Standing Room Tickets Available:

 Amy Ziff (Vocals, Cello), Elizabeth Ziff (Vocals, Guitar, Programming) and Alyson Palmer (Vocals, Bass) have been recording, touring, performing, and creating together as independent artists for over thirty years! In addition to television, film, theater and concert tours, BETTY travels the world as Arts Envoys with the US State Department, and The BETTY Effect non-profit, performing humanitarian outreach and cultural diplomacy. 

Tickets will be $15 Day of Show. Your ticket is your dinner reservation. To view our dinner menu, please click here.

New York City based Cassandra Jenkins, a songwriter who “knows how to leave an impression” with “elegantly celestial climaxes, emerald green-glowing guitar work”(P4k), has just released her much anticipated first full-length album, Play Till You Win. The cosmos in Cassandra’s self proclaimed “Cosmic American” songs are both macro and micro, within and without you, as a certain Beatle would say. Ghosts of All Things Must Pass haunt the record’s melodies as a constant stylistic lodestar, with nods woven throughout to Lee Hazelwood’s Hollywood-and-Vine country surrealism or Angeles Badalamenti and David Lynch’s work for Julie Cruise, resulting in a tapestry that is “tender and trance like” (Interview Magazine).

What makes her new collection of songs stand out from fellow acolytes of psychedelic burritos and dusty journeys through gilded palaces of sin, is that her vision and scope of influences are broad, idio-syncratic and ever-changing. Much like Gram Parsons, one of several patron saints lovingly looking over and bestowing their grace over Play Till You Win, Cassandra uses the clarity and smoldering sense of longing conveyed by her “smokey vocals”(NPR) to transcend her urban surroundings in order to connect to a deeper, quintessentially American vein of expression that showcases a sophisticated art heart and a mature point of view about the masks and complications of desire.

ABIAH is an acclaimed recording artist, songwriter, arranger, and vocal coach. His foray in jazz, classical, folk, pop, and R&B have been lauded globally. He is an anomaly and feels comfortable moving through various music genres. ABIAH compositions are influenced by the American Songbook while merging unique textures throughout his repertoire. These leanings can be heard in his original recordings from four distinct solo projects including his current release, ABIAH sings NINA, along with his previous releases Chasing Forever, Life As A Ballad,and Bottles.

 Amy Ziff (Vocals, Cello), Elizabeth Ziff (Vocals, Guitar, Programming) and Alyson Palmer (Vocals, Bass) have been recording, touring, performing, and creating together as independent artists for over thirty years! In addition to television, film, theater and concert tours, BETTY travels the world as Arts Envoys with the US State Department, and The BETTY Effect non-profit, performing humanitarian outreach and cultural diplomacy. 

Tickets will be $15 Day of Show

Fusing expansive psychedelia with evocative roots rock accents, Maybird are originally from Rochester, New York. The group consists of singer/songwriter Josh Netsky, drummer Adam Netsky and guitarists Sam Snyder and Kurt Johnson. In 2013, they released an ambitious independent debut record, Down & Under, which caught the ear of producer Danger Mouse (Gnarls Barkley, Broken Bells), who signed them to his label 30th Century Records. Soon after, Maybird released their 2016 EP Turning Into Water to critical acclaim. NPR debuted the video for the song “Looking Back” stating, “It’s a poignant, profoundly emotional ode to childhood, fleeting youth and chasing dreams.” Recently, the band contributed a track to Amazon original series the Man in the High Castle soundtrack and also spent time in Nashville, working with Patrick Carney of the Black Keys at his home recording studio on their latest release the Unraveling EP. The band has since toured with Portugal. The Man, the Babe Rainbow, and Joywave in support of the new release. A new full length record is slated to be released early next year. 

 Justin Dean Thomas

Justin Dean Thomas is a NYC singer songwriter. He cut his teeth playing everywhere he could hitchhiking his way across America immersing himself in punk, folk, country, rhythm & blues and rock n roll. Lending his time to poetry and songwriting, he developed a sound all his own while keeping his home base in NYC.

David Gray’s first album, “A Century Ends”, was released in 1993, followed by “Flesh” in 1994. After touring with the likes of Radiohead and the Dave Matthews Band in support of his third album “Sell, Sell, Sell”, David decided to self-finance his fourth album, “White Ladder”, and release it on his own label, IHT Records, in 1998. 

As David’s success grew, he released a pair of compilations (“Lost Songs 95-98” and “The EP's 92-94”) and reissued “A Century Ends” and “Flesh”. “A New Day at Midnight” followed up his successful international breakthrough in the fall of 2002, and 2005's “Life in Slow Motion” debuted at the top of the charts in both Ireland and the U.K. In 2007 he released “Shine: The Best of the Early Years”, followed by “Greatest Hits”. Most recently, David released “Draw The Line” in 2009, “Foundling” in 2010, and “Mutineers” in 2014. In 2016, “The Best Of David Gray” came out in a standard and deluxe format. 

During the span of his career thus far he has had 12 million album sales, the best selling album in Ireland ever with White Ladder, a BAFTA nomination for his soundtrack work on Amma Assante’s 2004 film ‘”A Way Of Life”, two Ivor Novellos, a Q award, two Brit nominations, and a Grammy nomination.

Tickets will be $22 Day of Show

In February of 2014 eight musicians played an hour and fifteen minute showcase to an invitation only crowd that marked the beginning of something truly special. It was the culmination of one year of work that could only be described as meticulous. A journey of details that coalesced into something whole. A sonically ambitious concept-leave no stone unturned, leave no melody unrecognized and explore every possible resource to "get it right." The result was near-perfect, album quality renditions of some of the most original, ambitious and cinematic music ever recorded by Pink Floyd.

Towards the end of 2014 the bands lineup began to evolve. Ultimately the truly strongest components of three area Floyd tribute bands, Us  Not Them, Time and Project Floyd had come together and formed a band that incorporated the passion, skill and pedigree to take this band into a whole other stratosphere.  Ameri-Floyd was born. The bands current line up could only be described as an embarrassment of riches.

In September of 2014 the band began the process of fine tuning the performance and embarked on the screen film projections to add the visual component that set Pink Floyd apart. At the very beginning of 2015 that show was unveiled and captured for posterity. The journey continues. The renovation never ends. The music is the score of a film. A film where we all play our role.  The goal is the same. To floor our audience and stimulate all of their senses to help them get in touch with the emotional content of the music that drives us as a band to bring it to them. This is cinema. This is Pink Floyd.

VIP Seating Purchase Here:

General Admission Tickets will be $25 Day of Show

Treat yourself to a special early edition of Wasabassco Burlesque at City Winery in the greatest city in the world. There's no better way for you and your honey to spend a summer night than sipping crisp wine and gazing at beautiful brilliant burlesque.

“ONE of the TOP 10 Best Burlesque Shows in the World” -Travel Channel

So what are you doing this weekend?

Treat yourself to a special early edition of Wasabassco Burlesque at City Winery in the greatest city in the world. There's no better way for you and your honey to spend a summer night than sipping crisp wine and gazing at beautiful brilliant burlesque.

“ONE of the TOP 10 Best Burlesque Shows in the World” -Travel Channel

So what are you doing this weekend?

General Admission Seating Purchase Here:

“We’re a Mexican American band, and no word describes America like immigrant. Most of us are children of immigrants, so it’s perhaps natural that the songs we create celebrate America in this way.” So says Louie Perez, the “poet laureate” and primary wordsmith of Los Lobos, when describing the songs on the band’s new album, Gates of Gold.

The stories on Gates of Gold are snapshots of experiences that Perez and his band mates have had, based on where they are emotionally and how they respond to evolving life circumstances. “We live out loud most of the time and share our life this way, but then there are more intrinsic things that happen, and our songs are part of the way we react to them. We sit down and basically tell people what has happened. We certainly didn’t start this project with aspirations to create the musical equivalent to great American literary works.”

After celebrating their 40th anniversary with the cleverly titled 2013 live album Disconnected In New York City, the hard working, constantly touring band – David Hidalgo, Louie Perez, Cesar Rosas, Conrad Lozano and Steve Berlin – leaps headfirst into their fifth decade with an invitation to join them as they open fresh and exciting new Gates of Gold, their first full length studio album since 2010’s Tin Can Trust (a Grammy nominee for Best Americana Album) and second with Savoy/429 Records.

The dynamic songwriting, deeply poetic lyrics, thoughtful romantic and spiritual themes and eclectic blend of styles on the 11 track collection has resulted in an American saga in the rich literary tradition of legendary authors John Steinbeck and William Faulkner. Yet true to form, these typically humble musical wolves started in on the project without any grand vision or musical roadmap. Over 30 years after Los Lobos’ major label breakthrough How Will The Wolf Survive? - their 1984 album that ranks #30 on Rolling Stones list of the 100 greatest albums of the 1980s – their main challenge when they get off the road and head back into the studio is, as Berlin says, “trying not to do stuff we’ve already done. To a certain extent, we are always drawing from the same multi-faceted paint box, and we sound like what we sound like. We’re proud of what we feel is an honest body of work. We just want to keep finding new ways to say things.”

In the band’s early recording days - those years just before and after “La Bamba,” their worldwide crossover hit from the 1987 film which reached #1 on the U.S. and UK singles chart - they prepared for album recording sessions with top producers like T-Bone Burnett        with pre- production that included multiple rehearsals and “outlining” what the project was going to be. The more spontaneous approach to writing and recording that they took on their 1992 Mitchell Froom co-produced set Kiko still exists today; Rosas says, “When I listen to our catalog, doing things more spontaneously in the studio has led to some of our best work.” Unlike many bands that write, gather and catalog material between studio releases, Los Lobos prefers to create their magic on the fly when they decide it’s time to record. Perez says, “We never come in with a cache of 20 songs. Our thing is to write as we’re recording. It’s like starting with a blank canvass every time.”

The journey to Gates of Gold began with Hidalgo bringing in a batch of ideas, outlines and chord progressions with no lyrics. As he and Perez began fleshing things out, developing grooves, melodies and lyrical themes, Hidalgo, his son, drummer David, Jr. and bassist Lozano began tracking those tunes. The collection opens with the reflective, mid-tempo rocker “Made To Break Your Heart,” featuring female vocalist Syd Straw, whose vibe was partially inspired by Hidalgo’s love for Manassas, the early 70s blues-country-rock band created by Stephen Stills. The moody, atmospheric rocker “When We Were Free,” whose lyrics of what Berlin calls “beautiful melancholy memories” are underscored with the increasing drama of booming drums and distorted electric guitars. Filled with hypnotic sound effects and cool vocal and guitar distortion (created via an eight track analog Cascam cassette recorder!), the soulful, reflective “There I Go” touches on the universal search for what Perez calls “something meaningful, though we’re not always sure what it is.”

Further Hidalgo/Perez collaborations include “Too Small Heart,” a raw and raucous nod to both Los Lobos garage band roots and the wild abandon of Jimi Hendrix; the easy grooving folk- rocker “Song of the Sun,” which taps into the elements of life (water, fire, earth) and creation myths while touching on the way we choose to live in the present; the slow burning blues/rocker “Magdalena,” inspired by the Biblical Mary Magdalene and visions of flowing robes; and the folk-influenced, image rich rocker title track “Gates of Gold,” whose lyrical abstractions allow for multiple earthly and spiritual interpretations.

Perez says, “When I first started listening to the original demo Dave had, the music spoke to me of rural America. The impression the lyrics give could refer to the afterlife, i.e. the “pearly gates,” but I also was thinking about the immigrant experience, the promise of a new life as one travels across borders, all the thoughts a person making that daring move might have connected to the dream of what America is. Our parents all wondered what lay beyond those gates. On a personal level, it’s a reflection of where my band mates and I are in our lives. We’re all over 60 now and looking towards the horizon at our own mortality. We think often about what we’ve contributed and what’s left. I don’t know who the protagonist of the song is, but he’s looking at those gates from a distance because what lies beyond is a mystery.”

As Hidalgo and Perez began collaborating on their songs, Rosas, as per his trademark “lone wolf” songwriting approach, took his basic tracks to his home studio to complete the handful of tunes that flesh out the set. The singer, guitarist and mandolin player’s pieces include the raucous and bluesy, garage band fired jam “Mis-Treater Boogie Blues,” the swampy folk-rock blues lament “I Believed You So” and the swaying, sensual Latin Cumbia-styled “Poquito Para Aqui.” The sole cover on Gates of Gold is the other Spanish language tune, “La Tumba,” an accordion laced folk piece connected to the Mexican Norteno tradition (related to polka and corrodes) whose theme, says Perez, is very dark, “about following your lover to the tomb.” It’s very familiar to fans as a frequent staple of Los Lobos’ live performances.

Back in 2003, when Los Lobos was celebrating the 30th Anniversary of their humble beginnings as a garage band in East L.A., Rolling Stone summed up their distinctive, diverse, freewheeling fusion of rock, blues, soul and Mexican folk music: “This is what happens when five guys create a magical sound, then stick together...to see how far it can take them.” Originally called Los Lobos del Este (de Los Angeles), a play on a popular norteno band called Los Lobos del Norte, the group originally came together from three separate units. Lead vocalist/guitarist Hidalgo, whose arsenal includes accordion, percussion, bass, keyboards, melodic, drums, violin and banjo, met Perez at Garfield High in East LA and started a garage band. Rosas, who had his own group, and Lozano launched a power trio. “But we all hung out because we were friends and making music was just the natural progression of things,” says Perez, the band’s drummer. “Like if you hang around a barbershop long enough, you’re going to get a haircut.”

Berlin is Los Lobos’ saxophonist, flutist and harmonica player who met the band while still with seminal L.A. rockers The Blasters. He joined the group after performing on and co-producing (with T-Bone Burnett) their breakthrough 1983 EP ...And A Time To Dance. Los Lobos were already East L.A. neighborhood legends, Sunset Strip regulars and a Grammy winning band (Best Mexican American/Tejano Music Performance) by the time they recorded How Will the Wolf Survive? Although the album’s name and title song were inspired by a National Geographic article about real life wolves in the wild, the band saw obvious parallels with their struggle to gain mainstream rock success while maintaining their Mexican roots.

Perez, once called their powerhouse mix of rock, Tex-Mex, country, folk, R&B, blues and traditional Spanish and Mexican music “the soundtrack of the barrio.” Three decades, two more Grammys, the global success of “La Bamba” and thousands of rollicking performances across the globe later, Los Lobos is surviving quite well -- and still jamming with the same raw intensity as they had when they began in that garage in 1973. They don’t get in the studio as often as they did a few decades ago – Tin Can Trust came four years after their previous album of all originals, The Town and the City – but when they do, the results are every bit as culturally rich, musically rocking and lyrically provocative as they were back in the day. “It’s not always the easiest thing finding time away from our touring schedule and families to find time to make an album,” says Berlin, “but recording Gates of Gold, I have to say it’s great to be back in the proverbial saddle again. It reminds us of the fun we have had making new music over the years, and it’s nice to have the opportunity to create something of value.”

Perez adds, “I find that the most interesting part of songwriting and tracking a new album is the differential between the way a song sounds to you at 2 a.m. and the way it may hit you when it’s 11 a.m. and it reaches the light of day. We may love it just as much or we may realize we can do better. It’s always a process of discovering more about ourselves and the music we love to make. It’s not always easy getting started again, but I love that moment in the process when the songs start to take on their own life and we can let the kid, so to speak, run out onto the street and start figuring things out for himself. The way songs reveal themselves to us during these periods of writing and recording is my favorite part of the Los Lobos recording experience.”

This ticket guarantees admission for the Meet & Greet ONLY! 

“We’re a Mexican American band, and no word describes America like immigrant. Most of us are children of immigrants, so it’s perhaps natural that the songs we create celebrate America in this way.” So says Louie Perez, the “poet laureate” and primary wordsmith of Los Lobos, when describing the songs on the band’s new album, Gates of Gold.

The stories on Gates of Gold are snapshots of experiences that Perez and his band mates have had, based on where they are emotionally and how they respond to evolving life circumstances. “We live out loud most of the time and share our life this way, but then there are more intrinsic things that happen, and our songs are part of the way we react to them. We sit down and basically tell people what has happened. We certainly didn’t start this project with aspirations to create the musical equivalent to great American literary works.”

After celebrating their 40th anniversary with the cleverly titled 2013 live album Disconnected In New York City, the hard working, constantly touring band – David Hidalgo, Louie Perez, Cesar Rosas, Conrad Lozano and Steve Berlin – leaps headfirst into their fifth decade with an invitation to join them as they open fresh and exciting new Gates of Gold, their first full length studio album since 2010’s Tin Can Trust (a Grammy nominee for Best Americana Album) and second with Savoy/429 Records.

The dynamic songwriting, deeply poetic lyrics, thoughtful romantic and spiritual themes and eclectic blend of styles on the 11 track collection has resulted in an American saga in the rich literary tradition of legendary authors John Steinbeck and William Faulkner. Yet true to form, these typically humble musical wolves started in on the project without any grand vision or musical roadmap. Over 30 years after Los Lobos’ major label breakthrough How Will The Wolf Survive? - their 1984 album that ranks #30 on Rolling Stones list of the 100 greatest albums of the 1980s – their main challenge when they get off the road and head back into the studio is, as Berlin says, “trying not to do stuff we’ve already done. To a certain extent, we are always drawing from the same multi-faceted paint box, and we sound like what we sound like. We’re proud of what we feel is an honest body of work. We just want to keep finding new ways to say things.”

In the band’s early recording days - those years just before and after “La Bamba,” their worldwide crossover hit from the 1987 film which reached #1 on the U.S. and UK singles chart - they prepared for album recording sessions with top producers like T-Bone Burnett        with pre- production that included multiple rehearsals and “outlining” what the project was going to be. The more spontaneous approach to writing and recording that they took on their 1992 Mitchell Froom co-produced set Kiko still exists today; Rosas says, “When I listen to our catalog, doing things more spontaneously in the studio has led to some of our best work.” Unlike many bands that write, gather and catalog material between studio releases, Los Lobos prefers to create their magic on the fly when they decide it’s time to record. Perez says, “We never come in with a cache of 20 songs. Our thing is to write as we’re recording. It’s like starting with a blank canvass every time.”

The journey to Gates of Gold began with Hidalgo bringing in a batch of ideas, outlines and chord progressions with no lyrics. As he and Perez began fleshing things out, developing grooves, melodies and lyrical themes, Hidalgo, his son, drummer David, Jr. and bassist Lozano began tracking those tunes. The collection opens with the reflective, mid-tempo rocker “Made To Break Your Heart,” featuring female vocalist Syd Straw, whose vibe was partially inspired by Hidalgo’s love for Manassas, the early 70s blues-country-rock band created by Stephen Stills. The moody, atmospheric rocker “When We Were Free,” whose lyrics of what Berlin calls “beautiful melancholy memories” are underscored with the increasing drama of booming drums and distorted electric guitars. Filled with hypnotic sound effects and cool vocal and guitar distortion (created via an eight track analog Cascam cassette recorder!), the soulful, reflective “There I Go” touches on the universal search for what Perez calls “something meaningful, though we’re not always sure what it is.”

Further Hidalgo/Perez collaborations include “Too Small Heart,” a raw and raucous nod to both Los Lobos garage band roots and the wild abandon of Jimi Hendrix; the easy grooving folk- rocker “Song of the Sun,” which taps into the elements of life (water, fire, earth) and creation myths while touching on the way we choose to live in the present; the slow burning blues/rocker “Magdalena,” inspired by the Biblical Mary Magdalene and visions of flowing robes; and the folk-influenced, image rich rocker title track “Gates of Gold,” whose lyrical abstractions allow for multiple earthly and spiritual interpretations.

Perez says, “When I first started listening to the original demo Dave had, the music spoke to me of rural America. The impression the lyrics give could refer to the afterlife, i.e. the “pearly gates,” but I also was thinking about the immigrant experience, the promise of a new life as one travels across borders, all the thoughts a person making that daring move might have connected to the dream of what America is. Our parents all wondered what lay beyond those gates. On a personal level, it’s a reflection of where my band mates and I are in our lives. We’re all over 60 now and looking towards the horizon at our own mortality. We think often about what we’ve contributed and what’s left. I don’t know who the protagonist of the song is, but he’s looking at those gates from a distance because what lies beyond is a mystery.”

As Hidalgo and Perez began collaborating on their songs, Rosas, as per his trademark “lone wolf” songwriting approach, took his basic tracks to his home studio to complete the handful of tunes that flesh out the set. The singer, guitarist and mandolin player’s pieces include the raucous and bluesy, garage band fired jam “Mis-Treater Boogie Blues,” the swampy folk-rock blues lament “I Believed You So” and the swaying, sensual Latin Cumbia-styled “Poquito Para Aqui.” The sole cover on Gates of Gold is the other Spanish language tune, “La Tumba,” an accordion laced folk piece connected to the Mexican Norteno tradition (related to polka and corrodes) whose theme, says Perez, is very dark, “about following your lover to the tomb.” It’s very familiar to fans as a frequent staple of Los Lobos’ live performances.

Back in 2003, when Los Lobos was celebrating the 30th Anniversary of their humble beginnings as a garage band in East L.A., Rolling Stone summed up their distinctive, diverse, freewheeling fusion of rock, blues, soul and Mexican folk music: “This is what happens when five guys create a magical sound, then stick together...to see how far it can take them.” Originally called Los Lobos del Este (de Los Angeles), a play on a popular norteno band called Los Lobos del Norte, the group originally came together from three separate units. Lead vocalist/guitarist Hidalgo, whose arsenal includes accordion, percussion, bass, keyboards, melodic, drums, violin and banjo, met Perez at Garfield High in East LA and started a garage band. Rosas, who had his own group, and Lozano launched a power trio. “But we all hung out because we were friends and making music was just the natural progression of things,” says Perez, the band’s drummer. “Like if you hang around a barbershop long enough, you’re going to get a haircut.”

Berlin is Los Lobos’ saxophonist, flutist and harmonica player who met the band while still with seminal L.A. rockers The Blasters. He joined the group after performing on and co-producing (with T-Bone Burnett) their breakthrough 1983 EP ...And A Time To Dance. Los Lobos were already East L.A. neighborhood legends, Sunset Strip regulars and a Grammy winning band (Best Mexican American/Tejano Music Performance) by the time they recorded How Will the Wolf Survive? Although the album’s name and title song were inspired by a National Geographic article about real life wolves in the wild, the band saw obvious parallels with their struggle to gain mainstream rock success while maintaining their Mexican roots.

Perez, once called their powerhouse mix of rock, Tex-Mex, country, folk, R&B, blues and traditional Spanish and Mexican music “the soundtrack of the barrio.” Three decades, two more Grammys, the global success of “La Bamba” and thousands of rollicking performances across the globe later, Los Lobos is surviving quite well -- and still jamming with the same raw intensity as they had when they began in that garage in 1973. They don’t get in the studio as often as they did a few decades ago – Tin Can Trust came four years after their previous album of all originals, The Town and the City – but when they do, the results are every bit as culturally rich, musically rocking and lyrically provocative as they were back in the day. “It’s not always the easiest thing finding time away from our touring schedule and families to find time to make an album,” says Berlin, “but recording Gates of Gold, I have to say it’s great to be back in the proverbial saddle again. It reminds us of the fun we have had making new music over the years, and it’s nice to have the opportunity to create something of value.”

Perez adds, “I find that the most interesting part of songwriting and tracking a new album is the differential between the way a song sounds to you at 2 a.m. and the way it may hit you when it’s 11 a.m. and it reaches the light of day. We may love it just as much or we may realize we can do better. It’s always a process of discovering more about ourselves and the music we love to make. It’s not always easy getting started again, but I love that moment in the process when the songs start to take on their own life and we can let the kid, so to speak, run out onto the street and start figuring things out for himself. The way songs reveal themselves to us during these periods of writing and recording is my favorite part of the Los Lobos recording experience.”

The Loft at City Winery in New York City celebrates the dynamic and danceable music of the Buena Vista Social Club with this tribute to the Golden Age of Cuba. A red-hot trio of musicians, lead by guitarist-vocalist Francois Wiss, will be playing. He’ll be joined by Damian Quinones on guitar and vocals, and Danny Valdez on percussion and vocals. Wiss studied music at the Conservatoire in Paris, and was mentored by notable guitar masters Pierre Culaz, Marc Benguigui, Belaid Ait Abdallah, Terry Fleming and Mathias Berchadsky. The set list will include such Buena Vista Social Club favorites as “Chan Chan,” “El Payande,” “Se Seco el Arroyito” and many others.

Tickets will be $15 Day of Show. Your ticket is your dinner reservation. To view our dinner menu, please click here.

FRANCIS

Francis Aud is a Brooklyn-based singer, songwriter, and bandleader who 
writes and performs music that is almost as charming as he is.

A modern day entertainer whose main influences and inspirations range 
from the likes of the great troubadours and performers such as: Sam 
Cooke, Al Green, James Brown, Marvin Gaye, and more contemporarily, 
Allen Stone and Paolo Nutini, Francis writes, sings, and performs music 
that will make you dance, laugh, cry, feel things in your loins (but if 
you were feeling things in your loins before listening to his music 
please go see a doctor), and smile so hard your face will hurt, all 
while managing to be his funny, passionate, and genuine self on stage.

Having performed throughout the greater NYC area at notable venues such 
as Rockwood Music Hall, The Bowery Electric, The Knitting Factory, 
Mercury Lounge, Bowery Ballroom, and alongside Sofar Sounds, Francis is 
a consummate performer who knows how to confidently work and wow a 
crowd. 

DANNY

25-year-old singer-songwriter Danny Fishman mixes Americana, rock, and folk influences to craft music that is both distinctly his own and immediately familiar. His debut EP, What I Meant to Say, energetically narrates coming of age stories that reckon with heartbreak, identity, and the rediscovery of hope. Danny’s catchy hooks and thoughtful lyrics make the vulnerability at the core of each song uniquely accessible to his listeners.

Danny's live shows are marked by his inviting stage presence and heartfelt performances. He interweaves humor and sincerity to create a welcoming atmosphere for his audiences. As a part of the rising singer-songwriter scene in New York, Danny consistently plays all over the city in popular venues such as Rockwood Music Hall and The Bitter End. Though based in Brooklyn, he has performed throughout the US.

“We’re a Mexican American band, and no word describes America like immigrant. Most of us are children of immigrants, so it’s perhaps natural that the songs we create celebrate America in this way.” So says Louie Perez, the “poet laureate” and primary wordsmith of Los Lobos, when describing the songs on the band’s new album, Gates of Gold.

The stories on Gates of Gold are snapshots of experiences that Perez and his band mates have had, based on where they are emotionally and how they respond to evolving life circumstances. “We live out loud most of the time and share our life this way, but then there are more intrinsic things that happen, and our songs are part of the way we react to them. We sit down and basically tell people what has happened. We certainly didn’t start this project with aspirations to create the musical equivalent to great American literary works.”

After celebrating their 40th anniversary with the cleverly titled 2013 live album Disconnected In New York City, the hard working, constantly touring band – David Hidalgo, Louie Perez, Cesar Rosas, Conrad Lozano and Steve Berlin – leaps headfirst into their fifth decade with an invitation to join them as they open fresh and exciting new Gates of Gold, their first full length studio album since 2010’s Tin Can Trust (a Grammy nominee for Best Americana Album) and second with Savoy/429 Records.

The dynamic songwriting, deeply poetic lyrics, thoughtful romantic and spiritual themes and eclectic blend of styles on the 11 track collection has resulted in an American saga in the rich literary tradition of legendary authors John Steinbeck and William Faulkner. Yet true to form, these typically humble musical wolves started in on the project without any grand vision or musical roadmap. Over 30 years after Los Lobos’ major label breakthrough How Will The Wolf Survive? - their 1984 album that ranks #30 on Rolling Stones list of the 100 greatest albums of the 1980s – their main challenge when they get off the road and head back into the studio is, as Berlin says, “trying not to do stuff we’ve already done. To a certain extent, we are always drawing from the same multi-faceted paint box, and we sound like what we sound like. We’re proud of what we feel is an honest body of work. We just want to keep finding new ways to say things.”

In the band’s early recording days - those years just before and after “La Bamba,” their worldwide crossover hit from the 1987 film which reached #1 on the U.S. and UK singles chart - they prepared for album recording sessions with top producers like T-Bone Burnett        with pre- production that included multiple rehearsals and “outlining” what the project was going to be. The more spontaneous approach to writing and recording that they took on their 1992 Mitchell Froom co-produced set Kiko still exists today; Rosas says, “When I listen to our catalog, doing things more spontaneously in the studio has led to some of our best work.” Unlike many bands that write, gather and catalog material between studio releases, Los Lobos prefers to create their magic on the fly when they decide it’s time to record. Perez says, “We never come in with a cache of 20 songs. Our thing is to write as we’re recording. It’s like starting with a blank canvass every time.”

The journey to Gates of Gold began with Hidalgo bringing in a batch of ideas, outlines and chord progressions with no lyrics. As he and Perez began fleshing things out, developing grooves, melodies and lyrical themes, Hidalgo, his son, drummer David, Jr. and bassist Lozano began tracking those tunes. The collection opens with the reflective, mid-tempo rocker “Made To Break Your Heart,” featuring female vocalist Syd Straw, whose vibe was partially inspired by Hidalgo’s love for Manassas, the early 70s blues-country-rock band created by Stephen Stills. The moody, atmospheric rocker “When We Were Free,” whose lyrics of what Berlin calls “beautiful melancholy memories” are underscored with the increasing drama of booming drums and distorted electric guitars. Filled with hypnotic sound effects and cool vocal and guitar distortion (created via an eight track analog Cascam cassette recorder!), the soulful, reflective “There I Go” touches on the universal search for what Perez calls “something meaningful, though we’re not always sure what it is.”

Further Hidalgo/Perez collaborations include “Too Small Heart,” a raw and raucous nod to both Los Lobos garage band roots and the wild abandon of Jimi Hendrix; the easy grooving folk- rocker “Song of the Sun,” which taps into the elements of life (water, fire, earth) and creation myths while touching on the way we choose to live in the present; the slow burning blues/rocker “Magdalena,” inspired by the Biblical Mary Magdalene and visions of flowing robes; and the folk-influenced, image rich rocker title track “Gates of Gold,” whose lyrical abstractions allow for multiple earthly and spiritual interpretations.

Perez says, “When I first started listening to the original demo Dave had, the music spoke to me of rural America. The impression the lyrics give could refer to the afterlife, i.e. the “pearly gates,” but I also was thinking about the immigrant experience, the promise of a new life as one travels across borders, all the thoughts a person making that daring move might have connected to the dream of what America is. Our parents all wondered what lay beyond those gates. On a personal level, it’s a reflection of where my band mates and I are in our lives. We’re all over 60 now and looking towards the horizon at our own mortality. We think often about what we’ve contributed and what’s left. I don’t know who the protagonist of the song is, but he’s looking at those gates from a distance because what lies beyond is a mystery.”

As Hidalgo and Perez began collaborating on their songs, Rosas, as per his trademark “lone wolf” songwriting approach, took his basic tracks to his home studio to complete the handful of tunes that flesh out the set. The singer, guitarist and mandolin player’s pieces include the raucous and bluesy, garage band fired jam “Mis-Treater Boogie Blues,” the swampy folk-rock blues lament “I Believed You So” and the swaying, sensual Latin Cumbia-styled “Poquito Para Aqui.” The sole cover on Gates of Gold is the other Spanish language tune, “La Tumba,” an accordion laced folk piece connected to the Mexican Norteno tradition (related to polka and corrodes) whose theme, says Perez, is very dark, “about following your lover to the tomb.” It’s very familiar to fans as a frequent staple of Los Lobos’ live performances.

Back in 2003, when Los Lobos was celebrating the 30th Anniversary of their humble beginnings as a garage band in East L.A., Rolling Stone summed up their distinctive, diverse, freewheeling fusion of rock, blues, soul and Mexican folk music: “This is what happens when five guys create a magical sound, then stick together...to see how far it can take them.” Originally called Los Lobos del Este (de Los Angeles), a play on a popular norteno band called Los Lobos del Norte, the group originally came together from three separate units. Lead vocalist/guitarist Hidalgo, whose arsenal includes accordion, percussion, bass, keyboards, melodic, drums, violin and banjo, met Perez at Garfield High in East LA and started a garage band. Rosas, who had his own group, and Lozano launched a power trio. “But we all hung out because we were friends and making music was just the natural progression of things,” says Perez, the band’s drummer. “Like if you hang around a barbershop long enough, you’re going to get a haircut.”

Berlin is Los Lobos’ saxophonist, flutist and harmonica player who met the band while still with seminal L.A. rockers The Blasters. He joined the group after performing on and co-producing (with T-Bone Burnett) their breakthrough 1983 EP ...And A Time To Dance. Los Lobos were already East L.A. neighborhood legends, Sunset Strip regulars and a Grammy winning band (Best Mexican American/Tejano Music Performance) by the time they recorded How Will the Wolf Survive? Although the album’s name and title song were inspired by a National Geographic article about real life wolves in the wild, the band saw obvious parallels with their struggle to gain mainstream rock success while maintaining their Mexican roots.

Perez, once called their powerhouse mix of rock, Tex-Mex, country, folk, R&B, blues and traditional Spanish and Mexican music “the soundtrack of the barrio.” Three decades, two more Grammys, the global success of “La Bamba” and thousands of rollicking performances across the globe later, Los Lobos is surviving quite well -- and still jamming with the same raw intensity as they had when they began in that garage in 1973. They don’t get in the studio as often as they did a few decades ago – Tin Can Trust came four years after their previous album of all originals, The Town and the City – but when they do, the results are every bit as culturally rich, musically rocking and lyrically provocative as they were back in the day. “It’s not always the easiest thing finding time away from our touring schedule and families to find time to make an album,” says Berlin, “but recording Gates of Gold, I have to say it’s great to be back in the proverbial saddle again. It reminds us of the fun we have had making new music over the years, and it’s nice to have the opportunity to create something of value.”

Perez adds, “I find that the most interesting part of songwriting and tracking a new album is the differential between the way a song sounds to you at 2 a.m. and the way it may hit you when it’s 11 a.m. and it reaches the light of day. We may love it just as much or we may realize we can do better. It’s always a process of discovering more about ourselves and the music we love to make. It’s not always easy getting started again, but I love that moment in the process when the songs start to take on their own life and we can let the kid, so to speak, run out onto the street and start figuring things out for himself. The way songs reveal themselves to us during these periods of writing and recording is my favorite part of the Los Lobos recording experience.”

This ticket guarantees admission for the Meet & Greet ONLY!

“We’re a Mexican American band, and no word describes America like immigrant. Most of us are children of immigrants, so it’s perhaps natural that the songs we create celebrate America in this way.” So says Louie Perez, the “poet laureate” and primary wordsmith of Los Lobos, when describing the songs on the band’s new album, Gates of Gold.

The stories on Gates of Gold are snapshots of experiences that Perez and his band mates have had, based on where they are emotionally and how they respond to evolving life circumstances. “We live out loud most of the time and share our life this way, but then there are more intrinsic things that happen, and our songs are part of the way we react to them. We sit down and basically tell people what has happened. We certainly didn’t start this project with aspirations to create the musical equivalent to great American literary works.”

After celebrating their 40th anniversary with the cleverly titled 2013 live album Disconnected In New York City, the hard working, constantly touring band – David Hidalgo, Louie Perez, Cesar Rosas, Conrad Lozano and Steve Berlin – leaps headfirst into their fifth decade with an invitation to join them as they open fresh and exciting new Gates of Gold, their first full length studio album since 2010’s Tin Can Trust (a Grammy nominee for Best Americana Album) and second with Savoy/429 Records.

The dynamic songwriting, deeply poetic lyrics, thoughtful romantic and spiritual themes and eclectic blend of styles on the 11 track collection has resulted in an American saga in the rich literary tradition of legendary authors John Steinbeck and William Faulkner. Yet true to form, these typically humble musical wolves started in on the project without any grand vision or musical roadmap. Over 30 years after Los Lobos’ major label breakthrough How Will The Wolf Survive? - their 1984 album that ranks #30 on Rolling Stones list of the 100 greatest albums of the 1980s – their main challenge when they get off the road and head back into the studio is, as Berlin says, “trying not to do stuff we’ve already done. To a certain extent, we are always drawing from the same multi-faceted paint box, and we sound like what we sound like. We’re proud of what we feel is an honest body of work. We just want to keep finding new ways to say things.”

In the band’s early recording days - those years just before and after “La Bamba,” their worldwide crossover hit from the 1987 film which reached #1 on the U.S. and UK singles chart - they prepared for album recording sessions with top producers like T-Bone Burnett        with pre- production that included multiple rehearsals and “outlining” what the project was going to be. The more spontaneous approach to writing and recording that they took on their 1992 Mitchell Froom co-produced set Kiko still exists today; Rosas says, “When I listen to our catalog, doing things more spontaneously in the studio has led to some of our best work.” Unlike many bands that write, gather and catalog material between studio releases, Los Lobos prefers to create their magic on the fly when they decide it’s time to record. Perez says, “We never come in with a cache of 20 songs. Our thing is to write as we’re recording. It’s like starting with a blank canvass every time.”

The journey to Gates of Gold began with Hidalgo bringing in a batch of ideas, outlines and chord progressions with no lyrics. As he and Perez began fleshing things out, developing grooves, melodies and lyrical themes, Hidalgo, his son, drummer David, Jr. and bassist Lozano began tracking those tunes. The collection opens with the reflective, mid-tempo rocker “Made To Break Your Heart,” featuring female vocalist Syd Straw, whose vibe was partially inspired by Hidalgo’s love for Manassas, the early 70s blues-country-rock band created by Stephen Stills. The moody, atmospheric rocker “When We Were Free,” whose lyrics of what Berlin calls “beautiful melancholy memories” are underscored with the increasing drama of booming drums and distorted electric guitars. Filled with hypnotic sound effects and cool vocal and guitar distortion (created via an eight track analog Cascam cassette recorder!), the soulful, reflective “There I Go” touches on the universal search for what Perez calls “something meaningful, though we’re not always sure what it is.”

Further Hidalgo/Perez collaborations include “Too Small Heart,” a raw and raucous nod to both Los Lobos garage band roots and the wild abandon of Jimi Hendrix; the easy grooving folk- rocker “Song of the Sun,” which taps into the elements of life (water, fire, earth) and creation myths while touching on the way we choose to live in the present; the slow burning blues/rocker “Magdalena,” inspired by the Biblical Mary Magdalene and visions of flowing robes; and the folk-influenced, image rich rocker title track “Gates of Gold,” whose lyrical abstractions allow for multiple earthly and spiritual interpretations.

Perez says, “When I first started listening to the original demo Dave had, the music spoke to me of rural America. The impression the lyrics give could refer to the afterlife, i.e. the “pearly gates,” but I also was thinking about the immigrant experience, the promise of a new life as one travels across borders, all the thoughts a person making that daring move might have connected to the dream of what America is. Our parents all wondered what lay beyond those gates. On a personal level, it’s a reflection of where my band mates and I are in our lives. We’re all over 60 now and looking towards the horizon at our own mortality. We think often about what we’ve contributed and what’s left. I don’t know who the protagonist of the song is, but he’s looking at those gates from a distance because what lies beyond is a mystery.”

As Hidalgo and Perez began collaborating on their songs, Rosas, as per his trademark “lone wolf” songwriting approach, took his basic tracks to his home studio to complete the handful of tunes that flesh out the set. The singer, guitarist and mandolin player’s pieces include the raucous and bluesy, garage band fired jam “Mis-Treater Boogie Blues,” the swampy folk-rock blues lament “I Believed You So” and the swaying, sensual Latin Cumbia-styled “Poquito Para Aqui.” The sole cover on Gates of Gold is the other Spanish language tune, “La Tumba,” an accordion laced folk piece connected to the Mexican Norteno tradition (related to polka and corrodes) whose theme, says Perez, is very dark, “about following your lover to the tomb.” It’s very familiar to fans as a frequent staple of Los Lobos’ live performances.

Back in 2003, when Los Lobos was celebrating the 30th Anniversary of their humble beginnings as a garage band in East L.A., Rolling Stone summed up their distinctive, diverse, freewheeling fusion of rock, blues, soul and Mexican folk music: “This is what happens when five guys create a magical sound, then stick together...to see how far it can take them.” Originally called Los Lobos del Este (de Los Angeles), a play on a popular norteno band called Los Lobos del Norte, the group originally came together from three separate units. Lead vocalist/guitarist Hidalgo, whose arsenal includes accordion, percussion, bass, keyboards, melodic, drums, violin and banjo, met Perez at Garfield High in East LA and started a garage band. Rosas, who had his own group, and Lozano launched a power trio. “But we all hung out because we were friends and making music was just the natural progression of things,” says Perez, the band’s drummer. “Like if you hang around a barbershop long enough, you’re going to get a haircut.”

Berlin is Los Lobos’ saxophonist, flutist and harmonica player who met the band while still with seminal L.A. rockers The Blasters. He joined the group after performing on and co-producing (with T-Bone Burnett) their breakthrough 1983 EP ...And A Time To Dance. Los Lobos were already East L.A. neighborhood legends, Sunset Strip regulars and a Grammy winning band (Best Mexican American/Tejano Music Performance) by the time they recorded How Will the Wolf Survive? Although the album’s name and title song were inspired by a National Geographic article about real life wolves in the wild, the band saw obvious parallels with their struggle to gain mainstream rock success while maintaining their Mexican roots.

Perez, once called their powerhouse mix of rock, Tex-Mex, country, folk, R&B, blues and traditional Spanish and Mexican music “the soundtrack of the barrio.” Three decades, two more Grammys, the global success of “La Bamba” and thousands of rollicking performances across the globe later, Los Lobos is surviving quite well -- and still jamming with the same raw intensity as they had when they began in that garage in 1973. They don’t get in the studio as often as they did a few decades ago – Tin Can Trust came four years after their previous album of all originals, The Town and the City – but when they do, the results are every bit as culturally rich, musically rocking and lyrically provocative as they were back in the day. “It’s not always the easiest thing finding time away from our touring schedule and families to find time to make an album,” says Berlin, “but recording Gates of Gold, I have to say it’s great to be back in the proverbial saddle again. It reminds us of the fun we have had making new music over the years, and it’s nice to have the opportunity to create something of value.”

Perez adds, “I find that the most interesting part of songwriting and tracking a new album is the differential between the way a song sounds to you at 2 a.m. and the way it may hit you when it’s 11 a.m. and it reaches the light of day. We may love it just as much or we may realize we can do better. It’s always a process of discovering more about ourselves and the music we love to make. It’s not always easy getting started again, but I love that moment in the process when the songs start to take on their own life and we can let the kid, so to speak, run out onto the street and start figuring things out for himself. The way songs reveal themselves to us during these periods of writing and recording is my favorite part of the Los Lobos recording experience.”

Tickets will be $25 Day of Show

Join us for a wacky and fun night of music industry storytelling from the people who were there. The Rock Godz Must Be Crazy features incredible, crazy stories from people behind the scenes during the most famous (and not so famous) moments in music industry. 

Featuring timeless and unforgettable, hilarious, and behind-the-scenes stories of:

* Nirvana

* Burt Bacharach

* Elton John

* The Ramones

* Don Kirshner

* Jimmy Iovine

* John Travolta

* KC and The Sunshine Band

* and More!

This night features stories from music industry icons including:

* Robin Siebert - on Nirvana

* Harry Spero - on Burt Bacharach and John Travolta

* Ron Spaulding - on Elton John

* John Cafiero - on The Ramones

* Howard Smiley - on KC and The Sunshine Band

* Bob Kohn - on Jimmy Iovine

and more!

Proceeds benefit the GRAMMY Music Eduction Coalition who envisions a world where all public school students can participate in high-quality music education — no matter where they live. More information on this great organization is at www.grammymusiced.org.

Your ticket is your dinner reservation. To view our dinner menu, please click here.

See vocalist Julie Eigenberg and Brazilian Guitar Hero Richard Miller join forces to pay tribute to Brazilian jazz legend Antonio Carlos “Tom” Jobim, the Grammy-winning king of bossa nova and composer of enduring hits, including the international smash “The Girl From Ipanema.” Julie Eigenberg, also known as Julie E. A Grammy-winning lyricist and accomplished jazz singer and composer, is equally entrancing whether performing American or Latin-flavored classics. Richard Miller Born and raised in Rio de Janeiro, guitarist Richard Miller is now on the faculty of Columbia University, while maintaining a busy performance schedule in New York and Washington, DC. Recent performances included Merkin Hall in NYC, the Kennedy Center, and a State Department concert. Enjoy this exciting evening of music at City Vinyard in New York City.

“We’re a Mexican American band, and no word describes America like immigrant. Most of us are children of immigrants, so it’s perhaps natural that the songs we create celebrate America in this way.” So says Louie Perez, the “poet laureate” and primary wordsmith of Los Lobos, when describing the songs on the band’s new album, Gates of Gold.

The stories on Gates of Gold are snapshots of experiences that Perez and his band mates have had, based on where they are emotionally and how they respond to evolving life circumstances. “We live out loud most of the time and share our life this way, but then there are more intrinsic things that happen, and our songs are part of the way we react to them. We sit down and basically tell people what has happened. We certainly didn’t start this project with aspirations to create the musical equivalent to great American literary works.”

After celebrating their 40th anniversary with the cleverly titled 2013 live album Disconnected In New York City, the hard working, constantly touring band – David Hidalgo, Louie Perez, Cesar Rosas, Conrad Lozano and Steve Berlin – leaps headfirst into their fifth decade with an invitation to join them as they open fresh and exciting new Gates of Gold, their first full length studio album since 2010’s Tin Can Trust (a Grammy nominee for Best Americana Album) and second with Savoy/429 Records.

The dynamic songwriting, deeply poetic lyrics, thoughtful romantic and spiritual themes and eclectic blend of styles on the 11 track collection has resulted in an American saga in the rich literary tradition of legendary authors John Steinbeck and William Faulkner. Yet true to form, these typically humble musical wolves started in on the project without any grand vision or musical roadmap. Over 30 years after Los Lobos’ major label breakthrough How Will The Wolf Survive? - their 1984 album that ranks #30 on Rolling Stones list of the 100 greatest albums of the 1980s – their main challenge when they get off the road and head back into the studio is, as Berlin says, “trying not to do stuff we’ve already done. To a certain extent, we are always drawing from the same multi-faceted paint box, and we sound like what we sound like. We’re proud of what we feel is an honest body of work. We just want to keep finding new ways to say things.”

In the band’s early recording days - those years just before and after “La Bamba,” their worldwide crossover hit from the 1987 film which reached #1 on the U.S. and UK singles chart - they prepared for album recording sessions with top producers like T-Bone Burnett        with pre- production that included multiple rehearsals and “outlining” what the project was going to be. The more spontaneous approach to writing and recording that they took on their 1992 Mitchell Froom co-produced set Kiko still exists today; Rosas says, “When I listen to our catalog, doing things more spontaneously in the studio has led to some of our best work.” Unlike many bands that write, gather and catalog material between studio releases, Los Lobos prefers to create their magic on the fly when they decide it’s time to record. Perez says, “We never come in with a cache of 20 songs. Our thing is to write as we’re recording. It’s like starting with a blank canvass every time.”

The journey to Gates of Gold began with Hidalgo bringing in a batch of ideas, outlines and chord progressions with no lyrics. As he and Perez began fleshing things out, developing grooves, melodies and lyrical themes, Hidalgo, his son, drummer David, Jr. and bassist Lozano began tracking those tunes. The collection opens with the reflective, mid-tempo rocker “Made To Break Your Heart,” featuring female vocalist Syd Straw, whose vibe was partially inspired by Hidalgo’s love for Manassas, the early 70s blues-country-rock band created by Stephen Stills. The moody, atmospheric rocker “When We Were Free,” whose lyrics of what Berlin calls “beautiful melancholy memories” are underscored with the increasing drama of booming drums and distorted electric guitars. Filled with hypnotic sound effects and cool vocal and guitar distortion (created via an eight track analog Cascam cassette recorder!), the soulful, reflective “There I Go” touches on the universal search for what Perez calls “something meaningful, though we’re not always sure what it is.”

Further Hidalgo/Perez collaborations include “Too Small Heart,” a raw and raucous nod to both Los Lobos garage band roots and the wild abandon of Jimi Hendrix; the easy grooving folk- rocker “Song of the Sun,” which taps into the elements of life (water, fire, earth) and creation myths while touching on the way we choose to live in the present; the slow burning blues/rocker “Magdalena,” inspired by the Biblical Mary Magdalene and visions of flowing robes; and the folk-influenced, image rich rocker title track “Gates of Gold,” whose lyrical abstractions allow for multiple earthly and spiritual interpretations.

Perez says, “When I first started listening to the original demo Dave had, the music spoke to me of rural America. The impression the lyrics give could refer to the afterlife, i.e. the “pearly gates,” but I also was thinking about the immigrant experience, the promise of a new life as one travels across borders, all the thoughts a person making that daring move might have connected to the dream of what America is. Our parents all wondered what lay beyond those gates. On a personal level, it’s a reflection of where my band mates and I are in our lives. We’re all over 60 now and looking towards the horizon at our own mortality. We think often about what we’ve contributed and what’s left. I don’t know who the protagonist of the song is, but he’s looking at those gates from a distance because what lies beyond is a mystery.”

As Hidalgo and Perez began collaborating on their songs, Rosas, as per his trademark “lone wolf” songwriting approach, took his basic tracks to his home studio to complete the handful of tunes that flesh out the set. The singer, guitarist and mandolin player’s pieces include the raucous and bluesy, garage band fired jam “Mis-Treater Boogie Blues,” the swampy folk-rock blues lament “I Believed You So” and the swaying, sensual Latin Cumbia-styled “Poquito Para Aqui.” The sole cover on Gates of Gold is the other Spanish language tune, “La Tumba,” an accordion laced folk piece connected to the Mexican Norteno tradition (related to polka and corrodes) whose theme, says Perez, is very dark, “about following your lover to the tomb.” It’s very familiar to fans as a frequent staple of Los Lobos’ live performances.

Back in 2003, when Los Lobos was celebrating the 30th Anniversary of their humble beginnings as a garage band in East L.A., Rolling Stone summed up their distinctive, diverse, freewheeling fusion of rock, blues, soul and Mexican folk music: “This is what happens when five guys create a magical sound, then stick together...to see how far it can take them.” Originally called Los Lobos del Este (de Los Angeles), a play on a popular norteno band called Los Lobos del Norte, the group originally came together from three separate units. Lead vocalist/guitarist Hidalgo, whose arsenal includes accordion, percussion, bass, keyboards, melodic, drums, violin and banjo, met Perez at Garfield High in East LA and started a garage band. Rosas, who had his own group, and Lozano launched a power trio. “But we all hung out because we were friends and making music was just the natural progression of things,” says Perez, the band’s drummer. “Like if you hang around a barbershop long enough, you’re going to get a haircut.”

Berlin is Los Lobos’ saxophonist, flutist and harmonica player who met the band while still with seminal L.A. rockers The Blasters. He joined the group after performing on and co-producing (with T-Bone Burnett) their breakthrough 1983 EP ...And A Time To Dance. Los Lobos were already East L.A. neighborhood legends, Sunset Strip regulars and a Grammy winning band (Best Mexican American/Tejano Music Performance) by the time they recorded How Will the Wolf Survive? Although the album’s name and title song were inspired by a National Geographic article about real life wolves in the wild, the band saw obvious parallels with their struggle to gain mainstream rock success while maintaining their Mexican roots.

Perez, once called their powerhouse mix of rock, Tex-Mex, country, folk, R&B, blues and traditional Spanish and Mexican music “the soundtrack of the barrio.” Three decades, two more Grammys, the global success of “La Bamba” and thousands of rollicking performances across the globe later, Los Lobos is surviving quite well -- and still jamming with the same raw intensity as they had when they began in that garage in 1973. They don’t get in the studio as often as they did a few decades ago – Tin Can Trust came four years after their previous album of all originals, The Town and the City – but when they do, the results are every bit as culturally rich, musically rocking and lyrically provocative as they were back in the day. “It’s not always the easiest thing finding time away from our touring schedule and families to find time to make an album,” says Berlin, “but recording Gates of Gold, I have to say it’s great to be back in the proverbial saddle again. It reminds us of the fun we have had making new music over the years, and it’s nice to have the opportunity to create something of value.”

Perez adds, “I find that the most interesting part of songwriting and tracking a new album is the differential between the way a song sounds to you at 2 a.m. and the way it may hit you when it’s 11 a.m. and it reaches the light of day. We may love it just as much or we may realize we can do better. It’s always a process of discovering more about ourselves and the music we love to make. It’s not always easy getting started again, but I love that moment in the process when the songs start to take on their own life and we can let the kid, so to speak, run out onto the street and start figuring things out for himself. The way songs reveal themselves to us during these periods of writing and recording is my favorite part of the Los Lobos recording experience.”

This ticket guarantees admission to the Meet & Greet ONLY!

“We’re a Mexican American band, and no word describes America like immigrant. Most of us are children of immigrants, so it’s perhaps natural that the songs we create celebrate America in this way.” So says Louie Perez, the “poet laureate” and primary wordsmith of Los Lobos, when describing the songs on the band’s new album, Gates of Gold.

The stories on Gates of Gold are snapshots of experiences that Perez and his band mates have had, based on where they are emotionally and how they respond to evolving life circumstances. “We live out loud most of the time and share our life this way, but then there are more intrinsic things that happen, and our songs are part of the way we react to them. We sit down and basically tell people what has happened. We certainly didn’t start this project with aspirations to create the musical equivalent to great American literary works.”

After celebrating their 40th anniversary with the cleverly titled 2013 live album Disconnected In New York City, the hard working, constantly touring band – David Hidalgo, Louie Perez, Cesar Rosas, Conrad Lozano and Steve Berlin – leaps headfirst into their fifth decade with an invitation to join them as they open fresh and exciting new Gates of Gold, their first full length studio album since 2010’s Tin Can Trust (a Grammy nominee for Best Americana Album) and second with Savoy/429 Records.

The dynamic songwriting, deeply poetic lyrics, thoughtful romantic and spiritual themes and eclectic blend of styles on the 11 track collection has resulted in an American saga in the rich literary tradition of legendary authors John Steinbeck and William Faulkner. Yet true to form, these typically humble musical wolves started in on the project without any grand vision or musical roadmap. Over 30 years after Los Lobos’ major label breakthrough How Will The Wolf Survive? - their 1984 album that ranks #30 on Rolling Stones list of the 100 greatest albums of the 1980s – their main challenge when they get off the road and head back into the studio is, as Berlin says, “trying not to do stuff we’ve already done. To a certain extent, we are always drawing from the same multi-faceted paint box, and we sound like what we sound like. We’re proud of what we feel is an honest body of work. We just want to keep finding new ways to say things.”

In the band’s early recording days - those years just before and after “La Bamba,” their worldwide crossover hit from the 1987 film which reached #1 on the U.S. and UK singles chart - they prepared for album recording sessions with top producers like T-Bone Burnett        with pre- production that included multiple rehearsals and “outlining” what the project was going to be. The more spontaneous approach to writing and recording that they took on their 1992 Mitchell Froom co-produced set Kiko still exists today; Rosas says, “When I listen to our catalog, doing things more spontaneously in the studio has led to some of our best work.” Unlike many bands that write, gather and catalog material between studio releases, Los Lobos prefers to create their magic on the fly when they decide it’s time to record. Perez says, “We never come in with a cache of 20 songs. Our thing is to write as we’re recording. It’s like starting with a blank canvass every time.”

The journey to Gates of Gold began with Hidalgo bringing in a batch of ideas, outlines and chord progressions with no lyrics. As he and Perez began fleshing things out, developing grooves, melodies and lyrical themes, Hidalgo, his son, drummer David, Jr. and bassist Lozano began tracking those tunes. The collection opens with the reflective, mid-tempo rocker “Made To Break Your Heart,” featuring female vocalist Syd Straw, whose vibe was partially inspired by Hidalgo’s love for Manassas, the early 70s blues-country-rock band created by Stephen Stills. The moody, atmospheric rocker “When We Were Free,” whose lyrics of what Berlin calls “beautiful melancholy memories” are underscored with the increasing drama of booming drums and distorted electric guitars. Filled with hypnotic sound effects and cool vocal and guitar distortion (created via an eight track analog Cascam cassette recorder!), the soulful, reflective “There I Go” touches on the universal search for what Perez calls “something meaningful, though we’re not always sure what it is.”

Further Hidalgo/Perez collaborations include “Too Small Heart,” a raw and raucous nod to both Los Lobos garage band roots and the wild abandon of Jimi Hendrix; the easy grooving folk- rocker “Song of the Sun,” which taps into the elements of life (water, fire, earth) and creation myths while touching on the way we choose to live in the present; the slow burning blues/rocker “Magdalena,” inspired by the Biblical Mary Magdalene and visions of flowing robes; and the folk-influenced, image rich rocker title track “Gates of Gold,” whose lyrical abstractions allow for multiple earthly and spiritual interpretations.

Perez says, “When I first started listening to the original demo Dave had, the music spoke to me of rural America. The impression the lyrics give could refer to the afterlife, i.e. the “pearly gates,” but I also was thinking about the immigrant experience, the promise of a new life as one travels across borders, all the thoughts a person making that daring move might have connected to the dream of what America is. Our parents all wondered what lay beyond those gates. On a personal level, it’s a reflection of where my band mates and I are in our lives. We’re all over 60 now and looking towards the horizon at our own mortality. We think often about what we’ve contributed and what’s left. I don’t know who the protagonist of the song is, but he’s looking at those gates from a distance because what lies beyond is a mystery.”

As Hidalgo and Perez began collaborating on their songs, Rosas, as per his trademark “lone wolf” songwriting approach, took his basic tracks to his home studio to complete the handful of tunes that flesh out the set. The singer, guitarist and mandolin player’s pieces include the raucous and bluesy, garage band fired jam “Mis-Treater Boogie Blues,” the swampy folk-rock blues lament “I Believed You So” and the swaying, sensual Latin Cumbia-styled “Poquito Para Aqui.” The sole cover on Gates of Gold is the other Spanish language tune, “La Tumba,” an accordion laced folk piece connected to the Mexican Norteno tradition (related to polka and corrodes) whose theme, says Perez, is very dark, “about following your lover to the tomb.” It’s very familiar to fans as a frequent staple of Los Lobos’ live performances.

Back in 2003, when Los Lobos was celebrating the 30th Anniversary of their humble beginnings as a garage band in East L.A., Rolling Stone summed up their distinctive, diverse, freewheeling fusion of rock, blues, soul and Mexican folk music: “This is what happens when five guys create a magical sound, then stick together...to see how far it can take them.” Originally called Los Lobos del Este (de Los Angeles), a play on a popular norteno band called Los Lobos del Norte, the group originally came together from three separate units. Lead vocalist/guitarist Hidalgo, whose arsenal includes accordion, percussion, bass, keyboards, melodic, drums, violin and banjo, met Perez at Garfield High in East LA and started a garage band. Rosas, who had his own group, and Lozano launched a power trio. “But we all hung out because we were friends and making music was just the natural progression of things,” says Perez, the band’s drummer. “Like if you hang around a barbershop long enough, you’re going to get a haircut.”

Berlin is Los Lobos’ saxophonist, flutist and harmonica player who met the band while still with seminal L.A. rockers The Blasters. He joined the group after performing on and co-producing (with T-Bone Burnett) their breakthrough 1983 EP ...And A Time To Dance. Los Lobos were already East L.A. neighborhood legends, Sunset Strip regulars and a Grammy winning band (Best Mexican American/Tejano Music Performance) by the time they recorded How Will the Wolf Survive? Although the album’s name and title song were inspired by a National Geographic article about real life wolves in the wild, the band saw obvious parallels with their struggle to gain mainstream rock success while maintaining their Mexican roots.

Perez, once called their powerhouse mix of rock, Tex-Mex, country, folk, R&B, blues and traditional Spanish and Mexican music “the soundtrack of the barrio.” Three decades, two more Grammys, the global success of “La Bamba” and thousands of rollicking performances across the globe later, Los Lobos is surviving quite well -- and still jamming with the same raw intensity as they had when they began in that garage in 1973. They don’t get in the studio as often as they did a few decades ago – Tin Can Trust came four years after their previous album of all originals, The Town and the City – but when they do, the results are every bit as culturally rich, musically rocking and lyrically provocative as they were back in the day. “It’s not always the easiest thing finding time away from our touring schedule and families to find time to make an album,” says Berlin, “but recording Gates of Gold, I have to say it’s great to be back in the proverbial saddle again. It reminds us of the fun we have had making new music over the years, and it’s nice to have the opportunity to create something of value.”

Perez adds, “I find that the most interesting part of songwriting and tracking a new album is the differential between the way a song sounds to you at 2 a.m. and the way it may hit you when it’s 11 a.m. and it reaches the light of day. We may love it just as much or we may realize we can do better. It’s always a process of discovering more about ourselves and the music we love to make. It’s not always easy getting started again, but I love that moment in the process when the songs start to take on their own life and we can let the kid, so to speak, run out onto the street and start figuring things out for himself. The way songs reveal themselves to us during these periods of writing and recording is my favorite part of the Los Lobos recording experience.”

Tickets will be $15 Day of Show

A lot of really talented people like working with Michael Sackler-Berner.

People like new wave icon Marshall Crenshaw, Grammy-winning producer Steve Jordan, and 150-million-album selling drummer Liberty DeVitto. They’ve all shared a studio or a stage with the New York singer-songwriter in recent years. Ask why, and they’d say Michael’s a musician’s musician—the kind of guy obsessed with vintage gear, recording live off the floor, etc. But mainly, its because he writes such amazing songs.

Sackler-Berner’s  songs have appearing regularly in shows like Sons of Anarchy, Bloodline, Nurse Jackie and Law and Order. He’s acted a little, toured, written songs for other singers, and landed a publishing deal with Razor & Tie.  His first solo album, simply titled MSB featured the likes of Jim Keltner, Reggie McBride and Val McCallum. He recorded a song with his childhood friend Henry Geller and drummer Liberty DeVitto of Billy Joel fame, which led to a detour. “At the end of the session, Liberty asked to be our drummer full-time! So we made a band.” That popular not-so-side project, the Slim Kings, is already two albums in and opening for ZZ Top, and large scale acts.

A new demo caught the ears of Marshall Crenshaw. “Marshall didn’t know me from Adam, but wanted to work with me,” says Sackler-Berner. “Plus, he’s a guitar guy, like me, and it was opportunity to work with a proven songwriter.” Crenshaw picked three new songs of Sackler-Berner’s to work on with Stewart Lerman, the Grammy-winning producer behind St. Vincent and Elvis Costello. Additionally, another five tracks were recorded with Leo Sidran, an Oscar-winning composer/producer. “Those were a bit more aggressive: we were doing one or two takes on the vocals,” says Sackler-Berner.

Following up on the success of the Crenshaw/Sidran double EP release which landed rave reviews from AXS, PopDose, People magazine and even muso-rags like Guitar World, Sackler-Berner began distilling over 80 songs from his catalog down to 11 for his forthcoming second record which is slated to be produced by red hot Joel Hamilton.  Hamilton is currently celebrating a grammy nod for best rock album of the year and a billboard number one.

Standing Room Tickets Available Here:

Seated Tickets Available Here:

Grammy Nominated Professor Louie & The Crowmatix with The Woodstock Horns Rick Danko Birthday Celebration Professor Louie has emerged over his five decades in the music industry as the torch bearer of the true spirit of American Roots music, capturing the talents of some of the world’s most highly acclaimed musicians, most notably, The Band collaborating with them for over 16 years. Professor Louie & The Crowmatix with The Woodstock Horns will host a concert honoring the late great Rick Danko, bassist & vocalist from The Rock & Roll Hall of Fame Group, The Band, celebrating his music and Birthday. Rick & Professor Louie traveled the world playing concerts & recording and became best friends. Noting Louie’s musical talents, Rick gave him the moniker “Professor Louie”. In the 90’s, Louie performed on and produced 3 CD’s for The Band and three solo CD’s by Rick Danko. Professor Louie & The Crowmatix became Rick Danko’s backup band for many shows and recordings. Professor Louie & The Crowmatix have released 13 CDs and maintain a steady performance schedule of over 150 live dates a year. The Crowmatix: Prof. Louie (The Band-Rick Danko) - vocals, keyboards, accordion Miss Marie (Rick Danko Band) – vocals, percussion, keyboards Gary Burke (Bob Dylan) – drums Frank Campbell (Levon Helm Band) – bass, bkg. vocals John Platania (Van Morison) – guitar, vocals The Woodstock Horns with arrangements by Allen Tousaint -Tom Bones Malone Gary Burke - Howard Johnson - Professor Louie “Roots Music Royalty” - playing the fabric of American Music Bill Hurley - Extended Play Sessions www.professorlouie.com

Tickets will be $25 Day of Show

Grammy Nominated Professor Louie & The Crowmatix with The Woodstock Horns Rick Danko Birthday Celebration Professor Louie has emerged over his five decades in the music industry as the torch bearer of the true spirit of American Roots music, capturing the talents of some of the world’s most highly acclaimed musicians, most notably, The Band collaborating with them for over 16 years. Professor Louie & The Crowmatix with The Woodstock Horns will host a concert honoring the late great Rick Danko, bassist & vocalist from The Rock & Roll Hall of Fame Group, The Band, celebrating his music and Birthday. Rick & Professor Louie traveled the world playing concerts & recording and became best friends. Noting Louie’s musical talents, Rick gave him the moniker “Professor Louie”. In the 90’s, Louie performed on and produced 3 CD’s for The Band and three solo CD’s by Rick Danko. Professor Louie & The Crowmatix became Rick Danko’s backup band for many shows and recordings. Professor Louie & The Crowmatix have released 13 CDs and maintain a steady performance schedule of over 150 live dates a year. The Crowmatix: Prof. Louie (The Band-Rick Danko) - vocals, keyboards, accordion Miss Marie (Rick Danko Band) – vocals, percussion, keyboards Gary Burke (Bob Dylan) – drums Frank Campbell (Levon Helm Band) – bass, bkg. vocals John Platania (Van Morison) – guitar, vocals The Woodstock Horns with arrangements by Allen Tousaint -Tom Bones Malone Gary Burke - Howard Johnson - Professor Louie “Roots Music Royalty” - playing the fabric of American Music Bill Hurley - Extended Play Sessions www.professorlouie.com

Tickets will be $25 Day of Show

Project Grand Slam is the brainchild of acclaimed bassist/composer Robert Miller.  The band’s newest CD, Trippin’, hit #1 on the Billboard Contemporary Jazz Chart and has been submitted for several GRAMMY nominations. PGS has earned over one million video views and over 42,000 Facebook Followers while defying genres, languages and geographic boundaries.

PGS has wowed audiences from Smooth Jazz to Rock, from Millennials to Baby Boomers, at various festivals, Performing Arts Centers and other major venues, headlining and performing alongside a number of major artists, and has cultivated a fervent, worldwide fan base. 

In 2018 the band headlined at the following 7 major U.S. and International music festivals:

o    Jazz In The Park (AL)

o    Rhythm & Rhymes (MI)

o    Silda Jazz (Norway)

o    Nisville Jazz (Serbia)

o    Summer’s Not Over Yet (NJ)

o    Shoreline Jazz (MI)

o    Jazz, Funk & Blues (CT)

Robert writes and arranges all of the band’s material, including vocal and instrumental originals. One of Robert’s musical signatures is to take Classic Rock hits and “reimagine” them in PGS’s style. He’s done this with Jimi Hendrix’ “Fire”, The Kinks’ “You Really Got Me”, Cream’s “I’m So Glad”, The Who’s “I Can’t Explain”, and Phish’s “Free”.

The band’s next album, “Greetings From Serbia”, a live album of their set at the 2018 Nisville Jazz Festival, will be released on January 18, 2019.

2018 Vintage Celebration With City Winery Winemakers.

Winery Tour. Barrel Tasting. Dinner With Wine Pairings.

We’re excited to invite you to The City Winery 2018 Vintage Harvest Celebration!

Lead by our winemaker Aurelien Gousse, you will learn about the vintage conditions of the 2018 growing year and how they affected the grapes and future wines, take a tour of the winery and the wine aging cellar, taste 2017 wines straight from the barrel, and enjoy a three course dinner paired with reserve wines from City Winery library!

About Aurelien Gousse, City Winery NYC Winemaker:

Menu to be announced soon!

Chely Wright rose to fame as a commercial country singer in the 90’s, and has since released

eight studio albums and charted more than 15 singles on the Billboard charts. The Academy of

Country Music named Wright "Top New Female Vocalist of 1995." Her first hit came in 1997

with “Shut Up and Drive” followed two years later by her first number one single, “Single White

Female,” and in 2005 "The Bumper of My S.U.V.”  In 2010, Chely Wright released her eighth

album, Lifted Off the Ground produced by Rodney Crowell, revealing a dramatic artistic

transformation and emerging as a singer songwriter of the first order. 

Chely made history by being the first country music star to publicly come out as gay, which she

revealed in her 2010 memoir entitled “Like Me.” That same year Wright founded The LIKEME®

Organization, a nonprofit organization that provides assistance, resources and education to

LGBT individuals and their family & friends, as well as founding The LIKEME® Lighthouse, an

education and community center for gay youth in Chely's hometown of Kansas City, MO.

In 2016, Wright released her latest critically-acclaimed studio album entitled I Am The

Rain, produced by Joe Henry-produced and praised by Rolling Stone as a "real triumph," noting

"Wright tempers the darker themes on her album with character-driven story songs whether

inspired by her years as a touring musician or springing from her vivid imagination.” The

Bluegrass Situation noted that “the album's quiet confidence showcases what is probably the

truest side of [Wright]."

Currently Chely is working on a new studio EP as well as a holiday EP, both of which are being

crowdfunded through PledgeMusic. [https://www.pledgemusic.com/projects/chely-wright]

Avery Sunshine is a native of Chester, PA where she nurtured a natural talent by singing in church and leading and directing choirs. A former member of the renowned Wilmington/Chester Mass Choir, she honed her vocal instrument and sharpened her ability to play piano in her hometown, then headed south to Atlanta, GA where she attended Spelman College. Though far from home, she was never far from her one true love – music. She embodies it. She lives to express through it. But Avery’s talent couldn’t be contained within the walls and stained glass of the church for very long. Making her mark on the Atlanta-soul music scene, she and her Spelman sister, Broadway talent Maia Wilson, teamed up to form the singing duo DaisyRew; and later Avery lent her voice to the soundtrack for Paramount Pictures’ The Fighting Temptations. In 2005, she was hired as lead keyboardist for Tyler Perry’s stage play Meet The Browns. Avery Sunshine recently made history with daily performances at the Democratic National Convention in Denver, CO and four private events during the 2009 Inauguration of President Barack Obama.

With vocals and lyrics that are thick and strong yet jazzy-smooth, coined ‘jazzgosoul’ by a personal friend, it’s easily recognized that Avery Sunshine has been singing all her life. However her sound and her music is perfected in collaboration with her musical partner Dana Johnson, a classically trained guitarist, gifted lyricist, producer and the man behind the tracks. What started in church at a young age has been refined by experience as she stands ready to proclaim her own story with her first CD project. “In the album I sing about my life – being a divorced mother of two, aging, being mean to the person I love. I sing about the possibility of being a single woman – indefinitely; as well as the feeling of being in love with my man before I even meet him. I also sing about the promise of God; the promise that He will never leave me or forsake me. The idea of never being left alone somehow makes things easier to deal with. Burdens seem lighter.”

With his raspy, soulful voice and instantly memorable original songs, roots-rocking multi-instrumentalist Eric Lindell is a true one-of-a-kind talent. Mixing West Coast rock and swampy Gulf Coast R&B with honky tonk country and Memphis soul, Lindell creates American roots music that is both surprisingly fresh and sweetly familiar. Since his first self-release over two decades ago, Lindell has earned critical and popular acclaim, first in his dual home bases of Louisiana and Northern California and then across the country. Although influenced by American roots music from blues to country to rock, Lindell’s style is all his own. He has performed thousands of gigs in roadhouses, clubs, concert halls and festivals and has appeared on national radio and television. His live shows overflow with happy, dancing people singing the words to every song.

Standing Room Available for Purchase Here: 

‘Tis The Season For Ronnie Spector

To Spread Holiday Cheer

With Her “Best Christmas Party Ever!

          Performing as ‘Ronnie Spector and The Ronettes' for the  First  Time Since the 1970s

Iconic singer and Rock and Roll Hall of Fame inductee Ronnie Spector absolutely loves Christmas, and she’ll ring in the holiday season once again with her spirited multi-media show Ronnie Spector’s Best Christmas Party Ever! 

Ronnie Spector’s Best Christmas Party Ever! is a raucous, rocking, and intoxicating blend of her Christmas classics, Ronettes hits including “Be My Baby,” (recently named by Billboard Magazine  as the #1 Greatest Girl Group Song of All Time) “Walking In The Rain,” “Baby I Love You”, cult gems from her back catalog, a splash of doo–wop, and plenty of Ronnie’s inimitable off–the–cuff commentary. As The New York Daily News said “Go and experience the ultimate sonic stocking stuffer!”

As an added treat for the holidays, the Beehived Bad Girl from Spanish Harlem will perform as ‘Ronnie Spector and The Ronettes’ for the first time since the 1970’s.

The New York Times raved: “It’s hard to think of a more appealing angel to welcome the season than Ms. Spector.” For three decades, Ronnie’s Christmas show has been a cherished holiday tradition, with a song list that includes her definitive renditions of “Frosty the Snowman,” “Sleigh Ride,” and “I Saw Mommy Kissing Santa Claus.” Both “Frosty” and “Sleigh Ride” dominate the airwaves at Christmas time and are perennials on ASCAP’s list of the Top 20 Most–Played Holiday Songs. Ronnie’s Christmas songs have been heard in hit movies such as Good Fellas, The Santa Clause 2, Joy, and Jingle All the Way.

For Ronnie, her upcoming holiday shows are the latest highlight in a current stretch described by People Magazine as a ‘Victory Lap’ for ‘The Original Rock Queen.’

Like the San Francisco Chronicle proclaimed "If it takes Christmas to make Ronnie Spector come out and play, let it snow, let it snow, let it snow."

Seated Tickets Available for Purchase Here: 

‘Tis The Season For Ronnie Spector

To Spread Holiday Cheer

With Her “Best Christmas Party Ever!

          Performing as ‘Ronnie Spector and The Ronettes' for the  First  Time Since the 1970s

Iconic singer and Rock and Roll Hall of Fame inductee Ronnie Spector absolutely loves Christmas, and she’ll ring in the holiday season once again with her spirited multi-media show Ronnie Spector’s Best Christmas Party Ever! 

Ronnie Spector’s Best Christmas Party Ever! is a raucous, rocking, and intoxicating blend of her Christmas classics, Ronettes hits including “Be My Baby,” (recently named by Billboard Magazine  as the #1 Greatest Girl Group Song of All Time) “Walking In The Rain,” “Baby I Love You”, cult gems from her back catalog, a splash of doo–wop, and plenty of Ronnie’s inimitable off–the–cuff commentary. As The New York Daily News said “Go and experience the ultimate sonic stocking stuffer!”

As an added treat for the holidays, the Beehived Bad Girl from Spanish Harlem will perform as ‘Ronnie Spector and The Ronettes’ for the first time since the 1970’s.

The New York Times raved: “It’s hard to think of a more appealing angel to welcome the season than Ms. Spector.” For three decades, Ronnie’s Christmas show has been a cherished holiday tradition, with a song list that includes her definitive renditions of “Frosty the Snowman,” “Sleigh Ride,” and “I Saw Mommy Kissing Santa Claus.” Both “Frosty” and “Sleigh Ride” dominate the airwaves at Christmas time and are perennials on ASCAP’s list of the Top 20 Most–Played Holiday Songs. Ronnie’s Christmas songs have been heard in hit movies such as Good Fellas, The Santa Clause 2, Joy, and Jingle All the Way.

For Ronnie, her upcoming holiday shows are the latest highlight in a current stretch described by People Magazine as a ‘Victory Lap’ for ‘The Original Rock Queen.’

Like the San Francisco Chronicle proclaimed "If it takes Christmas to make Ronnie Spector come out and play, let it snow, let it snow, let it snow."

Your ticket is your dinner reservation. To view our dinner menu, please click here.

Venezuela-born and New York City-raised singer-dancer Barbara Martinez is a flamenco artist with serious chops. The Philadelphia Inquirer called her voice “achingly beautiful” and The New York Times said she makes “something fresh of the Latino style.” Martinez has danced with the Metropolitan Opera in shows like Carmen and La Traviata, and recently appeared in the documentary Sobre Las Olas — A Story of Flamenco in the U.S. Now, this passionate entertainer is coming to the stage at City Vinyard in New York City.

Your ticket is your dinner reservation. To view our dinner menu, please click here.

Just as good as importing the Gipsy Kings themselves, Los Cintron is the real deal. Popular around the world, the Cintron brothers play a mix of world, Latin, and flamenco music. They have performed with a host of notable artists, including Gazpacho Andalu, Duende Camaron, and Barbara Martinez. They’ve also played in front of just about every type of audience imaginable, including the Metroplitan Opera in Carmen at Lincoln Center. The guitars, vocals, and melodies of Los Cintron will transport you directly to Spain.
Both Christobal and Rafael Cintron showed musical promise at an early age and were encouraged to sing by their mother Maria Teresa Lugana Santos. Natives of Spain, they arrived in the U.S. at an early age and have been living both here and abroad for the last 30 years. Their music is expansive, they sing with the souls of gypsies, and they will enchant you with their rhythms. Whatever the occasion, these brothers will enchant, charm, and seduce their audiences to no end.

New York City-based comedian and actor Todd Barry is widely recognized for his roles as the bongo-playing “Third Conchord” on HBO’s Flight of the Conchords and Mickey Rourke’s deli boss in 2009 Oscar winner The Wrestler, and renowned throughout the entertainment industry for his nuanced, measured, and thoroughly original approach to stand-up. Drawing audience members in with his deadpan self-deprecation and ability to pile punchline upon punchline, his decidedly low-key stage persona belies a deeply intelligent, often biting, occasionally absurdist worldview, one lauded by discerning fans who seek a fresh yet honest update to traditional observation and social commentary.

Boasting multiple stand-up appearances on The Late Show with David Letterman, Late Night with Conan O’Brien, Jimmy Kimmel Live!, and two Comedy Central Presents specials,  and his latest one hour Comedy Central special Super Crazy. Todd’s resume also includes such hit TV shows as Louie, Delocated, Bored to Death, Tim and Eric, Chappelle’s Show, Sex and the City, and even Sesame Street. Among his additional feature-film highlights are Todd Phillips’s Road Trip, Louis CK’s Pootie Tang, and Mitch Hedberg’s Los Enchiladas.  You can see him soon at Sigourney Weaver's right hand man in Amy Heckerling's Vamps, and as Paul Rudd's co-worker in David Wain's Wanderlust. Internationally he has performed at the Edinburgh Festival Fringe, the Melbourne International Comedy Festival, Montreal’s Just For Laughs Festival, the Vancouver International Comedy Festival, and Kilkenny, Ireland’s Cat Laughs Festival. 

Todd has been heard on both The Howard Stern Show and The Bob & Tom Show, and his albums Medium Energy, Falling Off the Bone, and From Heaven are available from Comedy Central Records, Amazon and iTunes. He has earned the U.S. Comedy Arts Festival’s Jury Award, praise from Ricky Gervais as one of the best comedians of 2009, and accolades from The Onion’s A.V. Club, which declared Medium Energy one of the best comedy albums of the decade.

Todd was the subject of a recent New York Times Arts section cover story, which referred to him as a “master of standup” and noted “when it comes to live performance, few comics are more consistently funny.”

In April 2013 the Todd Barry Podcast debuted. It reached #1 on the iT

 “Comedy savants revere this Conan and Letterman veteran’s hushed, singsong sarcasm.” – Entertainment Weekly

“Piercing, blinding, slaying, violating wit.” – NPR

“Infuses his observational comedy with a wonderfully individual disdain.” – The Times of London

“He doesn't suffer fools, and fortunately for his comedy his definition of ‘fool’ doesn't discriminate.” – Pitchfork.com

 “Acerbic wit, deadpan delivery and wickedly smart punchlines.” – Time Out New York

“Barry is so beautifully arid he is positively parched.” – London Evening Standard

“The success lies with the delivery, and in his ability to seamlessly merge ad-libbed material with his prepared schtick.” – The Age, Melbourne

With his raspy, soulful voice and instantly memorable original songs, roots-rocking multi-instrumentalist Eric Lindell is a true one-of-a-kind talent. Mixing West Coast rock and swampy Gulf Coast R&B with honky tonk country and Memphis soul, Lindell creates American roots music that is both surprisingly fresh and sweetly familiar. Since his first self-release over two decades ago, Lindell has earned critical and popular acclaim, first in his dual home bases of Louisiana and Northern California and then across the country. Although influenced by American roots music from blues to country to rock, Lindell’s style is all his own. He has performed thousands of gigs in roadhouses, clubs, concert halls and festivals and has appeared on national radio and television. His live shows overflow with happy, dancing people singing the words to every song.

Tickets will be $30 Day of Show. Your ticket is your dinner reservation. To view our dinner menu, please click here.

Ex-Rockapella star Sean Altman's unkosher comedy song concert Sean Altman’s JEWMONGOUS is "tuneful and sharply witty" (Los Angeles Times), "relentlessly clever" (Chicago Tribune) and "bawdy with a wicked modern streak" (Washington Post), with "hilarious pleasures" (The New Yorker) that combine "the tunefulness of the Beatles and the spot-on wit of Tom Lehrer" (Boston Globe) with a “silky tenor voice that produced chills” (New York Times).  Altman, one of "New York's finest comedians" (New York Times) and “a terrific singer and a songwriter with an ear equally attuned to comic satire and the power of pop music” (The New Yorker), "writes hilarious and irreverent acoustic rock songs about his awakening Jewish awareness" (Jerusalem Post) to make you "laugh your tuchis off" (Time Out) as "part of a new breed of Jewish hipster comedy that includes Jon Stewart, Sacha Baron Cohen and Sarah Silverman" (Philadelphia Daily News).  He is a former, founding member of Rockapella and led that pioneering vocal group through its heyday years on the Emmy-winning PBS-TV series, Where In The World Is Carmen Sandiego?, for which Altman co-wrote the famous theme song.  His classic Passover song "They Tried To Kill Us (We Survived, Let's Eat)" has been featured on NPR's Fresh Air with Terry Gross.  Altman has twice performed at the White House Chanukah Party, he has shared concert stages with Billy Joel, Steve Miller, Whoopi Goldberg, Stephen Colbert, Jon Stewart, Jay Leno, Samantha Bee, Joey Ramone and Moby, and he has recorded with artists as diverse as XTC, Steve Miller, John Cale, Richie Havens, David Yazbek and They Might Be Giants.  Altman sings vocal standards at the bedside of hospital patients as a volunteer with Musicians On Call and has performed JEWMONGOUS throughout the USA, Europe, Israel and once in China.  www.jewmongous.com 

Standing Room Available for Purchase Here: 

‘Tis The Season For Ronnie Spector

To Spread Holiday Cheer

With Her “Best Christmas Party Ever!

          Performing as ‘Ronnie Spector and The Ronettes' for the  First  Time Since the 1970s

Iconic singer and Rock and Roll Hall of Fame inductee Ronnie Spector absolutely loves Christmas, and she’ll ring in the holiday season once again with her spirited multi-media show Ronnie Spector’s Best Christmas Party Ever! 

Ronnie Spector’s Best Christmas Party Ever! is a raucous, rocking, and intoxicating blend of her Christmas classics, Ronettes hits including “Be My Baby,” (recently named by Billboard Magazine  as the #1 Greatest Girl Group Song of All Time) “Walking In The Rain,” “Baby I Love You”, cult gems from her back catalog, a splash of doo–wop, and plenty of Ronnie’s inimitable off–the–cuff commentary. As The New York Daily News said “Go and experience the ultimate sonic stocking stuffer!”

As an added treat for the holidays, the Beehived Bad Girl from Spanish Harlem will perform as ‘Ronnie Spector and The Ronettes’ for the first time since the 1970’s.

The New York Times raved: “It’s hard to think of a more appealing angel to welcome the season than Ms. Spector.” For three decades, Ronnie’s Christmas show has been a cherished holiday tradition, with a song list that includes her definitive renditions of “Frosty the Snowman,” “Sleigh Ride,” and “I Saw Mommy Kissing Santa Claus.” Both “Frosty” and “Sleigh Ride” dominate the airwaves at Christmas time and are perennials on ASCAP’s list of the Top 20 Most–Played Holiday Songs. Ronnie’s Christmas songs have been heard in hit movies such as Good Fellas, The Santa Clause 2, Joy, and Jingle All the Way.

For Ronnie, her upcoming holiday shows are the latest highlight in a current stretch described by People Magazine as a ‘Victory Lap’ for ‘The Original Rock Queen.’

Like the San Francisco Chronicle proclaimed "If it takes Christmas to make Ronnie Spector come out and play, let it snow, let it snow, let it snow."

Seated Tickets Available for Purchase Here: 

‘Tis The Season For Ronnie Spector

To Spread Holiday Cheer

With Her “Best Christmas Party Ever!

          Performing as ‘Ronnie Spector and The Ronettes' for the  First  Time Since the 1970s

Iconic singer and Rock and Roll Hall of Fame inductee Ronnie Spector absolutely loves Christmas, and she’ll ring in the holiday season once again with her spirited multi-media show Ronnie Spector’s Best Christmas Party Ever! 

Ronnie Spector’s Best Christmas Party Ever! is a raucous, rocking, and intoxicating blend of her Christmas classics, Ronettes hits including “Be My Baby,” (recently named by Billboard Magazine  as the #1 Greatest Girl Group Song of All Time) “Walking In The Rain,” “Baby I Love You”, cult gems from her back catalog, a splash of doo–wop, and plenty of Ronnie’s inimitable off–the–cuff commentary. As The New York Daily News said “Go and experience the ultimate sonic stocking stuffer!”

As an added treat for the holidays, the Beehived Bad Girl from Spanish Harlem will perform as ‘Ronnie Spector and The Ronettes’ for the first time since the 1970’s.

The New York Times raved: “It’s hard to think of a more appealing angel to welcome the season than Ms. Spector.” For three decades, Ronnie’s Christmas show has been a cherished holiday tradition, with a song list that includes her definitive renditions of “Frosty the Snowman,” “Sleigh Ride,” and “I Saw Mommy Kissing Santa Claus.” Both “Frosty” and “Sleigh Ride” dominate the airwaves at Christmas time and are perennials on ASCAP’s list of the Top 20 Most–Played Holiday Songs. Ronnie’s Christmas songs have been heard in hit movies such as Good Fellas, The Santa Clause 2, Joy, and Jingle All the Way.

For Ronnie, her upcoming holiday shows are the latest highlight in a current stretch described by People Magazine as a ‘Victory Lap’ for ‘The Original Rock Queen.’

Like the San Francisco Chronicle proclaimed "If it takes Christmas to make Ronnie Spector come out and play, let it snow, let it snow, let it snow."

Leading a new generation of soulful crooners, Paul Loren is a singer, songwriter, producer and consummate entertainer. A native New Yorker, Paul was raised on the rich legacy of soul, classic pop, and the Great American Songbook and in those musical idioms he feels most at home. Taking elements from early R&B, jazz and Brill Building pop, he crafts his music with an ear towards timelessness. “I started singing at 3 years old along with the little 45rpm records my mom would play and started playing piano at 4 years old. The voices I remember most and identify with are Ray Charles, Frankie Valli, Sam Cooke, Sinatra, Aretha, Otis, and Tony Bennett. Growing up in New York, Billy Joel was also a big influence.” This last year has been a breakthrough year for Paul as he performed on his first National Tour in support of Brendan James, opened for “The Temptations” as part of Stamford’s Summer Concert Series “Wednesday Night Live”, and sold out Joe’s Pub at the Public in NYC multiple times. Paul was also selected by Jennifer Lopez to perform at her Birthday Gala in Las Vegas, was a featured artist at the AAA Radio Convention in Boulder Colorado, and shared the stage with Paul Shaffer, Queen Latifah, and Christie Brinkley at Target’s launch event for New York Fashion Week. Paul’s appearance on “The Tonight Show starring Jimmy Fallon” showcased his talents for millions of viewers; with a winning song and viral video to boot. In addition, Paul landed his first television sync on NBC’s “Mysteries of Laura”, performed on the Nationally Syndicated Radio Show America Weekend with Ed Kalegi, showcased at the headquarters of the world-renowned Leo Burnett Ad in Chicago and had the unique honor of performing at the legendary STAX Museum in Memphis Tennessee. His debut single “All By Myself” was supported by radio stations Lighting100 in Nashville, SiriusXM’s The Pulse, WCOO/Charleston and KPND/Spokane, among others. He is now preparing to release what will be the second single from the EP, titled “I Know A Place.” "The new track started out as a simple folk song,” says Paul. “There's an optimism that runs through the heart of the tune--which I believe in--it moves me every time I sing it.” In support of the new release, Paul will be performing at Rockwood Music Hall and at Joe’s Pub at the Public in NYC. He also has the privilege of partnering with The Ryan Seacrest Foundation at their Children’s Hospital in Dallas, Texas where he’ll be playing new music for children and their parents at a special concert this holiday season. 2018 promises to be another milestone year as Paul is now poised to capture the attention of an even greater national audience.

Tickets will be $25 Day of Show

Holiday House Party Sing Along with Dan Zanes, Claudia Eliaza, and Pauline Jean

The Holiday House Party Sing Along features husband and wife duo Grammy Award winner Dan Zanes and Haitian-American vocalist Claudia Eliaza along with jazz vocalist Pauline Jean. This show is a multicultural all-ages wintertime celebration based on the holiday gatherings Dan and Claudia experienced as children growing up in New Hampshire in which friends and neighbors came together to sing old fashioned carols around the piano.

But it’s the 21st century…the party is wilder!

Now the songs are from here and there, near and far — Christmas and Hanukah classics in English, Hebrew, Haitian Kreyol and Ladino as well as holiday songs from Korea, Tunisia, Puerto Rico, and Wales. Instead of a piano there are the sounds of guitar, mandolin, trombone, harmonica, ukulele, flute and anything else that happens to make it in the door. In keeping with the traditional New Hampshire ways, songbooks are distributed and the audience becomes a part of the festivities. Guests of all ages join the trio on stage. It’s a time for people to experience some of the best of life’s possibilities... while singing with wild abandon!

The Holiday House Party Sing Along is a Sensory Friendly performance. All are welcome, come as you are. Accommodations will be made to create a comfortable and welcoming environment for one and all.

BIOS

DAN ZANES - Grammy Award-winner Dan Zanes occupies a unique place in American music - where sea shanties, English Music hall, play party songs, the spirit of early rock-n-roll, soul, North American and West Indian folk music collide. For the past 15 years, he has toured the world with his band, Dan Zanes and Friends, sharing handmade 21st century social music with enthusiastic crowds of kids and kid sympathizers.

From thrift shop basements to Carnegie hall, from Brooklyn to Bahrain, Zanes has been introducing new songs and reconnecting people to the forgotten music of the past. Referred to as “the family-music genre’s most outspoken and eloquent advocate” by Time Magazine, his critically-acclaimed music has been featured on Sesame Street, Playhouse Disney, Nickelodeon, HBO Family and Sprout. Over the course of 14 albums, 2 DVDs, 2 picture books, and dozens of videos, he has collaborated with Philip Glass, Lou Reed, Angelique Kidjo, Natalie Merchant, Carol Channing, Sharon Jones, Bob Weir, Debbie Harry, Rosanne Cash, The Blind Boys of Alabama, and many more. NPR called him “The Gold Standard in kid’s music.”

In the fall of 2017, Dan and Haitian-American jazz vocalist Music Therapist Claudia Eliaza, premiered Night Train 57: A Sensory Friendly Folk Opera at The Kennedy Center. They’re currently touring this show with Mexican percussion player-turned-comic actor Yuriana Sobrino. Dan and Claudia believe that Sensory Friendly is the future of family entertainment and have committed to presenting all of their various performances in this inclusive manner. The soundtrack to the show is now available digitally and on CD.

Dan Zanes House Party: A Family Roots Music Treasury, a fully illustrated songbook by Dan and Claudia based on music from the Dan Zanes and Friends catalog will be published this holiday season by The Quarto Group / Young Voyager. In 2018 his dream came true when he and Claudia were married in their home state of New Hampshire.

CLAUDIA ELIAZA - Haitian-American Vocalist and Music Therapist, Claudia Eliaza earned her music therapy degree program at Berklee College of Music in Boston in 2005 where she worked with a spectrum of individuals through the life span – from children with special needs in public and private schools, orphans and youth in Nairobi, to frail and well-elders in adult day health programs.  During that time Claudia gained a reputation for her innovative methods and creative mentoring.

In 2013, she became the first African-American woman to direct a Music Therapy program in the state of Massachusetts when she became the Director of Music Therapy  at the Community Music Center of Boston.  Besides managing a thriving urban music program, she served as the facilities clinical supervisor for Berklee fieldwork students. She used the power of music and therapy to focus on individual’s abilities rather than disabilities while connecting different groups of people together to positively impact quality of life and creating a level playing field where all were valued equally.  

During this time Claudia’s gifts as a jazz vocalist had her touring near and far including concerts in the US, England, Germany, Australia, New Zealand, Israel, and Kenya, Africa.  She continues to appear in Russia when time allows and has performed at a number of Jazz festivals.

In 2016 Dan invited her to join him at the Old Town School of Folk Music in Chicago for a Sensory Friendly family concert. The performance was a success and Eliaza suggested that if they were to continue singing together (something Dan was definitely wishing for) they should make every show Sensory Friendly, a decision that eventually led them to create Night Train 57: A Sensory Friendly Folk Opera, the first theater piece for young audiences commissioned by the Kennedy Center to be developed as Sensory Friendly from the ground up.

In 2018 Claudia and Dan were married! The two continue to perform throughout the U.S. and Canada often with vocalist Pauline Jean. They collaborated on the songbook Dan Zanes House Party: A Family Roots Music Treasury which will be published in December.

PAULINE JEAN -  is a Haitian-American performing artist and humanitarian - a captivating vocalist whose distinctive contralto and rousing melodies have caught the attention of audiences both young and old. Jean brings a refreshing sound to today’s music; creating a blend of worldly jazz that draws from her Creole roots and integrates modern and traditional inflections. She has received considerable press globally from leading media publications such as DownBeat, Jazzwise, All About Jazz, World Music Report, and many more.

Jean has been featured as a performer and bandleader at numerous prestigious festivals around the globe and has appeared in Barbados, The Dominican Republic, Estonia, Finland, France, Haiti, Israel, Lebanon, Nevis Island, Russia, Switzerland, United Kingdom and the US Virgin Islands. She has also collaborated with esteemed literary artist, Edwidge Danticat, and distinguished performers Denis Matsuev, Emeline Michel, and Wyclef Jean, among others. Her latest CD, NWAYO, was praised as “an amalgam of pure jazz vocalization steeped in Caribbean rhythm and soul” by AllAboutJazz.com and “extraordinary musicianship” by the World Music Report. Jean is featured on Grammy-winning artist Dan Zanes’ tribute album to folk icon Lead Belly on Smithsonian Folkways.

Jean shares her perspectives on music and life as a musician through teaching private

students and workshops for singers on all levels in the US and abroad. She travels to

Haiti annually with a group of musicians, as part of the Experience Ayiti mission, to

provide aid, master classes, free concerts, and instrument distribution throughout

different regions of the island. Jean is a graduate from Berklee College of Music and an

Artist-In-Residence with the Conservatory Lab Charter School’s, El Sistema music

program in Boston.

 VIP Ticket holders get access to seats next to the stage - first come, first served!

JOEL’S COMEDY: JEWISH HUMOR, REDEFINED Joel Chasnoff is not your grandfather’s Jewish comedian.

Joel is clever. Hip. Daring and edgy, yet 100% clean. From his stint on the Solomon Schechter basketball team to his tour of duty in the Israeli Army, nothing escapes Joel’s sharp wit. Audiences across the spectrum of knowledge and observance find Joel’s humor uplifting, powerful, and hilarious.

Joel performs in North America, Europe, and Israel, including the  Montreal Comedy Festival, Israeli late-night TV, multiple appearances on NPR and PBS...plus, more than 1,000 Jewish events,  and counting. In 2010, Simon and Schuster published The 188th Crybaby Brigade, Joel’s comedic memoir about his service in the Israeli Army.  Kirkus Reviews called Crybaby Brigade, “Horrifyingly hilarious.”

The film is currently in production at Paramount. In 2013, Joel co-authored the cookbook Balaboosta with Israeli chef and Chopped! Champion Einat Admony. Joel also writes extensively about the plight of IDF Lone Soldiers, including highly-acclaimed editorials in the Washington Post and Jewish Week. His writing has been featured in the Forward, The Big Book of Jewish Humor—25th Anniversary Edition, and The Idiot’s Guide to Jokes.

A portion of proceeds from Joel’s comedy and book sales is  donated to his foundation, Project Elijah. In its first venture,  Project Elijah sent 100 low-income New York City schoolchildren  to the circus.

OFFICIAL http://joelchasnoff.com/

TWITTER https://twitter.com/joelchasnoff

FACEBOOk https://www.facebook.com/joelchasnoff

General Admission Tickets will be $35 Day of Show

JOEL’S COMEDY: JEWISH HUMOR, REDEFINED Joel Chasnoff is not your grandfather’s Jewish comedian.

Joel is clever. Hip. Daring and edgy, yet 100% clean. From his stint on the Solomon Schechter basketball team to his tour of duty in the Israeli Army, nothing escapes Joel’s sharp wit. Audiences across the spectrum of knowledge and observance find Joel’s humor uplifting, powerful, and hilarious.

Joel performs in North America, Europe, and Israel, including the  Montreal Comedy Festival, Israeli late-night TV, multiple appearances on NPR and PBS...plus, more than 1,000 Jewish events,  and counting. In 2010, Simon and Schuster published The 188th Crybaby Brigade, Joel’s comedic memoir about his service in the Israeli Army.  Kirkus Reviews called Crybaby Brigade, “Horrifyingly hilarious.”

The film is currently in production at Paramount. In 2013, Joel co-authored the cookbook Balaboosta with Israeli chef and Chopped! Champion Einat Admony. Joel also writes extensively about the plight of IDF Lone Soldiers, including highly-acclaimed editorials in the Washington Post and Jewish Week. His writing has been featured in the Forward, The Big Book of Jewish Humor—25th Anniversary Edition, and The Idiot’s Guide to Jokes.

A portion of proceeds from Joel’s comedy and book sales is  donated to his foundation, Project Elijah. In its first venture,  Project Elijah sent 100 low-income New York City schoolchildren  to the circus.

OFFICIAL http://joelchasnoff.com/

TWITTER https://twitter.com/joelchasnoff

FACEBOOk https://www.facebook.com/joelchasnoff

Your ticket is your dinner reservation. To view our dinner menu, please click here.

Celebrating Piaf, Brel, Aznavour & Piazzolla
Few things are more distinctly French that the music of Edith Piaf, Jacques Brel and Charles Aznavour. These and other Gallic icons are the focus of From Paris With Love, a musical homage to the City of Lights from the duo Yael & Gabriel. Yael Dray-Barel is a French/Israeli singer/songwriter influenced by rock and gypsy jazz, and her songs often incorporate the five languages she speaks. Argentinian guitarist Gabriel Hermida infuses his compositions with the essence of classical tango, flamenco and contemporary jazz. Together, the pair will salute such timeless French songs as “La Vie en Rose,” “Non, Je Ne Regrette Rien” and “Hymne a L’Amour, along with work from Argentine composer Astor Piazzolla, at City Vinyard in New York City.

THE FAB FAUX

With a commitment to the accurate reproduction of The Beatles' repertoire, The Fab Faux treat the seminal

music with unwavering respect, and are known for their painstaking recreations of the songs (with emphasis

on the later works never performed live by the Beatles).  Far beyond a cover band, they play the music of

The Beatles so impeccably that one must experience it to believe it. Imagine hearing complex material like

"Strawberry Fields Forever" or "I Am the Walrus" performed in complete part-perfect renditions; or such

harmony-driven songs as "Because", "Nowhere Man", and "Paperback Writer", reproduced not only note-

for-note, but with extra vocalists to achieve a double-tracked effect.

The musical virtuosity of The Fab Faux – in actuality, five of the hardest working musicians in NYC –

completely up-ends the concept of a Beatles tribute band. Far beyond being extended sets of cover

versions, their astounding shows are an inspired re-discovery of the Beatles’ musical magic, as The Fab

Faux tackles the group’s most demanding material live onstage in a way that has to be experienced to be

believed. 

Calling them, “the greatest Beatles cover band – without the wigs,” Rolling Stone senior editor David Fricke

wrote, “the Faux invigorate the artistry of even the Beatles’ most intricate studio masterpieces with top

chops and Beatlemaniac glee...” Approaching the songs with the intent of playing them live as accurately in

musical reading and in spirit as possible, The Faux’s breathtaking performances tend to dispel all

concertgoers’ previous notions of a Beatles tribute act.

"The Fab Faux have the hardest job in the history of R & R and they pull it off damn well. All rock bands want to be

like the Beatles; these guys have the nerve to BE the Beatles. Amazingly, they're so good at it you learn new things

about the originals" - Dave Marsh, legendary Rock Critic and Sirius Radio Host.

The Fab Faux are a labor of love that was born in 1998 when Will Lee (who’s played with all 4 Beatles), bassist for

Paul Shaffer’s CBS Orchestra on the Late Show With David Letterman decided that he was determined to organize

the greatest Beatles band without any props (sans period wardrobe, fake accents, wigs) and focus on the intricacies

and soul of the music.

Rounding out the line-up are Jimmy Vivino, Music Director/Guitarist for 'Conan' and long time music partner of

Levon Helm, John Sebastian, Laura Nyro, lead-singing drummer/producer Rich Pagano (Rosanne Cash, Roger Waters, etc.),

guitarist, Frank Agnello (Marshall Crenshaw, Phoebe Snow, etc.) and multi-instrumentalist,

Jack Petruzzelli (Joan Osborne [producer, Love And Hate], Patti Smith, etc.). All five principals contribute vocals,

making the Faux’s soaring harmonies as resonant as their multi-instrumental chops, which are further enhanced on select shows

by the four-piece Hogshead Horns (with Blues Brothers, Blood, Sweat & Tears and SNL band alums) and

The Creme Tangerine Strings.

The Faux’s high energy shows have generated serious buzz not only at top NYC venues including sold out shows

at Radio City Music Hall and The Beacon Theater in New York City – with Beatles fans, movie stars

and world class musicians in attendance – but at major dates in Los Angeles, Atlanta, Las Vegas, Park City, Utah

(Sundance), Philadelphia, Boston, Chicago and Toronto, among other locales. They’ve headlined 5 of

Liverpool’s annual Beatle Festivals, playing before 35,000 Beatle fanatics – while in England, they had the rare

honor of recording an original song at Abbey Road Studios – and also delighted the masses performing live

on the Howard Stern Show and The Mark And Brian Show. Benefit and corporate dates have included events for JVC, the

N.B.A. and the Michael J. Fox Parkinsons Research Foundation. TV appearances include Late Show with David Letterman

and "Conan."

“It's not just a cover band,” says the Faux’s Pagano. “This is the greatest Pop music ever written, and we're

such freaks for it...Vivino adds, "It’s constant archaeology.”

Imagine the instrumental complexities of “Strawberry Fields Forever” and “A Day in the Life”

performed part-perfect with an orchestra. The lush, multi-layered harmonies of “Because,” and

“Eleanor Rigby” sung note-for-note. The adrenaline rush of “Helter Skelter,” "Tomorrow Never Knows" and “Paperback Writer,”

delivered spot on…Agnello adds, "Even more difficult than the later period material is recreating the exuberance

and energy of the early records, but we love to play it all."

"Whenever anyone saw The Beatles perform it was just the four guys," Lee continues.

"You never saw them on stage with a sitar or a string section. When the show calls for it, we have all that stuff."

www.thefabfaux.com

Tickets will be $18 Day of Show

In 1960, Bowen got his start singing with a local band, The Rockets in Maryland where he had gone by the name of Little Johnny Redding, the moniker arising from his emulation of Otis Redding’s style. His adoption of this nickname was also due to him being the youngest member of the band, with all of the other members being at least ten years his senior. He stayed with The Rockets until he moved to Lakewood Township, New Jersey in 1965. It was during his tenure with The Rockets that he met Clarence Clemons, who was attending Maryland State College and was moonlighting with the band The Vibratones. Bowen and Clemons would frequent  each others bands early on which helped foster a 50 year musical relationship. After moving to Lakewood, NJ, Bowen was drafted into the US Army in December, 1966 and served on the Korean Demilitarized Zone until 1968, where he had reached the rank of SP-4.

Upon Bowen’s honorable discharge in 1968, he had started singing as lead vocalist of Soul Flame, a local Asbury Park, New Jersey West Side R&B and Soul band, from 1968 to 1970. Then, after leaving Soul Flame, Bowen became the lead vocalist of the Chosen Few, another Asbury Park West Side R&B band from 1970 to 1976. Around the period 1970-71, Clarence Clemons also played with the Chosen Few before moving on to work with Bruce Springsteen. After his time singing with the Chosen Few, Bowen joined the band Surrender in 1976 as lead vocalist until 1981.

In 1980, Bowen had been invited by Scarlet Rivera to sing vocals for the first time on a record album for the song “Lift Away”, which was on Rivera’s Jerry Wexler-produced second album: Scarlet Fever. Then, upon Clemons’ opening Big Man's West, a nightclub in Red Bank, New Jersey, Bowen started working as the doorman. Around this time in 1981, Clemons had asked Bowen to join him as lead vocalist for the Red Bank Rockers, where he would sing lead on their debut album Rescue, which featured "Woman's Got the Power" and a Bruce Springsteen composition, "Savin' Up".[1]

The Red Bank Rockers would tour extensively between 1981–84, including  an appearance on the Alan Thicke's late night TV show Thicke of the Night. Also during this period, Bowen lent his vocals to Little Steven & the Disciples of Souls album Men Without Women, the Bruce Springsteen-produced Gary U.S. Bonds album On the Line and the Garry Tallent of the E Street Band-produced album We've Got the Love.[2]

One of the highlights of Bruce Springsteen’s 1985 Born in the USA multi-night Meadowland’s engagement at Giants Stadium was JT’s appearance singing “Woman’s Got the Power” alongside Springsteen .[3] Bowen had fronted many bands as well during this period: notably The Shore Patrol with Asbury Jukes Saxophone player Ed Manion and former E Street drummer Ernest Carter. In the early 90’s, he also had toured Japan with the band Joey Leone’s Chop Shop.

Today JT tours regionally with his fantastic Mighty Kings of Soul…a fantastic group of Asbury Jukes, Blues Bros.,BS&T’s and Jon Bon Jovi Band players. His 2016 release of OUT OF THE SHADOWS his first solo record is getting him the renewed attention he so richly deserves. Produced and written  by Mark Ribler { MD of the Darlene Love and Little Steven Bands, as well as JT } SHADOWS contains heart – rendering testimony to JT’s trials in life dealing with near stardom and then its loss.

OUT OF THE SHADOWS is available on i-tunes .

Arlan Feiles

Arlan Feiles is an award winning Singer Songwriter, Multi-Instrumentalist and Music Producer. Discovered and mentored by the late great Rock and Roll Hall of Fame Record Producer Tom Dowd, Arlan has gone on to release 5 critically acclaimed records and has his music heard in many TV programs and movies, including the trailer for the Academy award winning film The Dallas Buyers Club

Their Last Suppers - Titanic's Captain E.J. Smith

Join us for an intimate and fun wine and food pairing experience with History Chef Andrew Caldwell to enjoy a menu inspired by the last meal on the Titanic.

We will dive deep and explore old-fashioned cooking techniques, game meats and decadent desserts to satisfy all your senses. We will take you on a journey through the past while offering you the best you can find in the present.

1ST COURSE

OYSTERS A LA RUSSE

2ND COURSE

FILET MIGNON

truffle mashed potatoes

3RD COURSE

CALVADOS GLAZED DUCK

roasted apples | sauteed greens

4TH COURSE

GRILLED ASPARAGUS

champagne-saffron mousseline

5TH COURSE

CHOCOLATE PAINTED ECLAIRS

candied florets | lavender gelato

Autographed books by Andrew Caldwell will be available for $22.

About Andrew Caldwell:

"Their Last Suppers" is one of a trilogy of books focused on famous people in history, who died before their time. The books take a look at their exciting lives and goes on to give the recipes for their favorite, and ultimately their last meals.

As a Head Chef Andrew has cooked for the Queen of England, and worked for Nelson Mandela in South Africa. He has run resorts and restaurants in some fourteen countries.

Powered by his love of cooking and history Andrew has visited another 60 countries and has traveled extensively walking Hadrians Wall, Machu Picchu, and visited the Pyramids of Egypt, Mexico and Central America, along with the pirate haunts of the Caribbean amongst many other locations.

THE FAB FAUX

With a commitment to the accurate reproduction of The Beatles' repertoire, The Fab Faux treat the seminal

music with unwavering respect, and are known for their painstaking recreations of the songs (with emphasis

on the later works never performed live by the Beatles).  Far beyond a cover band, they play the music of

The Beatles so impeccably that one must experience it to believe it. Imagine hearing complex material like

"Strawberry Fields Forever" or "I Am the Walrus" performed in complete part-perfect renditions; or such

harmony-driven songs as "Because", "Nowhere Man", and "Paperback Writer", reproduced not only note-

for-note, but with extra vocalists to achieve a double-tracked effect.

The musical virtuosity of The Fab Faux – in actuality, five of the hardest working musicians in NYC –

completely up-ends the concept of a Beatles tribute band. Far beyond being extended sets of cover

versions, their astounding shows are an inspired re-discovery of the Beatles’ musical magic, as The Fab

Faux tackles the group’s most demanding material live onstage in a way that has to be experienced to be

believed. 

Calling them, “the greatest Beatles cover band – without the wigs,” Rolling Stone senior editor David Fricke

wrote, “the Faux invigorate the artistry of even the Beatles’ most intricate studio masterpieces with top

chops and Beatlemaniac glee...” Approaching the songs with the intent of playing them live as accurately in

musical reading and in spirit as possible, The Faux’s breathtaking performances tend to dispel all

concertgoers’ previous notions of a Beatles tribute act.

"The Fab Faux have the hardest job in the history of R & R and they pull it off damn well. All rock bands want to be

like the Beatles; these guys have the nerve to BE the Beatles. Amazingly, they're so good at it you learn new things

about the originals" - Dave Marsh, legendary Rock Critic and Sirius Radio Host.

The Fab Faux are a labor of love that was born in 1998 when Will Lee (who’s played with all 4 Beatles), bassist for

Paul Shaffer’s CBS Orchestra on the Late Show With David Letterman decided that he was determined to organize

the greatest Beatles band without any props (sans period wardrobe, fake accents, wigs) and focus on the intricacies

and soul of the music.

Rounding out the line-up are Jimmy Vivino, Music Director/Guitarist for 'Conan' and long time music partner of

Levon Helm, John Sebastian, Laura Nyro, lead-singing drummer/producer Rich Pagano (Rosanne Cash, Roger Waters, etc.),

guitarist, Frank Agnello (Marshall Crenshaw, Phoebe Snow, etc.) and multi-instrumentalist,

Jack Petruzzelli (Joan Osborne [producer, Love And Hate], Patti Smith, etc.). All five principals contribute vocals,

making the Faux’s soaring harmonies as resonant as their multi-instrumental chops, which are further enhanced on select shows

by the four-piece Hogshead Horns (with Blues Brothers, Blood, Sweat & Tears and SNL band alums) and

The Creme Tangerine Strings.

The Faux’s high energy shows have generated serious buzz not only at top NYC venues including sold out shows

at Radio City Music Hall and The Beacon Theater in New York City – with Beatles fans, movie stars

and world class musicians in attendance – but at major dates in Los Angeles, Atlanta, Las Vegas, Park City, Utah

(Sundance), Philadelphia, Boston, Chicago and Toronto, among other locales. They’ve headlined 5 of

Liverpool’s annual Beatle Festivals, playing before 35,000 Beatle fanatics – while in England, they had the rare

honor of recording an original song at Abbey Road Studios – and also delighted the masses performing live

on the Howard Stern Show and The Mark And Brian Show. Benefit and corporate dates have included events for JVC, the

N.B.A. and the Michael J. Fox Parkinsons Research Foundation. TV appearances include Late Show with David Letterman

and "Conan."

“It's not just a cover band,” says the Faux’s Pagano. “This is the greatest Pop music ever written, and we're

such freaks for it...Vivino adds, "It’s constant archaeology.”

Imagine the instrumental complexities of “Strawberry Fields Forever” and “A Day in the Life”

performed part-perfect with an orchestra. The lush, multi-layered harmonies of “Because,” and

“Eleanor Rigby” sung note-for-note. The adrenaline rush of “Helter Skelter,” "Tomorrow Never Knows" and “Paperback Writer,”

delivered spot on…Agnello adds, "Even more difficult than the later period material is recreating the exuberance

and energy of the early records, but we love to play it all."

"Whenever anyone saw The Beatles perform it was just the four guys," Lee continues.

"You never saw them on stage with a sitar or a string section. When the show calls for it, we have all that stuff."

www.thefabfaux.com

Your ticket is your dinner reservation. To view our dinner menu, please click here.

From Stevie Wonder’s early days as a child prodigy signed by Berry Gordy through classic albums of the ’70s and ’80s, Papa J. & Mo’ Soul pay tribute to this one-of-a-kind artist. You’ll hear the unforgettable ballads like “Isn’t She Lovely” and soul classics such as “Signed, Sealed, Delivered I’m Yours” that earned Wonder dozens of Grammys, international stardom and a spot in the Rock & Roll Hall of Fame. Wonder is equally at home crooning romantic tunes like “My Cherie Amour” and “I Just Called to Say I Love You” as he is belting out the irresistible funk of “Living for the City” and “Superstition,” a versatility that Harlem-based blues/soul band Papa J. & Mo’ Soul will recreate for this concert at New York’s City Vineyard at Pire 26.

The Bellbottom Blues was formed in 2007 with the vision of providing an audience with a True Eric Clapton Experience. Through its evolution the band has been carefully constructed to create the essence of the Clapton sound, from his  Guitar arrangements to his distinctive Vocal sound. This is what separates The Bell Bottom Blues from all others and makes us Unique in the market. We have been told time and time again by our Audiences and Fans that "they close their eyes during a show and could swear that they were  actually at a Clapton concert. This is what we actually set out to achieve. Through each band members dedication, professionalism and hard work we have captured the sound and essence of the Master himself through his various stages ,from Cream, the Dominoes through  his entire solo career. Our EC , has captured his guitar styling and more importantly his exact vocal sound, which allows us to truly pay "Tribute" to this Rock and Blues Icon. Once again our goal is to perform and allow our audiences to really feel like they are participating in an actual EC live event. There is No better ]satisfaction for us than seeing this actually occur, and knowing we have achieved our goal. Some notable venues we had the pleasure to play are, Iridium NYC, BB Kings NYC, Havana’s PA, New Hope Winery PA, Mcloones Supper Club NJ, Daryl’s House, Infinity theater Ct, Courthouse center for arts Ri, Downtown cabaret Ct, Lamp theater PA,  Grand casino, Harahas, Empire city, Resorts, Foxwoods to name some.

Thank you,

The Bell Bottom Blues

THE FAB FAUX 

With a commitment to the accurate reproduction of The Beatles' repertoire, The Fab Faux treat the seminal

music with unwavering respect, and are known for their painstaking recreations of the songs (with emphasis

on the later works never performed live by the Beatles).  Far beyond a cover band, they play the music of

The Beatles so impeccably that one must experience it to believe it. Imagine hearing complex material like

"Strawberry Fields Forever" or "I Am the Walrus" performed in complete part-perfect renditions; or such

harmony-driven songs as "Because", "Nowhere Man", and "Paperback Writer", reproduced not only note-

for-note, but with extra vocalists to achieve a double-tracked effect.

The musical virtuosity of The Fab Faux – in actuality, five of the hardest working musicians in NYC –

completely up-ends the concept of a Beatles tribute band. Far beyond being extended sets of cover

versions, their astounding shows are an inspired re-discovery of the Beatles’ musical magic, as The Fab

Faux tackles the group’s most demanding material live onstage in a way that has to be experienced to be

believed. 

Calling them, “the greatest Beatles cover band – without the wigs,” Rolling Stone senior editor David Fricke

wrote, “the Faux invigorate the artistry of even the Beatles’ most intricate studio masterpieces with top

chops and Beatlemaniac glee...” Approaching the songs with the intent of playing them live as accurately in

musical reading and in spirit as possible, The Faux’s breathtaking performances tend to dispel all

concertgoers’ previous notions of a Beatles tribute act.

"The Fab Faux have the hardest job in the history of R & R and they pull it off damn well. All rock bands want to be

like the Beatles; these guys have the nerve to BE the Beatles. Amazingly, they're so good at it you learn new things

about the originals" - Dave Marsh, legendary Rock Critic and Sirius Radio Host.

The Fab Faux are a labor of love that was born in 1998 when Will Lee (who’s played with all 4 Beatles), bassist for

Paul Shaffer’s CBS Orchestra on the Late Show With David Letterman decided that he was determined to organize

the greatest Beatles band without any props (sans period wardrobe, fake accents, wigs) and focus on the intricacies

and soul of the music.

Rounding out the line-up are Jimmy Vivino, Music Director/Guitarist for 'Conan' and long time music partner of

Levon Helm, John Sebastian, Laura Nyro, lead-singing drummer/producer Rich Pagano (Rosanne Cash, Roger Waters, etc.),

guitarist, Frank Agnello (Marshall Crenshaw, Phoebe Snow, etc.) and multi-instrumentalist,

Jack Petruzzelli (Joan Osborne [producer, Love And Hate], Patti Smith, etc.). All five principals contribute vocals,

making the Faux’s soaring harmonies as resonant as their multi-instrumental chops, which are further enhanced on select shows

by the four-piece Hogshead Horns (with Blues Brothers, Blood, Sweat & Tears and SNL band alums) and

The Creme Tangerine Strings.

The Faux’s high energy shows have generated serious buzz not only at top NYC venues including sold out shows

at Radio City Music Hall and The Beacon Theater in New York City – with Beatles fans, movie stars

and world class musicians in attendance – but at major dates in Los Angeles, Atlanta, Las Vegas, Park City, Utah

(Sundance), Philadelphia, Boston, Chicago and Toronto, among other locales. They’ve headlined 5 of

Liverpool’s annual Beatle Festivals, playing before 35,000 Beatle fanatics – while in England, they had the rare

honor of recording an original song at Abbey Road Studios – and also delighted the masses performing live

on the Howard Stern Show and The Mark And Brian Show. Benefit and corporate dates have included events for JVC, the

N.B.A. and the Michael J. Fox Parkinsons Research Foundation. TV appearances include Late Show with David Letterman

and "Conan."

“It's not just a cover band,” says the Faux’s Pagano. “This is the greatest Pop music ever written, and we're

such freaks for it...Vivino adds, "It’s constant archaeology.”

Imagine the instrumental complexities of “Strawberry Fields Forever” and “A Day in the Life”

performed part-perfect with an orchestra. The lush, multi-layered harmonies of “Because,” and

“Eleanor Rigby” sung note-for-note. The adrenaline rush of “Helter Skelter,” "Tomorrow Never Knows" and “Paperback Writer,”

delivered spot on…Agnello adds, "Even more difficult than the later period material is recreating the exuberance

and energy of the early records, but we love to play it all."

"Whenever anyone saw The Beatles perform it was just the four guys," Lee continues.

"You never saw them on stage with a sitar or a string section. When the show calls for it, we have all that stuff."

www.thefabfaux.com

Your ticket is your dinner reservation. To view our dinner menu, please click here.

Gatsby in Paris: French Chansons & Jazz Standards From the ’20s to the ’40s, featuring enchanting French singer Chloé Perrier and her new band, the French Heart Jazz Band. This irrepressibly charming show is a mix of French chansons and American jazz standards from the ’20s to the ’40s with a continental flare. Chloé sings an intriguing mix of jazz, chanson, Brazilian and occasionally Romany-tinged numbers in French, as well as in English. The group is known for its reinvention of the old chestnut “My Heart Belongs to Daddy” as a bolero-tinged Twin Peaks theme, an obscure ’20s hot jazz tune that Perrier had found in a history book, and the classic “La Vie en Rose.” City Vineyard in New York City and listen as exes get dissed and relationships gone wrong are dissected and remembered through glasses that aren’t exactly rose-colored.

THE FAB FAUX 

With a commitment to the accurate reproduction of The Beatles' repertoire, The Fab Faux treat the seminal

music with unwavering respect, and are known for their painstaking recreations of the songs (with emphasis

on the later works never performed live by the Beatles).  Far beyond a cover band, they play the music of

The Beatles so impeccably that one must experience it to believe it. Imagine hearing complex material like

"Strawberry Fields Forever" or "I Am the Walrus" performed in complete part-perfect renditions; or such

harmony-driven songs as "Because", "Nowhere Man", and "Paperback Writer", reproduced not only note-

for-note, but with extra vocalists to achieve a double-tracked effect.

The musical virtuosity of The Fab Faux – in actuality, five of the hardest working musicians in NYC –

completely up-ends the concept of a Beatles tribute band. Far beyond being extended sets of cover

versions, their astounding shows are an inspired re-discovery of the Beatles’ musical magic, as The Fab

Faux tackles the group’s most demanding material live onstage in a way that has to be experienced to be

believed. 

Calling them, “the greatest Beatles cover band – without the wigs,” Rolling Stone senior editor David Fricke

wrote, “the Faux invigorate the artistry of even the Beatles’ most intricate studio masterpieces with top

chops and Beatlemaniac glee...” Approaching the songs with the intent of playing them live as accurately in

musical reading and in spirit as possible, The Faux’s breathtaking performances tend to dispel all

concertgoers’ previous notions of a Beatles tribute act.

"The Fab Faux have the hardest job in the history of R & R and they pull it off damn well. All rock bands want to be

like the Beatles; these guys have the nerve to BE the Beatles. Amazingly, they're so good at it you learn new things

about the originals" - Dave Marsh, legendary Rock Critic and Sirius Radio Host.

The Fab Faux are a labor of love that was born in 1998 when Will Lee (who’s played with all 4 Beatles), bassist for

Paul Shaffer’s CBS Orchestra on the Late Show With David Letterman decided that he was determined to organize

the greatest Beatles band without any props (sans period wardrobe, fake accents, wigs) and focus on the intricacies

and soul of the music.

Rounding out the line-up are Jimmy Vivino, Music Director/Guitarist for 'Conan' and long time music partner of

Levon Helm, John Sebastian, Laura Nyro, lead-singing drummer/producer Rich Pagano (Rosanne Cash, Roger Waters, etc.),

guitarist, Frank Agnello (Marshall Crenshaw, Phoebe Snow, etc.) and multi-instrumentalist,

Jack Petruzzelli (Joan Osborne [producer, Love And Hate], Patti Smith, etc.). All five principals contribute vocals,

making the Faux’s soaring harmonies as resonant as their multi-instrumental chops, which are further enhanced on select shows

by the four-piece Hogshead Horns (with Blues Brothers, Blood, Sweat & Tears and SNL band alums) and

The Creme Tangerine Strings.

The Faux’s high energy shows have generated serious buzz not only at top NYC venues including sold out shows

at Radio City Music Hall and The Beacon Theater in New York City – with Beatles fans, movie stars

and world class musicians in attendance – but at major dates in Los Angeles, Atlanta, Las Vegas, Park City, Utah

(Sundance), Philadelphia, Boston, Chicago and Toronto, among other locales. They’ve headlined 5 of

Liverpool’s annual Beatle Festivals, playing before 35,000 Beatle fanatics – while in England, they had the rare

honor of recording an original song at Abbey Road Studios – and also delighted the masses performing live

on the Howard Stern Show and The Mark And Brian Show. Benefit and corporate dates have included events for JVC, the

N.B.A. and the Michael J. Fox Parkinsons Research Foundation. TV appearances include Late Show with David Letterman

and "Conan."

“It's not just a cover band,” says the Faux’s Pagano. “This is the greatest Pop music ever written, and we're

such freaks for it...Vivino adds, "It’s constant archaeology.”

Imagine the instrumental complexities of “Strawberry Fields Forever” and “A Day in the Life”

performed part-perfect with an orchestra. The lush, multi-layered harmonies of “Because,” and

“Eleanor Rigby” sung note-for-note. The adrenaline rush of “Helter Skelter,” "Tomorrow Never Knows" and “Paperback Writer,”

delivered spot on…Agnello adds, "Even more difficult than the later period material is recreating the exuberance

and energy of the early records, but we love to play it all."

"Whenever anyone saw The Beatles perform it was just the four guys," Lee continues.

"You never saw them on stage with a sitar or a string section. When the show calls for it, we have all that stuff."

www.thefabfaux.com

Your ticket is your dinner reservation. To view our dinner menu, please click here.

City Vineyard in New York City celebrates the dynamic and danceable music of the Buena Vista Social Club with this tribute to the Golden Age of Cuba. A red-hot trio of musicians, lead by guitarist-vocalist Francois Wiss, will be playing. He’ll be joined by Damian Quinones on guitar and vocals, and Danny Valdez on percussion and vocals. Wiss studied music at the Conservatoire in Paris, and was mentored by notable guitar masters Pierre Culaz, Marc Benguigui, Belaid Ait Abdallah, Terry Fleming and Mathias Berchadsky. The set list will include such Buena Vista Social Club favorites as “Chan Chan,” “El Payande,” “Se Seco el Arroyito” and many others.

Your ticket is your dinner reservation. To view our dinner menu, please click here.

City Vineyard in New York City celebrates the dynamic and danceable music of the Buena Vista Social Club with this tribute to the Golden Age of Cuba. A red-hot trio of musicians, lead by guitarist-vocalist Francois Wiss, will be playing. He’ll be joined by Damian Quinones on guitar and vocals, and Danny Valdez on percussion and vocals. Wiss studied music at the Conservatoire in Paris, and was mentored by notable guitar masters Pierre Culaz, Marc Benguigui, Belaid Ait Abdallah, Terry Fleming and Mathias Berchadsky. The set list will include such Buena Vista Social Club favorites as “Chan Chan,” “El Payande,” “Se Seco el Arroyito” and many others.

THE FAB FAUX 

With a commitment to the accurate reproduction of The Beatles' repertoire, The Fab Faux treat the seminal

music with unwavering respect, and are known for their painstaking recreations of the songs (with emphasis

on the later works never performed live by the Beatles).  Far beyond a cover band, they play the music of

The Beatles so impeccably that one must experience it to believe it. Imagine hearing complex material like

"Strawberry Fields Forever" or "I Am the Walrus" performed in complete part-perfect renditions; or such

harmony-driven songs as "Because", "Nowhere Man", and "Paperback Writer", reproduced not only note-

for-note, but with extra vocalists to achieve a double-tracked effect.

The musical virtuosity of The Fab Faux – in actuality, five of the hardest working musicians in NYC –

completely up-ends the concept of a Beatles tribute band. Far beyond being extended sets of cover

versions, their astounding shows are an inspired re-discovery of the Beatles’ musical magic, as The Fab

Faux tackles the group’s most demanding material live onstage in a way that has to be experienced to be

believed. 

Calling them, “the greatest Beatles cover band – without the wigs,” Rolling Stone senior editor David Fricke

wrote, “the Faux invigorate the artistry of even the Beatles’ most intricate studio masterpieces with top

chops and Beatlemaniac glee...” Approaching the songs with the intent of playing them live as accurately in

musical reading and in spirit as possible, The Faux’s breathtaking performances tend to dispel all

concertgoers’ previous notions of a Beatles tribute act.

"The Fab Faux have the hardest job in the history of R & R and they pull it off damn well. All rock bands want to be

like the Beatles; these guys have the nerve to BE the Beatles. Amazingly, they're so good at it you learn new things

about the originals" - Dave Marsh, legendary Rock Critic and Sirius Radio Host.

The Fab Faux are a labor of love that was born in 1998 when Will Lee (who’s played with all 4 Beatles), bassist for

Paul Shaffer’s CBS Orchestra on the Late Show With David Letterman decided that he was determined to organize

the greatest Beatles band without any props (sans period wardrobe, fake accents, wigs) and focus on the intricacies

and soul of the music.

Rounding out the line-up are Jimmy Vivino, Music Director/Guitarist for 'Conan' and long time music partner of

Levon Helm, John Sebastian, Laura Nyro, lead-singing drummer/producer Rich Pagano (Rosanne Cash, Roger Waters, etc.),

guitarist, Frank Agnello (Marshall Crenshaw, Phoebe Snow, etc.) and multi-instrumentalist,

Jack Petruzzelli (Joan Osborne [producer, Love And Hate], Patti Smith, etc.). All five principals contribute vocals,

making the Faux’s soaring harmonies as resonant as their multi-instrumental chops, which are further enhanced on select shows

by the four-piece Hogshead Horns (with Blues Brothers, Blood, Sweat & Tears and SNL band alums) and

The Creme Tangerine Strings.

The Faux’s high energy shows have generated serious buzz not only at top NYC venues including sold out shows

at Radio City Music Hall and The Beacon Theater in New York City – with Beatles fans, movie stars

and world class musicians in attendance – but at major dates in Los Angeles, Atlanta, Las Vegas, Park City, Utah

(Sundance), Philadelphia, Boston, Chicago and Toronto, among other locales. They’ve headlined 5 of

Liverpool’s annual Beatle Festivals, playing before 35,000 Beatle fanatics – while in England, they had the rare

honor of recording an original song at Abbey Road Studios – and also delighted the masses performing live

on the Howard Stern Show and The Mark And Brian Show. Benefit and corporate dates have included events for JVC, the

N.B.A. and the Michael J. Fox Parkinsons Research Foundation. TV appearances include Late Show with David Letterman

and "Conan."

“It's not just a cover band,” says the Faux’s Pagano. “This is the greatest Pop music ever written, and we're

such freaks for it...Vivino adds, "It’s constant archaeology.”

Imagine the instrumental complexities of “Strawberry Fields Forever” and “A Day in the Life”

performed part-perfect with an orchestra. The lush, multi-layered harmonies of “Because,” and

“Eleanor Rigby” sung note-for-note. The adrenaline rush of “Helter Skelter,” "Tomorrow Never Knows" and “Paperback Writer,”

delivered spot on…Agnello adds, "Even more difficult than the later period material is recreating the exuberance

and energy of the early records, but we love to play it all."

"Whenever anyone saw The Beatles perform it was just the four guys," Lee continues.

"You never saw them on stage with a sitar or a string section. When the show calls for it, we have all that stuff."

www.thefabfaux.com

Your ticket is your dinner reservation. To view our dinner menu, please click here.

The Music of Aretha Franklin, Anita Baker and Whitney Houston
Feat. Emilie Surtees
For a singer with such powerful pipes, it’s something of a shock to hear vocalist Emilie Surtees describe herself as primarily a “listener.” Then again, maybe it’s her extraordinary capacity to listen that gives her tribute to Aretha Franklin, Anita Baker and Whitney Houston its amazing accuracy. Surtees not only replicates hit songs, power note for power note, but communicates the soul of each singer who originally recorded them — something that requires not only incredible vocals but also a profound appreciation of music. Be moved and amazed by a tribute artist every bit as talented as the singers she honors in this concert at City Vineyard.

Your ticket is your dinner reservation. To view our dinner menu, please click here.

Vocalist Emilie Surtees comes to The City Vinyard in New York City for a musical salute to three all-time great musical divas: Donna Summer, Tina Turner and Chaka Khan. This sure-to-be-electrifying set will excite any music-lover who’s ever been caught belting out songs like “Hot Stuff,” “What’s Love Got to Do With It” or “I Feel For You.” Surtees has a great talent for replicating these great tunes, note for note, while conveying the soul of the singers who originated them. She’ll channel these inspirations for a truly captivating evening that honors her idols.

Tickets will be Standing Room ONLY!

Celebrate Nude Year’s Eve with The Nude Party!  “A Night At The Boot-In Casino” will be a ho-down you won’t want to miss. With special guests Champagne Superchillin’

Despite rock’n’roll’s rapidly waning role in mainstream culture, thousands upon thousands of rock groups currently occupy our nightclubs, bandwidth, and brainspace with their performance, recording, and Bandcamping. And while the ubiquity of these projects crowd 2018’s musical landscape, from Highland Park to Bushwick and all points in between, the authentic rock’n’roll band is an endangered species. While any musician with wifi can actualize a rock group in a matter of minutes, a band, in the words of one of our great contemporary philosophers Ian Svenonius, is “about an ideology, a way of life, an aesthetic.”

The Nude Party is one of the last of these aggregations - an inseparable gang of blood brothers bonded by a musical mission indistinguishable from their friendship. The band’s psychic and effortless musical communication comes from learning how to play their instruments together since their teens, rooming together in house after house for six years, and developing their sound and aesthetic through literal nude partying together.

The members came together in the freshman dormitories of Appalachian State University in Boone, North Carolina in 2012. Patton Magee (lead vocals, guitar), and later Austin Brose (percussion, vocals), linked up with childhood friends Connor Mikita (drums) and Alec Castillo (bass guitar, vocals), and stepbrothers Shaun Couture (lead guitar, vocals) and Don Merrill (organ/piano, vocals). The following summer, with the shimmer of The Kinks, Velvet Underground, and other still-unsurpassed classic rock masterpieces as their soundtrack, the young men moved into a lake house outside of town, began acquiring and learning to play instruments, and jamming on rudimentary riffs. Friends came by the lake house to swim and canoe and party and soon ritual nudity was a part of the festivities.

When the fall semester came around the friends moved into a house in Boone and the jamming continued in the basement on a nightly basis. During this time the Dionysian Adamite sextet began developing a following as the house band at a notorious Boone party palace referred to as the 505 House. The bare honesty of their performances was contagious and their audience also started partying au naturel. While these traditions may appear risqué to the casual observer, the band explains, “These weren't orgies, they weren’t sexual even. It was just kind of a wild exhibitionism that we felt gave us freedom.”

As the informal aggregation of musicians became a defined unit, and were offered gigs outside of the 505 House, they had now become a proper band and thus needed a name. Best known around the campus as “the naked party band,” they chose to call their group simply “The Nude Party.” Ironically, since playing in their birthday suits was illegal in the bars and clubs of this next step of their career, The Nude Party began playing clothed as soon as they were christened.

By 2014, living in a bigger more isolated house, known as “The Nude Ranch” by townies, the band met Black Lips’ Oakley Munson at a Night Beats show in Charlotte and before long the drummer became their mentor. He recorded the band’s “Hot Tub” EP and the band began honing their craft as incessant road warriors in the national market.

2018 finds the band living with Munson in the Catskills. Their prolific performance schedule has built a substantial following Brooklyn and beyond and they’ve just completed their first proper LP – the culmination of six years of experimentation and refinement of material. When the band’s much-anticipated self-titled debut drops July 6 on New West Records, there will be no more war or famine or social injustice and the entire planet will join together in one big Nude Party

Tickets will be $30 Day of Show

Celebrate Nude Year’s Eve with The Nude Party!  “A Night At The Boot-In Casino” will be a ho-down you won’t want to miss. With special guests Champagne Superchillin’

Despite rock’n’roll’s rapidly waning role in mainstream culture, thousands upon thousands of rock groups currently occupy our nightclubs, bandwidth, and brainspace with their performance, recording, and Bandcamping. And while the ubiquity of these projects crowd 2018’s musical landscape, from Highland Park to Bushwick and all points in between, the authentic rock’n’roll band is an endangered species. While any musician with wifi can actualize a rock group in a matter of minutes, a band, in the words of one of our great contemporary philosophers Ian Svenonius, is “about an ideology, a way of life, an aesthetic.”

The Nude Party is one of the last of these aggregations - an inseparable gang of blood brothers bonded by a musical mission indistinguishable from their friendship. The band’s psychic and effortless musical communication comes from learning how to play their instruments together since their teens, rooming together in house after house for six years, and developing their sound and aesthetic through literal nude partying together.

The members came together in the freshman dormitories of Appalachian State University in Boone, North Carolina in 2012. Patton Magee (lead vocals, guitar), and later Austin Brose (percussion, vocals), linked up with childhood friends Connor Mikita (drums) and Alec Castillo (bass guitar, vocals), and stepbrothers Shaun Couture (lead guitar, vocals) and Don Merrill (organ/piano, vocals). The following summer, with the shimmer of The Kinks, Velvet Underground, and other still-unsurpassed classic rock masterpieces as their soundtrack, the young men moved into a lake house outside of town, began acquiring and learning to play instruments, and jamming on rudimentary riffs. Friends came by the lake house to swim and canoe and party and soon ritual nudity was a part of the festivities.

When the fall semester came around the friends moved into a house in Boone and the jamming continued in the basement on a nightly basis. During this time the Dionysian Adamite sextet began developing a following as the house band at a notorious Boone party palace referred to as the 505 House. The bare honesty of their performances was contagious and their audience also started partying au naturel. While these traditions may appear risqué to the casual observer, the band explains, “These weren't orgies, they weren’t sexual even. It was just kind of a wild exhibitionism that we felt gave us freedom.”

As the informal aggregation of musicians became a defined unit, and were offered gigs outside of the 505 House, they had now become a proper band and thus needed a name. Best known around the campus as “the naked party band,” they chose to call their group simply “The Nude Party.” Ironically, since playing in their birthday suits was illegal in the bars and clubs of this next step of their career, The Nude Party began playing clothed as soon as they were christened.

By 2014, living in a bigger more isolated house, known as “The Nude Ranch” by townies, the band met Black Lips’ Oakley Munson at a Night Beats show in Charlotte and before long the drummer became their mentor. He recorded the band’s “Hot Tub” EP and the band began honing their craft as incessant road warriors in the national market.

2018 finds the band living with Munson in the Catskills. Their prolific performance schedule has built a substantial following Brooklyn and beyond and they’ve just completed their first proper LP – the culmination of six years of experimentation and refinement of material. When the band’s much-anticipated self-titled debut drops July 6 on New West Records, there will be no more war or famine or social injustice and the entire planet will join together in one big Nude Party

With a commitment to the accurate reproduction of The Beatles' repertoire, The Fab Faux treat the seminal

music with unwavering respect, and are known for their painstaking recreations of the songs (with emphasis

on the later works never performed live by the Beatles).  Far beyond a cover band, they play the music of

The Beatles so impeccably that one must experience it to believe it. Imagine hearing complex material like

"Strawberry Fields Forever" or "I Am the Walrus" performed in complete part-perfect renditions; or such

harmony-driven songs as "Because", "Nowhere Man", and "Paperback Writer", reproduced not only note-

for-note, but with extra vocalists to achieve a double-tracked effect.

The musical virtuosity of The Fab Faux – in actuality, five of the hardest working musicians in NYC –

completely up-ends the concept of a Beatles tribute band. Far beyond being extended sets of cover

versions, their astounding shows are an inspired re-discovery of the Beatles’ musical magic, as The Fab

Faux tackles the group’s most demanding material live onstage in a way that has to be experienced to be

believed. 

Calling them, “the greatest Beatles cover band – without the wigs,” Rolling Stone senior editor David Fricke

wrote, “the Faux invigorate the artistry of even the Beatles’ most intricate studio masterpieces with top

chops and Beatlemaniac glee...” Approaching the songs with the intent of playing them live as accurately in

musical reading and in spirit as possible, The Faux’s breathtaking performances tend to dispel all

concertgoers’ previous notions of a Beatles tribute act.

"The Fab Faux have the hardest job in the history of R & R and they pull it off damn well. All rock bands want to be

like the Beatles; these guys have the nerve to BE the Beatles. Amazingly, they're so good at it you learn new things

about the originals" - Dave Marsh, legendary Rock Critic and Sirius Radio Host.

The Fab Faux are a labor of love that was born in 1998 when Will Lee (who’s played with all 4 Beatles), bassist for

Paul Shaffer’s CBS Orchestra on the Late Show With David Letterman decided that he was determined to organize

the greatest Beatles band without any props (sans period wardrobe, fake accents, wigs) and focus on the intricacies

and soul of the music.

Rounding out the line-up are Jimmy Vivino, Music Director/Guitarist for 'Conan' and long time music partner of

Levon Helm, John Sebastian, Laura Nyro, lead-singing drummer/producer Rich Pagano (Rosanne Cash, Roger Waters, etc.),

guitarist, Frank Agnello (Marshall Crenshaw, Phoebe Snow, etc.) and multi-instrumentalist,

Jack Petruzzelli (Joan Osborne [producer, Love And Hate], Patti Smith, etc.). All five principals contribute vocals,

making the Faux’s soaring harmonies as resonant as their multi-instrumental chops, which are further enhanced on select shows

by the four-piece Hogshead Horns (with Blues Brothers, Blood, Sweat & Tears and SNL band alums) and

The Creme Tangerine Strings.

The Faux’s high energy shows have generated serious buzz not only at top NYC venues including sold out shows

at Radio City Music Hall and The Beacon Theater in New York City – with Beatles fans, movie stars

and world class musicians in attendance – but at major dates in Los Angeles, Atlanta, Las Vegas, Park City, Utah

(Sundance), Philadelphia, Boston, Chicago and Toronto, among other locales. They’ve headlined 5 of

Liverpool’s annual Beatle Festivals, playing before 35,000 Beatle fanatics – while in England, they had the rare

honor of recording an original song at Abbey Road Studios – and also delighted the masses performing live

on the Howard Stern Show and The Mark And Brian Show. Benefit and corporate dates have included events for JVC, the

N.B.A. and the Michael J. Fox Parkinsons Research Foundation. TV appearances include Late Show with David Letterman

and "Conan."

“It's not just a cover band,” says the Faux’s Pagano. “This is the greatest Pop music ever written, and we're

such freaks for it...Vivino adds, "It’s constant archaeology.”

Imagine the instrumental complexities of “Strawberry Fields Forever” and “A Day in the Life”

performed part-perfect with an orchestra. The lush, multi-layered harmonies of “Because,” and

“Eleanor Rigby” sung note-for-note. The adrenaline rush of “Helter Skelter,” "Tomorrow Never Knows" and “Paperback Writer,”

delivered spot on…Agnello adds, "Even more difficult than the later period material is recreating the exuberance

and energy of the early records, but we love to play it all."

"Whenever anyone saw The Beatles perform it was just the four guys," Lee continues.

"You never saw them on stage with a sitar or a string section. When the show calls for it, we have all that stuff." 

With a commitment to the accurate reproduction of The Beatles' repertoire, The Fab Faux treat the seminal

music with unwavering respect, and are known for their painstaking recreations of the songs (with emphasis

on the later works never performed live by the Beatles).  Far beyond a cover band, they play the music of

The Beatles so impeccably that one must experience it to believe it. Imagine hearing complex material like

"Strawberry Fields Forever" or "I Am the Walrus" performed in complete part-perfect renditions; or such

harmony-driven songs as "Because", "Nowhere Man", and "Paperback Writer", reproduced not only note-

for-note, but with extra vocalists to achieve a double-tracked effect.

The musical virtuosity of The Fab Faux – in actuality, five of the hardest working musicians in NYC –

completely up-ends the concept of a Beatles tribute band. Far beyond being extended sets of cover

versions, their astounding shows are an inspired re-discovery of the Beatles’ musical magic, as The Fab

Faux tackles the group’s most demanding material live onstage in a way that has to be experienced to be

believed. 

Calling them, “the greatest Beatles cover band – without the wigs,” Rolling Stone senior editor David Fricke

wrote, “the Faux invigorate the artistry of even the Beatles’ most intricate studio masterpieces with top

chops and Beatlemaniac glee...” Approaching the songs with the intent of playing them live as accurately in

musical reading and in spirit as possible, The Faux’s breathtaking performances tend to dispel all

concertgoers’ previous notions of a Beatles tribute act.

"The Fab Faux have the hardest job in the history of R & R and they pull it off damn well. All rock bands want to be

like the Beatles; these guys have the nerve to BE the Beatles. Amazingly, they're so good at it you learn new things

about the originals" - Dave Marsh, legendary Rock Critic and Sirius Radio Host.