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RACHEL CROFT ( York )

 Website:

https://rachelcroftmusic.com  

 https://www.youtube.com/channel/UC7yw2NowbwZm-cyQtzlZTpA

 

 

NOVEMBER: 

- Donderdag 10: De Cactus, Hengelo

 

- Vrijdagmiddag 11: Tv NOARDEWYN LIVE, Leeuwarden

 

- Vrijdag 11: Theater 't Voorhuys, Emmeloord

 

- Zaterdag 12: Baron Theater, opende

 

- Zondag 13: Cultureel Centrum Zuidhorn

 

DECEMBER:

 - Woensdag 7: Podium Pingjum, Pingjum

 

- Donderdag 8: Poppodium Volt, Sittard

 

 

 - Vrijdag 9: - Podium Gorter, Balk

 

- Zaterdag 10: De Kaap, Steendam

 

- Zondag 11: Cultuurhuys De Kroon, Waddinxveen

  

2023:

FEBRUARI: 

-Zaterdag 18: Theater De Tamboer, Hoogeveen

 

Rachel has built up an incredible reputation as one of the finest alternative ethereal folk performers in the country. She performs all across the UK as well as in her hometown of York. She has a following which is unparalleled anywhere else and is regarded as one of the best independent folk and acoustic musicians.

RACHEL CROFT
Musician and songwriter based in York UK, Rachel’s complex and rich vocals play over rhythmic fingerpicked guitar. Her alternative folk songs are inspired by ethereal Celtic melodies and the thoughtful lyrics of storytelling songs, which narrate her experiences living and busking in the city. Having performed for a number of years as the vocalist in the Croft and Mullen jazz band, notes of soul and the Great American Songbook are instilled in her vocal style. She is influenced greatly by Eva Cassidy, Laura Marling, Joni Mitchell and Matt Corby, as well as more contemporary artists such as London Grammar. Having played the main stages of Warwick Folk Week, Bromyard Folk Festival and Beverley Folk Festival among others for her first year on the festival circuit, 2018 promises to be an exciting time for Rachel. 
“Rarely have I heard such an effortlessly powerful vocal from any (female) singer...more to be heard from this young lady in the future I'm certain” Jonti Willis, Sine fm. 
“An accomplished guitarist as well as a superb singer, Croft’s performance is controlled and precise...there's also an impressive polish to her original songs.” whatsonlive.co.uk “Truly exceptional” Jericho Keys, BBC Introducing York & North Yorks 

Mars was born in Laurens, South Carolina, to sharecropping parents.[1] His family regularly moved house when Mars was a youngster, but at the age of nine, he was presented with his first harmonica. When he was aged fourteen, and on the death of his mother, Mars and his younger siblings moved to New Paltz, New York, and having left high school, Mars began playing in various clubs in New York City.[2]

He signed a recording contract with Mercury Records, whilst a member of the band Burning Bush, and they recorded several sides with the label.[1] By the middle of the 1960s, Mars had moved to California, and formed the Johnny Mars Band, which found work but no recognition beyond their base in North California.

However, they toured with Magic Sam and played on the same bill as Earl HookerB.B. King and Jesse Fuller.[2] After advice from Rick Estrin (Little Charlie & the Nightcats), Mars toured the United Kingdom in 1972, and subsequently recorded two albums there for Big Bear Records before relocating to Somerset in 1978.[3] He worked with the record producer Ray Fenwick plus Spencer Davis and Ian Gillan. His album of 1984, Life on Mars, received critical acclaim.[1]

In 1988, Mars was a guest musician on the album by Do-Re-MiThe Happiest Place in Town. He later worked with Bananarama on "Preacher Man" (1990) and their 1991 cover version of "Long Train Running", appearing in the group's music video for the former track.[1] Mars also taught for fifteen years in primary schools in England, and worked with teenagers in music projects.[2] He continued touring across the United Kingdom and Europe, where he had a strong fan base.

In 1992, Mars played at the San Francisco Blues Festival. In 1999, he released the album StatesideOn My Mind followed in 2003.[1] In 2003 and 2004, he played with the Barrelhouse Blues Orchestra.[4] More recently, Mars teamed up with the blues guitarist Michael Roach and in 2008, he appeared at the Bath Music Festival in the United Kingdom,[5] The Pocono Blues Festival (United States) and the Kastav Blues Festival (Croatia). In January 2010, the pair toured the Middle East.[6]

 

Phil Gates

Phil Gates werd geboren in Chicago, Illinois, in een familie van muzikanten die hebben bijgedragen aan de vorming van zijn muziekstijl en talent. Phil is een multi-instrumentalist; vanaf zijn 7e heeft hij viool, klarinet, drums en tenslotte zichzelf gitaar leren spelen. De expressiviteit van elektrische gitaar en slidegitaar werden de muzikale hoekstenen voor Phil. Vroege invloeden voor Phil waren Buddy Guy, Muddy Waters, Roy Buchanan, Jimi Hendrix, Shuggie Otis, Rory Gallagher en Johnny Winter.

 

Phil begon op 18-jarige leeftijd professioneel te spelen met verschillende projecten. Hij trad op in zowel clubs als grote zalen in meer dan vijftien verschillende landen. Phil heeft het podium gedeeld en gewerkt met geweldige bluesartiesten zoals Buddy Guy, John Mayall, Coco Montoya, Tommy Castro, Janiva Magness, John Nemeth, Kenny Neal, Eric Gales en vele anderen.

 

Phil is een actieve pleitbezorger voor de blues, zowel als bluesartiest als achter de schermen bij de Los Angeles Blues Society. Hij is jarenlang een gewaardeerd jurylid geweest bij de International Blues Challenge van de Blues Foundation (IBC) in Memphis, TN en ook bij de "King of the Blues" wedstrijd in Hollywood. Phil trad overal ter wereld op met zijn eigen stijl van The Blues, waarbij zijn gitaarwerk terugkomt in alles wat hij doet.

 

2023:

MAART:

-Donderdag 16: Poppodium De Peppel, Zeist

 

-Zaterdag 18: Southern Blues Festival, Heerlen

Kentucky Snake Oil

American Roots Music

 www.kentuckysnakeoil.com

https://www.youtube.com/channel/UC0Vd6TOUYMTUh8TxGZEaSGQ

 

AUGUSTUS:

- Zaterdag 20: Turfdagen Appelscha

 

SEPTEMBER:

-  Zaterdag 3: Wijk bij Duurstede 

  

OKTOBER:

- Donderdag 6 : Het Nut, Burgum ( Besloten )

 

- Zaterdag 15: MFC, Burdaard

 

NOVEMBER: 

- Vrijdag 11: Theater 't Voorhuys, Emmeloord

 

- Zaterdag 12: Baron Theater, opende

 

- Zondag 13: Cultureel Centrum Zuidhorn

 

- Zaterdag 26: Dorpshuis Ons Noabershoes, Vleederveen

 

  

DECEMBER:

 - Vrijdag 9: - Podium Gorter, Balk

 

2023:

JANUARI:

-Zaterdag 28: Sense, Dokkum

 

FEBRUARI:

 -Vrijdag 17: Swanla theater, Zevenhuizen

 

DECEMBER:

- Zondag 10: Theater De Kik, Elst

 

Mario Kramer - zang, gitaar

Sebastian L. Meijer – fiddle, zang

Douwe Dijkstra - contrabas, zang

Wander van Duin - banjo, mandoline, dobro, zang

 

 With fiddle, banjo, double bass, guitar and vocals, Kentucky Snake Oil brings a mix of Bluegrass, Country and Americana.

Swinging traditionals are interspersed with atmospheric songs that evoke images of classic westerns.

The band plays a varied repertoire that includes songs from Johnny Cash, Bruce Springsteen, Hank Williams and Mumford & Sons.

 

Kentucky Snake Oil ft Chris Jagger

 

Chris Jagger has been busy, as, it seems, he always is. There’s been the song writing:

adding to the pile of 100+ compositions he’s created, recorded and had published

over the years and heard on the dozen albums he’s released, some solo, some with

his band Atcha. And there’s been the small scale animal husbandry: he and his wife

keep chickens and sheep at the farmhouse near Glastonbury they’ve called home for

20 years. In fact keep an ear out, because some of that livestock is about to have a

walk-on part on his brand new album Mixing Up The Medicine, scheduled for

release on September 10th through BMG.

 

In addition, Jagger also spent lockdown completing his long-in-the-works memoir

and autobiography Talking To Myself, which is published on September 10th . It’s a

rich, detailed, hilarious, gossipy tale that digs deep into he and his older brother

Mick’s upbringing in Dartford, Kent, and plots the siblings’ emergence into

adulthood and shared lifelong appreciation for the blues. It also chronicles the

younger Jagger’s musical adventures from the Seventies onwards with entertaining

detours into his travels to India, Pakistan, Afghanistan and Israel, where he also

acted in a production of the musical Hair.

 

“I thought about starting a book in the 1990s, because I began writing some

journalism pieces,” explains this lifelong multi-tasker whose CV also includes

treading the boards with Pierce Brosnan and Ciarán Hinds, making blues

documentaries for the BBC and Sky Arts, and fleeting lyric additions on two Rolling

Stones albums, Dirty Work and Steel Wheels.

 

“I did float the project to a couple of people, but I found the literary world was rather

stodgy. I got a literary agent – this is in the days when people still wrote typed letters

– but I didn’t get any further than a couple of sample chapters. So, I put it on the

back burner. The funny thing was that once I turned the grand old age of 40 I

somehow seemed to change my disposition. I just determined to do what I liked, and

I didn’t really care what others might think. Perhaps I’d been too defensive in

covering up my inadequacies and wary of criticism in the past. You might seek to

justify your actions too much. What people write or say in the newspapers can be

quite hurtful if you let it get to you.”

 

He continues, “I just thought, to hell with it, and proceeded to play the music I

wanted, even if it wasn’t commercial. Perhaps others might come around to it. One

thing about Cajun music, I thought, was that it won’t go out of fashion as it’s never

been in fashion. It was more like folk music, it was there for people to enjoy if they

discover it.”

 

So Jagger finally cracked on with writing his book in 2019. It meant taking time off

gigging, something he’s done much of his adult life - his last jaunt was a world tour

with Charlie Hart in 2018/9 - and he turned lockdown into an unexpected bonus

because, he explains, “writing took longer than I anticipated. I did find I had to give it

my full attention, and it was a lot harder than I thought. It’s all very well linking a lot

of stories together, but what’s your style? I wrote it myself – I didn’t have a ghost

writer – so I had to find my voice. And you don’t want to get too literary, but you can

a little bit, so why not?”

 

Was it important, too, to tell his story of The Rolling Stones?

 

“Well, if you can appreciate being 14, 15 and going to see your brother in a blues

band, that I thought was more interesting than my contemporaries’ experiences;

they liked Marty Wilde and Cliff Richard, and I was listening to Jimmy Reed and

Howlin’ Wolf. That was so much more grown-up. Being introduced to that music

gives you a window on a completely different world.”

 

He continues, “There’s one passage in the book where I go and see the fledgling

Rolling Stones in The Scene club in London. I’d actually written that up some years

before, when I could remember all the detail like Keith in his beret! But that felt like a

seminal bit in the book so I spent a lot of time trying to bring it alive.

“But the chapters I most enjoyed writing were my travels, particularly to India. I

probably should have been a travel writer. But I didn’t really fancy telling everyone

about the wonderful places I’d been to, because then they go there and fuck it up!”

notes this hilariously no-nonsense man who’s also clearly a lifelong imbiber of truth

serum.

 

And then, of course, if Mick doesn’t write his own memoir, will Talking To Myself be

the only book of record of the Jagger family?

 

“Well, I don’t know,” Chris demurs. “I said to him, ‘I’ve almost finished my book, now

let’s do yours and he laughed.’ He’d do a fantastic book. He has a pretty good

memory so I would like to read his story for one. We share similar early influences,

and our parents were centre to that so I hope readers will find those details

interesting; what my mother and father looked like for example. Writing can be quite

prosaic and descriptive, it doesn’t have to be all poetry. I have even included got

some recipes in mine” he smiles.

 

As for the title? He chirpily confesses that it took a while.

 

“An alternative title was I Was There. Or, another one: Relative Obscurity” he laughs

gamely. “I mean, it’s not easy finding a title. Elton John called his Me. Is that a good

title?”

 

In the end Jagger plumped for Talking To Myself and wrote a jazzy tune with the

same name to go on his new upcoming album, Mixing Up The Medicine. Released a

day later on September 10th , Mixing Up The Medicine is a loose, lively collection of

Jagger/Hart originals, some written in collaboration with a poet who’s been dead

172 years, and the rest with his long standing musical wingman, pianist Charlie Hart.

Working out of a studio in South London near Hart’s Lewisham home, at Jagger’s

farmhouse, and down the line to each other when lockdown restrictions were in

force, the pair worked intensely. “It’s the most collaborative record we’ve done.”

They also called in a hit-list of top players to flesh out their music: old friend Olly

Blanchflower on double bass; Atcha band alumnus Dylan Howe on drums, “a very

respected jazz player who also plays rock & roll with Wilko Johnson” and another

friend, veteran producer John Porter, who’s worked with everyone from The Smiths

to Roxy Music, Buddy Guy, BB King and Elvis Costello. Porter in turn hired

experienced guitarist Neil Hubbard (Bryan Ferry, Joe Cocker), with some south

London mates of Hart on horns, Nick Payn and Frank Mead.

 

“Then I got in John Etheridge - who’s an old pal and who once played with Soft

Machine - to add some jazzy guitar, and Jody Linscott who I’ve known since the

Seventies, on percussion. Mostly the tracks were cut live in the studio as that’s what I

know, plus it gives gainful employment out.” Into that category we can also add

brother Mick on backing vocals.

 

As for Chris and Charlie’s inspiration, the inventive pair roamed far and wide:

“Charlie’s a bit of a jazzer, so we did two or three tracks like that. Then I found this

obscure poet called Thomas Beddoes" he says of the early 19th century writer and

physician. "I was reading this book by Ezra Pound, and he mentioned Beddoes. I

thought, well, if Pound mentions him, I gotta look him up. So, I found this book of his

called Death’s Jest Book, in which he wrote these kinds of weird plays. He was a poet

from Bristol, and his father knew Shelley, so he was coming in just after the Romantic

poets. He was an alcoholic and he committed suicide by poisoning himself in Basel in

1849. He was only 45.

 

“So I read some of his verse and took them and put them to music. I just thought he

needed a bit of a shout, being a largely ignored poet, of which there are many…”

Jagger used Beddoes’ poems for three songs: the irresistible Madness-like ska-pop

knees-up of the opening Anyone Seen My Heart?, the sea shanty-ish Loves’ Horn

and the voodoo soul of Wee Wee Tailor. Into Hart’s ‘jazzer’ category we can fit

Talking To Myself, the New Orleans sass of Merry Go Round and the in-the-wee-

small-hours croon and groove of A Love Like This. Honourable mention, too, to the

comforting bluesy lament of Hey Brother, a lovely ode to lifelong fraternal bonds.

But one thing unites all the songs: a rawness, a looseness, and the sense of a band of

brothers having a ball.

 

“Let’s face it, we’re coming to the end of our careers” he concedes, “You never know

if it’s gonna be your last record. So, with all the players I got the feeling that they

were going out to show that they still had it, still could play and they would put more

into this than if this was just a regular session. They were totally committed.”

Taken together this is Mixing Up The Medicine: a joyful, life-enhancing album by a

man well versed in a whole range of musical styles, distilled right here into 10 tight

tracks. “Then I realised ‘mixing up the medicine’ is also a line in Subterranean Homesick

Blues” Jagger chuckles. “I’d forgotten that. But I’m a big Bob Dylan fan, so that can’t

be a bad thing, right ?




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