NO COVER
6:30 to 9:30pm
JAMES BUCKLEY:
“Meet James Buckley, the hardest-working musician in the Twin Cities” -Erin Roof, Citypages. James performed live with Lizzo on The Late Show with Steven Colbert, December 2016. As the mainstay bassist for The Pines, James has been touring internationally with the indie-folk group and appears on their Red House Records releases "Tremolo", "Dark So Gold", "Pasture: Folk Songs", and "Above The Prairie". James recorded bass with Minneapolis super-group, "Gayngs" on their "The Last Prom on Earth" album, and played their performance at First Avenue, along with Coachella Music Festival April 2011. James co-founded and was bassist for Minneapolis' circuit-bending noisy pop-funk trio Mystery Palace, fronted and produced by Ryan Olcott of 12 Rods fame. James appears live and on recordings with Emmy Award-Winning, Universal Records Artists, The Blenders. James performed with Har Mar Superstar for an extensive world tour, highlighted by a live television performance on "Le Petit Journal" in Paris, France. James performed upright and electric bass on Bon Iver's album, 22, A Million, nominated for Best Alternative Album in the 2017 Grammy's. Most recently James performed bass on the new P.O.S album "Chill, Dummy"
Martin Dosh:
There he was, this musically lucked child of a once-priest and a near-nun, 12 years old and piled high with a Radio Shack combo stereo, stacks of records, and pockets full of dubbed tapes. It was 1984 and Martin Dosh was orchestrating the soundtracks to his junior high school dances, playing only the choice cuts for the budding romantics and perspiring wallflowers: Run DMC, Prince, Devo, the Cars, New Order... At age 3, Marty had started harassing his folks to bone up for piano lessons (after three years of persistence, they gave in); that he'd developed considerable musical taste before hitting puberty should come as no real surprise.
Call him a one-man band, a virtuoso, a gifted collaborator or a family man, Martin, Marty, Dosh or Dad, our subject has gotten to now by what seems an uncanny path (perhaps call it fate). When they met, Dosh's father was a Catholic priest with pile of degrees, and his mother was living in a convent in Minneapolis preparing herself for nunhood. They left the fold for marriage; subsequently the elder Dosh found himself blacklisted from local employment, and so they left Minnesota as well. Martin was born in the greater Los Angeles area, but at age 2, his health problems and the city's endless sprawl delivered the family back into the musically nurturing arms of the Twin Cities.
Returning to the Midwest, Martin was enrolled in a Montessori school (and piano lessons). By comparison high school was, "academically, horseshit" so Dosh seized his destiny at 16 and moved east to study jazz and drums at Simon's Rock College of Bard in Massachusetts. What followed was a flurry of summer jobs, road trips to see the Grateful Dead, van living around various college outposts in Mass and NY, Zappa-esque noodling in his band Como Zoo, further schooling, the requisite amount of pot, and a little too much partying. But Dosh wanted more for his music and less for his student debt, so he swallowed his pride and returned (at 25) to his parents' in Minneapolis.
He figured the move would be temporary -- he'd save up money and practice drums until he became a self-sustaining virtuoso --but Dosh was going to shows every night and meeting more and more people in the local music-rich scene (a collision of avant jazz, freewheeling rock and progressive hip-hop), quickly realizing that what he needed had been there all along. And throughout his dedicated solo drum-and-keyboard sessions in mom and dad's basement, he'd record, record, record, accumulating a massive library of sound. Soon he'd be a touring member of Andrew Broder's Fog, and full-time player in their instrumental counterpart Lateduster.
In 2003 Anticon proudly released Dosh's virtuoso debut, Dosh, a loop-building collage of shimmering Rhodes, atypical drumming grounded in groove, field recordings and spontaneous performance (much of the album was pieced together using the 100-plus hours of tape he'd recorded at his parents'). By then he'd developed his untouchable live one-man show (swiveling on his drum stool between a kit, his modified Rhodes piano, a few pots and pans, and a simple looping pedal with a 12-second recording limit), and took to the road. Back in Minneapolis, the city he'd finally recognized as home, Dosh had been teaching drum lessons to children and falling in love on the side. He formed a family with his wife Erin (who he'd wooed by handing her a copy a song called "I Think I'm Getting Married") and her 6-year-old son Tadhg. Soon he'd be composing a track titled "Building a Strange Child," and so they would. Dosh's second full-length, Pure Trash was inspired by his life's most pleasant turns, and though the album was instrumental (minus cameos by Erin, Tadhg, the newborn Naoise, and his students), it emoted all the warmth and anticipation, fear and relief that comes with building a family.
Dosh's third album, The Lost Take, showcases the man's unique approach to sound with an expanded musicality and growing guest-list including Andrew Bird and members of Tapes 'N Tapes.
His Fourth record, Wolves And Wishes, adds to the ever-impressing oeuvre with the explorative wonderment of a debut album. To date Dosh has recorded with Bonnie 'Prince' Billie, Fog, Jel, Odd Nosdam, Neotropic, Andrew Bird, Redstart, Vicious Vicious, Poor Line Condition, Lateduster, Why?, the Interferents, members of Tapes 'N Tapes, and just about any Twin Cities band with a collective ear for good taste and experimentation. He has shared the stage with Andrew Bird, Wilco, WHY?, Damo Suzuki, Gary Wilson, Golden Smog, Sole, My Morning Jacket, Tapes 'n Tapes, cLOUDDEAD, Sage Francis, Devendra Banhart, Kid Dakota, Alias, Themselves, Peanut Butter Wolf, P.O.S., Happy Apple, Joseph Arthur, Pizza Boys, the Bad Plus, The Jayhawks, Atmosphere, DJ Vadim and many more.
Chris Thomson:
After graduating from University of Minnesota Twin Cities with a Bachelor of Music Education, Minneapolis saxophonist and composer Chris Thomson toured nationally and internationally with multiple artists including the Glenn Miller Orchestra. Since then he has collaborated with Delfeayo Marsalis and many of the Twin Cities finest musicians; Mason Jennings, Roma di Luna, S. Carey, The New Standards, JT and Chris Bates, Anthony Cox, Dosh, Aby Wolf, Chris Morrissey Quartet, Dave King, Richard Dirlam, Spaghetti Western String Co., Patrick Harison, Bryan Nichols, Michael Lewis, Adam Linz, Adam Levy, Kelly Rossum, Yawo Attivor, and many others. Thomson is on faculty at Saint Paul Conservatory for Performing Artists, Hamline University, and MacPhail Center for Music in addition to running his own bustling teaching studio. He has two albums to his credit: 2007‘s “The Three Elements,” an electronic/acoustic full length featuring original songwriting and performance for laptop, loop pedal, saxophone, and bass clarinet; and 2010‘s EP “Rustic Sky,” featuring the Thomson Quartet: (Chris Thomson) Saxophone, (Patrick Harison) Accordion, (James Buckley) Bass, and (Sean Carey) Drums.