Brotherhood of the Drum at Ballard Jazz Festival, April 20, 2011

ABOUT THIS SHOW:
DATE: Wednesday, April 20, 8:00pm, 21+
TICKET PRICES: $15 day of show; Tickets available at the door starting at 7:30pm
LOCATION: Conor Byrne Pub, 5140 Ballard Avenue NW (PLEASE NOTE: THIS SHOW IS 21+)
SHOWTIME: 8:00pm

	Michael Shrieve Michael Shrieve - drums; Arturo Rodriguez - percussion; Michael Stegner - keyboards Over the course of his eminent career, Michael has written, produced and played on albums that have sold millions of copies worldwide. As the original drummer for Santana, Michael – at age nineteen – was the youngest performer at Woodstock. Michael’s recording credits include the masters of popular and avant-garde music – Mick Jagger and the Rolling Stones, George Harrison, Pete Townsend, Steve Winwood, Police guitarist Andy Summers, film composer Mark Isham, and such musical luminaries as John Mclaughlin, Stomu Yamash’ta, Klaus Schulze, Freddie Hubbard, Jaco Pastorius, Wayne Horvitz, Bill Frisell, Zakir Hussain, Airto Moriera and Amon Tobin. Michael continues to strive for innovative approaches to percussion-based music, and records with both renowned and emerging artists (Skerik, Jack DeJohnette, Zakir Hussain, Reggie Watts), in addition to his own band, Spellbinder. He was inducted into the Rock and Roll Hall of Fame in 1998 and in 2005, Michael received the Guitar Center’s first annual “Lifetime Achievement Award.”
	Kobie Watkins Steve Treseler - saxophone; Bill Anschell - piano Clark Sommers - bass; Kobie Watkins - drums A native of Chicago, Illinois, Kobie began as a small child listening and watching his father (Alious C. Watkins) playing drums in the church. Kobie started with pots and pans as a toddler. Yet over time he has developed a personal system of timely discipline and structure for music and life skill. He has progressed into who he is today - professional drummer/percussionist and music educator. Kobie has cultivated dynamic relationships with his peers in and out of the Jazz, Latin, and Gospel community as a drummer, percussionist and a mentor. Living out his commitment to the music he holds a long list of great musicians he has played and recorded with jazz legend Sonny Rollins, Curtis Fuller, Arturo Sandoval, George Coleman, Ira Sullivan, Sonny Fortune, including Fred Anderson, Ari Brown, Willie Pickens, Bobby Broom, Orbert Davis, Ken Chaney, Ron Perrillo, Bethany Pickens, Ryan Cohan, Dennis Winslett, Jarrard Harris and James Austin. Additionally, Gospel singer Kim Burrell, R&B and Neo Soul artists Julie Dexter, Javier, Kendra Ross, Chris Robinson, and many others. Kobie has toured extensively in Africa, Europe, Asia, Canada, South America and the United States. Kobie is currently touring with "Concord" recording artist and seven-time Grammy nominee Kurt Elling and Jazz Legend Sonny Rollins. Kobie is a product level Artist with Sabian cymbals.
	Gregg Keplinger Gregg Keplinger - drums; Simon Hennemen - guitar; Sean Lane - "the bicycle"; Tiffany Lin - keyboards Drummer Gregg Keplinger enjoys legendary status among aficionados of Northwest music for his powerful, individualistic percussion style. Gregg began his musical career with various rock and jazz projects in the 1960s and was a key member of the free-thinking musical community that formed around late 60s coffeehouse The Llanghaelhyn, the crucible of Seattle's modern-jazz movement. In addition to Stackpole, Gregg's musical resume includes work in such disparate contexts as Soundgarden, his ongoing duo with jazz saxophonist Rick Mandyck, and the Ringling Brothers Circus band. He is known internationally for his unique, handmade Keplinger snare drums, used by his major inspiration, Elvin Jones, among other luminaries. He has also toured extensively as a drum technician with Pearl Jam, Soundgarden, Our Lady Peace, and others.
	Evan Woodle and Chemical Clock Cameron Sharif - keyboards; Ray Larsen - trumpet; Mark Hunter - bass; Evan Woodle - drums Cameron Sharif, Ray Larsen, Evan Woodle and Mark Hunter are Chemical Clock. Finding themselves together within the darkened recesses of the University of Washington’s music building, these four undergraduates united in their common desire to experiment in new musical territories—the bleeding-edge kind of stuff they’d never learn about in jazz college. Under the influence of professor Cuong Vu, who fervently supported their artistic explorations, Chemical Clock has taken to it in earnest since the early days of 2009. Of their sound: this quartet is decidedly more “dance club” than “jazz club.” Combining elements of electronica and rock with jazz-informed improvisational sensibilities, it’s no straightforward task to adequately describe the Chemical Clock canon. To behold, their live thing is a heavy-hitting, beat-laden, thrash-and-bash spectacle. You’d sooner envision yourself bobbing and flailing amid the crowd along to the Clock’s jams before you’d consider taking a seat for a polite listening session at some genteel supper joint (you know, maybe over an exorbitantly-priced hummus platter or something). With effected and reverberant trumpeting, bit-crushed keys, explosive drum-setsmanship and ironclad bass-work, Chemical Clock pilots their way through nigh-unnavigable passages of composition, deftly maneuvering through sinewy melodic channels with studied fluency. In tandem, the ensemble whiplashes to and fro betwixt convulsive improvisation and calculated musical constructions with a coherency that often seems telepathic.