This month marks the 2 year anniversary of our Revolution 3rd Saturday residency. It has been eventful, such as the crowd surfing incident, or the cupcake encounter, but honestly its been fun fun fun every month , meeting new people, and getting the room moving.
As a person who cares for ritual, and the niceties which knit our intimacies together, I have been pondering how to celebrate this longevity of mutual desire and satisfaction for us, them, you, and whoever happened by. Luckily I got a note this week from Jeremiah Lockwood (https://www.facebook.com/jeremiah.lockwood
), detailing that he was coming to our side of the continent for a week, guitar in hand. For those not in the know, Jeremiah is the leader of The Sway Machinery (http://swaymachinery.com/). I had the privilege to see them a few years back at Beatbox. They were amazing, totally kicked ass to the point where I was inspired to write the following post
Which you might read if you have nothing better to do with your time today/tonight. But as most of you are busy, I will just skip to the chase.
Jeremiah is a magnificent singer songwriter, and he will be taking over our first set this month at Revolution, playing solo and acoustic. This is a rare treat indeed. Not only is Mr. Lockwood normally worth venturing out for, but to see/hear him in such an intimate space like Rev is an opportunity of insane luck.
Here are some of his bona fides
The Sway Machinery leader, Jeremiah Lockwood, got his first musical education singing in the choir of his grandfather, Cantor Jacob Konigsberg and then spent a decade playing in the subways of New York City with Piedmont Blues legend Carolina Slim. In 2010, he traveled to Mali with the Sway Machinery to perform at the legendary Festival of the Desert. While in Africa he recorded The House of Friendly Ghosts Vol.1 which featured collaborations with luminaries of Malian music, including Vieux Farka Toure and Khaira Arby. The band toured around the world in support of the album. In addition to The Sway Machinery, Jeremiah has also collaborated with people such as Balkan Beat Box, Frank London and Stephen Ulrich and has scored various films. His solo shows are ripe with country blues non-standards and chestnuts from the book of old world glory.
And here are a couple of pull quotes, so you don’t have to just take my or Jeremiah’s word for it
“Jeremiah Lockwood makes the ancient modern and the mythological real.”-The Village Voice
“The musical story of Jeremiah Lockwood is almost hard to believe. It reads as though someone stuck a bunch of National Geographic articles in a blender and hit puree. His early musical development was guided by his grandfather, a Jewish cantor, and Carolina Slim, a well-known blues guitarist. All of these influences crystallize into something unified on Lockwood’s second album as the ringleader of the Sway Machinery, the Brooklyn collective he’s built to execute his ideas.”
–Joe Tangari, Pitchfork
So you can blow it, and do something else on the night of the 17th, or you can come down that Saturday at 9pm (come early as seating is limited) and be blessed with a truly transformative musical experience.
And then of course its Go Van Gogh. As we are giving over our first set to Jeremiah, we will only have time for 2 sets. We could try to fit all of our material in by playing super fast (especially if we use helium to accent our vocals), but that just seems like an absurd undertaking. Better to select the best of the best, and arrange those songs into 2 special sets.
So directly following Mr Lockwood, we will be playing the super tight set, full of sharp turns, and breakneck taking of musical corners. Then, as we all (us and you all) will be fully heated up to the place where the magic can really happen, we will lay on the stretch it ooooooooooouuuuuuttttttttttt set, where the soloists make mit de music of the spheres. Where the groove makes you ungulate like a boa constrictor mating with a python. Where the melodies emerge as if from wide open skys full of stars. Where the journey should never end, even if the cops come, and the bar closes, and the empanada lady is just down the block.
Friend, be there, just be there.
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