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A Touch of RJazz: Sunday Night “Jazz Soup” at Time

By
RJ Johnson
– April 1, 2011Posted in: A Touch of RJazz

Each Sunday night, Time, a restaurant and music venue located at 13th and Sansom, hosts a jazz jam session which has gained notoriety amongst the city’s top musicians.  The session begins with a set which is played by the house trio, led by drummer Pete Gaudioso.  The band is made up of a rotating group of musicians, which helps keep the music interesting for listeners and musicians alike.  On any given night, you may expect to see guitarists Tim Wendell or E. Shawn Qaissaunee, trumpeter Chris Aschmann, as well as several other locals who stop by to sit in. 

This past week, the house band consisted of guitarist E. Shawn Qaissaunee, bassist Brian Howell, and drummer Pete Gaudioso.  The band played a set of modern interpretations of several jazz standards such as Alone Together and Out of Nowhere.  As good as the music is, most musicians come to Time for the popular jam session which takes place after the house band finishes their set.  This session has gained Time a strong reputation amongst the city’s working musicians.

Continue reading “A Touch of RJazz: Sunday Night “Jazz Soup” at Time” »

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A Touch of RJazz: Rez Abbasi’s Invocation at the Painted Bride Art Center

By
RJ Johnson
– March 9, 2011Posted in: A Touch of RJazz

On Saturday March 5th, New York based jazz guitarist Rez Abbasi brought perhaps his most interesting project, the Invocation, to the Painted Bride.  Abbasi recently received a grant from Chamber Music America which allowed him time to compose music based on the traditional style of his native Pakistan.  The band finished recording the catalog of music about 2 months ago, and is currently in the process of touring whenever the individual members can accommodate a show.  The Invocation’s music sounds like a blend of traditional Eastern music and modern jazz, but sometimes infuses a fusion like feel into the mix.  These occasional interjections lead to an overall more intense listening experience than a typical jazz audience may expect.  The crowd at the Bride responded enthusiastically to the unique sound this band was able to produce.  Continue reading “A Touch of RJazz: Rez Abbasi’s Invocation at the Painted Bride Art Center” »

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A Touch Of RJazz: London Symphony Orchestra Performs Gustav Mahler’s Seventh Symphony

By
RJ Johnson
– March 2, 2011Posted in: A Touch of RJazz

This week, I have decided to shift gears and focus on a performance of a well-known yet controversial piece of classical music.  On Tuesday February 22nd, the London Symphony Orchestra made its Kimmel Center debut with a performance of Mahler’s seventh symphony, often labeled the “Symphony of the Night”.  The work is semi-programmatic, and is intended to depict the transitions occurring in nature from dusk to night to morning.  The concert has generally received luke-warm reviews from concertgoers and critics alike.  However, it is important to note that this work is considered to be one of Mahler’s most controversial pieces, and has never been generally accepted as an essential piece of symphonic repertoire.

Mahler’s seventh symphony is enigmatic to say the least.  It is considered unconventional due to the fact that the individual movements sound as though they may belong to different symphonies altogether.  This element, though perhaps seemingly problematic, is intended to be tied together through skillful conducting.  The varied tempos of the works could be used to great cathartic advantage, an element which Leonard Bernstein, an early Mahler advocate, seemed to have mastered early in his career as a conductor.  For this performance, the LSO was conducted by its current chief, Valery Gergiev.

Gergiev, known perhaps more for his haggard appearance and unorthodox conducting methods than for his skills as a conductor, had his own interpretations of the individual movements in mind.  Despite the varied opinions of his stylistic decisions, Gergiev is certainly a skilled conductor.  One look at the concert schedule of the LSO also demonstrates his commitment to performing Mahler’s works.  The LSO is currently performing about half of the Mahler symphonies on their current tour this year.  On this particular night, the seventh symphony was given a unique treatment.  The piece was mainly unique in terms of tempo and style, elements that are malleable in the hands of the conductor alone.  The individual movements of this work were given very specific tempo markings by Mahler.  However, one of the main complaints of this performance was the fact that each movement seemed to be performed too quickly.  Besides the fact that the movements may have felt rushed, the increased tempo also skewed the individuality of the movements overall.  The normally all-encompassing emotional nature of Mahler’s symphonic repertoire quickly became redundant by the end of the second movement.  The piece seemed to pick up steam as it moved forward, and the finale went off surprisingly well.  Unfortunately, this is not enough to consider a performance a resounding success.  This is especially true of a work which focuses on the transitional elements of its movements.

The performance was not an overall disappointment by any means.  The music remained inspiring and beautiful, and one can guarantee that only a trained musical ear would be even the slightest bit perturbed.  The London Symphony Orchestra is always worth experiencing, especially when it is their debut performance at a venue as firmly established as the Kimmel Center.  At the end of the performance, the Orchestra was given a standing ovation for at least 5 full minutes.  Hopefully we can expect to see the LSO again in the near future.

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A Touch of RJazz: Ben Monder Trio at The Philadelphia Museum of Art

By
RJ Johnson
– February 23, 2011Posted in: A Touch of RJazz

This past Friday, New York based jazz guitarist Ben Monder performed at the Philadelphia Museum of Art as part of the weekly Art After 5 Series.  The museum holds concerts each Friday, with sets at 5:45 and 7:30 PM.  Throughout this series, the museum has been able to book several world-renowned acts including Wayne Shorter and the Maria Schneider Orchestra.

Friday’s show was comprised of three New York based musicians.  Ben Monder, the group’s leader, played lead guitar and either composed or arranged each of the compositions from the night’s set.  Drummer Adam Cruz, who also plays with saxophonist Donny McCaslin, was the drummer throughout the sets.  Bassist Chris Lightcap, who released one of 2010’s most critically acclaimed records (Deluxe), rounded out the trio.  Friday night’s set list was just as unique as the musicians who performed the music.  Each musician had much to offer, and they all contributed to producing a cohesive sound throughout the performance. 

Monder is a guitarist who is known for both his virtuosic instrumental skill and his uniquely advanced compositional style.  He is one of very few jazz musicians who composes pieces which are often entirely through composed (meaning completely written out with no improvisation) with each part being charted out individually.  Many composers will provide a basic lead sheet and let the musicians figure out parts for themselves.  Monder, however, often prefers to write out parts for each of his instrumentalists.  His compositions, which are sometimes over ten minutes in length, are often inspired by 20th century classical music.  On Friday, as he often does, Monder also included several songs from the pop/rock genre in his set.  He played several tunes by the composer Jimmy Webb, including “Up, Up, and Away”, and “Wichita Lineman”.  He also played a version of Cream’s “World of Pain” from the album Disraeli Gears, one of 1967’s most successful albums.  Perhaps the most surprising song was the theme from the James Bond movie Goldfinger, which was given a full rock and roll treatment.  Several jazz standards, including “All or Nothing at All”, “It’s Easy to Remember”, “Lover” and “I’ll Remember April” were also included.  Monder’s style, whether playing jazz or covering rock tunes, is always unique.  His melodic sense is often comprised of large intervallic leaps mixed with chromatically embellished lines.  His chordal style, for which he is perhaps best known, constantly moves between atmospheric finger-picked arpeggios and dissonant semblances of 20th century inspired harmonies.  He often includes long chordal passages in his improvisations rather than sticking to strictly linear playing.  He is also able to harmonize melodies on the spot, which provides an orchestral element to melodies which may otherwise seem entirely too sparse.  The ability to take advantage of the unique aspects of his instrument places Monder ahead of most musicians in his field, including many of the world’s best guitarists. 

Adam Cruz and Chris Lightcap were equally impressive throughout the night.  Cruz is a diverse drummer who constantly changes the feel of his playing to suit the musical situation.  He is able to switch his style within songs flawlessly, almost as if his parts were pre-determined (which they obviously are not).  A listener certainly should not expect to hear the stereotypical jazz drumming style from Cruz, despite his in-depth study of the genre.  The diversity of Friday’s set allowed Cruz to showcase his abilities within several different formats.  One could not detect any weaknesses as Cruz demonstrated the incredible diversity of his personal style.  Of course, his interplay with bassist Chris Lightcap provided the solid framework needed to play this complex music.    Perhaps the most standout quality of Lightcap’s bass playing is his melodic style of soloing.  Many bass players seem to treat their improvisations as a pre-determined role. Therefore, the sound of a bass solo becomes entrenched in repetitive licks which typically bore audiences and musicians alike.  Lightcap, however, was able to free the bass from this role and showcase his individual style.  His solos had a vocal quality, with each note possessing its own weight and logic.  His solos sounded like true improvisations which would have sounded equally pleasing on a horn or guitar.

I would recommend that any interested listener should check out the individual projects of each of these musicians.  Each composes and performs a wide range of musical genres, and one would not be disappointed with any of them.  Additionally, the museum’s Art After 5 series is always a good place to find new music as well.

Ben Monder: http://www.benmonder.com/ || Chris Lightcap: http://www.chrislightcap.com/index2.html || Adam Cruz: http://www.allaboutjazz.com/php/musician.php?id=14796 || Art After 5: http://www.philamuseum.org/artafter5/

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A Touch of RJazz: Lucas Brown Quartet / Wade Dean Enspiration at Moonstone Arts Center

By
RJ Johnson
– February 15, 2011Posted in: A Touch of RJazz

This past Friday, the Moonstone Arts Center, a relatively new venue located inside of Robin’s Book Store at the corner of 13th and Sansom, hosted a double bill consisting of several well-known Philadelphia musicians.  Several members of the audience consisted of musicians from around town who came out to listen to each other’s bands for the night.  In fact, this event was the most well attended event in Moonstone’s history.  Before the first set even began, each chair had been filled, and many audience members found themselves setting up make shift seating around the stage.  Moonstone is certainly a venue which is on the rise.

Moonstone has been hosting music since 2009.  The venue has, for several years, also hosted a wide variety of literary events such as book signings and poetry readings.  In 2009, the Lucky Old Souls, a group founded by music lover Matthew Feldman, became affiliated with Moonstone.  The group is known for promoting jazz throughout Philadelphia, and began booking jazz on the 2nd Friday of each month. At Moonstone.  This event has become well known amongst musicians, and now amongst concertgoers as well.  Lucky Old Souls also hosts a web radio program, and is in the process of opening a new music venue/restaurant in South Philly.

The first band to play on Friday night was the Lucas Brown Quartet.  The band consists of pianist Lucas Brown, trumpeter John Swana, bassist Jason Fraticelli, and drummer Anwar Marshall.  The band played original compositions all composed by Mr. Brown.  The group has a very cohesive dynamic, which is to be expected from such a strong group of individual musicians.  Brown’s style, reminiscent of jazz great Bill Evans, is a combination of understatement and melodic richness.  On slower tunes, Mr. Brown sometimes let several single notes hang in the air before crafting a solo that gradually built in intensity.  He is not a pianist who feels the need to showcase his chops, despite his obvious technical ability.  John Swana played the EVI (electronic valve instrument) for the entirety of the set.  The EVI is a sort of electronic trumpet, which Swana runs through a series of effects processors an amplifier.  Mr. Swana is considered a master by most of his peers.  His melodic sense is completely his own, and his reputation is recognized by musicians around the New York jazz scene equally as well.  He is a musician that is worth seeing in any band.  Wayne Smith and Jason Fraticelli supported the soloists perfectly.  Mr. Fraticelli at times was able to play a soloists line back to them on the bass.  His accompaniment, along with the flawless drumming of Wayne Smith, provided the perfect atmosphere for this unique music to exist within.

After a short break, the Wade Dean Enspiration began their set.  The band consisted of alto saxophonist Wade Dean, alto saxophonist Adam Siegel, tenor saxophonist Victor North, pianist Tim Brey, drummer Anwar Marshall, and again bassist Jason Fraticelli.  Dean’s group performed several of his compositions, which were given a unique treatment by using different combinations of the three saxophonists.  The three horns allowed each melody to be harmonized, which provided a fuller sound for each song.  Each musician had solos at various points during the set, which prevented the individual tunes from becoming redundant.  One might compare the sound of the Enspiration to the Brian Blade Fellowship.  Both bands combine jazz tradition with hints of blues and soul influences.  The Enspiration, like the Lucas Brown Quartet, consisted of some of Philly’s best jazz musicians.  Fraticelli, Marshall, and Brey are all busy sidemen on the Philadelphia scene.  This is especially true of Mr. Marshall, who commutes between Philadelphia and New York for gigs.  Dean, besides performing frequently, also is the jazz combo director at UPENN.  His sound displays an obvious command of jazz tradition, but strays from the use of over-played licks and clichés.  This is always a great quality in saxophonists, who are all challenged with developing a unique sound on a very common instrument.  Adam Siegel, a recent graduate of the University of the Arts, has a diverse sound which combines the avant garde influence of players such as Eric Dolphy with the modern aesthetic of New York based musicians such as Mark Turner.  Victor North, who also runs the Tuesday night jam session at Chris’s Jazz Café, received some of the largest crowd reactions of the night.  Hi solos are well crafted, and his command of the instrument allows him to showcase the diversity of sounds that a saxophone can produce.  Overall, the front line of this band is a must see for jazz lovers, especially horn players.

Moonstone Arts Center: http://www.moonstoneartscenter.org/ || Lucky Old Souls – http://www.luckyoldsouls.com/ || Lucas Brown – http://www.lucasbrownjazz.com/ || Wade Dean Enspiration – http://www.myspace.com/wadedeanenspiration

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A Touch of RJazz – Wayne Smith Trio (Thri) at Chris’s Jazz Café

By
RJ Johnson
– February 8, 2011Posted in: A Touch of RJazz

The Wayne Smith trio, sometimes billed Thri, is playing the late set each Friday of February at Chris’s Jazz Café at Broad and Sansom.  This trio, which has also played at venues such as the Moonstone Arts Center, is known for its experimental approach to arrangements of jazz standards.  The group often places well-known tunes into new (and sometimes changing) key signatures, as well as uncommon tempos.  Their approach to arranging comes from the current modern school of jazz improvisers who are fond of jazz tradition, but also prefer a new approach to navigating the older compositions which make up the American Songbook.  Musicians such as pianist Brad Mehldau and Mark Turner, both New York based, are two examples of contemporary musicians with an interest in renewing jazz tradition through unique compositional adjustments.  The trio will start each of their shows off with an opening set of original tunes and original arrangements, followed by an open jam for other jazz musicians to join the group.  It is especially compelling for musicians to attend for this very reason.

The band consists of tenor saxophonist Michael Pracher, bassist Micah Jones, and drummer Wayne Smith, all of Philadelphia.  Pracher, who recently attained his Master’s degree in jazz studies from University of the Arts, is a musician who prefers to contemplate his rhythmic approach just as strongly as his melodic sensibility.  Combined with the rhythmically altered arrangements of the trio, Pracher seems more capable of showcasing his style within this unique context.   Jones, a University of the Arts professor and Temple graduate, has been a recognized figure on the Philadelphia jazz scene for years.  His ability to switch between the established walking bass approach of traditional jazz players and the broken counterpoint of the modern school is perhaps is most viable quality.  For a bassist, especially in this group, the ability to follow a soloist and react to musical changes in the moment is critical.  Drummer Wayne Smith is one of the most in demand drummers on the Philadelphia music scene.  He plays frequently at Chris’s Jazz Café with the Victor North trio, which hosts the Tuesday night jam session at Chris’s.  Smith has a controlled and versatile technique on the drum kit, and plays with a relaxed ferocity.  Despite his ability to push a group forward with his abilities, he remains seemingly laid back and confident. 

Upon listening to this trio, you may immediately recognize the natural chemistry that exists between the musicians.  Even an untrained ear can recognize the interaction within the tunes.  The musicians are constantly inspired by each other to pursue new directions and take musical risks through each chorus.  Some of the most exciting music to watch comes from bands that simply listen to each other effectively.  Even if one were to attend each show, the outcome would be completely different each night.

This month, the Wayne Smith Trio will be playing each Friday night starting at 11:30.  They will be playing after several other sure to be exciting shows, such as Pat Martino’s organ trio on the 18th and Eric Alexander’s CD release show on the 11th.  The cover is $10, or $5 for musicians with instruments.

Chris’ Jazz Café Schedule
http://chrisjazzcafe.com/calendar/calendar/calendarTOC.php

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Sounds of Philly 1/29/2011: Mouth of Wilson

By
The hhwst.net Radio Network
– February 3, 2011Posted in: Current Show, featured

RIGHT CLICK HERE TO DOWNLOAD

The Sounds of Philly, brought to us by 215th Entertainment, is our way to bring local music to the world. The hhwst.net Radio Network has always been a supporter of the local scene, and we continue to do so with having bands on our brand new show, Sounds of Philly. January’s featured band is Mouth of Wilson. For their band bio, tour dates, and more info, please visit http://www.mouthofwilson.com

Steel Tip (from Happy Hour, The Walking Dead Zombcast, The Muff Squad, and The Stabcast) and Jay V (from About 12 Minutes) moderates.

All this and more jams of The Sounds of Philly, only on hhwst.net (it’s ALSO dot com!)

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New Venues Host Jam Sessions in Old City

By
RJ Johnson
– February 1, 2011Posted in: A Touch of RJazz

Since the permanent loss of Ortlieb’s, a jazz club in northern Philadelphia, jazz musicians across Philadelphia have been devoid of a venue which offers the kind of primal freedom only found at an open jam session.  Jam sessions have long been part of the jazz tradition, and Ortlieb’s provided a unique training ground for up and coming, as well as established musicians.  Though other venues host jam sessions in other parts of the city, none were as unique or full of energy as Ortlieb’s.  Recently, however, new venues have begun supporting live music in Philadelphia.  This resurgence of interest has spread throughout the musical community, causing a new wave of momentum favoring progressive improvised music.  The newest venue to begin hosting  a jazz jam session is Triumph Brewery.

The new jam session at Triumph Brewery in Old City Philadelphia began a couple of weeks ago, and has already become well known amongst the city’s jazz musicians and listeners.  The session is led by legendary Philadelphia bassist Mike Boone, who was known for playing in the Ortlieb’s house band for a number of years.  I attended and played in one of the sessions recently, and the crowd that night was not only quite full, but also enthusiastic.  Several of Philadelphia’s most well known musicians, including pianist Luke O’Reilly and guitarist Masami Kuroki, were in attendance the entire night.  Several members of the younger generation, mainly comprised of music students from Temple University, came out to play as well.  Despite their comparative lack of experience, the younger players were able to hold their own.  Some, such as bassist Alex Claffy, are beginning to become recognized around the city’s music scene.  The mix between the younger players and established veterans was interesting to watch.  Listening to Mike Boone keep time with drummer Kevin Daly (who is in his early twenties) is an example of how jazz continues to remain a relevant interest between different generations.  Musically, it sounded as though everyone had been playing together for years despite the loose setting of the jam.  

This session takes place directly across the street from Grey’s Social Lounge, which also has a jazz jam each Wednesday night.  The jam at Grey’s began in 2010 after Ortlieb’s, the club mentioned above, closed their doors for good.  The house rhythm section at Ortlieb’s (comprised of pianist Sid Simmons, bassist Mike Boone, and drummer Byron Landham) was a well-established trio known for tight group interaction and near telepathic musical communication.  The group wanted to continue performing regularly despite the loss of their normal venue.  After some negotiation, Grey’s became the new Ortlieb’s and began hosting a new jam session each Wednesday.  After a few months, Mike Boone was able to establish the new session at Triumph with several music students from Temple University.  Boone has been a propagator of live music in Philadelphia for decades, and the opportunity to expand jazz into as many venues as possible obviously appealed to him.  Currently, drummer Peppe Merolla and his trio lead the jam at Grey’s while Mike Boone runs the session across the street at Triumph.

The current setup is ideal for both musicians and listeners, who go back and forth between the two clubs to play and listen to each other.  This scene is one of the most unique musical events in the city.  I would recommend it to both experienced jazz listeners and those who are looking to experience something new and interesting.

The jams takes place every Wednesday from 10:00 PM to 1:00AM.   There is no cover or minimum at Triumph.  Grey’s has a $5 cover on most nights.  Triumph Brewery and Grey’s Social Lounge are located between 1st and 2nd street on Chestnut in Old City Philadelphia.
http://www.triumphbrewing.com/philadelphia/ || http://greyoldcity.com/

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This months featured band: Mouth of Wilson

By
The hhwst.net Radio Network
– January 17, 2011Posted in: News

LIVE January 29th, 2011 at 6:30pm EST on The hhwst.net Radio Network and Stickam.com/hhwst!

Mouth of Wilson (or M.O.W. as their fans call them) are a New Jersey pop-rock ensemble who has steadily built up a loyal following through energetic, impassioned performances in New Jersey, New York, and Philadelphia, playing regularly as such esteemed venues as CBGB, The Bitter End, and Sullivan Hall in NYC; World Cafe Live, The Theatre Of The Living Arts, North Star Bar, Pontiac Grill, and Grape Street in Philadelphia, and Starland Ballroom, KatManDu, and John & Peter’s in the Central New Jersey area. The band’s eponymous debut album was produced by Michael Kianka, who has worked with Bruce Springsteen, Lindsey Buckingham, Bon Jovi, Billy Joel, and Happy The Man, and was mixed and mastered at Sterling Sound by Steve Fallone, who’s worked with TV on the Radio, The Strokes, Sonic Youth, and more.  Featuring “Heavy”, “Talk To Me”, “What’s What” and “Not All In Vain”, Mouth Of Wilson, the album, saw success in college radio across the country and sold out its initial pressing within a year and laid the groundwork for what the band considers its greatest strength: composition.

After almost two years of shows promoting their first album, and soldiering on through personnel changes, the band returned to the studio in 2009 and began recording the best of 20 odd songs written since the first album’s release, which became 2010’s “Untamed Animals”.  Released last Summer, Untamed Animals is the definitive statement of where the band is at the moment, capturing much of the basic tracks “live” and featuring inventive arrangements and passionate vocals.  Produced by Lance Reichert with the band, it represents the band’s current sound and mindset, bolstered by some of the best, most catchiest tunes they’ve ever come up with. Featuring 13 tracks, initial highlights include “You Don’t Know”, “Karena”, “Turnaround” and “Who’s Counting”, songs pegged by MOW fans as favorites.  The band is currently touring locally in support of their NEW album at venues across the tri-state area.   Ask for them at a venue near you!

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Band Review: Robots and Racecars

By
Nerdy Kev
– January 6, 2011Posted in: Reviews

Band: Robots and Racecars

Members: Matthew on guitar and vocals, Nicholas on bass and vocals, and Frankie on drums and vocals

You know the best thing about Philadelphia? If you guessed cheese steaks, then you’d be right. But the NEXT best thing about our great city is the local music scene. Throughout the last three plus years of doing radio, I’ve had the pleasure of talking to and meeting several local bands. I can honestly say, and I don’t mean to put down any of the other bands or singers I’ve met (as they’re all excellent in their own way) Robots and Racecars are not only one of the most talented bands I’ve come across, but the coolest. Totally a bunch of dudes you would feel comfortable in a bar knocking a few back with.

Here’s a quote from their biography section of their Facebook page:

“LIKE DARK AVENGERS OF THE NIGHT, Robots and Racecars are here to save the day! After tragically losing their parents to a hold-up gone wrong outside a showing of The Mark of Zorro, Robots and Racecars (Matthew, Nicholas, Frankie, Tommy & Johnny) have dedicated their lives to bringing all criminals to justice. After years spent honing their bodies and minds to the utmost of human perfection, and studying all the techniques of criminologists around the globe, they’ve returned to Gotham to strike fear and- wait… no, that’s Batman.”

Maybe it’s because they’re local and not mainstream, maybe it’s because I’ve known them for three years, or maybe it’s because they’re awesome… but I love how they go about themselves off and on the stage;  whether as a band or as individuals.

Self-described as “pop punk” and “power pop”, I’d personally throw a very small, very rare, tag of “punk emo” to their sound. I hate emo- I don’t care if it’s music, movie, book, poetry, person, or cheese… emo is all that is wrong in this world. But Robots and Racecars finds a way to incorporate it ever so slightly, that I never even recognized it until a friend of mine mentioned it. I have several favorite songs that I’ve been lucky enough to be one of the elite few to hear, but the one that really sticks out to me is “For Those Keeping Score” on their first full length album from Broke A$ Records, We Can’t All Be Astronauts (available on iTunes and Amazon.com). It’s the perfect blend of pop and punk; of the local scene and mainstream.

Seeing Robots and Racecars at one of their shows is part of the experience. They have great sense of the stage and showmanship. They’ve played with so many bands (from other talented Philadelphia locals to The Ataris), and have been featured on not only my radio show, but the ever popular Radio 104.5 Philly.  I’ve seen R&R play in The Trocadero main stage and own it. I’ve also seen them play smaller venues and own it. They play for the love of music; a rare trait to find in a band.

I highly recommend checking out Robots and Racecars on their website, robotsandracecars.net. Give them a listen- I think you’ll find a new band to add to your collection. You can also find dates to all their upcoming shows.

If you’re in the area, I suggest checking them out at The Cool Kids Table reunion show tomorrow night at 6:00pm EST. The show is being held at St. Paul’s Church in Levittown, located at 89 Pinewood Dr. Zip code is 19054; tickets are only $5. I promise you, they’ll give you one hell of a show for that $5, plus you’ll also get so see other great talents, such as: The Cool Kids Table, Here & Now, The Engine Atlantic, and Overtime Victory. ALL FOR $5… you can’t beat it.

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Sounds of Philly 12/4/2010: Epic Exposure

By
The hhwst.net Radio Network
– December 8, 2010Posted in: Past Shows

RIGHT CLICK TO DOWNLOAD

The Sounds of Philly, brought to us by 215th Entertainment, is our way to bring local music to the world. The hhwst.net Radio Network has always been a supporter of the local scene, and we continue to do so with having bands on our brand new show, Sounds of Philly. Our first guest, Epic Exposure. With their first official show on December 10th, 2010 at World Cafe Live in Philadelphia, they wanted to promote the gig as well as show the world their sound.

Steel Tip (from Happy Hour, The Walking Dead Zombcast, and The Stabcast) moderates.

All this and more jams of The Sounds of Philly, only on hhwst.net (it’s ALSO dot com!)

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