Colorado Music Buzz November 2014

MANAGING PUBLISHERS Keith Schneider Keith@ColoradoMusicBuzz.com Christopher Murphy CMurphy@ColoradoMusicBuzz.com MANAGING EDITOR Tim Wenger 303-725-9359 TWenger@ColoradoMusicBuzz.com WEBSITE EDITOR Tim Wenger TWenger@ColoradoMusicBuzz.com WEBMASTER SwamiSez Web Design Swami@ColoradoMusicBuzz.com

SENIOR WRITERS DJ Cola, Chris Daniels, Thom Jackson Angela Kerr, Coleman Prapp Norm Provizer, Leah Parker Charlie Sullivan, Tim Wenger Torch PHOTOGRAPHY Jordan Altergott, Miles Chrisinger Ted Davis, Jenn Cohen Ray Tollison, Torch

EVENT AND MAGAZINE MARKETING Chris Murphy 720-429-8717 CMurphy@ColoradoMusicBuzz.com WEB ADVERTISING Keith Schneider 303-870-7376 Keith@ColoradoMusicBuzz.com LEGAL Stephen Replin - 303-322-7919 SReplin@ReplinRhoades.com INTERNSHIP Maddie Norton Ryan Hughes Abby Kaeser

GENERAL INQUIRIES Info@ColoradoMusicBuzz.com SPONSORSHIPS / OTHER Please email us a written request proposal for all inquires to Editor@ColoradoMusicBuzz.com CMB Submissions and Advertising Policy Colorado Music Buzz welcomes submissions, advertisements and sponsorships from those connected to every musical genre and style, as well as the general public. Due to our publication’s community focus, article content and advertisements containing nudity, drug references, profane words/visuals, or sexually exploitative material will not be accepted. Please feel free to voice any concerns you may have and collaborate with us to adapt what you would like to present in a way that respects both our all-ages audience and your artistic integrity. We are here for the music, and we are here for you.

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Colorado Music Buzz Magazine is published monthly by Colorado Music Buzz Magazine LLC (Publisher) and distributed to over 650 locations throughout greater Denver, Boulder, Colorado Springs, and surrounding areas.

Reproduction in any manner in whole or in part without express written consent of the Publisher is strictly prohibited. Views expressed herein do not necessarily reflect the opinions of the publisher or its staff. Colorado Music Buzz Magazine LLC does not limit or discriminate based on ethnicity, gender, age, disability status, spiritual beliefs, familial status, or national origin, and does not accept editorial content or advertisements that do.

HR People Wins Channel Ruby Generations Works Levitt Pavilion Board of UNC Opera Theatre to Break Ground at Levitt Directos Hosting Forum 93.3’s Demo Derbyb Performs Mozart

by Thom Jackson Pavilion Denver- What if the local music industry at large- University of Northern Colorado Opera HR People used their fresh take on hip hop, rock and soul music, combined with a solid marketing effort, to take home the bacon in Channel 93.3’s Demo Derby finals on October 15 at LoDo’s Bar and Grill downtown. The contest spanned multiple rounds and pitted local groups against each other for a chance to record a session in Channel 93.3’s infamous Garage. We spoke with HR People’s Ryan Hughes about the win and what happens next.

CMB: How was the emotion coming off stage?

RH: We had tons of support from our fans who came out to vote. It was the first time we had to turn them down an encore. It was really exciting.

CMB: What exactly did it take to win?

RH: We didn’t know until a few days before the Demo Derby how the set would look.

So we took a chance and put together a set that we had never played before, where we actually played parts from 5 or 6 songs to fit in a 3 song set. It took some late night practice sessions to get it tuned up before the show. We also put a lot of effort into promoting the event on social media to get all those people out.

CMB: What happens now that you’ve won?

RH: We are working on scheduling our 93.3 Garage Session now, then we will get to go in and record a session that will eventually get played on the station. We got the opportunity to get to know a lot of people at 93.3, which was awesome.

Online: facebook.com/hrpeoplemusic

Denver - The Levitt Pavilion Denver will break ground on a state-of-the-art amphitheater in Ruby Hill Park in 2015. It’s a unique partnership between the City and County of Denver and the national nonprofit Levitt Pavilions. And it’s going to be Denver’s next great outdoor concert venue. When it opens in 2016, Levitt Pavilion Denver will provide 50 free concerts a year to 7,500 people, an estimated value of $23.5 million dollars worth of concert tickets.

Ruby Generations is a grassroots fundraising campaign aimed at engaging and educating the local music scene. Ruby Generations is comprised of individuals immersed in Denver’s music culture.

“We are a group of people doing what we can to bring music to the next generations. Some of us are talent buyers and band managers, others are sound engineers and event producers, but most of all they are great people that want to use their skill set for the common good,” says Ean Thomas Tafoya - a member of Ruby Generations.

On Monday, Nov 17, 2014 at 6 pm, Friends of Levitt Pavilion Denver will host a one-night forum to discuss the new amphitheater planned for Ruby Hill Park. Slated to open in 2016, Levitt Pavilion Denver is among the most exciting opportunities in our community and will provide 50 free concerts a year featuring local, national, and interenational musicians, with an emphasis on creative and diverse programming.

1710 9th Ave. UNC’s production promises to deliver a delightful new take on the acclaimed original that premiered in 1782, which Austrian Emperor Franz Joseph II, who commissioned it, complained contained “too many notes.” “UNC’s production will be a very different experience, even for the savvy opera-goer,” said Brian Clay Luedloff, Director of Opera Theater for UNC, who re-worked the dialogue from its original singspiel length to focus the action on Mozart’s wonderful music. “I think the novice opera-goer will feel more like they’re attending an evening of musical theater—albeit in German,” he said, “and they’ll be relieved to know that we’ll be providing English supertitles for the performances.”

Conductor Kenneth Singleton wrote the orchestra transcription that reveals new tones and timbres.

“His editions are always faithful to the intention of the original, but give the work a fresh, new voice with the wind ensemble,” Luedloff said. Die Entführung tells the story of Belmonte, a Spanish nobleman, and his quest to rescue his beloved Constanze, who has been captured by pirates and bought by the grand Pasha Selim. When Belmonte discovers their location, he rushes to the palace of the Pasha and, assisted by Pedrillo, concocts a plan to sieze back the abducted trio. Full of all the excitement of The Arabian Nights, Die Entführung contains an abundance of gloriously florid arias and majestic music, a shining example of everything we love about Mozart. To Go Die Entführung is directed

by Brian Clay Luedloff and conducted by Dr. Kenneth Singleton.

“Involving our local scene before the amphitheater is even designed is crucial,” says Executive Director Chris Zacher. “After all, who’s more knowledgeable than the people so spend so much time on-stage? We know their unique perspective will help create a truly special artist experience.”

As a commitment to Colorado’s exploding music scene, half of Levitt Denver’s programming will feature local aritsts. The musicians will be paid generously and competitively, even though the concerts are free. “We believe Colorado’s music scene is something special, and deserves to be showcased as well as cultivated,” Zacher says.

If you would like to donate your space for fundraising shows, your time as an artist, or as a volunteer please contact Ruby Generations at www. rubygenerations.com.

To celebrate the occasion, longtime local scene veteran Chad Aman will host a jam session featuring some of the greatest talent in the state.

As an added bonus, musicians will be able to enter their band to win the opening slot at the brand new venue. For more information about the Denver Levitt Pavilion project, visit levittdenver.org.

For more information on the Levitt Pavilion visit levittdenver.org.

by Tim Wenger

by Tim Wenger

Theatre presents three performances of Mozart’s Die Entführung aus dem Serail (the Abduction from the Seraglio) at 7:30 p.m. Nov. 21-23 at Langworthy Theatre in Frasier Hall,

Ruby Generations is attacking the fundraising goal in several ways. First, they want you and everyone you know to visit www.levittdenver.org to find out more about this great civic space and make a donation. Secondly, Ruby Generations are programming several fundraising shows in unique spaces – culminating with a weeklong showcase of giving in April 2015. Lastly, they will be debuting two volumes of unreleased tracks from local artists/ producers. The first volume, which will feature electronic music, will be released on Saturday, November 22, 2014 at Bar Red. Net proceeds from the event benefit the Levitt Pavilion Denver.

Justus League

Big Tell

musicians, promoters, technicians, journalists- were involved in designing the newest crown jewel in Colorado’s performance venues? We’re about to find out.

Attendees will meet the Board of Directors and managers of Levitt Pavilion Denver. Ask questions about this incredible project, and obtain information about band submissions. The forum will close with a brainstorming session.

Drew Schofield150 Million (-1)

ResonanceSolitude

by Thom Jackson

by Tim Wenger

Big Tell is a supergroup, of sorts.

With Quentin Young and Stacey Liles of Broke Bridge holding it down, and a live set that has showcased Max Barcelow of Fierce Bad Rabbit and Cody Russell of The Drunken Hearts, the band throws down some dark, deep, and thick-skinned bluegrass that might not sit well with the idealistic, well-funded hippie hula-hooper.

The debut EP is self-dubbed as “Amerecono,” and it is as straight forward and honest as any mountain music we’ve heard ‘round these big city parts.

Colorado Springs’ Justus League is more proof that blues never dies- it just gets passed down from generation to generation. The group incorporates influences from many styles on their recent debut album, released independently. Their album is many things. Blues, but so much morethere is a danceable, funky element present in songs like “Remember” and “Fro.” Pop rhythms stand out on “Unspoken” and reggae on “New Sheriff,” but the blues element always reigns tall and proud.

Hard rock is not the easiest genre to do well. Resonance is one of the few Denver groups that not only understands that, but puts in the effort to ensure they do not fall into the category of ‘cheesy hard rock and metal bands.’

Their new EP Solitude hits as hard many of their major label counterparts. Will Robinson of Vermillion Road cameos on the track “Void,” the album’s strongest, which moves from intricate guitar fretting into a heavy-hitting, harmonic chorus without so much as a feeling of awkwardness.

The strongest song is “Anarchy,” a dancing tune with lyrics you’d think came from the mouth of an introspective punk rocker and exemplifies the band’s relentless energy. The album never goes easy on the listener: a constant stream of fun, danceable tunes that each set their own mood- for better or for worse.

A solid listen from start to finish, Justus League has bucked the current trend of disenfranchised albums. The listener won’t want to skip tracks or jump around. They manage to hold attention throughout the record and, through deep lyrics and well-played rhythms, keep the head bobbing the entire time.

Vocalist Danny Pappas cries “I’d love for you to love me, too,” on the track “Identity Crisis.” CMB is happy to oblige. With continued hard work and good marketing, this EP has the ability to take Resonance up a couple notches on the musical totem pole.

Here’s to hoping that Resonance has the opportunity to take these songs coast to coast.

Online: facebook.com/bigtellband

Online: justusleaguemusic.com

Online: resonancerock.com

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Performances will be at 7:30 p.m. Nov. 21-23, at 7 at Langworthy Theatre in Frasier Hall, 1710 9th Ave. Tickets can be purchased at the UNC Performing Arts Box Office at (970) 351-2200 or by emailing boxoffice@unco.edu.

Drew Schofield hits hard, again, with his new EP 150 Million (1).

Schofield’s voice almost seems naturally in-tune- his singing on the title track and throughout the EP often comes across as effortless. Harmonizing guitar and voice with a style crossing pop-rock with an almost boyband-ish charm is Schofield’s specialty.

He brings in the talents of Andy Palmer, Dave Preston, and Megan Burtt to give the record an additional punch, and the cameos come across very clean. While Schofield remains the focus, he demonstrates his ability to “cross-contaminate” his songs extra talent, providing an extra dose of awesome.

Online: drewschofieldmusic.com

November 2014 | ColoradoMusicBuzz.com

Emily Shreve, Coming Of Age

by Charlie Sullivan

The talented singer-songwriter/performance artist Emily Shreve has been entertaining audiences in the Denver area for a number years, first in a three part harmony band. “We performed really bad pop covers,” says Shreve, “We wrote a few songs but it wasn’t what I really wanted to be doing.”

She moved on to a cover band, My Only Friends. “The band performed obscure covers,” says Shreve. “Good music that wasn’t getting a lot of attention.”

Shreve tried the college thing for a while but all she really wants to do is to play her music. Now we find a young lady who is coming into her own musically. Shreve started taking piano lessons at eight and, shortly after, vocal and guitar lessons. The dedication is now starting to pay dividends.

Shreve wanted to be taken a little more seriously as a performer and has kicked it up a notch. She’s currently performing as a solo act. The lady has a unique vocal quality that sets her apart from her contemporaries. The recently released EP, Spirals/ Dreams, gives the listener a good idea of what Shreve is capable of. The songs are dream-like, melodic, and take the listener outside of themselves, if only for a short while.

The new Differential Productions sampler showcases Shreve performing Radiohead’s “Weird Fishes”, and wow, what a nice twist she puts on the song. An idiosyncratic vocal performance, backing vocals, and additional instrumentation fill her sound out nicely. It took me a moment to figure out I was listening to a cover.

Now, Shreve says she wants to branch out and put a band together.

“I want the challenge of having a band to work with, bounce ideas off of,” states Shreve. “An avenue to feature other musicians in the band, to harmonize with other vocalists.”

Shreve has been writing her own music by basically free playing and adding the lyrical content from poems she’s written over the years.

She likes to paint pictures with her music and leave it to the listener to find some meaning in a song. Her music can be quite profound, fierce, but also very straightforward and warm.

“Everyone perceives a song differently, they get something different out of the content,” says Shreve. “It all depends on what’s going on at a given moment in your life.”

Shreve says a lot of her songs are based on what’s going on in her life, issues that encompassed the moment. She wants to take her music to a deeper level, send a real message to the listener, pull them in and give them something to ponder.

“I’m going to be working on a new album with Michael Zucker,” says Shreve. “I want to give the music a new feel. I like what Michael’s done with Eat The Sun and the other bands he’s working with,” adds Shreve.

Shreve has a musical vision and is reaching out in all the right directions. She’s performed at The Laughing Goat , (Boulder) and Bannock Street Garage (Denver) recently and is looking for a wider audience. Check out her web page for upcoming shows.

Online: emilyshreve.com

CMB ASKS: WHICH GENRE OF MUSIC BOASTS THE BEST DRINKING SONGS? Like many in the Denver music scene, the CMB staff is known to crack open the occasional beer. We asked readers via Facebook and, not surprisingly, Irish folk took home the crown for best drinking songs. What we did learn, however, is that we need to up the frequency of our polka sessions- Reader Tony Young informed us that “the entire genre was created around beer.”

MTHDS A little more on the hip hop side, MTHDS combine a funky fresh style with Rocky Mountain attitude.

Music That Heightens Different Senses combine the fury of punk, the street-wise soul of hip-hop and funk with an over-the-top bombastic roots party groove.

Local RIYL- The Roots The Roots have worked their way to being one of the most respected soul/hip hop groups on the planet (even landing a spot as Jimmy Fallon’s house band on The Tonight Show. They have graced the stage at many of the country’s best venues including Red Rocks Amphitheatre, and because of their large Colorado fan base CMB asked readers to suggest some stylistically similar local groups to check out. Have more to add to this list? Get the conversation going on social media using #RIYLTheRoots.

Hazel Miller The city of Denver singled out Hazel as one of 150 people who make Denver a better place to live. This award was bestowed by the mayor on Nov 22, 2008 at the Colorado History Museum.

Hazel Miller is not just a great singer, “she is a force of nature!” quotes the Rocky Mountain News. Her voice has been called “stunning, moving and powerful.” Hazel has been a sought after performer in Colorado for the past 24 years. Whether she is singing blues, jazz, pop, or Gospel, her voice charges the songs with a primal dose of genuine soul.

Hazel began her 38-year career in Louisville, Kentucky, where she rose to the top of the music scene. She opened for popular artists such as Mel Torme, James Brown, Temptations, Earl Klugh, Bob James and many others.

Rock influenced by Hip-Hop, Reggae, and Punk. Like the Partridge family if the Mom was Lauryn Hill and the kids were Jimi Hendrix, Common, Peter Tosh, Sid Vicious and Q-tip.

Online: facebook.com/mthds The Messers With influences including Jamiroquai, Stevie Wonder, Sharon Jones and the Dap Kings, Jill Scott, Alice Russell, James Brown, Parliament, Betty Davis, the Brand New Heavies, Nikka Costa, Fishbone and everyone in-between, the Messers testify to the power of New American Soul.

Online: facebook.com/themessers High Five Formed in early 2012, High Five is a unique Denver based Hip Hop collective that finds it’s roots and inspiration in the break beats and rhyme styling of Hip Hop’s golden era. B Rex, Guidence, Question, and CriMseN provide the lyrics, while D.H. Lawrence and Just Say PLZ share production duties. From the funky loops and dusty samples to the fun loving and often thought provoking rhymes, the movement to bring real Hip Hop to the Mile High City is known as High Five!

Online:

facebook.com/highfivehiphop

Online: hazelmiller.com

The Breakdown:

IRISH FOLK- 42% PUNK ROCK- 24% COUNTRY- 24% BLUEGRASS- 3.33% POLKA- 3.33% MARIACHI- 3.33%

November 2014 | ColoradoMusicBuzz.com

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Rubber Planet Reuniting at Herman’s Hideaway November 22 Rubber Planet is a name still sounding familiar in the Denver music community, and rightfully show. The rockers Silver, Brice Hancock, and Vitamin G up front with drum duties split between original drummer Leo Sayas and latter addition Chris Reidy, called it quites in 2012 but are reuniting for a one night stand at Herman’s Hideaway on November 22.

Brought out of the dust by a longing for the stage, the guys decided it was time to give their fans and themselves on more treat. “I kinda knew they wanted to do it,” says Hancock. “I was at work and I asked Leo, ‘Would you play if we did a gig?’ and he said yes, so I called (Herman’s) and booked the gig.”

Zayas and Reidy, who also plays for Judge Roughneck, will be splitting the drum duties at the reunion show. “We practiced the other day for the first time, and it just took me back to years and years ago when I used to see them here and they would pack this place,” says Reidy. “I forgot about how much I love this band.”

The band’s resume that includes multiple national tours, Red Rocks dates and a drummer that was infamously deported following the

WHY JAZZ MATTERS: TRACK 8

Over the course of seven albums (with the album Cosmic being recording with Peter DiStefano of Porno For Pyros) Rubber Planet’s story is living proof that there is no elevator success. During their heyday in the early 2000s, the band gigged over 200 nights a year, propelled by a single that reached #1 on mp3.com in 2001, and developed a loyal following that packed clubs both big and small. “When we released a cd called Out There and sold out Herman’s, that was big,” says Hancock. “That was like, bragging rights.”

The group never lost focus on their live show, putting inhibitions (and often dignity) aside for the sake of their fans. At a Rubber Planet show, it always feels like New Year’s Eve. Before their initial break up in 2012, Rubber Planet shared the stage with numerous national touring acts.

Silver (vocals/bass), Vitamin G (guitar), Brice Hancock (guitar) and Chris Reidy (drums) will be reuniting for the event of a lifetime at Herman’s Hideaway on November 22, guaranteed to be the most refreshing way to kick off your holiday season. Grab tickets at hermanshideaway.com.

Online: facebook.com/pages/RubberPlanet/82208810345 the history of jazz. Then, in 1969, Williams went off to launch Lifetime; and when that band recorded its second album (Turn It Over), it was with Bruce on bass.

by Norman Provizer

If you were to draw up a very short list of the most significant bass players in the history of rock, one slot would definitely be reserved for Jack Bruce who died just a week before this past Halloween at the age of 71. Before he turned 20, this Scottishborn musician was part of Blues Incorporated – the British band that served as an incubator for an incredible number of the players who would go on to influence the music in grand fashion. From that start, Bruce went on to the Graham Bond Organization that had John McLaughlin on guitar and made a few added stops before bringing his bass and his voice, in 1966, to the super band Cream that also featured guitarist Eric Clapton and drummer Ginger Baker.

Like a shooting star, Cream dissolved in 1968 at the less-than-ripe age of two. While Clapton and Baker went to join Blind Faith, Bruce, as his obituary in The New York Times notes, “was charting a more ambitious, if less commercial musical course.” Before the breakup of Cream, Bruce had recorded a jazz album (Things We Like) with McLaughlin on guitar; and after that breakup, Bruce toured the U.S. with jazz guitarist Larry Coryell and drummer Mitch Mitchell who had worked with Jimi Hendrix. The bassist then joined drummer Tony Williams’ Lifetime, one of the early groups to venture into what would be called jazz-rock – a fusion of sound that would, in many ways, define the 1970s era of jazz.

Tony Williams, of course, was a musical phenomenon.

At the age of 16, the drummer was recruited by saxophonist Jackie McLean to come to New York from his home in Boston and work with the saxophonist’s band in the Big Apple. It didn’t take long for trumpeter Miles Davis to steal the young drummer for his quintet.

In 1963, at the age of 17, Williams became part of what would emerge as one of the most important bands in

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band’s 2005 gig at Sammy Hagar’s famed Cabo Wabo Cantina in Cabo San Lucas, Mexico, this reunited Denver four-piece is an act not to be missed.

Around the same time, you could also find Bruce’s bass and voice on the groundbreaking “jazz-rock opera” Escalator Over the Hill with Carla Bley’s music, Paul Haines’ lyrics and Michael Mantler and the Jazz Composers Orchestra. And later, Bruce would be part of a tribute band to Lifetime, years after drummer Williams’ death in 1997.

With Lifetime, Bruce again worked with his fellow Brit John McLaughlin – and McLaughlin would also record with Miles Davis on the trumpeter’s In a Silent Way and Bitches Brew albums that are often, if not quite accurately used to mark the beginning of the jazz-rock decade. (Remember, after all, that guitarist Coryell and Free Spirits had recorded in the mid-1960s.) In the early 1970s, McLaughlin’s created the Mahavishnu Ochestra, one of the premier jazz-rock groups along with Chick Corea’s Return to Forever and the band Weather Report with saxophonist Wayne Shorter and the Austrian-born keyboardist Joe Zawinul. Together, they all created an era in jazz history.

During November, there are several other types of jazz fusion on display in town at Dazzle. On the 1st and 2nd of the month, saxophonist Greg Osby (associated with the M-Base movement that emerged in the 1980s) is a special guest performing with the Josh Quinlan group at the club on Lincoln. On the 6th, it’s Jason Marsalis and his Vibes Quartet stirring some New Orleans gumbo into the music. Then, on the 8th and 9th, it’s Puerto Rican-born saxophonist Miguel Zenon and his quartet blending the sounds of Latin America into the jazz mix. Also, pianist Benny Green brings his trio to the club on the 29th and 30th. And outside of Dazzle, the area-based, groove-oriented group the Motet is at the Ogden Theater on November, while New Orleans is back with the Preservation Jazz Band that appears at Boettcher Hall at the Denver Performing Arts Complex on November 12 and Jeff Lorber Fusion does fusion at the Soiled Dove Underground on the 8th.

OpenAir To Celebrate 3rd Birthday at Oriental Theater

by Tim Wenger

OpenAir, the new music branch of Colorado Public Radio, is celebrating its 3rd birthday on Friday, November 7 at the Oriental Theatre.

The evening, which is open to ages 16+, will feature performances from Wheelchair Sports Camp, The Other Black, Rubedo, and Keva starting at starting at 8:00 pm.

This event will mark a new venture in age celebration for OpenAir. The station’s actual birthday falls on Halloween, already one of the most notorious (and amateur-fueled) party nights of the year, so the OpenAir crew decided to host their celebration the following week. “We kicked it out for the 1st Birthday really huge, the second birthday we did a lot of stuff in-house, and this one we want to make it more of a celebration outside of the building,’” says Assistant Program Director and Music Director Jessi Whitten.

The performers were carefully selected, representing what the station stands for in our local community. “We really want to focus on this Oriental show. These are all bands that we really care about, most of them have been featured on the OpenAir Live and Local show that we are doing on CPT 12.”

October 31 will see the station playing back some of their sets from their first day as well as some of their favorite studio sessions and other on-air highlights covering the station’s three-year life and getting listeners excited about the party November 7.

Before the party, however, Colorado Music Buzz wanted to know how the station has evolved over its three-year existence- what are they doing that keeps listeners tuning in, and what is the station and its crew all about. Program Director Mike Flanagan has been with the station since its inception in October of 2011, and has guided it through the twists, turns, and growing pains that face a young music station in the public radio sector. “People seem to be in two camps when it comes to OpenAir,” Flanagan says. “Most everybody discovered it by accident, or from hearing about it on Colorado Public Radio. They love it, they listen all day, they engage online. The get OpenAir. Literally. Then there are those who look at me blankly and have no idea we exist. That’s the challenge for OpenAir, move group B into group A. But what a fabulous mission.”

The signal at 1340 AM was formally used to rebroadcast CPR’s news segments. “It started being a question of, ‘Is that the best use of this whole other signal, is there anything else we could be doing,’” says. Whitten, who came to OpenAir after working for Flanagan at Radio 1190 in Boulder.

A niche was found by playing independent or often under-heard music from around the globe, something that had been lacking in Denver radio. “Mike always talks about it being ‘Graduate School music,’” Whitten says. “College radio is very different from what we are doing, but it is in some ways the roots of what we do. Playing the music that deserves to be played that you don’t hear on other radio stations.

It’s an eclectic mix going back to the 1930s, even, to things that won’t be released for six months.”

people,” says Flanagan. “I know for me it means I learn about new bands on a daily basis. But I also realize there are those who may have missed out on somebody they would love who might reside in the past. We live in the best time ever to be a music fan. I can say things like, ‘Hi, let me introduce you to Howlin’ Wolf,’ or ‘I think you are going to like Palma Violets or Chet Faker.’”

The station’s crew are constantly presenting new music, based on what listeners ask for in addition to what Flanagan, Whitten and the station’s other dj’s feel is appropriate. “We aren’t going off any algorithms or mind reading software,” says Flanagan.

“If someone is hungry they may tell you they want a ham sandwich, but you serve up Pad Thai and they are thrilled. We’re appealing to a natural curiosity to absorb as much music as possible and doing it over the radio. Meanwhile the computer is asking them if they want mayo or mustard.”

Indie rock, it would seem, makes up a good portion of their playlist, although just about any genre will be considered. “If it sounds good, we’re going to play it,” Whitten says. Most of their music is garnered through submissions, and they’ve seen it all- vinyl, cd, digital, and cassette tape- as long as a track sounds like what the crew wants OpenAir to sound like, Whitten will make it work.

Local artists should submit their music care of Assistant Music Director Alisha Sweeney, who hosts the Mile High Noon program and focuses on Colorado’s diverse talent pool.

Local artists can (and often do) get their songs in regular rotation.

The origins of OpenAir are as humble and professional as its staff. Both Flanagan and Whitten were recruited from Radio 1190. “Big, fancy CPR Max (Wysick) came into our little gross, moldy basement 1190 office,” Whitten says. “I was so impressed that he even came by, but he liked what we were doing and was really impressed with my formatting plan there.”

The station airs music 24 hours a day at 1340 AM and online at cpr.org/openair. Flanagan, Whitten and their team strive to help their listeners discover fresh music and maintain an open ear for listener suggestions. “People have a lot more say than they realize,” Whitten says.If someone will say something to me on Twitter, a change will happen that day.

We’re thirsty for feedback. I wish more people would take advantage of it, but the people who do I think see a lot of response to it.”

Fans are also invited to tune in to OpenAir Live and Local on CPT 12. The episodes are filmed on-site in the CPR Performance Studio in Centennial. “It’s really cool that we’re showcasing all of the local talent that we do, and are able to get video of it,” Whitten says. “This is something we have really invested in.

It’s great that we get to play these artists, but that we get to put a face to the music on CPT 12 is really exciting. The partnership is really great.” Grab tickets to the party on November 7 at theorientaltheater. com.

Online: cpr.org/openair

“Music discovery means different things to different

November 2014 | ColoradoMusicBuzz.com

BACKYARD HERO: Drew Gottlieb & Park House

by Tim Wenger

Sitting in an unknown bar at 9 AM on a dreary October Thursday is not the best way to convince yourself that you are ‘grabbing the day by the horns.’

Even less so when the bar isn’t even open. But at the suggestion of attorney Drew Gottlieb, I found myself holed up at Park House, located at 1515 Madison Street (although the entrance faces East Colfax and a run down old pizza shop across the street).

Our meeting wasn’t necessarily booze-related, though. In addition to his legal duties, Gottlieb and his business partner Evan Bailey own and operate Park House, bringing the classic old building (which has also served as a family home as well as an upscale French restaurant in its 100+ year history) into a new incarnation as one of Denver’s most unique music venues.

The place itself seems massive from the outside, like walking into a mansion. Prior to Gottlieb and Bailey taking over in September of 2012, the building sat empty for over five years. “It was used as an event space from time to time, and was owned by a guy in the neighborhood,” Gottlieb explains, gesturing towards a large fireplace surrounded by a series of house-broken chairs. “We tried to keep the motif up.”

“My business partner and I stepped in and tried to revitalize the place, make it more of a destination,” says Gottlieb. While making only a few interior structural changes to the historic building, they completely overhauled the theme and image, creating the feeling of an old pub. This is the type of place that, if you lose your wits for a moment, will make you feel when you come-to as though you are in an old bed and breakfast joint, or perhaps the dining area of a deep-rooted European hotel. In November of 2012 the team added a small amount of live music to their already impressive list of offerings, which in addition to booze includes a fireside lounge, board games, books, and chef-prepared food ranging from simple treats such as parmesan truffle fries to mouthwatering steak and pasta dishes.

“It had been more of a neighborhood tavern but it wasn’t attracting a lot of people. So we started doing live music, some bluegrass and jam, some rock.”

The mash up of old-lodge hospitality and live music has come across quite nicely. “We try to take pride in being a place that people can come and eat and drink, and hang out for hours at a time. You can get a versatile experience.

We just updated a new menu.” Focused on “upscale bar food,” the menu is actually quite diverse- omnivoric, perhaps. Part of your table can enjoy a steak or ribs while another part heads the vegetarian route.

Park House is part of what could be called the East Colfax Musical Revolution, stepping up to

the plate just before Scott Campbell reinvented Lost Lake Lounge as a destination venue and Goosetown Tavern brought in a top-notch sound system for live music on certain nights. “This is going to become a pretty big entertainment hub,” says Gottlieb. “We’re openly communicative with (the other venues), we think it brings more people to the neighborhood. It’s Colfax, it’s a busy bar crawl area anyways, and if people can hop from venue to venue and catch different acts I think it benefits everybody.”

The majority of the shows at Park House operate without a cover charge. Occasionally Gottlieb and his team host ticketed shows, and hope to move further in that direction as their reputation grows. They hosted the Ark Life cd release party in the parking lot out front in August. “Every couple months we do a ticketed show, and I think we’re going to start moving towards once or twice a month doing a ticketed show on Saturday night to get bigger bands in here,” Gottlieb says. “Right now the model is free music almost every night.”

Gottlieb says that Autumn is their busiest season, with patrons enjoying watching football games.

Their most popular attraction, and perhaps what has most benefited their reputation as a music venue, has been their Wednesday night bluegrass series. “It’s definitely the busiest bar around here on a Wednesday night,” says Gottlieb. “It’s a great scene.”

As if what they offer isn’t enough, Park House is also dabbling in the recording business. In the west portion of building, behind the kitchen, sits Macy Sound Studios, the brain child of recording engineer John Macy. The idea of hosting a recording studio at Park House was born one night during a set by The Congress, whom Macy was working with at the time.

“John Macy stumbled in here and told me he was looking to revitalize his production business and was looking for a place closer to the heart of Denver,” says Gottlieb. “We started talking and figured that the space behind our kitchen was the perfect place for that. The idea with the recording studio is that, because we are a free venue and we can’t always offer the biggest guarantee to bands, maybe we can offer recordings, maybe we can offer live Eps. We’re trying to work out some details on doing a residency for different bands and record it all, kind of have a Park House Records idea. John is helping to tie all that in.” In the near future, Park House will have lines from the stage directly into the studio to record the live performances.

Stay up to date on all things Park House at facebook.com/parkhousedenver.

“I think we offer a vibe that’s unmatched anywhere in Denver,” Gottlieb says.

“The feeling of walking into a venue/bar that feels like it’s an old home, that’s very comfortable and makes you want to stay, the brick and the fireplace and comfortable couches, it’s a place where you can get a lot of different experiences.”

Online: parkhousedenver.com

Walker Masude Following Musical Path Through Adolescence

by Tim Wenger

It takes a certain charm, on top of an unusual amount of talent, to create a young phenom. The kind that everyone from neighbors to schoolteachers to random faces in the crowd can’t help but open their heart to. Such seems to be the case with Walker Masuda. With light brown shoulder length hair that would make any 1980s rocker jealous and an easy smile that could melt a stick of butter, it’s easy to see why this junior at Denver Online High School is drawing eyesand that’s before you hear him play the guitar.

Walker started gigging in 7th Grade, doing classical performances through a program at school. “I went to Denver School of The Arts,” he says. “It is a school that has majors, and I was in the guitar major. We had a classical program and every quarter or so we’d have a classical recital.” While in the program he learned theory through jazz as well as classical music. Masuda is also a part of Littleton School of Rock, a program which combines weekly private music lessons and group band rehearsals to organically prepare its students for live performance.

His band Steam Train, which gigs across town regularly, was formed through this program, and performs original music as well as covers. The group has music available for streaming via facebook.com/ SteamTrain.

“I’ve been there for about two years,” Walker says.

“I think it’s an awesome program. I started with their seasonal shows, where they do a themed show that has rehearsals that span a quarter of a year, or a few months at least, and then at the end they have a show. From there, I auditioned for their house band, which is the band that plays around locally to represent School of Rock.”

But that wasn’t enough. From there, Masuda auditioned for the School of Rock’s All-Stars program, which allowed him to perform at Lollapalooza in Chicago in 2013 as well as a festival in Vail and at the world famous Red Rocks Amphitheatre (which he has now taken the stage at more than once).

“Red Rocks the first time was rough for me (as far as being nervous),” Walker says. “It was like, ‘Whoa this is kinda unreal,’ it was a sold out crowd.”

play at a major music festival is a bit nerve-racking.

“Definitely for me I was at least as nervous as he was the first time he got up at Red Rocks,” says Trisha.

“Even on a local stage, I think it was at Eck’s Saloon was the first time he got up at a real venue and I was so nervous I about died.” She has since calmed down a bit, after watching her son stick gig after gig. “Every time there’s a performance he just nails it, so I’m maybe only a little bit nervous now. It’s been a good learning curve for us.”

Walker’s favorite place to play is The Walnut Room because of the great sound and friendly people. When he’s not out gigging, Walker attends a homeroom session once a month at Denver Online High School, as well as ACT prep courses, but the rest of the schooling is done at home through online courses. Contrary to what many might think, however, online high school is no walk in the park.

“For him, this is a great option,” says Ian Jones, principal of Denver Online High School.

“He’s able to capitalize on the flexibility in order to do what he needs to do with his music.” The school, which also is home to a number of skier/ snowboarder students, competitive athletes, and kids on other paths that keep them out of traditional high schools, requires an equal time commitment from students as its traditional K-12 counterparts. “There is flexibility in the week, but the time commitment is similar to that of a brick and mortar high school.

We typically look at between 25 and 40 hours per week of work. The beauty of it is that we’ve got seven days and there’s not that rigid schedule. These kids benefit, and Walker would be an example of that. The thing that is misunderstood is that it’s easy. Students often come to us thinking this is going to be an easier option, whereas it’s not easier, it’s just different.”

Following graduation, Walker will continue down his musical path. “I’m looking at the audio engineering program at UC Denver,” Walker says. He also plans do some studio session work as well as continuing to play with Steam Train. Catch him live at Herman’s Hideaway November 5, and keep posted on other upcoming events on the world wide web.

Online: facebook.com/SteamTrain

For traditional schooling, Masuda stayed at Denver School of the Arts through 10th grade before moving to Denver Online High School. The online-school format allows Masuda to work his schedule around music. “I had my own band going on and I had School of Rock, and I felt like I needed more time to really push forward with my own interests in music,” he says. He heard about online schooling through friends at School of Rock.

Luckily for him, Mom and Dad are very supportive.

“Walker’s dad and myself aren’t really musicians, so when Walker wanted to play guitar, we were very supportive, we love music, but we had no idea how far this would go,” says Walker’s mother Trisha Masuda. “We thought, ‘Well, he’ll go to Denver School of The Arts and he’ll enjoy this,’ but we didn’t know where it would go. But when we put Walker in School of Rock, he just kind of took off with the level of performance that he’s able to do. He just progressed so quickly that we both realized that this is a life goal now. It’s not just something until he graduates high school.”

As can be imagined, watching their teenage son take the stage at Red Rocks and head to Chicago to

November 2014 | ColoradoMusicBuzz.com

13

The Manager’s Corner

by Chris Daniels

I’ve managed my own band for 30 years and I’m in the Colorado Music Hall of Fame. All that’s nice but today’s music business is changing at light-speed and you have to be more engaged in the ‘biz’ than ever. Some things have not changed, careers are still built on some tried and true elements: great music, performance and timing. But today’s artists must work harder than ever to succeed. The good news is that we have new tools to help young musicians grow their fan base. The book I wrote for the course I teach at CU Denver on artist management is called “DIY: You’re Not in it Alone.”

While you are ultimately responsible for your own career, these days it’s essential to make the most of all the help that is offered along the way.

This column’s focus has been about how to manage your own career. But this month I’ll review management itself and managers. The first thing to know is that managers have three major concerns in this new millennium that play a key roll in their interest in a prospective client.

(1) They want to work with artists who are ‘viable’ in the marketplace... often called ‘baby bands’ in the trade lingo. These are bands you might see playing rooms like the Bluebird or the Fox Theater. There are about seven ways to gain that viability - most of which I’ve covered in previous issues of CMB. (2) Because of the ‘death’ of record revenue, managers have to look at the artist’s ability to generate revenue, usually from playing live, to cover the manager’s expenses before making a commitment to the act. (3) Real “star power” is what the manager is looking for – very few have that. As a result managers tend towards a ‘volume business’ model… working with many acts at one time in order to stay in business.

As far back as the1800s and Minstrel Shows, the manager’s job was to put the artist’s business house in order while simultaneously coming up with a vision and plan for how to exploit the artist’s talent. Some were fantastic and some were criminals. Until about 2005 managers were gatekeepers who took control of the careers of their clients from the ‘dues paying days’ to the ‘salad days’ of fame and fortune. The virtual collapse of record deal revenue and the internet shifted the paradigm. Anyone can reach an artist directly, and the artist can go directly to the fan. So managers look for ‘baby bands’ – somebody you might see out on the Vans Warped Tour – that have their poop-in-a-group.

There are approximately seven things that define that, (a) the music and talent is exceptional (b) the act has its marketing together (Facebook, Youtube, Instagram, Twitter, Website etc.) (c) the act has at least one well recorded EP or album in the marketplace (on iTunes, Spotify, Youtube and selling well from stage) (d) they have a live following – people in more than their local market who will buy tickets to a show and the act has the ability to go on tour and get to those gigs and survive the road (e) the act has it’s business house in order including their publishing and songwriting all the way to having a company formed – or at the minimum a band agreement (f) they are selling merch (g) they are continuing to get better at what they do – songwriting, performing, recording, marketing all of it. For managers, some, and preferably all of these elements are important.

Oddly enough, this empowers the act. So the question is, why should you give away 15% to 20% of your gross revenue to a manager? And the answer is simple – and two-fold: (1) because you want somebody with POWER in your corner (2) if you have gotten this far you are probably pretty close to overwhelmed and you really do need to start putting your team together. Should a manager be the first team member you add? Probably not – early on a booking agent with POWER is far more likely to advance your career with better gigs and more

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money … but a manager is a close second and often times the person who finds you that good booking agent. In case you don’t know this, it is not legal for a manager to be a booking agent in five states and it is not a good practice no matter where you live. Why? The issue is more complicated than this article has space to review, but it is because of the potential of ‘conflict of interest.’

So you are at this point of success and wanting a manager, where do you find one? Assuming one has not come to you it’s a matter of research. First there are the various trade outlets that offer that information at a price. Billboard, Celebrity Access and Pollstar all put out industry “guides” that have the listings of every manager worth paying money on the planet. Second, look at similar acts to yourself and see who manages them. Third is old-fashioned word of mouth. Talk to the promoters in the venues you play, other bands you work with as opening acts or “gig-swap” situations, studio owners where you record (the owners sometimes even manage bands) and read the trade papers in your town.

What managers are doing good things for artists? All these take some research but it is time well spent.

Once you are in contact with a perspective manager you need to research a number of things. The most important is the POWER of the manager in the industry. Look at who else they manage and what they have done for that person’s career. Listen to who the manager wants to work with on your project. If he/she is talking about taking your project to their friends at Universal Records find out if any of his/her other acts are signed to Universal. Do your research BEFORE you start to negotiate with a manager. We have all heard “talk is cheap” and that is more relevant to managers than anybody else in the music business. Because any wing-nut can put out a sign or internet website saying they are a manager or management company does not mean they have any POWER in the business or any real connections. You want somebody who has landed the deal for others, has a track record and as Cuba Gooding Jr. screamed in the old “Jerry McGuire” movie – they can ‘show you the money!!’

Last but not least – there are any number of levels for management and manager pay. The standard is a three to five year contract. That’s old time thinking.

These days it is more common to see contracts that allow for greater options in the length of a management agreement. The standard pay is 15% to 20% of all gross revenue. That is still pretty much standard though there are other ways to do it. Some of the options include various combinations of things. For example I do project management – where I work with an act for an album cycle that involves touring etc. That is done with an expenses-plus arrangement where I get a monthly fee plus a commission on anything above what the band has already produced with their own efforts. So I get ‘back end’ on the deal once I have brought them more than what they could do themselves plus a monthly fee.

The duration is one year or album cycle (which ever is longer) with the mutual ability to terminate or alter the terms of the contract after that “period.” Other options are “partial” management where the act is taking care of all their “day to day” business and the manager is working strictly on “new business” – and that term is very clearly defined in the contract. These contracts are not something that make most managers happy so they will usually want a higher percentage 20% to 25% on all the revenue streams that their work involves.

The most common management contract is for “total management” where the manager is involved in all the decisions – is really the head “operations manager” for your “company” and takes 15% to 20% off the top. If you are in this or any other situation where you are offered a management contract - GET AN ENTERTAINMENT LAWYER - to negotiate that contract.

Once you have the kind of talent that is recognized by a management company or a good manager, it can be the keys to the kingdom. But you have to keep your eyes wide open. If you have your poop-in-a-group and are out there functioning as a viable ‘baby band’ there is every reason to expect you will have offers of management.

Guitar Center Lesson Program Underway For the first time in Colorado, Guitar Center is offering instrument lessons and recording classes in our newly remodeled, state-of-the-art facility. Check us out and see the difference. Essentially, our goal here is to offer one-on-one classes with a qualified instructor, utilizing a world-class curriculum to build a custom-tailored lessons regiment that gets you to a specific goal, and will inspire growth towards a new goal. Whether you are getting started, getting back into it, or just looking to groove, Guitar Center is the place to be. We are striving to provide the utmost in convenience and flexibility by operating under the same business hours as the store, ensuring availability during the day, afternoons and evenings, and throughout the weekend. We would like to invite you to the store for a tour of the studios and if you have any questions at all, we are here to discuss any and all options available to help you make music. So swing by the studios and let’s start making music together.

Anna Amick – Drums – Anna has been playing drums since the age of 10 and specializes in rock, metal, blues, funk, R&B, jazz and country. She holds a degree in Audio Recording and has toured N. America for the last 5 years.

Currently, Anna performs with Moses Jones Rock Funk Orchestra and Mr. J & The Smooth Expressions.

Ben Ireland – Guitar/Banjo/ Ukulele/Brass/Voice – Ben has been singing since the early age of 2 and performing with bands since the age of 8. He holds a Music Theory degree and is committed to teaching through his passion for music, especially in a time where many schools are pulling arts programs out of their regular curriculum.

Becky Scarbeary –Guitar – Becky began teaching guitar in 2004 and has been playing guitar for over 17 years. She founded a local song writing group where she challenges her students to create and explore.

McKinley Hudson – Voice/ Piano – McKinley holds a Bachelors of Music in Composition from Henderson State University and has been singing in choirs for many years.

Currently, he is working on multiple solo guitar projects as a session artist and is really excited to inspire a new generation of musicians.

Sam Oatts – Bass/Trumpet/ Voice – Sam attended the Manhattan School of Music as well as the Conservatorium Van Amsterdam and holds a Bachelor’s in Music Performance. He has worked with various artists including: the Strokes, Coldplay, and Kanye West, and is currently the lead singer/songwriter for Hudson Hank.

Melody Sommers – Piano – Melody has been playing piano since the age of 5 and has enjoyed working with children and adults alike, in various musical atmospheres for 20+ years. She holds a minor in Music Education and spent the last 15 years as the Contemporary Music Director for various worship bands.

David Beuerman – Bass/ Violin – David has been playing violin since the age of 5 and studied Composition at the University of Arkansas. He has performed with the University of Arkansas Symphony as well as the Arkansas All-State Orchestra.

Currently, he is playing with Bison Bone and TV Dads.

Jeff Ireland – Bass – Jeff has been playing bass guitar for 17 years and studied with Kimet Stone of the Rippingtons. He is fluent in jazz, rock, funk, R&B, and country and has extensive background in music theory.

Leon Rosefigura – Violin/Mandolin – Leon has played with the Anchorage Youth Symphony, the Alaska All-State Honor Orchestra and the Anchorage Orchestra. His love for music and positive experiences as a child taking lessons privately has inspired him to be a great teacher.

Cameron Lodge – Guitar/Recording – Cameron holds a Bachelor’s of Music from the Shenandoah Conservatory of Music with a focus in jazz guitar, recording, and music production. He is fluent in rock, blues, jazz, pop, acoustic and metal and has worked with various bands over the years as a session artist and engineer.

Dylan Shanks – Drums – Dylan studied Drum Set Performance at Musicians Institute in Hollywood, CA. He has marched with Denver’s competitive marching band The Blue Knights and is Glenda Phillipscurrently playing in a local progressive Vocal/Piano – Glenda band, Elucatine. studied voice and piano at Syracuse University and holds a Master’s degree in both from Ithaca College.

She has been teaching for Jake Alvarez – Guitar/ over 35 years and loves to Stacy Price –Guitar/ Bass – Jake is currently get students out performing Ukulele/Vocals – Stacy pursuing a Jazz Studies and and sharing their love for holds a Bachelor’s in Music Commercial Music Degree music. and a Master’s in Education at the University of Denver’s Todd Talbot – Drums/Percussion and has been teaching for Lamont School of Music.

Todd has over 20 years of performance many years. Outside of He studied at the Colorado and recording experience. He’s studied sharing her love for music Conservatory for the Jazz at various music schools in North America through teaching, she is a Arts for 5 years and has been songwriter and recording artist including the University of Manitoba, and playing guitar for 15+ years. He that is currently writing music the Collective School of Music in NYC. He plays jazz with Disquietude. is the owner of Limitless Studios. for media placement.

November 2014 | ColoradoMusicBuzz.com

CMB: How many people work for Live Nation Denver” SO: There about 15 full time people and a handful of part time, and as many as 100 people working an event at the Fillmore.

CMB: How often do you get to go to a show that you pay for a ticket?

SO: Probably on average I go about once a month, and I try not to pay for anything (he laughs) Shows that I am not working... I see a variety of shows, I went to Red Rocks and saw the Tedeschi Trucks Band and Gary Clark Jr. I went to two days of Riot Fest in Chicago a couple of weeks ago. It is any range of things.

Live Nation Rocky Mountain: The People Behind The Scenes

by Jennifer Marriott Foreword Over a year ago I landed a job as a receptionist for Live Nation, working in two separate venues. The pay was average but as a writer interested in the music scene, I couldn’t dream of a better position. I worked, listened, watched, and learned with great enthusiasm and my share of mistakes. I was surprised at how young, talented, and fun these people are, and it is time for you the readers to meet them.

It took me a year to get Live Nation to agree to the interviews, as the people behind the scenes are not generally interested in the spotlight. I persisted, as I am amazed at the work they do in bringing together the greatest concerts the Mile High City gets to attend. I wrote this article in appreciation of the staff of Live Nation who are in the business because they love music!

We all know how cool our jobs are and hold them dear.

“Live Nation Entertainment is the world’s leading live entertainment and e-Commerce company, comprised of four market leaders: Ticketmaster.com, Live Nation Concerts, Front Line Management Group and Live Nation Network. Ticketmaster.com is the global event ticketing leader and one of the world’s top five e-Commerce sites, with over 26 million monthly unique visitors. Live Nation Concerts produces over 20,000 shows annually for more than 2,000 artists globally. Front Line is the world’s top artist management company, representing over 250 artists.” -LiveNation.com.

As you wrap your brain around those numbers, it seems colossal, but know that here in Denver as well as elsewhere Live Nation is made up of really good people.

Live Nation One Nation That Rocks!

by Jennifer Marriott The office is on the second floor of the Fillmore Auditorium; wherein framed posters act as windows to past concerts. The walls are still the original red brick from 1907, and there are two desks and a shelf of odd themed trophies. The Fillmore hands-out these trophies such as: a pig, a clown, a cheerleader, a police officer, and my favorite, the back half of a horse. It is fun swag for the bands that play there, complete with their name engraved on it and the date of the show. Photo op!

Behind the desk opposite the door sits Sean O’Connell, sun at his back so he is generally viewed in profile. Sean is a 46 year old, lanky guy from Chicago. He looks like a graduate student with his glasses, casual attire, and short beard. For such a powerful guy, he keeps his feet on the ground and his head in the business game. He can be a laid back guy but he always has an air of importance that he can’t seem to shake.

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Sean started working at 12, first as a caddie, then in other jobs including in a warehouse and as an admissions seller at a racetrack.

At the age of 18 he began working as a ticket taker at Wrigley Field, which was the start of a remarkable journey to becoming a general manager for Live Nation. He wasn’t handed a lotto ticket to this job, he earned it through a lot of hard work and love of music. He grew up in a large Irish family, as he is one of 12 kids falling in line at number four. That experience lent itself to Sean working as a leader, in a team, and even occasionally scrapping with his siblings who were not always on the same side.

I caught him on a rare occasion reminiscing about how his Latin teacher was a big guy who carried his hockey stick around the classroom and would slam it on the desk if you got the answer wrong. In retrospect this is funny but may have lent to Sean’s ability to quickly access the right answer in life. I have seen a slew of issues come knocking on his door and he can cut to a solution faster than anyone, and I have yet to see him be wrong. That ability is impressive and intimidating.

He manages a bunch of people who for all intents and purposes are the rowdy kids who’ve just grown older, learned a skill or two but are there because working in music is exciting, and interesting. It is Rock-n-Roll, unfathomable things happen and we all just work the problem from there. It is a simple dynamic; if you’re stuck thinking “wholly shit!” ask Sean, he will know what to do. Fans get drunk and wild, and there is no manual for the creative antics that ensue.

In times of stress I’ve seen him wring his face, and withhold an onslaught of profanity through pressed lips, but he is proficient at working a problem and is ultimately fair. Okay, a few colorful words escape once in a while. He does say some of the funniest stuff I’ve ever heard. If there is a problem, Sean will find an answer as his underlying goal is to put on the best show possible, and the crew knows it.

There is a TV murmuring in the office whenever there is a good baseball or hockey game on.

Sean will take a minute to cheer or curse his favorite teams as the bass from the stage shakes the building. He and Patrick exchange a few verbal jabs whenever Chicago plays Detroit, Patrick’s hometown. Sean is most comfortable in his office with a cup of black coffee at hand, working as the mastermind behind an incredibly intricate job. Sean is infinitely knowledgeable about the music business, so there is no bullshitting Mr. O’Connell. If you get the chance to meet him you will discover he is one of the nicest guys you will ever meet.

This interview took place with Sean at his desk.

Interviewing Sean is like playing a game of chess. He will guide the game, catch any mistakes and give away nothing he doesn’t want to give.

Sean O’Connell Job Title- District General Manager for Live Nation Rocky Mountain Region

CMB: Chicago is your hometown, was it the show that took you there or friends?

SO: There were a bunch of bands playing that I wanted to see, and yes my friends went with me.

CMB: Which bands did specifically want to see?

you

SO: Paul Weller, hadn’t played in America for a while; there was some old punk rock things I wanted to see.

CMB: were you a punk growing up?

SO: I liked the music. (not saying yes or no) **I quickly pictured him clad in leather and flipping me the finger. Yep, I could see it.**

into the operation side of the world, it was something I knew I wanted to do.

I started volunteering to be at some of the events that I didn’t necessarily need to be at the ticket office.

CMB: Did you consciously choose music over sports?

SO: At some point yes, I had choices.

There were times that were more sport oriented and times that were more live entertainment oriented and I chose to work in live entertainment. It wasn’t that I didn’t have an interest in sports, I do, but more that music specifically is a bigger part of my life. It’s the first thing I do when I get up is turn on the stereo and the last thing I do before I go to bed is turn it off.

CMB: What was it that caught your interest in what goes on behind the scenes?

SO: (leaning forward lacing his long fingers) It is being a part of that creative experience and knowing we can have an affect outside of what is going on the stage and outside and how people experience music as their chosen entertainment. It is my way of being a part of it without having to be on stage, without having to bear my soul out there.

CMB: As the man behind the curtain, what is the best part?

SO: The best part is that there is a curtain. (he laughs)

CMB: In your car, what makes you turn up the volume?

CMB: Okay, so what is the best part of a concert night?

SO: Road noise. (smart-ass laughing at me) It could be anything, it could be Neil Young, it could be The Replacements. I honestly don’t listen to the radio that often. I listen to CDs, or a Pandora station, or Spotify, things like that where I can have a variety.

SO: The best part of the night is the end of the show, I will stand by the door as people are leaving and try to thank people for coming. I want to get a sense of what are people saying, what are they cheering about? What are they complaining about? What are they talking about? Everybody coming out of a concert is having a conversation about, “That song was great. I wish they would have done…It sucked that I had to wait in the beer line for 10 minutes.” You’re going to hear those things but most of the time what you are going to hear is three or four thousand people walking out of the Fillmore, or nine or ten thousand people walking out of Red Rocks, or twelve or thirteen thousand people walking out of the Pepsi Center with smiles on their faces, and sweat dripping off their heads and that look that they just had an experience that they are going to remember. It’s the best!

CMB: What albums have you repeatedly purchased through vinyl, Cassette, 8-track, CD and digital over and over again as technology changes?

SO: I’ve probably purchased five or six copies of The Who Quadrophenia.

CMB: Nice.

SO: I have at least three copies of London Calling in different formats.

I found that my initial CD buys were replacing things I already had on vinyl that I could take with me easily.

CMB: How did you make the transition from the box office to the music business?

SO: There wasn’t really a transition as necessary, whether the ticket office is in a sports or entertainment venue, it is two sides of the same coin. The folks in the ticketing office are heavily involved in making sure that event happens. It is making sure prices are set the way they should be, on sale when it should be, and ready to go. If people don’t get the tickets in their hands, there isn’t going to be a show. So, it was easy enough to go from that to getting a bigger picture of the entire operation.

I think that working my way up in that department in different places from arenas, to theaters then working in amphitheaters, you are around it so much, interacting with the marketing of it, the buyers talking about the pricing and that whole thing. As far as getting

CMB: What is the worst thing on any given night?

SO: On any given night? I think identifying things we could be doing better. It is frustrating, but also an opportunity to find things we can improve. That could be again that someone else is waiting in line for 10 minutes for a beer, or having a hard time getting people in and out in a timely manner when everybody shows up at once and there is only just so much room to get everyone through the door, or a particular issue with a guest because they needed to be engaged by security, which is frustrating. It could be a number of things but mostly it’s when I am seeing things we could and should be doing better.

-see LIVE NATION on pg 21-

November 2014 | ColoradoMusicBuzz.com

(LIVE NATION from pg 20)

music! There’s nothing better!

CMB: What was your first touring gig?

CMB: On a concert day how many hours do you work on average?

Joe PetrieJob Title- Operations Manager Live Nation

JP: The first time I went on the road was in 2003, with the Kottonmouth Kings. It was weird but a paying gig.

After that I was the tour manager and tech for a Japanese band touring the US. They were called Rise, and in Japan they were filling stadiums but they struggled in the U.S. as most of their music was in Japanese and that is a hard sell.

SO: Average Fillmore show probably 15 or 16.

CMB: You just came off three nights of Tom Petty at Red Rocks; it’s a marathon. How do you prep for that?

SO: Personally I don’t. I do what I can in advance to make sure there aren’t going to be any surprises. The better prepared we are for an event the easier it is to make the guests leave smiling.

As far as everything else it is just what we do if it is a 16-hour workday, it’s a 16-hour workday.

CMB: You are a baby band and you want to get on a bill, how do you do it?

SO: You get yourself a good manager and you get yourself a good agent.

The venues, generally when you get to the level of a Fillmore (being able to sell 2,500-3,500 tickets) We are not going to be too involved in getting bands on to bills, we will have out of our local office and on a rare occasion a local band open up, but most of the time when a show is coming through to play, they are coming through as a package. It is an arrangement from an agent and a booker from Live Nation who are making that show. In smaller venues there are ways to get in on the ground floor, but at this level it is a regular, professional process.

CMB: Do you have any advice for the baby bands out there?

SO: Yeah, play anytime you can. Get good. There aren’t a lot of terrible bands that are playing for 3,000 people. The bands that take the opportunities to get better, take it seriously as a craft, are the ones that are going to make it. The ones who want to party all the way through and not take it seriously are the ones that are going to fall by the wayside.

CMB: You work with some of the biggest bands in the world, what do you like about working with them?

SO: Most of the biggest bands make it pretty easy. They hire professionals, they hire good people that actually let the venue know what they are going to need for that day so we can be prepared for them, and have everything laid out the way we need to, and they work with us within the budgets that we have available. The only time it gets difficult is when someone is unprepared or decides that they need to have some things on the fly. We do the best we can, but well prepared makes for an easy day. That goes for us and the band. More often than not, like last week we had three Tom Petty shows and a Robert Plant show and there are not two more professional, on top of it, happy to be around, pleasant crews that we see in a year. That goes a long way too. People that have a good attitude, even if there are challenges, it makes it better for our whole crew who in exchange works hard and want to get things done for them.

CMB: Any final thoughts for our readers?

SO: Musicians keep playing, and fans keep coming out and support live

Joe shares an office with Sean; it is not impressive with high end furniture as this is an office where actual work happens. Behind Joe’s desk is a large dry erase board with a calendar of six months of shows planned out. The room is often stuffy but when the windows are open the roar of downtown Denver filters inside disturbing the much needed concentration as the two men are reviewing contracts, bills, letters and so on.

Joe is that guy who is good at everything and modest about it at the same time. He was a Vail kid, played football, baseball, and of course skied. Being a naturally inquisitive kid he also joined the theater, played trumpet in the Jazz band, and at half-time he would take off his helmet, pick up his trumpet and play in the marching band much to the chagrin of his football coach. He told me the story of his coach yelling at him about how music wasn’t going to do anything for him but football was the true future. Joe growled and did the strongarm flex grunting “Football!” He laughed and wished he could meet that guy again and tell him how far football got him and how far music took him.

On career day the Life Skills teacher asked Joe to pick a career and Joe told her he wanted to work in music, she said, “No. Pick a real career.” Joe stuck to his guns and said, “Music!”

He recalled how long the semester seemed in her class as he was determined he could make a career in music. In retrospect he was mad that she didn’t support and encourage his dream. “That’s what teachers are supposed to do,” he professed. “I wish I could tell her about it now.”

Joe is the guy who has his hand in everything from fixing the lights, to seeing the parking lot is clear for the tour busses, scrambling to get the maintenance man during a show when the ladies have once again stopped up the toilets, to taking care of all of the human resource issues. It doesn’t seem to matter what task it is, this guy always seems to come up with a smile on his face. Joe is a tan, blue eyed, 33 year old, married hottie; sorry girls. He describes his job as a sort of Jack-of-all-trades including but not limited to: staffing, budgeting, payroll, venue maintenance, production, and the list continues.

CMB: What was your first job in the music business?

JP: I was a bass player in a band.

CMB: Really? What was the band’s name?

JP: I am not gonna tell ya. (flashing a look of satisfied mischief) CMB: Okay, I can respect that; so what was your first job you can tell me about?

JP: I was in college and they hooked me up with a job as a stagehand at the House Of Blues and later I found a job as a production assistant for the Voodoo Music Festival in 2000.

CMB: Did anyone in the band speak English?

JP: One guy did, he was the lead singer, and they did do one song in English. It was a cool experience working with them.

CMB: Who did you tour with after Rise?

JP (Looking up to his memory banks) Let’s see, there was Strata, August House, Vast, and then Frankie Valli. I started with Live Nation in 2009 and toured with The Fray, Slayer doing the Mayhem Fest, and Kings of Leon.

CMB: What made you get off the road?

JP: Well, I wanted to try something new. It’s funny in this business it’s hard to get a job on the road and just as hard to get a job off the road.

I interviewed with Sean and got the job of Operations Manager in 2010Wow! I’ve been doing this for four years. Sean has been a great mentor, he taught me how to put my foot down which was hard for me as I am a natural people pleaser, but sometimes I have to be an asshole or people won’t listen to me. I have learned so much from so many people in this business.

CMB: What is your favorite part of working the venues?

JP: My favorite part is the diversity. I love interacting with all the people. I work with the stagehands, the artists, the box office, the fans, the in-house crew. It’s great! I am a big picture type of person, so this is a great job for me.

CMB: What is the hardest part of your job?

JP: Funny, I guess that would be the same answer only on different days, I work with the stagehands, the artist, … (he trailed off in a laugh) The thing that really works for me is that I am constantly learning something. If I have to call someone to fix let’s say the air conditioning I will be right there with them asking questions so I can understand it. I don’t have to learn every aspect of it but I want to know what we are paying for in the end.

CMB: You’ve been around a lot of music, who do you like to go see play live?

JP: I just bought tickets to see Tom Petty, I guess I like about any band that

plays actual instruments. I grew up in the 90’s rock culture listening to bands like Pearl Jam, and Soundgarden.

CMB: What is one of the funniest things you’ve seen?

JP: Oh man, there are so many… (I saw something come to mind and he laughed but didn’t share that story) Kings of Leon were playing St. Louis in an outdoor venue and a pigeon pooped on the bass player’s head. They were only about two songs into their set and the whole band walked off the stage.

They were so mad that they got in their bus and left. We were all scrambling to find out what happened and if they were coming back. We tried to keep the crowd calm as this was St. Louis, famous for the Guns and Roses riot.

Someone in the band tweeted about the pigeon poop and blamed the venue for unsanitary conditions and that they weren’t coming back. Well, that moved like wild fire through the audience with everyone on their phones. The band wanted the fans to get mad at the venue but instead the fans got mad at the band and started calling them the Queens of Leon. We closed up and locked down the box office as we didn’t have enough money there for refunds.

We called the police and let them know to stand by. We were lucky as everyone just slowly left and we offered to refund their tickets at their point of sale.

CMB: Do you have any words of advice to bands just getting started on touring?

JP: Yes. Don’t be that asshole-band who breaks things and acts entitled.

Just go out and play your heart out.

Work hard, and once you think you’ve worked hard, then work harder! You know, don’t be stupid. A long time ago I saw a band go out with their band passes on, handing out joints to the front of the line, thinking that was cool.

Security stopped them and I just wanted to smack them on the forehead. There are liability issues, legal issues to deal with when people do stupid stuff. Oh and on a positive note, show some initiative, start conversations with the staff, and most of all say Thank you to the venues, a simple e-mail or card might get you back on the marquee someday.

Eric Pirritt Job title- President – Live Nation Colorado / Rocky Mountains.

Eric works in the corporate office in Denver. He has a quiet unassuming presence. He could walk in to any room and comfortably talk to people in any position and they would not know that they just joked around with the president.

He is the Clark Kent of the local music scene, generally clad in a t-shirt and baseball cap. The fun part of this ease is watching people find out he is the most powerful guy in the room. He has a wealth of experience as a booker and/ or promoter for The Fox Theater in Boulder, AEG, and was the president and head talent buyer for his own promotion company ENDIT! Presents. In his pursuit of making the magic happen Eric retained his position of manager of the abundantly popular band STS9.

CMB: Can you give a brief description of your job for our readers?

EP: I Pretty much run the show with my team here. I’m involved in every aspect of the day-to-day here in the office. I primarily am responsible for booking all of our shows in the region.

-see LIVE NATION on pg 22-

November 2014 | ColoradoMusicBuzz.com

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CMB: How did you get started in your position?

(LIVE NATION from pg 21) CMB: What was your first job?

EP: In the music business? Working for “Nobody in Particular Presents” who at the time was booking the Ogden and Bluebird Theatres as well as various shows at Red Rocks. My first job ever was stacking paint cans at a hardware store.

CMB: Where did you grow up?

EP: Connecticut with a dash of Scotland and Denmark.

CMB: What is your educational background?

EP: I Graduated from the University of Denver with a degree in Marketing and Finance.

CMB: Did you play sports, games, an instrument….

EP: Dabbled in sports up to my teens, then rock-n-roll took over and I needed a job instead to pay for all the music and traveling we did.

CMB: How did you get started in the music business?

EP: Well, what made me want to do this was being inspired by following the Grateful Dead around the country.

I was amazed at the amount of work that went into the shows from the band and their management’s point of view.

I was intrigued from my first show on. Obsessed I would say.

CMB: What was your first job with Live Nation?

EP: I hung up posters everywhere tape would stick.

CMB: What is your favorite thing about your position?

EP: Seeing thousands of people having the night of their lives thanks to my hard work.

Patrick Siller Title- Production Manager – Promoter Representative for Live Nation Rocky Mountain Music Patrick, a young man of 28, has the dark brooding good looks of a Calvin Klein men’s underwear model; what the hell he is doing backstage rather than on stage is beyond me.

Now, don’t think for a second that he doesn’t know what he is doing, because this guy is an accomplished production manager. He oversees the production of every show in the region. Patrick doesn’t waste words; in the office he saves his jewels of wisdom for the show. This interview took place on a show day, in his office. There were a few interruptions as expected. The T.V. was on in the background, sports of course and Patrick wore his usual Redwings jacket and a Spartan hockey t-shirt.

A blue candle sat burning on the corner of his desk.

CMB: Can you tell our readers what your position entails?

PS: I oversee all production aspects of every show that is booked in our region, or the majority of shows that are booked in our region. I act as a liaison between the tour, the venue, and the promoter, who are all working simultaneously to assure we have a successful show, as far as production is concerned.

22

PS: I started out as a runner, a very important position at every show. It is basically someone that runs and locates the needs of the tour and the house. They run and pickup or drop off things that are off site of where the show is taking place. It is a great way to get started in the business; you get to see what everyone does and you might feel comfortable enough to try to do something else.

CMB: How production?

did

you

get

into

PS: I was approached by “brass” in Detroit, who asked me if I was interested in learning how to do what we do, I said yes and we started the process. I’ve been doing this about seven years now.

CMB: What did you do before you got into music?

PS: I am a professional photographer.

CMB: Were you shooting music?

PS: Partially, it wasn’t solely what I did. I would do concert photography occasionally.

CMB- Did you go to college?

PS: Yes, I went to Central Michigan University and I have a Bachelor’s of Science in journalism and communications.

CMB: Do you want to do the interview? (laughing) PS: I could, I’ve done a lot of them.

CMB: So what is one of the weirdest things you’ve seen backstage or have done for production?

PS: Um, well.. (he paused and sighed) I had to build stripper poles for Kid Rock; that was pretty interesting.

Marilyn Manson usually brings certain things that are unique from other artists. That’s one of the reasons I love my job, each day is different and each day lends itself to new possibilities, and adventures and there’s something new around every corner. Each artist is different and each artist has different needs.

CMB: What do you think is one of the worst production set ups that interfered with an artist’s performance?

PS: What do you mean?

CMB: Well, something that the artist struggles with, like they just put Tommy Lee on a rollercoaster, does he come off that wanting to vomit?

Have you seen that kind of issue?

PS: I don’t know. You see most artists rehearse so much that when they go on the road and they have larger production they tend to know what is going on fairly well. I find that pyrotechnics tend to affect the artist more than anything simply just because it is such a jarring thing when compressions go off. Frankly I’ve come across more artists having an issue with the edge of the stage more so than anything else, just because they aren’t paying attention and don’t know where it is, so they almost fall off or actually fall off. I see that more often than anything else

CMB: Several artists have fallen off the stage. How long does that tend to delay a show?

PS: It depends on if the artist is injured.

I’ve seen them stumble on stage or off the stage and they don’t even stop singing, especially if it is someone professional like Beyoncé. She will trip in a dance move or something like that and she is so professional that she doesn’t even miss a beat. If someone falls off the front of the stage and gets seriously hurt the show could be over.

CMB: Have you experienced that?

PS: No, I have not had a show cancellation due to that, no. I’ve only dealt with an embarrassed lead singer.

CMB: Being in charge of production is such a huge responsibility and working with so many people, what are some of the things that you need to do to keep you on top of everything throughout the course of a show day? (awkward pause) If someone wanted to do what your job what would they need to do?

PS: You have to be very organized every day. You can’t just worry about your next show. You have to worry about your next five shows, or your next ten shows. You have to have a very large scope and vision as to what is coming up, what you are planning on and what you have to do in order to finish and be ready for your next show and also your next bunch. When you get into a busy week or a busy season, you have so many shows that if you’re not prepared, or you’re not organized than things can certainly fall through the cracks and that is where you run into your bigger issues.

CMB: What do you do personally to prepare when you have a bunch of shows together?

PS: It is incredible to realize what my body has become accustomed to, just simply from lack of sleep and long days.

I try to eat right, and take vitamins just to stay ahead of the game. But really you don’t get as stressed out if you’re organized. If I am prepared for my next three shows and I have three shows in a row, I am not as worried. I know I am taken care of, as I prepared well for all three of them.

CMB: Were you a boy scout?

PS: (laughs) I was, yeah.

CMB: Did that help?

PS: Sure.

CMB: Did anything else help you from when you grew up?

PS: Sometimes. I miss some people; I miss some sports teams. I miss being near family but I wanted a new chapter, so that’s part of what led me out here.

CMB: Do you have any fun backstage stories you want to share with our readers?

PS: Backstage is like Vegas, what happens backstage stays backstage.

You remain professional, and you keep it to yourself. You see if you gabbed about all of the things you’ve seen you wouldn’t be very well liked.

But, I will say that backstage is very boring, nine times out of ten it is just people working. It’s not what people think it is. I don’t even really have any “fun” backstage stories but even if I did I wouldn’t’ talk about them because I will probably see that person again eventually at the next show.

CMB: If you were going to pay to go see someone perform who would it be?

PS: Foo Fighters, that’s probably who is alive and playing right now that I get most excited to see.

CMB: Final question- If someone wanted to do your job, do you have any suggestions for him or her?

PS: You have to find a way to get noticed. You have to work a small role, whether it’s bartending, guest services, or cleaning crew. You don’t start where I am, as I’ve been doing this for seven years now. You don’t start where Joe or Sean are, you have to know the small things as well as the big. You work, stagehand or runner and you work really hard and then you express your interest to do more and you’ll get more responsibility and you work your way up.

We stopped the interview as the phones were blowing up with calls from people wanting to attend the sold out show. I needed to get back to work and so did Patrick. Joe was busily hanging signs and getting ready for doors, Sean was talking to the band’s manager explaining how he couldn’t for safety reasons, turn off the house lights completely. Outside the line wrapped around the block, and the Electronic Dance Music crowd chatted away with eager excitement waiting for the show. The medics, police officers, and firemen signed in for the night’s shift, and security had their briefing. The energy in the air was tangible; it was going to be another great night for live entertainment.

If you want to work in the world of music, do it, even if you have to sweep up confetti, work security, or as I do, answer the phones. This article was a year in the making and I am still learning, watching and listening. Live Nation is a great place to work and for concertgoers, artists, photographers, and fans, it is also great place to play.

PS: Well, I had a lot of jobs, and I think that each job added something. It might be that one job I learned how to carry myself appropriately in the workforce.

As different as my jobs were from where I am now, each job has led me to where I am today, so yeah.

CMB: Where did you grow up?

PS: In the greater metro Detroit area.

CMB: How long have you been in Colorado?

PS: About seven or eight months now.

CMB: Do you miss Detroit?

November 2014 | ColoradoMusicBuzz.com

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