Bootleg Theater Presents
Eleni Mandell Tribute Record Release show- to benefit Plastic Pollution Coalition
Jackson Browne, Priscilla Ahn, Alex Lilly, Gus Seyffert, Wendy Wang, Steve Gregoropoulos, Inara George, Eleni Mandell
2220 Beverly Blvd
Los Angeles, CA, 90057
This event is 21 and over
Eleni Mandell Tribute Record Release show- to benefit Plastic Pollution Coalition
Eleni Mandell Tribute Record Release show- to benefit Plastic Pollution Coalition http://www.plasticpollutioncoalition.org
Jackson Browne, Priscilla Ahn, Alex Lilly, Gus Seyffert, Wendy Wang, Steve Gregoropoulos, Inara George, Eleni Mandell, and more...
Jackson Browne has written and performed some of the most literate and moving songs in popular music and has defined a genre of songwriting charged with honesty, emotion and personal politics. He was honored with induction into the Rock and Roll Hall of Fame in 2004, and the Songwriter's Hall of Fame in 2007.
Jackson's career began in the mid-60s in Los Angeles and Orange County folk clubs. Except for a brief period in NYC in the late 1960s, he has always lived in Southern California. His debut album came out on David Geffen's Asylum Records in 1972. Since then, he has released fourteen studio albums and four collections of live performances. His new studio album, Standing In The Breach, is a collection of ten songs, at turns deeply personal and political, exploring love, hope, and defiance in the face of the advancing uncertainties of modern life.
Beyond his music, Browne is known for his advocacy on behalf of the environment, human rights, and arts education. He's a co-founder of the groups Musicians United for Safe Energy (MUSE) and Nukefree.org.
In 2002, he was the fourth recipient of the John Steinbeck Award, given to artists whose works exemplify the environmental and social values that were essential to the great California-born author. He has received Duke University's LEAF award for Lifetime Environmental Achievement in the Fine Arts, and both the Chapin-World Hunger Year and NARM Harry Chapin Humanitarian Awards. In 2004, Jackson was given an honorary Doctorate of Music by Occidental College in Los Angeles, for "a remarkable musical career that has successfully combined an intensely personal artistry with a broader vision of social justice."
The quirky and soulful hallmarks that define Priscilla Ahn's folk-pop music and her pristine, ethereal vocals are uniquely her own. Since her 2008 debut LP, A Good Day, for EMI's Blue Note Records, and its heart-resonant breakout hit, "Dream," Ahn's lyrical, original worlds of innocence and melancholy have had a delicate, but profound impact. In 2014, after weeks of liberating, self-imposed isolation at a desert retreat, this gifted artist deepened her creative voice further with the electro-pop-infused album, This is Where We Are, a mature, nuanced statement of power and sensuality.
Ahn's latest project, La La La, an album for young children, isn't the departure it may seem. Ahn's friends had often told her that their children loved "Dream" — a song that begins with a "little girl, alone in her little world" and ends with a life fully lived, ready to take flight into the unknown."It surprised me they were responding to this song that really wasn't intended for them," Ahn says. "I remember having these complicated lonely emotions as a kid and that's what verses in that song are about."
Long in the planning, the spark that brought La La La to fruition came when Ahn and her husband, actor Michael Weston, welcomed the birth of their son in November 2015.
By turns whimsical, playful, and lovely, the album's dozen tracks include "Body Sounds" ("Hey, you got a nice belly bongo/ it likes to go wherever you go"), Ahn's "Dust Bunny" (reassurance for scary times) and her caressing "Desert Lullaby." A stirring, unexpected interpretation of parental tenderness and childhood reverie, La La La is Ahn's return, in a way, to "Dream" and "A Good Day": "Kind of hopeful sounding and innocent and simple in its instrumentation," she says, "with songs that I feel kids can relate to, emotionally and sonically." Whatever the age of her target audience, Ahn says, "Being genuine in my lyrics and in my connection to my songs—for that to come through—is really important to me."
Growing up in Pennsylvania, Ahn listened to Neil Young, the Beatles, Pink Floyd and other music her dad enjoyed listening to. Ahn later found personal resonance in female artists Ani DiFranco, Jewel, Sarah McLachlan, and Feist, and after high school, and a road trip that took her to Los Angeles, Ahn discovered jazz, and in particular, jazz legend Chet Baker. It was a creative turning point. "The way Chet Baker sang and the way he played trumpet affected the way my vocal technique evolved."
In L.A., Ahn played in coffee houses, "and at every open mike there was," networking with other musicians and finding gigs in small clubs, before coming to the attention of producer Joey Waronker and signing with Blue Note Records. Ahn's professional career has taken her through the United States, and to Europe, Japan, China, and South Korea. She has toured with such noted artists as Willie Nelson, Amos Lee, and Ray LaMontagne. Her eclectic list of collaborators includes Tiesto, Sia, Inara George, and Dave Sitek.
In addition to Ahn's appearances on late night national TV shows and her live performance of "Dream" on ABC's "Dancing with the Stars," her songs have enhanced numerous TV shows and films, from "Grey's Anatomy" and "The Ghost Whisperer," to "Bride Wars," Guillermo del Toro's "Pacific Rim," and the upcoming 2016 Ewan McGregor film, "American Pastoral." Ahn's poignant theme song for the Oscar-nominated 2014 Studio Ghibli film, "When Marnie Was There," led to her album, Just Know That I Love You, written and recorded at the Ghibli producers' request and based on the film and its children's book inspiration. ("That was a joy to work on," says Ahn. "I was almost writing songs about myself again.")
While Ahn describes her music as "folksinger-songwriter-based," she pulls ideas from books that move her and finds inspiration in painting. "I'm not good at it, but it feeds that part of my brain that kind of needs to breathe and get exercise. And all of that funnels back into my songwriting somehow, sort of subconsciously."
"I feel like where I am now is a lot more relaxed, a lot more just kind of who I am," Ahn adds. "From the beginning, I never had wild dreams about a big career. I've just wanted to be able to make music, and if I can make a living from it, l feel super lucky." As far as what the future may hold, "I have no idea," she says. "But I have a feeling that it will be pretty simple. That's what I'm craving these days."
La La La will be available on October 28, 2016, wherever music is sold.
In the music she has made with Touché and Obi Best, Alex Lilly's production has leaned toward the jazzy and left-field while her lyrical themes ventured into the playful and subversive. The singer-songwriter's next step is to release music under her own name...she unveiled the funky new gem "Paranoid Times," which features a guest turn from Tre Hardson of the Pharcyde. - Buzzbands.LA
Born and raised in Los Angeles, Wendy Wang’s beautifully crafted melodies and lush sounds capture dreamy azure skies and bittersweet California sunsets. Wendy’s diverse original compositions have appeared in the movie Man Up (2015), trailers for “Focus”, ”The Heat", "Olympus Has Fallen", "Free State Of Jones", TV shows Girls, Private Practice, Parenthood, The Returned, and many more on NBC, MTV, VH1, Bravo, E!, ESPN and Oxygen and national commercials for Coca-Cola, Honda, Machine Zone, Hankook, Lowes and Apartments.com. A talented guitarist, bassist, and pianist, Wendy has appeared in commercials for the Apple iPad 2 and Apple iLife ‘11, The Tonight Show with Jay Leno, Jimmy Kimmel Live!, and The Ellen Show, as well as performed at the Hollywood Bowl and Carnegie Hall with The Bird & The Bee. In addition, she has played with the likes of Priscilla Ahn, Ry Cooder, M83, honeyhoney, Juliette Commagere, A Fine Frenzy, The Shoe, Matt Corby, Like (PacDiv), Mr Little Jeans, Florence + The Machine, Coco Morier, Night Things and Evan Voytas, mastered for Mocky, Joey Dosik, Nia Andrews, mixed for Nia Andrews, Big Phony, Gretchen Lieberum/Sargent, engineered for The Bird & The Bee, Inara George, produced for Priscilla Ahn, Studio Ghibli, Big Phony, The Henry Clay People, NHK Japan, and Louie and worked with notable producers Greg Kurstin, Dan Wilson, Mocky, Justin Meldal-Johnsen, Joey Waronker, Teddy Geiger, Mike Viola, Dan Long and many more. She is also the the frontwoman of The Sweet Hurt.
"Inara George is the kind of artist who'll never get called experimental, because her music sounds so sweet. Yet she is a risk-taker -- just one whose voice is clear and accessible.
In the past few years… this L.A. native has worked her way through shoegazing folk with the band Merrick, a Joni Mitchell influence on her 2005 solo debut, internationalist pop with the Bird and the Bee, and Andrews Sisters harmonies with the Living Sisters." (Los Angeles Times"
It all started with a visit to the Country Music Hall of Fame, where an innocent afternoon wandering the exhibits led acclaimed LA singer and songwriter Eleni Mandell on an unexpected journey of profound musical and personal self-discovery culminating in Dark Lights Up, her tenth and most captivating album yet.
Touring the world with her two young children in tow, Mandell has always tried to work educational and entertaining stops into her routing: national parks, museums, trains, waterslides. So during a tour stop in Nashville last winter, she brought the kids to the CMHOF to learn about some of her heroes like Hank Williams, George Jones, Buck Owens, and Tammy Wynette. Instead, she learned something about herself.
"It was a profound experience for me," says Mandell, who's earned raves everywhere from The New Yorker and Entertainment Weekly to SPIN and the Associated Press for an eclectic catalog that spans nearly two decades and evokes everything from Tom Waits and X to Chan Marshall and Patsy Kline. "Seeing all their lyrics and guitars on display made me reflect on just how deeply I'd been influenced by classic country."
Mandell's kids fell in love with Roger Miller and refused to let her take his music out of the car's CD player for the rest of the year.
"I was really struck by how simple his production was, and how central his voice and how open the sound on the record was," Mandell remembers. "It was really organic. There aren't a lot of layers, and the melody and his voice and the words—whether they're some of the sillier songs or more poignant ones—I thought they were more beautiful for it. It made me want to de-clutter and strip away and make something simple that still sounded full and beautiful."
So that's exactly what Mandell did. Co-producing the new album herself with longtime friend and collaborator Sheldon Gomberg in his Silver Lake studio, Mandell distilled her songs down to their purest cores, assembling all of the musicians together in a single room with only acoustic instruments to cut the record live in just four days.
"I like working quickly," explains Mandell, "so I decided to do it this way, which is probably how Roger Miller recorded, too. They tended to work quickly and not be too precious in those days. It was so fun and fresh and different."
The result is an utterly charming, beguiling album, drawing on elements of folk, jazz, and standards with an infectious charisma, as Mandell's voice melts over the stripped-down arrangements to create a lush, sensuous intimacy. It all kicks off with the wry humor of "I'm Old Fashioned," which showcases Mandell's trademark blend of sharp wit and heartfelt sincerity, while at the same time giving a nod to the throwback approach she and her band took in the studio.
"I wrote this after the first Sunday that I had the New York Times and the Los Angeles Times delivered to my door for the first time in years," she remembers. "I was so excited to start reading the newspaper the old fashioned way; to hold it in my hands; to have my kids see me reading it the way I used to see my parents read it on Sunday mornings. I'm trying to get away from looking at screens in our home, and it made me think about all the things that might be silly but I still like to do, like walking into the post office or the bank when there are more convenient ways to go through life. I'm not perfect in this regard, but I'm doing what I can to get back to a simpler way of life."
The simple things hold the most tantalizing appeal in Mandell's music, and moments of transcendence can be found in the most mundane and unexpected places. In "China Garden Buffet," she recounts a head-spinning kiss after an unremarkable dinner at the eponymous restaurant, while "Magic Pair of Shoes" imagines a world of success and riches that's just one set of stilettos away, and "What Love Can Do" tells the story of a dark time in her life unwittingly brightened by a passing stranger.
"Years ago I was trying to immerse myself in the French language by spending time in Paris by myself," she remembers. "It was one of the most difficult things I've ever done and I was completely miserable (yet, I would do it again). On my last night there I was walking to meet friends and was standing at the corner waiting for the light to change. At that moment, a man on a bicycle pulled up. Our eyes met. I shivered. His light turned green and he rode away. I was watching him and he turned to look back at me and we smiled. It was my first truly happy moment in Paris. I love those times in life where for a millisecond you feel love, even in a passing way."
While romantic desire may be a fleeting notion in Mandell's songs, she finds a much more permanent love in her relationship with her twins, who proved to be a fount of inspiration for her 2014 album Let's Fly A Kite. The LA Times called that release "a lovely record about the heart, children, commitment, joy and other Saturday afternoon-style pleasures," raving that Mandell was "at her lyrically precise best." Writing with her children in mind once again brings out Mandell's poetic and playful side on Dark Lights Up, as she paints a vivid family portrait in "Butter Blonde and Chocolate Brown."
"I used to tell my daughter that her hair was the color of toast with butter melted in it because she had been a yellowish blonde but her hair was turning to brown," Mandell says of the track's inspiration. "I have no idea what color eyes she has, so I tell her they're 'ocean colored,' sometimes green, sometimes blue and sometimes gray. My son is such a boy, always taking things apart and asking how they work."
That Dark Lights Up is her tenth solo album is a milestone not lost on Mandell. Looking back on the arc of her remarkable career—which began with 1999's Wishbone, recorded with Jon Brion and Ethan Johns—Mandel describes her evolution as one of finding her true self as both an artist and a woman.
"I like what I'm doing now because I'm so much more comfortable in my own skin, with my own way of writing," she says. "I fully enjoy every aspect of being a musician, from when you feel really good about something you write alone in your living room to playing it with other people to performing it onstage. All of it is so fun and such a joy and an incredible way to connect with other humans and understand yourself better."
One need only press play on Dark Lights Up to understand exactly what Mandell means. It's the sound of a smile from a passing stranger in a lonely city, of an unexpected first kiss after a dinner at a Chinese restaurant, of an idyllic afternoon strolling through country music history. Dark Lights Up is an ode to simplicity, a welcome reminder of the rewards that await those who travel through life with open eyes and an open heart.
$10.00 - $15.00