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DTSTART;TZID=America/New_York:20231013T190000
DTEND;TZID=America/New_York:20231013T230000
DTSTAMP:20260418T122923
CREATED:20230228T195918Z
LAST-MODIFIED:20231014T212735Z
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SUMMARY:Tommy Emmanuel
DESCRIPTION:“If you like guitar playing\, it simply doesn’t get any better than Tommy.” – Jason Isbell \nTommy Emmanuel has achieved enough musical milestones to satisfy several lifetimes. Or at least they would if he was the kind of artist who was ever satisfied. At the age of six\, he was touring regional Australia with his family band. By 30\, he was a rock n’ roll lead guitarist burning up stadiums in Europe. At 44\, he became one of five people ever named a Certified Guitar Player by his idol\, music icon Chet Atkins. Today\, he plays hundreds of sold-out shows every year from Nashville to Sydney to London. All the while\, Tommy has hungered for what’s next. When you’re widely acknowledged as the international master of the solo acoustic guitar\, what’s next is an album of collaborations with some of the finest singers\, songwriters and\, yes\, guitarists alive today. \n“For me\, music has always been about collaboration–the push and pull you get from another human being’s energy\,” explains Tommy. “Even when I play solo\, it feels like I’m playing to the emotions I’m getting from the crowd. To feel the love or the joy or the hope coming through these other pickers and singers was electric–I played in ways I never would on my own.” \nAccomplice One is a testament to Tommy’s musical diversity\, the range of expression that stretches from authentic country-blues to face-melting rock shredding\, by way of tender and devastating pure song playing. The songs are a mix of new takes on indelible classics and brand new originals from Tommy and his collaborators. \nThe artists who stepped forward to join Tommy in the studio are an impressive list of some of today’s most respected performers\, from across the musical spectrum–a lineup including Jason Isbell\, Mark Knopfler\, Rodney Crowell\, Jerry Douglas\, Amanda Shires\, Ricky Skaggs\, J.D. Simo\, David Grisman\, Bryan Sutton\, Suzy Bogguss and many more. \nThis is an album for all types of Tommy Emmanuel fan–from longtime guitar aficionados who’ve followed his career for decades\, to lovers of great songs and melodies who flock to Tommy’s shows for the emotional authenticity driving every performance. \nGrammy-winning singer-songwriter Jason Isbell conjures up the sweaty atmosphere of his Muscle Shoals roots on opener “Deep River Blues\,” a classic fingerpicked blues which has been a longtime staple of Tommy’s live shows. Country and bluegrass legend Ricky Skaggs lends his mandolin and unmistakable voice to “Song and Dance Man\,” a chronicle of a life lived for the next show. Tommy’s subtlety and tastefulness blends with Amanda Shires’ gorgeous vocal and fiddle playing to transform Madonna’s “Borderline” and Rodney Crowell’s “Looking Forward to the Past” could’ve topped the country charts in another era\, with Tommy’s propulsive rhythm supporting Crowell’s sly lyrics while his tasty lead playing weave in and out. \nFor those hankering for virtuosic hot picking\, the rave-up “Wheelin’ and Dealin’” sees him trading licks with J.D. Simo and Charlie Cushman\, while a jaw-dropping rendition of “Purple Haze” with Dobro master Jerry Douglas captures all the fire and energy of the Hendrix original as the two modern masters push each other to new heights with each raunchy slide and bend. \nOn “You Don’t Want to Get You One of Those\,” a sly vocal and acoustic duet with Dire Straits’ legend Mark Knopfler\, there was a third\, invisible presence in the studio– the late Chet Atkins. \n“Mark and I both learned so much from Chet–he was a hero and a mentor to each of us\, and we’ve tried to bring his spirit forward into the future in our own playing\,” says Tommy. “This song that Mark wrote captured Chet’s sense of humor so well and I had the time of my life in the studio with him conjuring the master as we laid it down.” \nWhile this was the first time he and Knopfler had collaborated\, the album also featured some of Tommy’s longtime fellow road warriors\, who have covered the miles in buses and planes around the world on tour over many years. “Djangology” is a gypsy jazz treat cut live in Havana\, Cuba with Frank Vignola and Vinny Raniolo and “Rachel’s Lullaby” reunites Tommy with Hawaiian ukulele master Jake Shimabukuro. \nThe song\, written for Tommy’s youngest daughter\, shows him continuing to find inspiration from an evergreen source–his love of his family. Since he and his brother Phil taught themselves to play as toddlers\, the guitar has been Tommy’s real first language–and he’s more articulate on his signature Melbourne-made Maton acoustics than most people are with words. \nHis unerring sense of groove marked him as Australia’s youngest rhythm guitarist as The Emmanuel Quartet crisscrossed the country. By the time he made it to the big city in his late teens\, Tommy was a rock star\, slinging a Fender Telecaster alongside the biggest stars of the day. It was a good life\, but deep down Tommy knew there was more to his musical destiny. A shy country kid with little confidence\, it took an encouraging meeting turned jam session with his guitar hero Chet Atkins to build his self-belief. \nBy the late 80s he was ready to go it alone\, to make instrumental guitar records made for an audience broader than just guitar fans–a move with zero precedence in Australian music. Despite the odds\, Tommy released a string of hit albums\, racking up awards wins and nominations\, and becoming a huge celebrity in his home country\, culminating in an incendiary performance with his brother Phil at the Sydney Olympics in 2000. \nInfluenced by the Merle Travis/Chet Atkins fingerstyle of guitar picking\, Tommy developed a style of solo guitar playing that encompasses the range of a whole band– covering drums\, bass\, rhythm and lead guitar and a vocal melody simultaneously. No loop pedals\, no overdubs\, just one man and ten fingers. While some artists take ten-piece bands on the road and still fill out the sound with backing tracks\, Tommy builds a complete sonic world entirely on his own. For many players\, the technical mastery of the technique would overwhelm the emotion of the music\, but not for Tommy. His idols are not just the great players\, but also the great pop songwriters and singers–Stevie Wonder\, Billy Joel\, Paul Simon\, The Beatles and their ilk. \nWhile thousands of fans have spent years trying to unpack and imitate Tommy’s technique\, for him it’s just the delivery system. His approach is always song and emotion first\, his music the embodiment of his soulful spirit\, sense of hope and his love for entertaining. Which is not to say he dismisses the CGP\, the Guitar Player awards\, the Grammy nominations\, the numerous magazine polls naming him the greatest acoustic guitarist alive. He’s grateful for it all\, and the incredible journey that’s led him to the most invigorating period of his career–six decades into it. For Tommy though\, the greatest reward is always the same–to make the next great record\, and to see the beaming audience at the next great show. “When I was a kid\, I wanted to be in show business. Now I just want to be in the happiness business–I make music\, you get happy. That’s a good job.” \nTommy isn’t the kind of man who looks to nostalgia–it’s more that he treats his history in the same way he treats the history of music overall: There’s magic threaded in through all the eras that’s worth celebrating and revisiting. Now in his sixties –although on stage he can seem 25–life and music are about improvisation\, variety and happiness. \n“Making Accomplice One has been this great journey through so many of the worlds I’ve inhabited through the years\,” concludes Tommy. “Playing with old friends\, new friends\, heroes\, people I’ve been like an older brother to… and musically to jump around from bluegrass to jazz to blues to just pure songs\, it’s like going to the world’s greatest buffet and picking out all my favorite meals. People try to categorize what I do\, to put me in a genre or put a label on me. I always go back to that old Duke Ellington line\, about there being two types of music\, good and bad.” Well I try and play the good kind\, and on this record I got to play it with the best people.” \n\nOnSale: Fri\, 3 Mar 2023 at 12:00PM EST
URL:https://theark.qltddev.com/event/tommy-emmanuel-231013/
LOCATION:Royal Oak Music Theatre\, 318 W 4th St\, Royal Oak\, MI\, 48067\, United States
CATEGORIES:Special Event
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DTSTART;TZID=America/New_York:20211214T190000
DTEND;TZID=America/New_York:20211214T190000
DTSTAMP:20260418T122923
CREATED:20211026T150843Z
LAST-MODIFIED:20211026T150843Z
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SUMMARY:The Ark and AEG present Tommy Emmanuel
DESCRIPTION:Tommy Emmanuel is one of Australia’s most respected musicians. The legendary guitarist has a professional career that spans five decades and continues to intersect with some of the finest musicians throughout the world. One of only five musicians handpicked by his mentor\, Chet Atkins\, as a Certified Guitar Player (C.G.P)\, he’s piled up numerous accolades\, including two Grammy nominations and two ARIA Awards from the Australian Recording Industry Association (the Aussie equivalent of the Recording Academy). A noted fingerstyle guitarist\, Emmanuel frequently threads three different parts simultaneously into his material\, operating as a one-man band who handles the melody\, the supporting chords and the bass all at once.
URL:https://theark.qltddev.com/event/the-ark-and-aeg-present-tommy-emmanuel-211214/
LOCATION:Royal Oak Music Theatre\, 318 W 4th St\, Royal Oak\, MI\, 48067\, United States
ATTACH;FMTTYPE=image/jpeg:https://theark.qltddev.com/wp-content/uploads/2021/10/TommyEmmanuel_0.jpg
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DTSTART;TZID=America/New_York:20211110T180000
DTEND;TZID=America/New_York:20211110T180000
DTSTAMP:20260418T122923
CREATED:20211026T150543Z
LAST-MODIFIED:20211026T150543Z
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SUMMARY:John Hiatt and the Jerry Douglas Band
DESCRIPTION:John Hiatt – Acoustic Guitar & Vocals\nJerry Douglas – Dobro\, Lap Steel\, and Backing Vocals\nDaniel Kimbro – Bass & Tic-Toc Bass\nMike Seal – Acoustic & Electric Guitars\nChristian Sedelmyer – Violin \nIn the midst of a global pandemic\, John Hiatt walked into Historic RCA Studio B and opened up a lifetime full of leftover feelings. \n“I was immediately taken back to 1970\, when I got to Nashville\,” said Hiatt\, who was at the studio to record with Dobro master Jerry Douglas and Douglas’s band. “You can’t not be aware of the records that were made there . . . Elvis\, the Everly Brothers\, Waylon Jennings doing ‘Only Daddy That’ll Walk the Line.’ But all that history wasn’t intimidating\, because it’s such a comfortable place to make music.” \nA half-century ago\, Hiatt lived in a ratty\, $15-a-week room on Nashville’s 16th Avenue\, less than a mile away from the RCA and Columbia studios that were the heartbeat of what had come to be known as “Music Row.” \nIn the ensuing 50 years\, he went from a scuffling young buck to a celebrated grand master of song. His lyrics and melodies have graced more than 20 studio albums\, have been recorded by Bob Dylan\, Emmylou Harris\, B.B. King\, Willie Nelson\, Bonnie Raitt and scores of others\, and have earned him a place in the Nashville Songwriters Hall of Fame\, a BMI Troubadour award\, and a lifetime achievement in songwriting designation from the Americana Music Association. \nHe and wife Nancy live in a nicer neighborhood now\, just out of town and within walking distance of Douglas\, who reinvented the Dobro and is responsible for bringing the instrument to popular presence in modern times. Douglas has performed on more than 1\,500 albums by artists including Ray Charles\, George Jones\, Alison Krauss\, Earl Scruggs\, and James Taylor\, and none of those works sound a bit like this collaboration with Hiatt. \nLeftover Feelings is neither a bluegrass album nor a return to Hiatt’s 1980s days with slide guitar greats Ry Cooder and Sonny Landreth\, though Douglas’s opening riff on “Long\, Black Electric Cadillac” nods to Landreth’s charged intro to “Tennessee Plates\,” Hiatt’s epic tale of heisting Elvis Presley’s Cadillac\, a car that was surely purchased with proceeds from some of the 250-plus songs the King recorded at Studio B. \nThere’s no drummer\, yet these grooves are deep and true. And while the up-tempo songs are\, as ever\, filled with delightful internal rhyme and sly aggression\, The Jerry Douglas Band’s empathetic musicianship nudges Hiatt to performances that are startlingly vulnerable. Built when Hiatt was five-years-old\, Studio B was designed for music to be made in real time by musicians listening to each other and reacting in the emotional moment. That’s what happened here: Five players on the studio floor\, making decisions on instinct rather than calculation. \nAll this is made possible\, of course\, by Hiatt’s songs\, one of which — “Music is Hot” — mentions the Studio B recording of Waylon Jennings singing “Only Daddy That’ll Walk the Line.” The lyrics are explorations of individual experiences — family\, loss\, tough redemption\, and long-term love — in which Hiatt reveals the universal. \nThe album answers the question Hiatt posed thirty years ago in “Listening to Old Voices”: “Is it true we are possessed by all the ones we leave behind\, or is it by their lives we are inspired?” \nThe answer is “Yes.” \nThose lives are musical ones\, as recorded in the studio where he and Douglas gathered to extend a legacy. And they are deeply personal ones\, as detailed in “Light of the Burning Sun\,” about the suicide of Hiatt’s eldest brother\, and the resulting dissolution of his family. \n“My father screamed\, ‘No\,’ and beat on the wall/ Shook the foundations of the house\, shook the life out of us all\,” he sings\, in the most straightforward and sober vocal of his career. \n“It’s just the story\,” Hiatt said. “With that\, the family just blew a gasket. It’s a part of who I am\, and part of what I’ve been working through\, all these years. Again\, it’s just the story. Like Guy Clark said\, ‘You can’t make this shit up.’” \nLeftover feelings that will remain unresolved\, no matter how often explored. Explicated in a place of history\, a place of comfort. A sacred place\, if you believe the documentation of human expression to be a holy thing. \nHere\, then\, is a meeting of bruised and triumphant American giants. Here are Hiatt and Douglas\, creating the meant-to-be: Love songs and road songs\, sly songs and hurt songs. \nTheir songs\, and now our songs. \nLeftover feelings that edify and sustain.
URL:https://theark.qltddev.com/event/john-hiatt-and-the-jerry-douglas-band-211110/
LOCATION:Royal Oak Music Theatre\, 318 W 4th St\, Royal Oak\, MI\, 48067\, United States
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DTSTART;TZID=America/New_York:20211010T143000
DTEND;TZID=America/New_York:20211010T143000
DTSTAMP:20260418T122923
CREATED:20211007T054654Z
LAST-MODIFIED:20211007T054654Z
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SUMMARY:The David Bromberg Quintet
DESCRIPTION:Please Note: Proof of Vaccination is required for admission. By purchasing a ticket you agree that you and your guests will comply with all laws\, orders\, ordinances\, regulations and health and safety guidance adopted by the State of Michigan\, the County of Washtenaw and The Ark\, including any guidelines in place at the time of the show. Attendees who do not comply will be asked to leave. Policies will be updated as circumstances and requirements change in our community. Please review The Ark’s current COVID-related information before attending a show.  \nA legend of the folk scene\, David Bromberg got his start in the Greenwich Village coffeehouse scene in the mid-1960s. His extraordinary guitar picking and exceptional stylistic range developed over the next decade. David’s live shows\, rarer since he took up violin-making full time\, range from Texas swing to bluegrass\, blues\, classical music\, and anything else that might cross his mind. In the words of the New York Times\, he “has such control of his audience that he can\, at one moment\, hold it in his hand with a tender\, touching yet funny anecdotal song\, and then set it romping and stomping with a raucous bit of raunch. He is electrifying.” We might add that he picked up on the humor in country and classic blues as well as anyone else in the folk revival scene\, making his shows a great deal of fun. David appears tonight with his quintet\, with whom he recently recorded a new album\, “Big Road.”
URL:https://theark.qltddev.com/event/the-david-bromberg-quintet-211010/
LOCATION:Royal Oak Music Theatre\, 318 W 4th St\, Royal Oak\, MI\, 48067\, United States
ATTACH;FMTTYPE=image/jpeg:https://theark.qltddev.com/wp-content/uploads/2021/10/DavidBromberg_3.jpg
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