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Ameripolitan / Texas Country / Western Swingasleepatthewheel. MAIN STAGESaturday 1. Sunday 5: 1. 0- 6: 0. Ray Benson founded Asleep at the Wheel in Paw Paw, West Virginia over. Now based in Austin, the band holds nine. They began with a simple goal: to play and help revive American roots music. Asleep at the Wheel landed a gig opening for Alice Cooper and Hot Tuna in Washington, DC in 1. At the height of Vietnam, many Americans were using their choice of music to express their stance on the conflict in southeast Asia. We were too country for the rock folks and we were too long- haired for the country folks. But everybody got over it once the music started playing. The record offers started coming in and The Wheel got rolling. But Who. The alumni roster is well over 8. Bob Dylan, Van Morrison, Lyle Lovett, Ryan Adams, and many more. A quick scan of awards, such as . Ray Benson fell in love with western swing because of its unique combination of elements of American blues, swing and traditional fiddling but also for its demanding musical chops. Western swing is what Benson calls . Just last year they earned a Grammy nomination in the newly minted Best Americana Album category for their critically acclaimed Willie & The Wheel, on Bismeaux Records. Most recently, another collaborative project paired the band with the legendary lead from Bob Wills & The Texas Playboys, Leon Rausch. The distinguished velvety vocals that voiced the King of western swing partnered with . The Wheel has now recorded the hit 4 times in 4 different decades, with this latest version featuring Leon. The Play is The Thing. Ray Benson and Ann Rapp co- wrote the first- ever musical drama about Benson. Wills took ill and never recovered. For the last five years, the play has presented an inspired look into the life, loves and music of the colorful Bob Wills in performances across Texas and from San Francisco to Washington DC. Immediately embraced by western swing fans, this unique presentation has achieved cult- status amongst fans who can. A 2. 00. 7 interview with The New York Times noted, . The Wheel is no exception. Another place Wheel fans have more recently discovered the music has been in symphony halls. Originally debuted in collaboration with the Austin Symphony, the Wheel has since gone on to present their pops program in select performances across the country, and even released a CD in 2. Fort Worth Symphony Orchestra. Throughout their four decades the Wheel has driven the genre to the edge, explored new territories, picked up new passengers along the way and crisscrossed the country to the delight of fans and critics alike. And, even though they. Asleep at the Wheel plays great country music. The ensuing long form documentary The Making of Ride with Bob earns a regional Emmy Award. The album wins two GRAMMY. Through the year, further performances in 4 cities sell out and garner critical acclaim. Band chosen for opening performance at inaugural Austin City Limits Festival and carry on the tradition annually. Performance filmed for broadcast on PBS. Ray serves as a judge on the ABC. Charlie Musselwhite is living proof that great music only gets better with age. This man cut his (musical) teeth alongside Muddy Waters, Howling Wolf and everyone on the south side of Chicago in the early 1. And shortly before winning the Grammy for Best Blues Album for their collaboration Get Up!, he and Ben Harper played at the White House for President Obama and the First Lady, in a salute to Memphis soul. Charlie explains, . When you get the call to sit at the table with kings, you better have a well- pressed suit. I knew that time would come, so I kept setting material aside. But Charlie Musselwhite is the north star of this record. We were following him. The songs really came to life around Charlie and his sensibilities. We revolved around him and his harp; you can hear that.! Here Comes Charlie Musselwhite. That band featured legendary blues drummer Fred Below (of the Aces and countless sessions with Chicago. In addition to guest turns by Marty Stuart, Charlie Sexton, Dave Gonzales, Stefan Grossman, and G. E. Smith, and stints by Chicago greats Luther Tucker, Freddie Roulette, Louis Myers, and Fenton Robinson, his groups have been a virtual finishing school for guitar slingers, such as Robben Ford, Junior Watson, Tim Kaihatsu and Kid Andersen. But Charlie. It features drummer June Core, bassist Steve Froberg, and guitarist Matt Stubbs. As for their bandleader, at 7. This year he won the Blues Music Awards. When Charlie tells stories about the blues guys it. And we know that harp players can be dangerous in the musical sensibility department, but not Charlie. It was one of those things that just felt so perfect. It empowers you to keep going. It is secular spiritual music, the gospel blues. We also won the Vocal Group of the Year, Song of the Year (“They Called It Music”) and Eric was named the Songwriter of the Year. The Gibson Brothers were named the 2. It definitely had staying power. We chose fifteen songs from country, bluegrass and early rock . Music’s brought us a lot of interesting experiences and many friends. Formed in 1. 99. 6, in a manner befitting their name (Gaelic for “light. ALL THESE YEARS sees Solas reuniting with all the members of the band, past and present, to record new material and embark on a year long world tour. Anchored by founding members Seamus Egan (flute, tenor banjo, mandolin. It can bring edgy urban hipness to ancient reels, and. His parents were part of a post- World War II migration of Cajuns to New Orleans from the rural farming communities of Avoyelles Parish. Located in the uppermost corner of Louisiana’s “Cajun triangle,” Avoyelles Parish is the forgotten part of Cajun country. Nevertheless, the language and customs of the Cajun people are as deeply rooted here as anywhere in the state. And whenever you walk through the door of Bruce’s family home, you return to Avoyelles Parish. His parents have never abandoned their beautiful Cajun French, and they’ve kept their gumbo and fricassee simmering on the stove. The same, instinctive pride of culture and heritage that has guided his parents’ lives, and his grandparents’ lives, is now invested in Bruce’s music. Music came to Bruce at an early age, and in the most traditional manner–handed down from father to son. When he was growing up, no family gathering was complete without a little playing and singing. His father picked the guitar, “Carter Family- style,” while his Uncle Alton lent a remarkable voice to the traditional Cajun songs and old- time country ballads. When Bruce turned five, his father presented him with a guitar, and by the age of ten he was also bearing down on a five- string banjo. It was in 1. 97. 8, after attending the annual Festival Acadiens in Lafayette, that Bruce was inspired to devote himself to the French accordion. By 1. 98. 0 he had his own Cajun band, and was honing his skills at regular Thursday- night fais do do dances at the Maple Leaf Bar. Over the next six years, Bruce Daigrepont almost single- handedly popularized Cajun music and Cajun dancing in cosmopolitan New Orleans. In 1. 98. 6 Bruce moved the fais do do dance to the original Tipitina’s, corner of Napoleon and Tchoupitoulas streets, where it continues to this day, every Sunday evening from five till nine. Bruce is one of New Orleans’ and Louisiana’s great musical institutions; and he has emerged as one of Cajun music’s finest cultural ambassadors. In North America he has performed at such prestigious venues as New York’s Lincoln Center, Wolf Trap Center for the Performing Arts, the Winnipeg Folk Festival and the National Folk Festival. Over the past ten years he has taken his music to France, Belgium, Holland, Switzerland, Germany, Denmark, Norway, and Sweden. At the request of the American Embassies, Bruce and his band have performed even in the third- world countries of El Salvador and Venezuela. Most rewarding, though, are his annual “homecoming” pilgrimages to the French- speaking Canadian maritime provinces of New Brunswick and Nova Scotia, where the history of the Louisiana Cajuns had its harsh beginnings. It is here that the deeper meanings of Bruce’s original song creations can be appreciated and celebrated to the fullest extent. Imagine 2,0. 00 Acadians packed into a hockey rink in the little town of Buctouche, New Brunswick, raising their voices in unison to the chorus of Bruce’s “Marksville Two- Step: ” “On est tous cousins, cher, one est tous cousines” – “We’re all cousins; we’re all cousins!” It is the spirit of cultural reunion personified. Bruce is fully immersed in the singer- songwriter tradition. Several of Bruce’s compositions such as “Marksville Two Step,” “Riviere Rouge” and “Nonc Willie” have entered into the standard Cajun dance band repertoire while other tunes of his such as “Coeur des Cajuns “, “Disco et Fais Do Do” and “Laissez Faire” are now part of the recorded repertoires of Francophile bands from other parts of the world. His most popular anthem of Cajun pride, “Acadia a la Louisiane, ” has even been translated into Danish! If he were writing in English, he might find greater fame and fortune. But Bruce is about pride of culture and heritage; pride in being what he is, a Cajun from the heart, with a story to tell, through his music. Not that you need to understand French to get on Bruce’s wavelength. His art is totally infectious. For one thing, he’s one of Cajun music’s most gifted singers. In keeping with the old- time dance hall musicians, he sings loud and passionately, in the high tenor register, where many Cajun singers of today fear to tread. He can shift his powerful voice from bell- tone clear to whiskey- rough. The same spirit of adventure that distinguishes his singing is also present in Bruce’s accordion playing. He has developed a highly individual style, patterned after no one past master, but imbued with the zest and vitality of them all.
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