Soul'd Out Presents
May 17, 2020 9:00 pm
The galaxy's most unique entertainer, David Liebe Hart, brings his music/puppets/storytelling extravaganza to you. Every David show is an unpredictable one-of-a-kind experience, often hilarious, sometimes confounding, and always memorable.
Best known for his roles on Adult Swim's Tim & Eric Awesome Show Great Job! and now his own series, I Love David, DLH is a truly original actor, musician and painter. He has communicated with extra-terrestrials, owns a large collection of puppets, and is obsessed with trains. Along with experimental musician, Jonah Mociun (AKA Whatever Your Heart Desires), David puts on a show guaranteed to engage old fans and new ones alike, performing bizarre songs along with puppets, projected video accompaniment, oddly endearing stories, crowd interaction and surprises.
VIP includes a meet-and-greet, photo, and portrait drawing by David half an hour before doors
LIMITED VIP TICKETS AVAILABLE
$12.00 - $30.00
Soul'd Out Presents
June 5, 2020 9:00 pm
Trio Subtonic (Ropeadope Records) is a groove heavy power trio out of Portland, Oregon that blends genre bending funk with slow burning underground soul jazz. Led by keyboardist Galen Clark, Subtonic explores a coalescence of rock, soul, funk, hip hop and jazz that simultaneously draws in listeners and pushes boundaries.
PDX JAZZ proudly presents
June 17, 2020 9:00 pm
Trumpet - Sheila Maurice-Grey (Bandleader)
Saxophone - Cassie Kinoshi
Trombone - Richie SeivWright
Bass - Mutale Chashi
Guitar - Oscar Jerome
Keyboards - Yohan Kebede
Percussion - Onome Ighamre
Drums - Ayo Salawu
The band’s name is an Orobo – a Nigerian tribe and language – word meaning ‘be strong’. Sonically living up to their name, KOKOROKO are an all star band featuring leading lights from the London jazz community. Powered by seismic horn section (Maurice Grey, saxophonist Cassie Kinoshi, trombonist Richie Seivewright), guitar (Oscar Jerome), keys (Yohan Kebede), drums (Ayo Salawu) and percussion (Onome Edgeworth); Kokoroko are on a mission to fashion new languages using the medium of afrobeat.
“This is not idle music!” says Sheila M. Maurice-Grey, reflecting on the rich history of sounds that have inspired the band. Whether it's the social commentary, the political stance of acts like the Black President, or the high power energy of afrobeat nights: the music is teeming with a potent energy the band want to propel forwards, London style. Make no mistake, this is not a band interested in performative tributes or pastiche. For Maurice Grey, part of the drive behind their creative impulse to is ask: “what does this music sound like for my generation?”
“We love this music and want other people to love it the way we do”, shared Edgeworth. Aside of the primacy of love for the music, a subtext of the bands creation was a sense of alienation at London’s thinning pool of afrobeat and highlife nights – particularly of black listeners and players. “We don’t want this music to die”, he added.
Rather than launching straight into writing their own music, since the band’s formation in 2014, they immersed themselves in the sounds of Pat Thomas, Ebo Taylor and others by playing covers to sell out crowds. “I remember speaking with Dele Sosimi about the structure of Fela’s songs – every element plays a part. But, before melody or harmony, there’s rhythm. The rhythmic aspect of the solos from that era is amazing. The West African approach to jazz and improvisation is hip!”, offered Maurice-Grey.
In writing their own music, Edgeworth emphasised how much the KOKOROKO sound is shaped by the capital. “We didn’t want it to sound too clean – that doesn’t really fit into the London sound”, he said. Instead, the band opt for grooves with added grit: “we wanted it to sound rough, like going out and hearing music pushed through speakers or the energy of people dancing at afrobeat parties: its music we’ve seen work on dancefloors”.
Drawing as much from nightlife, the musical influences of West African Pentecostal churches, jazz and Western classical, its both in the middle of and beyond this mix of influences that KOKOROKO’s self titled EP takes shape.
Soul'd Out Proudly Presents
October 18, 2020 9:00 pm
You'd be forgiven for previously assuming that José James was a man with something to prove. There was that decade he spent reshaping jazz with the genre-blurring verve of a crate-digging beat guru. And that time he declared his jazz career was over, ditched the bands, and became a solo R&B star. And then there were the last couple years he spent living in Bill Withers' shoes -- recording and touring that legendary songbook for the Lean On Me project, a feat as brazen as they come. Now, well, it's not that James is out of mountains to climb, but sometimes you gotta stop to consider the one you've already got under your feet. Thus, the satin-voiced songwriter's latest is No Beginning No End 2, a sequel to his 2013 album that resurrects the bold eclecticism we first fell in love with, while taking us on a journey through both celebration and introspection.
"I have to give Bill credit," says James. "Touring as a four-piece, I got to feel how transformative it is to dig into music with a real band. I think he led me back to that high-level singer-songwriter material -- stuff that's hooky and funky and with jazz running through it -- that's joyful without being corny. That was the hallmark of No Beginning No End, mixed with that New York hip-hop element. After the tour, I wrote a thing on Instagram saying I was thinking about No Beginning No End 2 and people went insane. They wrote thousands of comments about how the first one changed their life. I don't sit around and think 'my work is so important' so that was kinda nice."
Of course, things are a little different this time around. For one, while the prequel was James' Blue Note debut, this is his first set of new music for his own label/collective Rainbow Blonde Records. Secondly, the album is chock-full of collaborators who are auteurs in their own right -- Laura Mvula, Aloe Blacc, Ledisi, Erik Truffaz, and Hindi Zahra, to name a few -- appearing in unexpected sonic contexts. Thirdly, with the backing of a wildly good band held down by rhythm sections in Los Angeles and Brooklyn (befitting Rainbow Blonde's bicoastal status) the songs are warmer and more defined than ever, balancing classic songwriting against immersive vibe.
For James, all of these pieces are related, and speak to a constellation of small but vibrant artist communities in constant communication. "I hope people see this as an update not of my career, but the entire scene," he says. "If somebody told me two years ago I'd be running my own label with my friends, having my own sessions, and singing hard bop anthems while sipping red wine with Laura Mvula in London, I'd be like, 'Nah, that's crazy.' But we're trying to connect the dots on a global level and that's sort of the whole concept: no beginning, no end, no boundaries."
« Previous | Page: 2 | Next »