Curtis Stigers at BCT: Four More Concerts before European Tour

There are a number of musicians that cause Boise to beam with honest pride. Artists recognized by the music industry worldwide, after being nurtured by their little city who watched them break from backyard potato concerts. Who are granted success and rave reviews while Boise cuts out their adventures from newsprint as they reach international stardom. True, the number of these musicians can easily be counted on one hand. Only more reason to celebrate our beloved artists when they perform for neighbors, friends and family before setting out yet again for another world tour. One such opportunity presents itself this week at Boise Contemporary Theater as five evenings with Curtis Stigers continues.

Curtis' new album, Lost in Dreams, renovates jazz standards, modern rock songs and singer-songwriter classics into brand new jazz tunes that bridge the gap between jazz, rock, pop and folk music. Putting his own material next to Sinatra, Roger Waters, Annie Lennox and John Lennon songs all arranged in new shuffling swing and soul sounds, Stigers creates an elegant fusion that settles in gorgeous jazz. It makes a listener beg what could warrant a separation between genres in the first place, as progressive rock remembers the backwater blues that bore it.

In this same way, Curtis Stigers' five nights live in concert at BCT unites genres and brings together enormous talent in rock, pop and jazz players on the intimate Fulton Street Theater stage. Last night and Wednesday features a "no jazz allowed" set as Curtis starts the show solo with acoustic guitar and strong vocals emitting a rugged coolness--in a Clint Eastwood way--alongside clever quips entertaining a house of familiar faces between songs. Even going to this show alone and watching an extraordinary player just a guitar pick's throw away, the night feels warm as a reunion surrounded by old friends.

During the acoustic set, he is soon joined by Ned Evett, called "the world's first fretless guitar rockstar" by Guitar Player Magazine, then by acoustic rocker and sound engineer Steve Fulton on keys and finally by Thomas Paul on mandolin. As each new artist helps thicken and flavor his smooth melodies that cut into a rich emotional vein, Curtis' smart lyrics and signature sound are further mastered richer and richer into a perfect blend with plenty of playfulness all the while, like Curtis dashing downstairs for a giant poofy wig and dark shades to poke fun at Ned Evett. Wednesday night will also feature roots-rock and retro-country player Bill Coffey. Thursday through Saturday at BCT Curtis will break out his saxophone on three evenings strictly swing and soul with his jazz band before their trip to Germany next week. Be sure to make it to Fulton Street by Saturday to see a music giant in his hometown. After all, Curtis "would rather play for friends than strangers."

All four remaining nights are a must see. If you don't have tickets already, go online to www.curtisstigers.com or call Boise Contemporary Theater at 208-442-3232. You can also visit the BCT Box Office (854 Fulton Street), the Idaho Center Box Office or Treasure Valley TCBY stores.

Next Weekend! April 24 and 25! The 4th Annual Boise Creative and Improvised Music Festival at Neurolux and El Korah Shriner Center

Reprinted from B-CIMF Website.

Now in its fourth year, the Boise Creative and Improvised Music Festival (formerly the Boise Experimental Music Festival) continues to evolve and feature an impressive array of performers from all over the United States. This year, the festival runs April 24-25, 2009, and fans will come from all over to hear some of the finest and most cutting edge creative music artists on the planet. The talent and caliber of this year’s performers will be spectacular. The event will also feature local visual artists, including visual art galleries, live art on stage, experimental film, and a premier theatrical production. Best of all, this year the festival is free to the public.

Friday, April 24
3pm to 7pm
FREE ADMISSION

Neurolux
113 N 11th Street
Boise, ID 83702

***********

Friday, April 24
8pm to Midnight
FREE ADMISSION

Saturday, April 25
12:30pm to Midnight!
FREE ADMISSION

El Korah Shrine Center
1118 West Idaho Street
Boise, ID 83702

Obtain more information on the festival at the following sites:

http://www.b-cimf.com/
http://www.myspace.com/boiseexperimentalmusicfestival

Prior year festival websites (include images, videos, and MP3s)

2008 - http://www.boisemusicians.com/BEMF-3/
2007 - http://www.boisemusicians.com/BEMF-2/
2006 - http://www.boisemusicians.com/experimental

CONTACT

Kris Hartung
Boise Creative & Improvised Music Festival (2009)
Event Coordinator and Artistic Director
info@krispenhartung.com
1-208-724-5603

This Sunday! Inaugural Church of Kraft Event at Visual Arts Collective

Reprinted from the Visual Arts Collective Newsletter

Garden City Kraft Mafia and the Mend Project present the first in a series of "Church of Kraft" events!

Garden City, Idaho, Sunday, April 5, 2009 ~ Visual Arts Collective, at 3638 Osage Street, is pleased to host Church of Kraft. (See poster below).

The purpose of this event is to build awareness of the importance of craft, to inspire each other to learn new skills, and to pass a Sunday afternoon with other like-minded individuals, while doing something productive and fun!

This month we will focus on sewing and knitting for beginners, but are open to all types of craftiness and all other skill levels. In sewing, we will look at basic construction methods for creating plush toys--cool ones! We will have a lot of supplies and tools available (donations accepted).

If the idea of crafting is intimidating, don't worry! This is a social event, not a knitting contest! Even if you just come to have a drink and socialize, we'd love to have you take part!

So bring a project, bring supplies to donate, or just come ready to learn something new.

We will break for dinner at 5ish and come back for a dance party at 7pm. Unfortunately, the event is only open to those 21+. In the future, we hope to make it all-ages.

Can you THINK of a better way to spend a Sunday? Not us!

Visual Arts Collective
3638 Osage Street
Garden City, Idaho
Krafting: 2 – 6p
DJ dancing fest: 7p
This is a free event

Beer and wine available.
21 and over ONLY!

For more information, please call Visual Arts Collective at 424.8297, access VaC’s website at www.visualartscollective.com or check the FaceBook page.

Fat Tuesday Burlesque: Red Light Variety Show at Neurolux

“I think they might have reached capacity at some point and were turning people away,” says Mr. Maid Rite deep into the Red Light Variety Show on Mardi Gras. It was a packed house at the Neurolux on Fat Tuesday. The performances from the Red Light cast were just as lovely, sexy and fun as their show last October. More exceptional was how smoothly the night flowed last week. This cluster of dancers, musicians and performers has put in time well-spent working as a unit. For this production, the mix of hula hooping, belly dancing, pole dancing ladies; Theremin-ist, guitarist, percussionist, washboard-machinist; slinky Eclecticas and saucy Brass Knuckles all felt like family, not individuals tossed together for a gig. The result was a beautiful cohesiveness charging the evening with electric energy, driving the pace so hard that no one could bear to miss anything that happened on stage. Thanks to that, the bar was persistently stuffed and re-stuffed by an ever-curious and insatiable crowd.

The Red Light’s mixed nuts of players come together to make a community. So much of this is the nature of burlesque, of circus, of the freak show. These dim and glowing stages are prime location for getting passion and simplicity back into art and making it work between people, not special effects. The work is fun, flirty, hot, heavy, bizarre, brutal, dark and dirty—and naturally so. It is rough and immediate, digging at the core of humanity to awaken their senses for a laugh, for a squeal. Just for that ecstatic moment. Just for the magic of life, for love of the creative and to see a girl dressed as a lion spinning on a steel pole.

The Red Light Variety Show is becoming more and more dedicated to art for art’s sake. I hope this trend continues with a fury. With all the bemoaning plaguing the populace, the fears of recession, the worries, the penny-pinching, let us remember that art happens in spite of funding, not because of it. Art and theatre, however, cannot happen without feeling, without individuals sweating and toiling together as a family to create something toward higher aim and with deeper purpose. Let us remember the life, meaning and worth we must lust for onstage so we may actively engage in what we see as audience, both onstage and in life. Keep it coming like a freight train, Red Light, and keep taking great risks. Boise needs it.




Photo and Video courtesy of M.E.

Thursday, March 5 and 12! Incidentally, Yours at Gallery Alexa Rose

Gallery Alexa Rose in the Idaho Building Basement Presents:

Incidentally, Yours: A Performance Art Installation

with: William Hofstra, choreographer and sculptor; Kelli Brown and Brecca Chabot-Olson, dancers; Elizabeth McSurdy and Amanda Micheletty, dancers; Heidi Kraay, playwright; Jessie Proksa, musician; Tim Andreae, video artist; Heather Plummer, cupcake artist and bake sale entrepreneur (with the help of dancing mime Jem) .

Apples and Oranges, a collective of young artists, are hosting the clusters of eight happenings to occur simultaneously throughout the evening. Johanna Kirk, Jenny Rice and William Hofstra are curating the show.

Come see an exciting night of happenings! And I welcome you, reader, to review the performances yourself by posting a comment. Enjoy!

Incidentally, Yours

Free!

Gallery Alexa Rose
280 North 8th Street, Suite 118
(downstairs in the Idaho Building - across from Dawson's Downtown)

First Thursday, March 5th 6 to 9 pm

Thursday, March 12th 6 to 9 pm

Friday and Saturday! Rotating Tongues: 2 at Visual Arts Collective

Reprinted from the Visual Arts Collective Newsletter.

Fifteen years ago, the distinctive and well-received Boise-area music compilation, Rotating Tongues, was released. It is collection of music that quintessentially represented Boise music during that era. Many talented Boise-area musicians, including Built to Spill, Caustic Resin and The Dirt Fisherman, are included on the CD.

As a way of illuminating that the Boise community continues to foster and be home to an abundance of exceptional musicians and bands, Rotating Tongues is being revived! In live show format!

Twenty-six bands will perform over the weekend of Friday and Saturday, February 20 and 21, 2009 (at the Visual Arts Collective). Each band will play a 15-minute set showcasing two new songs, never before performed live! Steve Fulton, from Audio Lab, will record all performances on a multi-track digital recording system. One of the two songs will be included on the new compilation, which will be released April 18, 2009.

For more info, visit:

http://rotatingtongues.com

James Orr CD Release Party with Thomas Paul at Linen Building

The industrial art space and party house that makes its home in the Linen Building is an impressive spot to celebrate the release James Orr’s new CD, Thicker Than Thieves. Last Saturday, the building opened up to an eager crowd dressed to the nines for the white necktie performance. Of the 300+ that gathered, many came for the music, some to schmooze, all to sip and chat near red balloons and toast to the just-released-achievement by James Orr. Songwriter Thomas Paul opened and got fancy night rolling.

Thomas Paul

Quick wit is a trait impossible to miss during any conversation with Thomas. That clever quality stings even sharper throughout his lyrics, uniting with haunting riffs to get under your skin and leave your soul trembling if you have a heart at all. His smooth pipes—many compare Mr. Paul to Jeff Buckley—and slick finesse on guitar are deliciously addicting. It is the proficiency you would expect from a musician who has been playing for a solid twenty years and is so devoted to his craft (teaching guitar lessons that encourage a new generation of musicians).

Thomas has an album soon to be released, too, so keep your ear to the ground about his own CD release party. Come see him every Monday and Saturday Brunch at Red Feather and Wednesdays with the Bill Coffey Big Band at Pengilly’s. Continue checking his website for an up-to-date list of new shows every week (including Thomas’ big birthday bash at Pengilly’s on February 27).

James Orr

As the one-man-band starts looping a string of lyrics on two separate mics over an acoustic guitar, the repeated melody stirs up the crowd, packing them in a cluster by the stage. Orr has only just begun, now mixing a series of chords on a set of keys, warping them through a nearby synth and nudging one electronic pedal after another. Having recorded that loop, he moves on to weave in the ping-shwop-bwa echo of a steel drum. Then layering in more beats clicking from a drum pad, he loops in more of his low-to-mid range vocals, guitar chords and keyboard ditties, thereby filling the Linen Building with the thick sound of a full, electronic indie-rock band. Good reason for his CD’s title, Thicker Than Thieves.

James’ looping and layering techniques are well-support by a degree in engineering, and as the musician says himself, “(result) in a live show that is stimulating for both the eyes and the ears.” His mellow sound is soft, intriguing and good fun—the perfect soundtrack material for a traveling scene in an independent movie.

Preview Thicker Than Thieves and buy it at James Orr’s website or The Record Exchange today.

Just Think Local Tunes: Go Listen Boise at Record Exchange and Neurolux

The popular “Just Think Local” push is influencing forces beyond restaurants, bars, coffee houses and retail stores. Thanks to refreshing events like this live and local series, it is also reaching out to help recognize our artists and musicians about town. New art galleries and music festivals are opening all over Boise and many bring in exclusively local talent. Go Listen Boise was created in part by Ali and Travis Ward of Hillfolk Noir and is aimed at promoting the Boise Music Scene for it to be more “positive, supportive, collaborative and creatively rich and gratifying.” By supporting these concerts born in Idaho, we are supporting our friends and loved ones. Let’s keep Boise bred art in high demand.

Tim Andreae

The full night on Thursday included two shows and six acts. It is a recipe that Ali Ward and other Go Listen Boise creators hope to continue in all their events: one all ages concert followed by “a more rockin’ bar room show.” Their inaugural all ages show was free and acoustic at Record Exchange. Also, it was lucky enough to have the always fresh, inventive and endearing Tim Andreae kick off the evening. Tim is the sort of musician that is increasingly more rare: one who visibly enjoys his work. Thanks to his humble enthusiasm—as well as craftsmanship—makes it a reward to see him perform. An artist’s attitude and perspective affects their craft, and that un-teachable truth works for Mr. Andreae’s benefit every time. On his guitar or in his lyrics (or on concertina while tap dancing), and will take a risk without blinking, knowing it will be overall worthwhile. If you ever get the chance to bob along to his sing-song rhythm, please notice how Tim Andreae’s music speaks to make a difference. It is wholly to his credit as a craftsman and a human being. We could use many, many more of his kind. Too many miss the point entirely. Tim gets it. You can read it on his face as clear as day.

Kris Doty

With her undeniable and irresistible charm, it is no wonder Kris is such a crowd-pleaser. Thankfully, her musicality backs Ms. Doty up right away and the humanity that bleeds out of her ever-so-warped songs—elegant yet rugged, sharp and brash but hearty and sweet—leaves everybody thirsting for a longer set. Her rich strum-pluck-pick pattern mixes with impeccable contrast to her distinct vocal pattern, one having precision comparable to a flamenco dancer’s stomps, claps and castanets. Kris Doty’s folk sound is the frosted ice sculptured formed off of a hot springs sulphurous steam on a sunny January afternoon. No wonder she is beloved in Idaho.

Travis Ward

Slipping into a backwoods-Appalachian-style-blues-folk sound, Travis Ward completes the acoustic half of the first Go Listen Boise concert. His enchanting mid-range vocals trap a listener like a deer crossing the path of a pick-up and its headlights, but just as he eases into a melody he simmers into a slight grating finish that stings like the last sip off a satisfying India Pale Ale. A finger-picker whose music is thick with lyrics like Grandma’s stew—and pointed at the same era, Travis sings about hard times, pine boxes, dirt roads, and barstools (don’t forget zombies, either) in a mood and pace just upbeat of Tom Brosseau.

The First Ladies

So far Go Listen Boise has been a tasty night of acoustic solos. As promised, the energy and noise picks up to a rockin’ second half at Neurolux, beginning with The First Ladies. This fun four-set on guitar, drums, bass and keys put together lively, danceable beats, progressive chords and plenty of potential.

Craters of the Moon

Bringing back some sounds from the first half, here is another drop of folk, but now high-charged and bursting with big sound and a rugged discordant edge. The three vocalists make a silken, buttery base for the jagged instrumental landscape from two guitars, a bass and drums. Craters of the Moon are Richard and Linda Thompson as a quartet.

Speedboat

Now these headliners are an absolute wild ride on an electronic extravaganza express train. Luke Hayhurst, Zach Jones and Ben Mulkey create a futuristic machinal soundscape before the Neurolux Crown, plugging synth upon pedal via synth onto KORG and through keys, all enhanced by their portable lightbox. Once setup is complete, the three musicians are better Robots than humans, driven by wacko ambient force to make a hot power surge of electricity and performance. When the Speedboat dance party strikes up, it takes hard work to stay 2 kewl 4 skewl and stay seated.

Keep your eyes out for the next Go Listen Boise music series event (and save all your buddies stuck on the couch going limp by the light of their television). Everyone come on down!

Beats that Benefit: Charitable Concerts for...

...Idaho Black History Museum, Visual Arts Collective and Interfaith Sanctuary at Neurolux, Visual Arts Collective and Egyptian Theater.

Ah, December: Month #12 is thick with holiday feasting and fasting alike. It is the season fit for charitable concerts, too.

In Boise, December 18^th through the 21^st was packed with such fundraisers.

On Thursday the 18^th, three bands joined up with Boise States University’s Phi Alpha Theta Honors Society to support the Idaho Black History Museum.

Then, sixteen local bands made two nights of big at the Visual Arts Collective on Friday and Saturday for the Bah Humbug Music Festival. Jeremy Jensen arranged this fantastic event to support Sam Stimpert and Anneliesa Balk-Stimpert’s unique art space in Garden City, where attendance has been sadly low since the economic plunge.

Then the Egyptian rang loud to a sold-out house on Sunday for the 3^rd Annual Xtreme Holiday Xtravaganza. Curtis Stigers co-produced and co-hosted this variety show and benefit for Boise’s Interfaith Sanctuary for the homeless.

Arts and humanity love company as much as misery does. Human need is perfect reason to make art. Besides, it can be easier to drop a few bucks on a cover charge and some merchandise than say goodbye to a few dimes going into a red Salvation Army pail outside Albertson's. Making art does not necessarily require all that much, either. A band doesn’t necessarily need high quality speakers to make music, an actor doesn’t need a stage to tell a story and a painter doesn’t need a gallery. Art does need a little humanity, though, and an audience. Since nonprofit organizations have a ready cause and are supportive by nature, they can make good teams with artists and musicians, who can never have enough purpose, drive or projects. And let’s not forget how much the benefits help the organizations, their cause, and the individuals who depend on them.

Take the Idaho Black History Museum, the only museum of its kind in the Pacific Northwest. Though it has the invaluable mission “to build bridges between cultures to explore issues that affect Americans of all cultures and ethnicities,” it somehow goes relatively unnoticed, unvisited and underappreciated. Open only by appointment, it is overshadowed by its neighbors, the Boise Art Museum and Idaho History Museum. Christine Acosta organized the benefit show at Neurolux with the intent to “help the Idaho Black History Museum be as accessible, well-staffed and, most of all, well-preserved for many future generations."

Some ticket sales from the Neurolux Benefit went directly to the museum, as well as merchandise sales from local band The Universal. Not to mention all the donated commitment, energy and talent from In The Shadow Of The Mountain, Kris Doty and Le Fleur. Beyond Le Fleur’s set, their drummer Bryan Hallowell also donated a promotional poster and flyer design for the event, with graphics and title inspired by the museum’s permanent collection, Invisible Idahoans. And of course, owner Alan Ireland gave up a Friday night at Neurolux, which Acosta appreciates too.

These musicians are working for free, essentially, and will do so because these are causes worth fighting for. Artists rarely pursue the most profitable endeavors anyway, but by giving up their work, they are fighting in their own way to save things that could be wiped out otherwise. Acosta notes, “It [Idaho Black History Museum] is just going to fade away…and then what’s going to happen? [Young artists] have some need to express themselves, dire need. Why not do it for somebody else?...If we don’t, who will? The government won’t. Rich people won’t.” After all, the people who have the least to give will often sacrifice the most. Musicians may not eat like kings or live comfortably every day, but thanks to all their work throughout one little weekend, three incredible associations might just have gotten enough recognition and support to get back on their feet.

Though we have passed the holidays and reached the New Year, these organizations and their causes still need attention. Just because a charitable concert or a donation may not seem en vogue in January, a remarkable museum is still overlooked, an extraordinary arts space is still taken for granted, individuals are still homeless and families are still hungry.

Sharing, appreciation and humanity count in bigger ways than a tax write-off—and really isn’t torture, either. Take the kids for a field trip at the Idaho Black History Museum and learn something new, take your date to a show at the Visual Arts Collective or bring a group of friends to volunteer at the Interfaith Sanctuary. Enjoy yourself and spread some love at the same time. And whenever you meet one of these artists who donate their work or see one of these bands play a set for free, take some time to thank them for caring.

Here are a few you can cheer on (and buy a CD from, if possible):

In the Shadow Of The Mountain

Kris Doty

AK-47

Le Fleur

ATTN

La Knots

Bonefish Sam

The Very Most

Centaral City Music Company

Idle Chatter

Floomdoorm

Low-Fi

Vonny Cal

Sleepy Seeds

Spondee

With Child

A Seasonal Disguise

How's Your Family?

Curtis Stigers

The Frim Fram Four

John Hansen

Thomas Paul

Rebecca Scott

The Rockafellas

Bindy Bowler

Ned Evett

The Divas of Boise

Steve Fulton

Dale Keys

The Moody Jews

The Darkwood Consort

Johnny Shoes Bill

Coffey Big Band

A Surreal Christmas: "Reckless" at Visual Arts Collective

Sweet and bubbly Rachel hums along to a picture perfect Christmas Eve in her cozy suburban home, stringing up a few more trimmings as sugarplums dance in her head. As she snuggles into bed with her husband Tom to watch some holiday news, he snaps into tears. She has to leave, he says. It’s not safe to be here, he says. Tom has taken a contract out on Rachel’s life. He’s very sorry but the killer is on his way. This astonishing interruption of holiday cheer hurdles the bewildered housewife from her house, husband, two boys and sparkling neighborhood to a gas station for a ride from a friendly stranger, Lloyd, and to start a new life in Springfield.

So begins Reckless, Craig Lucas’ incredible tragicomedy directed by Larry Dennis in the third show of Alley Repertory Theater’s inaugural season. With symphonic language as hot as two champion boxers in a title fight, Lucas crafts an extraordinary story about a woman running from her past who makes a home with two people who have also changed their names and live a lie. It is a happy, delusional fantasy for all three, but fate will haunt them relentlessly. The past is impossible to escape.

Thanks to her countless supply of hopeful enthusiasm and a hard-hitting performance by Buffie Main, little housewife Rachel takes on every obstacle pitched her way head on. Each episodic scene becomes a transformation for her. By facing each new direction and every fork in the road head on, shift after shift Rachel continually makes her life brand new. She embraces each thrilling moment, arguing with a calm and stoic Lloyd (Alex Robertson), “The past is irrelevant. It’s what we wake up from.”

Yet even though Rachel rises to a brand new city, new name and family with Lloyd—and, of course, his angelic-but-shrewd, paraplegic wife Pooty (played by Christen Atwood)—, her past finds her and keeps up steadily. Again and again, it returns with regularity as persistent as Christmas. Fate is patient and, at first, Rachel’s past only visits as reminders. It is coaxed from her by a therapist, her first of a string of outrageous doctors in a marathon counseling performance from Katie Preston. But when Tom finds her, pleading her to come back to him, the lies become a hellish reality. She runs again and again, always to another Springfield where there is yet another doctor and it is always Christmas. As Lloyd knew, “The past is something you wake up to. A nightmare you wake up to everyday.”

The Larry Dennis production is captivating and makes the decentralized theatricality inherent in Reckless a comic kick-in-the-pants and easy to swallow. This play is contemporary Epic-Theatre-plus-heart. It marks Craig Lucas’ disjointed reality, which is often one as perplexing as the social, political and human dilemmas he investigates in his work. At the Visual Arts Collective, the dark comedy plays in a fun and touching way, which works when stressing the Christmas setting in the world of the play. But much of the story is made up of gruesome events: attempted assassination, three murders (at least), a handicapped woman feigning deafness and muteness for her husband’s love, lies, doctors who always look the same and are never any help, embezzlement, a man killing himself on a strict champagne-only diet, homelessness, fear and loneliness. As one of the doctors observes, “Life’s been reckless with these people.”

This is more than a feel-good, holiday story. Investing in naturalism, bright charm and touching, winter cheer blurs the demented conflict that drives the action. The potential for collision in Reckless is something fierce. Its tension could reach more brilliant heights and nasty depths; the world around Rachel could be more harsh and brisk. Until she finally makes herself a legitimate new life, she keeps running, always to a Springfield, each one as foreign as the last. If everything in the production is ruthless and unyielding to her, both in terms of performance and design, then by the time Rachel does reach stability in a relaxed lifestyle, the satisfaction could be undeniable and stay simmering in the audience far beyond the 2008 holiday season. By the time she is herself a doctor with a name for herself and a chance to reconnect with her son, anyone to see that journey would have to thank their lucky stars for all their life and good fortune and right away make phone calls to loved ones. The Alley Repertory production is a certain success, but by pursuing the play’s inherent conflict just a little further, it could be an overwhelming triumph.

Reckless finished its run on November 29. Cheers to an excellent inaugural season at Alley Repertory Theater and many more to come.