing Marty Robbins “Devil Woman” on this album.

Here’s my take on that: I love Marty Robbins, and I love Jim Reeves. If you listen to Hank Williams Sr. or Lefty Frizzell, really, Marty Robbins was not a country singer.

More of a crooner, really.

Yeah, he was a crooner. He had a beautiful voice. He sounded like a trained singer, but he wrote these amazing songs. I’m glad he had so many hits in country music, you know. But he’s not a traditional country singer.

For me, it’s not a stretch to try to sing “Devil Woman” because, really, we’re the same kind of singer. We’re guys that are blessed with really pleasing, beautiful voices that are like an instrument. So that’s not such a stretch. I don’t envision myself singing a John Anderson song or a Hank Sr. song because I think that’s too much a stretch for the ears.

Because you’ve done so many things since New Grass Revival — the Sky Kings, solo R&B albums, the John Cowan Band, the Doobies — people have described that time as an era when you were figuring out what it was you wanted to do. Do you look at it that way?

Honestly, I’ve always been led by musical instincts. That’s the truth. I’ve just been led around the nose by what appeals to me, by what I like.

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We have been told that the Internet ticketing site is up and running again – September 1st.

http://www.miamioh.edu/boxoffice

You also can purchase by phone beginning September 2 at either 513 529-3200×4 or 513 727-3412.

Thanks for your patience during this outage.

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Internet Website is down again!! Call 529-3200 (Oxford Box Office) or 513 727-3412 (Middletown)to order tickets

It is frustrating for us too!!

Email me at epsteihr@miamioh.edu with any questions.

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On-line sales are available again at www.miamioh.edu/boxoffice -other options are also available

In addition to internet sales at http://www.miamioh.edu/boxoffice, you can call 513 529-3200 during normal business hours.

The Cashier’s office on the Middletown Campus has a supply of tickets and will also sell over the phone. Call 513 727-3412 and speak to Diane or Tracy.

Season tickets are still available by mail order. Email the Series Director at epsteihr@miamioh.edu for a form (you can also order single tickets through this method as well with NO FEES).

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August 20th, 2014 – Our Internet Ticketing System is down -Alternative ways to buy tickets

1. You can purchase tickets in person or by phone thorough the Cashier’s Office on The Middletown Campus. Call 513 727-3412 and speak with either Tracy or Diane. Credit Cards accepted. No Fees on these purchases.

2. Mail order – Email epsteihr@miamioh.edu for a form. Make a check payable to Miami University. Your tickets will be mailed to you. There are NO FEES on these purchases as well.

Sorry for the problems with the ticketing system, but this is the fault of our provider and not the University.

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Carolina Chocolate Drops to appear at Miami University Hamilton on Friday, October 24th, 2014

The date is set. Tickets are on sale now at H.O.M.E. Box Office in Oxford. Call 513 529-3200 to get your tickets. email epsteihr@miamioh.edu for a mail order form (NO Fees)

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
–Michael Hill

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John Cowan and friends to kick off MUH Artists Series

muartistseries:

Thanks to HEY! Hamilton! for their support.

Originally posted on heyhamilton.com:

In support of John Cowan’s new album entitled “Sixty,” Cowan performs with Doobie Brothers bandmate and album producer John McFee.

  • 7:30 p.m. Saturday, Sept. 13 at 7:30 pm in Parrish Auditorium!

John Cowan, one of the most legendary voices in roots music, will soon release a album entitled “Sixty.” Cowan recently completed putting the finishing touches on the project which promises to be the celebrated singer/bassist’s most ambitious and compelling solo release to date.

Working with Doobie Brothers band mate John McFee, who expertly helms the producer’s chair, Cowan has assembled an impressive list of guest artists (friends), including Leon Russell, Alison Krauss, Rodney Crowell, Bonnie Bramlett, Jim Messina, Huey Lewis, Ray Benson, John Jorgenson, Chris Hillman, Andrea Zonn, Sam Bush and others on the way to creating what is shaping up to be a cross-genre musical celebration of his 35+ year career.

John Cowan, universally known as “The Voice…

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