JOIN US FOR THE HEADHUNTERS! SEE THIS LEGENDARY PROJECT FOR ONLY $10! WOW!
THIS SHOW IS OUT OF THIS WORLD FUNKY!
Mike Clark
“He’s a great jazz drummer—and he hasn’t lost any of the stuff that he
brought from Oakland. So now he’s totally free to do both, and he
does. The solo he played on the album Thrust, on the song “Actual
Proof,” is one of the best drum solos on any of my albums. So many
people have remarked about that solo, saying, ‘Incredible.’”
-Herbie Hancock
By 2000 Mike made a foray into the popular jam band scene. His group Prescription Renewal pulled together cross-generational talents, such as Charlie Hunter, Fred Wesley, Skerik, Robert Walter, and DJ Logic, and featured special guests such as Donald Harrison, George Porter Jr. of The Meters, Les Claypool, Larry Goldings and fellow Headhunters alumni Bill Summers. He also toured with The Roots Funk All Stars.
Along with James Brown's drummer Clyde Stubblefield, Mike's beats with
The Headhunters (most notably God Make Me Funky) include some of the
most sampled in hip hop. Featured in Downbeat, Musician, International
Musician & Recording World, Modern Drummer, Jazz Times, Guitar Player,
Jazz Is and numerous jazz history and method books, Mike is a
popular and busy clinician. His book Funk Drumming: Innovative
Grooves & Advanced Concepts was published in 2012 by Hal Leonard.
Donald Harrison
Donald Harrison was born in New Orleans in 1960 and grew up in a home environment saturated with the city’s traditional brass bands, afro-new Orleans culture, modern jazz, R&B, funk, classical, world and dance music. His connection to New Orleans’ roots was deepened by his father, a Big Chief, in a new American style of African culture developed in New Orleans. The culture is an offshoot culture of Congo Square, one of the only known places in North America where Africans openly participated in their culture in the 18th and 19th centuries and still participate in it throughout the city. Donald became the Big Chief of The Congo Square Nation Afro-New Orleans cultural group in 1999 and coined the term Afro-New Orleans to describe his culture. He designed and built New Orleans’ first cultural attire to merge African designs with Afro-New Orleans style cultural designs. Harrison created “Nouveau Swing,” a style off jazz that merges it with modern dance music like R&B, Hip-Hop, Soul and Rock. Over twenty years ago, he also combined jazz with Afro-New Orleans traditional music on his critically acclaimed and influential albums “Indian Blues” in 1991 and “Spirits of Congo Square” in 2000. These records deepened his commitment to maintaining the offshoot rituals, call and response chants and drumming as well as his determination to keep traditional to modern jazz music alive for the next generation.
Bill Summers
To say that Bill Summers is a percussionist is like saying a Steinway is a piano: The noun conveys none of the history and quality of the owner of the title. Summers is a musician of the highest order, playing anything from traditional African instruments to pop bottles, and a cultural visionary who brings diverse people and ideas together. Whether working with Quincy Jones on the musical score for Roots, or the soundtrack to The Color Purple, or interpreting the music of the holiday Kwanza, Summers is cognizant of his heritage and its many contributions to world culture. His late-night musical soirées in his New Orleans home have often served as a lightning rod for creativity and success. Witness how Summers brought together Kim Provost and Bill Solley, winners of the 1999 BET Jazz Discovery Competition. The duo made their acquaintance at one of those late-night Summers sessions.
Wil Blades
No less a jazz organ authority than the legendary Dr. Lonnie Smith has called Wil Blades “the future,” anointing him the heir apparent to “carry on the legend [and] the legacy of the organ, of the B-3.” Blades shoulders that responsibility with nonchalant virtuosity and infectious groove on his second recording, Field Notes (out August 19 from The Royal Potato Family). The album’s nine songs report back from the rich incubator that is the road, with pieces written from snippets recorded at soundchecks, gigs and jam sessions—field recordings of the jazz trio in its natural habitat. On his first full trio outing, Blades is joined by guitarist Jeff Parker (Tortoise, Joey DeFrancesco, Joshua Redman) and drummer Simon Lott (Charlie Hunter, Will Bernard), both musicians who share Blades’ grounding in tradition and urge to push it forward.
Big Sticky Mess
Big Sticky Mess traveled lightyears at rocketing speeds to Earth in search of you. Now, as if shot out of a cannon through the heart of a rainbow, the Mess is here bringing a kaleidoscopic mix of extraterrestrial hooks, vibrant grooves and potent beats, purely for your entertainment. Close your eyes and hear the funky jams reminiscent of decades past with a sound much larger than the three piece arrangement before you should allow. So slip another drop under your tongue and join the inter-planetary groove train that is the Big Sticky Mess.
CUSTOMER APPRECIATION WEEKEND
FIRST 100 TICKETS ARE ONLY $10
21+
show less
THIS SHOW IS OUT OF THIS WORLD FUNKY!
Mike Clark
“He’s a great jazz drummer—and he hasn’t lost any of the stuff that he
brought from Oakland. So now he’s totally free to do both, and he
does. The solo he played on the album Thrust, on the song “Actual
Proof,” is one of the best drum solos on any of my albums. So many
people have remarked about that solo, saying, ‘Incredible.’”
-Herbie Hancock
By 2000 Mike made a foray into the popular jam band scene. His group Prescription Renewal pulled together cross-generational talents, such as Charlie Hunter, Fred Wesley, Skerik, Robert Walter, and DJ Logic, and featured special guests such as Donald Harrison, George Porter Jr. of The Meters, Les Claypool, Larry Goldings and fellow Headhunters alumni Bill Summers. He also toured with The Roots Funk All Stars.
Along with James Brown's drummer Clyde Stubblefield, Mike's beats with
The Headhunters (most notably God Make Me Funky) include some of the
most sampled in hip hop. Featured in Downbeat, Musician, International
Musician & Recording World, Modern Drummer, Jazz Times, Guitar Player,
Jazz Is and numerous jazz history and method books, Mike is a
popular and busy clinician. His book Funk Drumming: Innovative
Grooves & Advanced Concepts was published in 2012 by Hal Leonard.
Donald Harrison
Donald Harrison was born in New Orleans in 1960 and grew up in a home environment saturated with the city’s traditional brass bands, afro-new Orleans culture, modern jazz, R&B, funk, classical, world and dance music. His connection to New Orleans’ roots was deepened by his father, a Big Chief, in a new American style of African culture developed in New Orleans. The culture is an offshoot culture of Congo Square, one of the only known places in North America where Africans openly participated in their culture in the 18th and 19th centuries and still participate in it throughout the city. Donald became the Big Chief of The Congo Square Nation Afro-New Orleans cultural group in 1999 and coined the term Afro-New Orleans to describe his culture. He designed and built New Orleans’ first cultural attire to merge African designs with Afro-New Orleans style cultural designs. Harrison created “Nouveau Swing,” a style off jazz that merges it with modern dance music like R&B, Hip-Hop, Soul and Rock. Over twenty years ago, he also combined jazz with Afro-New Orleans traditional music on his critically acclaimed and influential albums “Indian Blues” in 1991 and “Spirits of Congo Square” in 2000. These records deepened his commitment to maintaining the offshoot rituals, call and response chants and drumming as well as his determination to keep traditional to modern jazz music alive for the next generation.
Bill Summers
To say that Bill Summers is a percussionist is like saying a Steinway is a piano: The noun conveys none of the history and quality of the owner of the title. Summers is a musician of the highest order, playing anything from traditional African instruments to pop bottles, and a cultural visionary who brings diverse people and ideas together. Whether working with Quincy Jones on the musical score for Roots, or the soundtrack to The Color Purple, or interpreting the music of the holiday Kwanza, Summers is cognizant of his heritage and its many contributions to world culture. His late-night musical soirées in his New Orleans home have often served as a lightning rod for creativity and success. Witness how Summers brought together Kim Provost and Bill Solley, winners of the 1999 BET Jazz Discovery Competition. The duo made their acquaintance at one of those late-night Summers sessions.
Wil Blades
No less a jazz organ authority than the legendary Dr. Lonnie Smith has called Wil Blades “the future,” anointing him the heir apparent to “carry on the legend [and] the legacy of the organ, of the B-3.” Blades shoulders that responsibility with nonchalant virtuosity and infectious groove on his second recording, Field Notes (out August 19 from The Royal Potato Family). The album’s nine songs report back from the rich incubator that is the road, with pieces written from snippets recorded at soundchecks, gigs and jam sessions—field recordings of the jazz trio in its natural habitat. On his first full trio outing, Blades is joined by guitarist Jeff Parker (Tortoise, Joey DeFrancesco, Joshua Redman) and drummer Simon Lott (Charlie Hunter, Will Bernard), both musicians who share Blades’ grounding in tradition and urge to push it forward.
Big Sticky Mess
Big Sticky Mess traveled lightyears at rocketing speeds to Earth in search of you. Now, as if shot out of a cannon through the heart of a rainbow, the Mess is here bringing a kaleidoscopic mix of extraterrestrial hooks, vibrant grooves and potent beats, purely for your entertainment. Close your eyes and hear the funky jams reminiscent of decades past with a sound much larger than the three piece arrangement before you should allow. So slip another drop under your tongue and join the inter-planetary groove train that is the Big Sticky Mess.
CUSTOMER APPRECIATION WEEKEND
FIRST 100 TICKETS ARE ONLY $10
21+
JOIN US FOR THE HEADHUNTERS! SEE THIS LEGENDARY PROJECT FOR ONLY $10! WOW!
THIS SHOW IS OUT OF THIS WORLD FUNKY!
Mike Clark
“He’s a great jazz drummer—and he hasn’t lost any of the stuff that he
brought from Oakland. So now he’s totally free to do both, and he
does. The solo he played on the album Thrust, on the song “Actual
Proof,” is one of the best drum solos on any of my albums. So many
people have remarked about that solo, saying, ‘Incredible.’”
-Herbie Hancock
By 2000 Mike made a foray into the popular jam band scene. His group Prescription Renewal pulled together cross-generational talents, such as Charlie Hunter, Fred Wesley, Skerik, Robert Walter, and DJ Logic, and featured special guests such as Donald Harrison, George Porter Jr. of The Meters, Les Claypool, Larry Goldings and fellow Headhunters alumni Bill Summers. He also toured with The Roots Funk All Stars.
Along with James Brown's drummer Clyde Stubblefield, Mike's beats with
The Headhunters (most notably God Make Me Funky) include some of the
most sampled in hip hop. Featured in Downbeat, Musician, International
Musician & Recording World, Modern Drummer, Jazz Times, Guitar Player,
Jazz Is and numerous jazz history and method books, Mike is a
popular and busy clinician. His book Funk Drumming: Innovative
Grooves & Advanced Concepts was published in 2012 by Hal Leonard.
Donald Harrison
Donald Harrison was born in New Orleans in 1960 and grew up in a home environment saturated with the city’s traditional brass bands, afro-new Orleans culture, modern jazz, R&B, funk, classical, world and dance music. His connection to New Orleans’ roots was deepened by his father, a Big Chief, in a new American style of African culture developed in New Orleans. The culture is an offshoot culture of Congo Square, one of the only known places in North America where Africans openly participated in their culture in the 18th and 19th centuries and still participate in it throughout the city. Donald became the Big Chief of The Congo Square Nation Afro-New Orleans cultural group in 1999 and coined the term Afro-New Orleans to describe his culture. He designed and built New Orleans’ first cultural attire to merge African designs with Afro-New Orleans style cultural designs. Harrison created “Nouveau Swing,” a style off jazz that merges it with modern dance music like R&B, Hip-Hop, Soul and Rock. Over twenty years ago, he also combined jazz with Afro-New Orleans traditional music on his critically acclaimed and influential albums “Indian Blues” in 1991 and “Spirits of Congo Square” in 2000. These records deepened his commitment to maintaining the offshoot rituals, call and response chants and drumming as well as his determination to keep traditional to modern jazz music alive for the next generation.
Bill Summers
To say that Bill Summers is a percussionist is like saying a Steinway is a piano: The noun conveys none of the history and quality of the owner of the title. Summers is a musician of the highest order, playing anything from traditional African instruments to pop bottles, and a cultural visionary who brings diverse people and ideas together. Whether working with Quincy Jones on the musical score for Roots, or the soundtrack to The Color Purple, or interpreting the music of the holiday Kwanza, Summers is cognizant of his heritage and its many contributions to world culture. His late-night musical soirées in his New Orleans home have often served as a lightning rod for creativity and success. Witness how Summers brought together Kim Provost and Bill Solley, winners of the 1999 BET Jazz Discovery Competition. The duo made their acquaintance at one of those late-night Summers sessions.
Wil Blades
No less a jazz organ authority than the legendary Dr. Lonnie Smith has called Wil Blades “the future,” anointing him the heir apparent to “carry on the legend [and] the legacy of the organ, of the B-3.” Blades shoulders that responsibility with nonchalant virtuosity and infectious groove on his second recording, Field Notes (out August 19 from The Royal Potato Family). The album’s nine songs report back from the rich incubator that is the road, with pieces written from snippets recorded at soundchecks, gigs and jam sessions—field recordings of the jazz trio in its natural habitat. On his first full trio outing, Blades is joined by guitarist Jeff Parker (Tortoise, Joey DeFrancesco, Joshua Redman) and drummer Simon Lott (Charlie Hunter, Will Bernard), both musicians who share Blades’ grounding in tradition and urge to push it forward.
Big Sticky Mess
Big Sticky Mess traveled lightyears at rocketing speeds to Earth in search of you. Now, as if shot out of a cannon through the heart of a rainbow, the Mess is here bringing a kaleidoscopic mix of extraterrestrial hooks, vibrant grooves and potent beats, purely for your entertainment. Close your eyes and hear the funky jams reminiscent of decades past with a sound much larger than the three piece arrangement before you should allow. So slip another drop under your tongue and join the inter-planetary groove train that is the Big Sticky Mess.
CUSTOMER APPRECIATION WEEKEND
FIRST 100 TICKETS ARE ONLY $10
21+
read more
THIS SHOW IS OUT OF THIS WORLD FUNKY!
Mike Clark
“He’s a great jazz drummer—and he hasn’t lost any of the stuff that he
brought from Oakland. So now he’s totally free to do both, and he
does. The solo he played on the album Thrust, on the song “Actual
Proof,” is one of the best drum solos on any of my albums. So many
people have remarked about that solo, saying, ‘Incredible.’”
-Herbie Hancock
By 2000 Mike made a foray into the popular jam band scene. His group Prescription Renewal pulled together cross-generational talents, such as Charlie Hunter, Fred Wesley, Skerik, Robert Walter, and DJ Logic, and featured special guests such as Donald Harrison, George Porter Jr. of The Meters, Les Claypool, Larry Goldings and fellow Headhunters alumni Bill Summers. He also toured with The Roots Funk All Stars.
Along with James Brown's drummer Clyde Stubblefield, Mike's beats with
The Headhunters (most notably God Make Me Funky) include some of the
most sampled in hip hop. Featured in Downbeat, Musician, International
Musician & Recording World, Modern Drummer, Jazz Times, Guitar Player,
Jazz Is and numerous jazz history and method books, Mike is a
popular and busy clinician. His book Funk Drumming: Innovative
Grooves & Advanced Concepts was published in 2012 by Hal Leonard.
Donald Harrison
Donald Harrison was born in New Orleans in 1960 and grew up in a home environment saturated with the city’s traditional brass bands, afro-new Orleans culture, modern jazz, R&B, funk, classical, world and dance music. His connection to New Orleans’ roots was deepened by his father, a Big Chief, in a new American style of African culture developed in New Orleans. The culture is an offshoot culture of Congo Square, one of the only known places in North America where Africans openly participated in their culture in the 18th and 19th centuries and still participate in it throughout the city. Donald became the Big Chief of The Congo Square Nation Afro-New Orleans cultural group in 1999 and coined the term Afro-New Orleans to describe his culture. He designed and built New Orleans’ first cultural attire to merge African designs with Afro-New Orleans style cultural designs. Harrison created “Nouveau Swing,” a style off jazz that merges it with modern dance music like R&B, Hip-Hop, Soul and Rock. Over twenty years ago, he also combined jazz with Afro-New Orleans traditional music on his critically acclaimed and influential albums “Indian Blues” in 1991 and “Spirits of Congo Square” in 2000. These records deepened his commitment to maintaining the offshoot rituals, call and response chants and drumming as well as his determination to keep traditional to modern jazz music alive for the next generation.
Bill Summers
To say that Bill Summers is a percussionist is like saying a Steinway is a piano: The noun conveys none of the history and quality of the owner of the title. Summers is a musician of the highest order, playing anything from traditional African instruments to pop bottles, and a cultural visionary who brings diverse people and ideas together. Whether working with Quincy Jones on the musical score for Roots, or the soundtrack to The Color Purple, or interpreting the music of the holiday Kwanza, Summers is cognizant of his heritage and its many contributions to world culture. His late-night musical soirées in his New Orleans home have often served as a lightning rod for creativity and success. Witness how Summers brought together Kim Provost and Bill Solley, winners of the 1999 BET Jazz Discovery Competition. The duo made their acquaintance at one of those late-night Summers sessions.
Wil Blades
No less a jazz organ authority than the legendary Dr. Lonnie Smith has called Wil Blades “the future,” anointing him the heir apparent to “carry on the legend [and] the legacy of the organ, of the B-3.” Blades shoulders that responsibility with nonchalant virtuosity and infectious groove on his second recording, Field Notes (out August 19 from The Royal Potato Family). The album’s nine songs report back from the rich incubator that is the road, with pieces written from snippets recorded at soundchecks, gigs and jam sessions—field recordings of the jazz trio in its natural habitat. On his first full trio outing, Blades is joined by guitarist Jeff Parker (Tortoise, Joey DeFrancesco, Joshua Redman) and drummer Simon Lott (Charlie Hunter, Will Bernard), both musicians who share Blades’ grounding in tradition and urge to push it forward.
Big Sticky Mess
Big Sticky Mess traveled lightyears at rocketing speeds to Earth in search of you. Now, as if shot out of a cannon through the heart of a rainbow, the Mess is here bringing a kaleidoscopic mix of extraterrestrial hooks, vibrant grooves and potent beats, purely for your entertainment. Close your eyes and hear the funky jams reminiscent of decades past with a sound much larger than the three piece arrangement before you should allow. So slip another drop under your tongue and join the inter-planetary groove train that is the Big Sticky Mess.
CUSTOMER APPRECIATION WEEKEND
FIRST 100 TICKETS ARE ONLY $10
21+
show less
Date/Times:
1601 Fillmore Street, San Francisco, CA 94115
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