Nigel Hall Band & The Congress w/ Paa Kow's By All Means Band

Nigel Hall

Soul provider Nigel Hall is in many ways an artist who needs no introduction. An in-­demandsideman, he’sbuilt a mighty foundation of funk over the years onstage and in the studio withcollaborators including the Warren Haynes Band, Jon Cleary, Soulive, Oteil Burbridge and Roosevelt Collier, Ledisi, the Soul Rebels, Lettuce and countless others. Legions of fans are already well in the know about Hall’s copious keyboard chops and powerful vocal style. But even to them, his Feel Music/Round Hill debut solo album will be arevelation –a confirmation that Hall has stepped out front and center into a creative space to call his own.“Ladies &Gentlemen... Nigel Hall,” due out in digital formatNovember 13thand vinyl November 27, captures the spirit of the songs that made Hall a musician. It was produced by EricKrasno, guitarist and producer of music by a dizzying array of artists including Norah Jones, Justin Timberlake, Talib Kweli, Aaron Neville and Matisyahu. Hall’soriginal compositions,from the blissful, sunny ‘60s-­style soul groovesoflead single“Gimme A Sign” and “Never Gonna Let You Go” to the teasing, R&B kiss of downtempo cuts like “Too Sweet” and “Call on Me” show off a record collector’s pitch-­perfect knowledge and a lifelong fan’s passion for gritty, muscular rhythm and blues, funky dancefloor rave-­ups and sultry bedroom serenades. Nigel Hall grew up in Washington, D.C., in a highly musical family. His fingers first touched the keys before he hit kindergarten age, and his ears were wide open. “I grew up with records,” he said. “That’s why I’m obsessed. My father had a vast collection. I’d be in third grade with my Walkman and everyone’s listening to Ace of Bass, and I’m listening to “Return to Forever,” Chick Corea’s fusion project with Stanley Clarke. The vintage soundsof “Ladies & Gentlemen... Nigel Hall,” infused with his electric freshness, together make both an audible autobiography and Nigel Hall’s musical mission statement. Cover choices including Ramp’s “Try, Try, Try,” written by Roy Ayers, Ann Peebles’ “I Can’t Stand The Rain,” and Latimore’s “Let’s Straighten It Out”-­deep album cuts from the back pages of golden-­age R&B-­reveal a true student of the sound. Most of the songs on “Ladies & Gentlemen... Nigel Hall” were cut in one take, straight from Hall’s spirit to tape.It’s a loving, detailed, sure-­handed scrapbook of American soul influence that tugs your heart and moves your hips.“Music is our way of traveling through time,” he said. His cover of Stanley Clarke’s “I Just Want To Love You,” for example, newly recorded as a turn-­the-­clock-­back, Motown-­infused duet with intensely soulful vocalist Alecia Chakour, was originally released the year Hall was born, in 1981.“It’s a part ofmy life, a part of my childhood, and it’s a part of what made me me, that song,” he said.
Nigel Hall is alsoa relatively newresident of one of America’s most sonically significant cities, a place that has always respected the power of history. Since relocating to New Orleansin late 2013, Nigel Hall has been embraced by its world-­renownedmusic community. In early 2014, a feature in its premier music-­focused magazine, Offbeat, enthusiastically welcomed Hall as “a perfect fit” for the vibrant city and its singular culture. The Times-­Picayune’s review of his solo debut at the New Orleans Jazz and Heritage Festival the same year crowned him with a comparison to Southern funk godfather Art Neville. “It’s the best decision I ever made for myself in my life and musically,” Hall said of the move. “I’m surrounded by the most amazing, incredible musicians in the world at all times. The big picture, the sincerity is very present here at all times. It’s a breath of fresh air. Everybody’s in the vibe. Everybody’s feeling something.”You can feel it on“Ladies & Gentlemen... Nigel Hall,” particularly on the slinky, nasty, Meters-­style funk of “Don’t Change for Me.” But Hall’s recent past is present, too;; his Lettuce co-­conspirator Eric Krasno shares writing credit on severalof the original tracks, and longtime jamband collaborators like sax man Ryan Zoidis and drummer Adam Deitch, of Lettuce and Soulive,lend their talents. So does fellow crate-­digger Ahmir “?uestlove” Thompson, who guests on a cover of the Isley Brothers’ “Lay Away” along with former Rolling Stones sideman Ivan Neville. “I like to sing songs that reflect my being and who I am as a person,” he said. “Because that really touches me. When you hear a song and it makes you cry, or it makes you happy or it evokes any kind of feeling, that is music. That is what music is supposed to do. And music is the last pure thing we have left on this earth. It’s the only pure thing. "

The Congress

Evoking emotions that you thought had long passed – the feeling of your first cigarette, or the way you feel listening to a worn vinyl as it warmly crackles against the sound of a summer night – The Congress is naturally compared to many names and styles of years gone by. But drawing such comparisons is, in many respects, a misguided endeavor. Misguided not because you’d be wrong, but because you’d be missing the beautiful point – The Congress are a natural evolution of more than 60 years of purely American music. With a spirit rooted just south of the Mason-Dixon Line, and now calling Denver – “The Queen City of the West” – their home, they’ve got enough soul, grit, and have spent enough time in the woodshed and on the road to call them pretty much whatever you want. But whatever words you think you need to describe their contribution to the American music tradition – save your breath. The Congress play Rock & Roll. Jonathan Meadows [bass] / Chris Speasmaker [piano, organ] / Scott Lane [guitar] / Raphael Katchinoff [drums]

Paa Kow's By All Means Band

The name of the band comes from a group of session musicians that got a gig, without a formal band name. After the set, someone came from the audience and asked, "What is the name of this band?" An then we said, "We don't have a name, but by all means we will play for you!" After that, we started using the name By All Means Band for all of our sessions that we played. When I came to America, I re-formed the By All Means Band with four members: Adam Holton on bass, Peyton Shuffield on congas and percussion, and Jake Ball on trumpet. We recorded an album called "Ghanerica" in 2008 and toured for a year before the band dissolved.

I moved from Memphis to Colorado to start my new project, an eight-piece group called "Paa Kow's By All Means Band," with Peyton Shuffield on percussion, Joel Michael Timm on trombone, Aaron Fichtner on guitar, Justin Fichtner on congas and percussion, Solomon Goldbas on keyboards, Noah Fulton-Beale on trumpet, and Andrew Simons on Bass.

My vision is to put together a huge band - an African orchestra, with a lot of percussions and a big horn section. Now I am looking forward to taking the band on the road and traveling the world.

$15 Day Of Show

Tickets Available at the Door

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