Will Taylor and Strings Attached Concert Blog

One half of the Mandolin Christmas duo wrote an essay about the Winter Solstice. Enjoy and share with friends.

Karen and I are thrilled to present to you the 3rd in our series of acoustic holiday albums

A Mandolin Christmas, Vol. 2

Buy it at AMandolinChristmas.com
Read episode notes here:
https://christmassongsmusicandcarols.blogspot.com/2018/11/bring-torch-from-new-mandolin-christmas.html

AVAILABLE ON

Spotify b.link/karenwillspotify ~~Apple Music b.link/karenwillitunes ~~Amazon b.link/karenwillamazon ~~DOWNLOAD FROM WILL b.link/karenwillbc ~~CD b.link/karenwillcds Follow us on Facebook

Want to help us get the word out and get this music playing everywhere we can this season?

For every 1 paragraph or more positive review of our new album, we will donate $1 to Strings Attached Cares up to $1000.00

Want to match us and make this more fun and effective?

Post your review on any of the digital outlets, your social media, or email us at will@willtaylor.com

Include the amount you'd like to match for other reviews, and your limit, and you’re all set.

For example: “I'll donate $5 to Strings Attached Cares for every review submitted to Will a will@willtaylor.com , up to $500

Let’s raise $$$ for Strings Attached cares and help promote A Mandolin Christmas at the same time..

Liner notes

Follow Karen & Will:

FACEBOOK
SPOTIFY
PANDORA
APPLE MUSIC
AMAZON
GOOGLE
DEEZER
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Good morning and happy day of thanksgiving!!
Listen to our message here or read onward,
Karen and I are thrilled to present to you the 3rd in our series of acoustic holiday albums:
A Mandolin Christmas, Vol. 2 🌲
Tomorrow night at 7pm, we celebrate the release of this Album at the Townsend in Austin Texas.
TICKETS
Heads up, we'll be emailing everyone about this several times over the next couple of weeks with videos, history of the tunes, fun info on how we recorded them, etc.Hope you'll stick with us and consider purchasing a copy.Remember you can always get texts for shows by clicking here.

We’d like to invite you to let our record shine its light in your holiday atmosphere. It’s a great accompaniment to preparing holiday meals, visiting with friends and family.
Here are the links to do that:
Youtube http://b.link/mando2ytubeBandcamp http://b.link/karenwillbcCdBaby http://store.cdbaby.com/cd/karenmalwilltaylor2
Want to help us get the word out and get this music playing everywhere we can this season?
For every 1 paragraph or more positive review of our new album, we will donate $1 to Strings Attached Cares up to $1000.00
Want to match us and make this more fun and effective?
Just send your review or video testimonial as a reply to this email, post on social media and/or submit it to the CDbaby page listed above.
Include the amount you'd like to match for other reviews, and your limit, and you’re all set.
For example: “I'll donate $5 to Strings Attached Cares for every review submitted to Will, up to $500
Let’s raise $$$ for Strings Attached cares and help promote A Mandolin Christmas at the same time..
Any questions?
Get our first two holiday releases are available in ALL formats including CD here:AMandolinChristmas.com
Liner notes
More outlets coming soon…
Follow to be notified
SPOTIFY: http://b.link/karenwillspotifyPANDORA: http://b.link/karenwillpandoraAPPLE MUSIC: http://b.link/karenwillitunesAMAZON: http://b.link/karenwillamazonGOOGLE: http://b.link/karenwillgoogleDEEZER http://b.link/karenwilldeezer
P.S. We're live tomorrow at 7pm at the Townsend for a fun acoustic show featuring music from our new album and more original songs with Karen, Will and Stephen Zirkel.
Superhost
in Austin

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Strings in the Desert Acoustic Music Retreat April 27 - 29th, 2018Terlingua, Texas & Living Rock Desert DwellingsFamily FriendlySuggested donation $50/day per person, pay what you feel, or inquire for volunteer options
Marc Utter - guitar, vocals, bassKaren Mal - mandolin, guitar, vocalsWill Taylor - guitar, violin, violaStephen Zirkel - trumpet, bass, vocals

| Pay in advance here | | Two Days $100.00 USD Three Days $150.00 USD One Day $50.00 USD |

FULL ITINERARY HERE

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LISTEN TO IT HERE

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Strings Attached Tour Dates

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Tonight's Patron/Volunteer only show is happening at a private home in NW Austin. July 28, 2016 7pm
7pm Meet and Greet8pm ConcertWe about 15 seats available as of this email.To reserve a spot, text or call Will at 512-775-2371 today.

Video about house concerts with Strings Attached.Here's a little about the artists for tonight:
We're bringing mandolin, guitar, cello, violin and heart filled songs to fill the space...
It might sound like this:
or even like this:
Karen Mal sings. From raw sensuality to shimmering bell-like clarity, her voice is both tender and powerful, and as effortless as a waterfall. There's a river that flows between Karen and her audience. It's about love. The possibility and the unbearable beauty of it. Elusive and abundant at the same time.Based in Austin, TX, Karen has created a name for herself as a captivating singer, instrumentalist and songwriter. Ranging from charming to seductive, impressionistic to philosophical, her songs have brought her nationwide acclaim. Shes won top awards from the Wildflower Arts and Music Festival in Texas, the Tucson Folk Festival and the Portland Songwriters Association and has also been a three time New Folk Finalist at Kerrville, emerging artist at Falcon Ridge and a finalist at the Sisters Folk Festival.Karen has released three CDs on Waterbug records, starting with Mercury's Wings in 2002. Karen Mal is riding a musical high, raved Sing Out! Magazine about her debut. The title song is a beautiful tribute to her friend, mentor and collaborator, the late Fred Alley. Dark Eyed Sailor was next, a collection of traditional Celtic songs. The title cut won the Celtic Radio Music Award for best song in 2006. Her newest release, The Space Between, came out in late 2007 and has been getting extensive airplay, reaching #6 on the Folk DJ Chart in November.When she's not singing her own songs she's in high demand as a mandolinist and bassist appearing with Ronny Cox, Buddy Mondlock, Jonathan Byrd, Sam Baker, Ken Gaines and many, many others at Kerrville, Woodyfest and stages across the country. Karen has worn so many hats for so long, that on stage, theres nothing she cant do. You dont just get hot licks; you get melody, counterpoint, and a sense of rhythm that eases the whole sound deeper into the groove. Just ask Celtic superstars Cherish the Ladies who invited Karen to tour with them in 2005.She grew up in small-town Plainville, CT, which is exactly what it sounds like, rows of little houses and quiet people with cats and televisions, She found she was best off creating her own entertainment. "I always had music in my bones. I don't remember a time when I couldn't read music, or sing harmony," says Karen. Her mother wrote in the scrapbook she kept, "8 months old - Karen sings herself to sleep in her crib." It wasn't until she was ten years old that she found her grandpa's long-forgotten old Gibson guitar in the attic. Karen was off and running.After high school, she earned a degree in Music and Theater from Long Island University and moved to New York City -- a hundred miles and a galaxy away from Plainville. She started hitting the auditions, winning parts in Shakespeare plays, children's theater and regional theater productions. Then came an audition that changed Karen's life. These guys were in jeans and flannel shirts instead of New York theater chic and the audition was as much about her musical creativity as it was about her acting chops. Karen was immediately offered a contract with the American Folklore Theater in Door County, Wisconsin, a company producing original plays and musicals that tell the American story through the eyes and experiences of the immigrants, pioneers, native peoples and just plain everyday folks of Wisconsin. With a double role as actor and musician, Karen began a love affair with folk music.AFT was a perfect fit for Karen too, and that first season's contract extended to seven more. While there she developed her mandolin skills and was called on to play a raft of other instruments including, fiddle, clarinet, psaltery, bass, flute, bodhran and of course guitar. She also made her first creative forays into writing songs and became the resident composer/musical director for Door Shakespeare in Baileys Harbor, WI, a title she still carries. Most importantly, this new creative challenge gave her a sense of musical direction. The girl who could sing and play in just about any style realized that she could write, too.In late 1999 she made the move to Austin, leaving theater behind to play music full-time. She quickly became a favorite among the pickers and writers of a city that's become the hub of the American roots music scene. And now the rest of the country has discovered her too.Karen Mal has a storyteller's voice, sifting words like she is talking to you over coffee, effortlessly rising from dusky phrases to bell-pure highs. You believe every word and note and you could listen to her sing all night long.--Michael Devlin, Music Matters

AUSTIN - Native Texan Jen Mulhern has been performing in Austin and the surrounding
Central Texas areas for the past 15 years as both a classical and improvisational artist.
She received her Bachelor’s degree in Music Performance from Texas State University-
San Marcos after performing with the Texas State Symphony as principal cellist for four
years. Ms. Mulhern’s work as a freelance cellist with an adventurous spirit has led to
performances with an eclectic lineup of artists such as Amanda Palmer, Michael Buble,
Deltron 3030, Edgar Meyer, and Wilson Phillips. She has also co-written and
collaborated with countless singer/songwriters and is well known for her quick ear and
on-the- spot arranging during recording sessions.
Inspired by the vibrant music scene in Austin, TX, Jen began working with improvised
compositions using acoustic and electric cello with a live loop station. In 2014 she
released DVD footage of a full-length live concert titled ‘Jenuine Cello-Live at Café
Crème’, which captures the visual/musical collaboration with artist Topher Sipes.
“Jenuine Cello is a captivating model of a one-woman band. Her live compositions take
listeners on a road trip free from genre and saturated with an array of influences. With
undercurrents of Bach and Bjork and everything in between, this project demonstrates
the power of the cello looped, layered and mixed with glitchy self-made beats and bass.”
Ms. Mulhern maintains a private cello studio in Austin, TX, teaches private and group
classes at the Austin Waldorf School, and currently performs with the Victoria
Symphony, the Corpus Christi Symphony and as principal cellist of the Laredo
Philharmonic. She has been a featured clinician/performer at the Coastal Bend and
Songbird Suzuki String Camps and served as Director of the Texas State Strings Camp
from 2003-2012. During her years directing the TSSC and through her workshop “Plug
In and Play Out!,” Ms. Mulhern is devoted to helping young musicians embrace a spirit of
creativity, playfulness and versatility.
To hear audio clips or find out more, visit www.jenuinecello.com----------------------------------------------------------------
To reserve a spot, text or call Will at 512-775-2371 today.

Strings Attached House Concert with David Glaser

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I've been enjoying ecstatic dance for the last year and half after being dance-phobic my entire life. Its ironic but pretty common for musicians to have this condition I have found. Dance has literally opened up a new expressive outlet for me not to mention a loving community of new friends. Prior to dance, most of my community needs we're met by my profession as a musician.

Instead of accepting drugs intervention for some mental health issues, maybe we could see the "mental health issue" as wisdom from the body. That something needs to shift or change.

See this moving story of a young child's healing journey with dance... and maybe you'll be moved to move your body too! Its what our bodies and minds need.

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Every Wednesday, Jazz Rock Violinist Will Taylor and his quartet hosts a happy hour concert with special guests from the Austin music community.This week, we will be celebrating the 43rd Anniversary of Pink Floyd's Dark Side of the MoonYou'll hear The Dark Side of The Moon in its entirety uniquely reimagined by Strings Attached live at Tellers. For this week's event, Will has gathered some of the most expressive musicians in the Austin area with world-class grammy winning experience.On electric guitar, we have Dave Scher. On bass is Chris Maresh who currently tours with Eric Johnson, on drums will be Brad Evilsizer [https://www.youtube.com/watch?v=3OJ-rDW-jiY] , and leading the show on violin, Will Taylor who's name as the guy for strings in Austin, has attracted acts like Pearl Jam and Grammy winner Shawn Colvin. Strings Attached is proud to feature prominent Austin talent, including award winning keyboardist Dave Madden, and local vocalist Marc Utter.See video about Hump Day here: https://goo.gl/iDVqYzSee upcoming Hump Day shows here:https://goo.gl/j4pZhgRSVP to the event here and get some free music by Will Taylorhttp://goo.gl/nuaj80

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Is it the same old story, or can we celebrate what models exist that have success.

Here's my response to the results of the AMP Study and a recent article on the state of the Austin music scene roundtable discussion published in the Austin Monthly.

The AMP study reports that more than 1,200 local music industry jobs were lost in just a four year period.
“We’ve sounded this alarm before, and we keep coming back with more data that says Austin music needs attention if we are to continue to be an economic driver for this region,” says Bobby Garza, general manager of local company Transmission Events and AMP board chair.

25 years ago KUT 90.5 invited me along with Mike Mordecai and a few other Austin music scene experts into a basement studio for a live broadcast on the state of the Austin music scene as it was in 1991. The same questions were asked and for the most part the same problems existed. What I've seen over the years is that musicians leave for greener pastures, the marketing campaigns remain and attract new celebrity seekers to town, and the whole process just keeps repeating itself. Musicians and folks that care about the scene complain but nothing really ever changes....or does it?

Maybe if we look beyond the standard models of music presentation, under the radar of what's popular in Austin, or what's on the hot morning drive radio stations. Could there be other models of live music presentation or are there musicians that are creating new outside the box ways?

Dig deeper and I know you will find them...

Events like Full Moon Barn Dance, Hamm Jam, or Strings on Grass have been thriving for years.

Or what about the Live Music Capital Foundation or John Pointer's dream of Patronism.com?

Dig deep music lovers of Austin. There are other places besides ACL, ACL live, the warehouse district, and 6th street where music lovers can find their home. All is not lost in the noise and congestion of this thriving live music town!

I would love to hear about organizations or musicians that are doing just this: re-inventing the Live Music Capital right now. How about a little attention for what is working?

Here's a quote from an interview I did with my friend Dr. Stephen Kinney of the Front Porch Project.

"The musician can no longer make dough from their music...so each musician now has to become his or her own business person. More and more time has to devoted to making a living. Because you're not making a living from selling your work. People can access it for free. We need as a culture to own the fact that we need to be patrons of the folks that are willing to take the risk and do the hard work to create the music. If we don't all step up and pay our fair share and quit expecting musicians in Austin to play for free because they all need the exposure. And give that living wage...and get that mindset and change the culture...then not only are we going to lose music in Austin, but it's going to be just one big cliché."

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Today is the last day to vote in the Austin Music Awards
(http://www.austinchronicle.com/polls/musicpoll/)

If you love what we do, would you please head on over here and consider voting.

Here's a cool little video about Strings Attached:

BEST STRINGS: Will Taylor
GUITAR: DAVE SCHER
BASS: CHRIS MARESH
DRUMS: BRAD EVILSIZER
BEST KEYS: DAVE MADDEN
JAZZ: WILL TAYLOR and Strings Attached
MUSIC VENUE OUTSIDE CITY LIMITS: Strings on Grass
Photographer: Dave Pedley
ONGOING MUSIC RESIDENCY: Will's Hump Day Happy Hour Music Special

Vote here

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On Simon and Garfunkel, from an old guy that was there:Something sad there is contained in the harmonies of Simon and Garfunkel. Their sound is folkish, but they weren’t exactly folksingers because they performing new material written by Paul Simon .The sadness of their harmonies and lyrics spoke to a sorrow that is in all of us, and it spoke to the times also. President Kennedy was assassinated in Dallas in 1963. “I am a rock, I am an island” speaks of the alienation of youth at the time. This was still the silent generation in many ways. You were cool and silent and hopeless, beat as the beat writers maintained.“Silence like a cancer grows.” And “Here’s to you, Mrs. Robinson,” trapped inside a loveless upper middle class marriage. The song became an anthem in a my generation’s first generational film, “The Graduate.” No, we did not want to go to work in the plastics industry or end up in upper middle class marriages.”Perhaps you have seen the movie and have seen Dustin Hoffman floating meaninglessly around in the parent’s backyard pool, wondering what to do with his life. “The nearer your destination, the more it keeps slip sliding away.”Then more sadness: the dream team breaks up and things end inharmoniously. Paul Simon re-establishes himself firmly as a solo artist with the brilliant album Graceland. He has been through a divorce and is seeking answers taking a trip to the dead Elvis’ mansion. He is lost and sad, seeking a grace not yet found. The album takes a great leap into international music by including African sounds, but even with these new rhythms—a real break with the simple rhythms of folk—there is still sadness. Ah but he is there for you, this singer, willing to lay himself down for you, like a bridge over troubled waters.There are two sides to the American experience, the sad sorrowful side coming from our Puritan forefathers, and our optimistic side, coming from the revolutionary experience of establishing the first successful democracy since the Greeks. The sad side is often forgotten because, well, it takes great artistry to get us to listen to the sad. It’s much easier to get up there with Lucy in the sky with diamonds, or into the strawberry fields after a ride on the yellow submarine. But a human who does not feel the sadness, the sorrow, is only half human—a mere bubble floating on the surface of the water of life. Get yourself a glass of wine, listen to Simon and Garfunkel, get down deep and let the tears form in the corners of your eyes.Chuck Taylor
Read about my dad here.
See the Songs of Simon with Marc Utter and Karen Mal at Tellers 607 Trinity Wednesday 6pm. RSVP here http://goo.gl/Om65CW
Watch show online here: http://goo.gl/xNZlrZhttp://goo.gl/xNZlrZ

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John grew up in Ann Arbor, Michigan.
He has a degree in Cello Performance and Composition from UT Austin and has been a full time musician based there ever since.
His father was a physicist and engineer and designed the 1969 Dodge Charger Daytona, the fastest stock car ever produced in Detroit.
His mother was one of the first computer programmers trained by Chrysler to work on their giant, tube-driven, punch card machines back in the 1960's (it took up as much space as a football field and had a whopping 8k processing power).
He has gone paragliding in the Swiss Alps and hang gliding in Rio de Janeiro

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When I was 29, I was pretty sure my life fell apart. My internationally-touring, seemingly success-bound band met with a fiery, inevitable demise, and a few months later, my long-term, live-in girlfriend left too. I was suddenly alone, both professionally and personally, and the bony finger of blame pointed directly at me from every empty angle. I lost my way, I lost my appetite, and I lost an unhealthy amount of weight, slowly starving myself, but almost completely unable to eat.But from the bottom, at least there's only one way to go, so with a lot of help from my friends, family, and the SIMS Foundation, I started climbing out of that pitiless pit.A year later, I got to watch myself hit the national airwaves on an underwriting spot for Austin City Limits, beatboxing, singing, and doing body percussion in the style of my former band, Schrödinger's Cat. Then I landed the Chili's Baby Back Ribs commercial, as a human beatbox.
It's an odd place to show up, for someone with a degree in cello performance and composition, but as an artist, you just go where the money is, so there I was... Selling unhealthy food that I'd never eaten, and never would, to pay my bills. And it paid better than anything else I'd ever done. Which really seemed weird.
I coordinated my first solo performance with the release of that commercial. It was everywhere, and I bounced all of the attention toward a single date, Jan 22nd, 2003 at the Saxon Pub. My father was visiting from Michigan, and on the way to the gig, glowing with pride he said, "Oh Johnny, I always told you I'd drive your limo when you were famous..."I said, "famous schmamous... I need four more of these commercials to get out of debt. I don't need to be famous, I just wish I could make a living."He said, "Johnny, artists have never made a living. They have patrons." It was so true that I had no idea what he meant; I needed to pay bills, not paint the Sistine Chapel.Five years later, I had a wall full of Austin Music Awards, and the same problem. You can't buy groceries with awards, no matter how many you have. I knew I was missing something, but couldn't figure out what...Then we had the 2008 presidential election. The country was split pretty evenly between Obamanites and McCainians. I have friends all the way across the political spectrum and one remarked offhandedly, "you're not going to get what you pay for with that guy." And I said, "Whay so you mean? I get what I pay for as soon as I give him the money."And that caught my attention. So I started digging into it. "The giving is the getting?" That made no sense, and all the sense in the world, at the same time.A few days later I realized, "there's a part of me that wants to feel alive through resonating with what he's doing, and the best way for me to ensure that part of me keeps resonating a to make sure he can keep working. When I support his work, I feel good."Then it hit me: that's what artists do. That's how patrons feel. That's what my dad had meant. We don't just buy music, we love it. And nothing makes us feel better than empowering something we love or believe in.So I built a really basic subscription option, and offered it to my audience. Over 50% of them tried to sign up that night, and 34% were successful. Then my jaw dropped, and I realized that it wasn't my problem alone, it was a community-wide problem. It wasn't that I couldn't eat... it was that no one else has ever been invited to make a meaningful, personal impact.I also recognized that I had just accidentally bridged the digital divide between free music on the Internet, and the ongoing expense of actually producing it. So I built a whole platform, called Patronism, and began splitting my time between performing, and helping other artists connect more meaningfully with their own audiences, in ways that benefit both. And I didn't have to do commercials for unhealthy food to sustain my career. It turns out that the money isn't just in the products, which represent what has already happened, it's in the promise for the future, and in the work itself.And to this day, while I still love performing, and believe I'm at my best when I'm doing it, nothing makes me happier than helping people benefit from that one basic idea: Musicians make music, patrons make music happen, and the partnership between them makes life more meaningful for both.And I sometimes wonder, where would I be now if my life hadn't fallen apart?

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Austin Drumming Legend Brad Evilsizer - Yes that is his name!

He was born in Honolulu, Hawaii at Trippler Hospital in Pearl Harbor, the same hospital Obama was born in.
Brad studied at Wichita State University and the University of Colorado where he was awarded a degree in Music Engineering.
Brad has shared the stage with the likes of Ernie Watts, Ian Moore, Mitch Watkins, Tony Furtado, Soul Hat, Glenn Rexach and Clay Moore, performs frequently with La Tribu.
He teaches at the Austin School of Music.
His community service includes modeling to Austin-area students the incredible musicianship that results when kids apply themselves to their artistic dreams, which he proves with great wit and comedic effect, as part of Will Taylor's grant-funded American Roots program.
Brad is the son of a Navy man, Marshall Evilsizer.
Grammy nominations include collaborations with Latin Salvador group and Sara Hickman twice
He played steel drums for Stainless steel in Wichita.9. He is an expert skier, starting at the age of 5 years old.10. He is marrying college sweetheart, pianist and vocalist Julieanne Stapleton. 11. He has a dog named Max.12. Brad has over 250 album credits.13. He has a half sleeve of tattoos on both arms.14. He was a special ed teacher for 3 yrs at Hays HS.15. Brad loves carrot juice and can make a mean basil pesto.16. He has opened festivals for Bonnie Raitt, Steel Pulse, and Santana.17. Brad is a huge Pat Metheny fan.18. Able to survive Steve Zirkel for 29 years!
Come see Brad play at Tellers this Wednesday, visit StringsAttached.org for more info

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1. Some of Chris' influences include Ron Carter, Scott Lafaro, Jaco Pastorius, and John Paul Jones
2. He holds a degree in Applied Double Bass Performance with an Emphasis in Jazz performance from the University of Texas in Austin
3. In 2002, 2005 and 2006 Chris was named "Bass Player of the Year" at the Austin Chronicle Music Awards at the SXSW Music Festival
4. He had done recordings for movie soundtracks such as Robert Rodriguez's "Spy Kids 2" and "Once Upon A Time in Mexico," Nora Ephron's "Michael," Mark Illsey's "Happy Texas," and Peter Howitt's "Sliding Doors"
5. He has performed with guitar legend Eric Johnson for over and his side project "Alien Love Child" for 10 years and was nominated at the 44th Grammy Awards for Best Pop Instrumental of his composition, "Rain"

Come see Chris play at Tellers this Wednesday, visit StringsAttached.org for more info

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1. He graduated from Austin High School and then subsequently attended the Sarah and Ernest Butler School of Music at the University of Texas at Austin
2. He has spent 26 years playing with the Austin Lyric Opera
3. At the age of 22, he toured with the Turtle Island Quartet
4. As part of his commitment to community service, Taylor presents Strings Attached in a series of Austin-area school informances called American Roots, which exposes kids to various composers and musical styles comprising the "roots" of American music today
5. He has appeared with Strings Attached on Austin City Limits sharing the stage with Rock group, Pearl Jam

Come see Will at Tellers this Wednesday, visit StringsAttached.org for more info...

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1. Some of his musical influences include Stevie Ray Vaughan, Jimi Hendrix, and Jeff Beck
2. Along with playing with Will Taylor at Tellers every Wednesday, Dave plays at Friends Bar on Mondays, Strange Brew on Tuesdays, and at the Four Seasons Lobby Lounge every Thursday
3. He studied for four years at the Berklee College of Music
4. He has performed with the likes of Krysta Youngs, Zach Lockwood, Ryan Pinkston, and Big Party Orchestra 5. Aside from having his own voice in the songwriting and original performance department, Dave has spent much of his career as a sideman and session guitarist, bassist, and keyboardist.

Come see Dave play at Tellers this Wednesday, visit StringsAttached.org for more info.

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1. In 1992, Christine Albert founded the non-profit organization "Swan Songs" which fulfills musical last wishes 2. Christine grew up in upstate New York while Chris is a South Dakota native
3. With the exception of 1997’s Jumpin’ Tracks, Albert and Gage’s albums have been recorded at their own MoonHouse Studio (a commercial facility in south Austin) and released on the artist owned MoonHouse Records 4. Chris Gage once commuted from Austin to San Antonio for a job as musical director for the Fiesta Texas theme park
5. Christine was the Chair of the National Board of Trustees of The Recording Academy 2013-2015; Vice Chair 2011-2013 and Trustee 2007-2011

Come see Albert and Gage November 13th in Concert StringsAttached.org for more info

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Guy and Will were born on the same day and same year.
His father worked for an airline company, causing him to relocate from Missouri, New York, Connecticut, and California while growing up
He is a founding member of Austin music group, "Asylum Street Spankers"
His band has toured in the U.S. and Europe and has opened for Ray Charles, Robert Cray, Jimmie Vaughan, and the late B.B. King
He has won several Austin Music Awards, including one for "best male vocalist" in 2005
Guy and Will collaborated in 2002 to release Live from St. David's...A live concert recording available here.

See Guy Forsyth November 11th in Concert at Hump Day Happy hour ----> StringsAttached.org for more info

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5 Things You Didn't Know About Libby Kirkpatrick:

She grew up in the suburbs of Philadelphia
She began playing classical piano at the young age of 3
Drawn by her adventure-seeking desires as a nomadic youth, Libby left home to live as a minimalist overseas in India and in Thailand, and then busking in Ireland
Some of Libby's interests outside of music include: astrology, nutrition, cooking, yoga, mind-body connection, dance, travel, visual & performance art, language and metaphysics
She participated in the non-profit organization, "Knowbility" which improves technology access for millions of youth and adults with disabilities all over the world

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She was born in Bristol, Connecticut
When she was 10 years old, she found her grandpa's long-forgotten old Gibson guitar in the attic
She attended Long Island University and trained in theater and voice
Before moving to Austin to work full time in music, she worked with American Folklore Theater in Wisconsin for 7 years as an actor and musical director/composer
She toured with Celtic superstars, "Cherish the Ladies" in 2005

See Karen Mal November 4th in Concert at Tellers for the Hump Day Happy Hour. 6-730pm at 607 Trinity Austin Texas

StringsAttached.org for more info.

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Interview With: Albert and Gage, guests for Strings on Grass November 13, 2015 RSVP here.Listen here or podcast here.Interview Conducted By: Will TaylorWill: Christine Albert & Chris Gage are appearing with Strings Attached at our Strings on Grass series, coming up on November 13th—after being rescheduled two times because of rain in Austin!—So, we’re here to talk a little bit about the two of them, and some questions that I have pulled together, as well as some reflections that they have on working with Strings Attached. I hope this interview will get people excited about the show.The special thing about Strings Attached and our concerts, is that we have this one-time experience when we get together with singer-songwriters, and reimagine their music… sometimes to an extreme level. For instance, when we do Beatles tribute shows, we might reimagine the music in a completely different way than the original versions. Along with our ever popular cover shows, we love to collaborate with singer-songwriters in the Austin area,—like Eliza Gilkyson, Slaid Cleaves—which was the original direction our band took in the beginning, years ago. We bring to the table, certain things like jazz improvisation, or different vocal sounds, adding some color to the arrangements. We try to create a unique experience for people to come out and be intrigued. That’s the first thing that I wanted to talk about. If I remember correctly, we had a show about 10-15 years ago. Chris: Has is been that long?Christine: Yeah, I think so, I think it has.Will: Yeah, and it was at Saint David’s church, which is a beautiful space. Yeah, it’s a distant memory for me. I’m curious to see if you remember anything specifically about working with us… or anything in general about what we do. So yeah, my first question is: Was there anything notable about that performance?Chris: I just remember being thrilled to hear our songs envisioned by someone else. Like you said, everyone has a different take on music. Some people come from a more classical background, and some people have a little more jazz. You know, I do this gig at Strange Brew every week where I’m playing with somebody different every each time… it’s a lot of time the same songs, but each person is going to bring something different to it. And what you do with Strings Attached, is real inventive. And plus, you have a core group of people that do this a lot. And so they know what you’re thinking when you write an arrangement, and they can help you bring it to life. It’s just real exciting for me.Christine: Yeah, I think every artist has sort of a fantasy of hearing their music with strings or with an orchestra… more arranged in that way. For me, it brings an elegance to the music that we try to bring that to our performances at Don’s Depot. It’s not always there. Chris: Well, I turn on the string machine sometimes. (Christine laughs.)Christine: So especially at Saint Davids, and in that beautiful environment, it was almost mystical. And I imagine the Strings on Grass is a different kind of environment, but also brings a sort of natural, organic beauty to it that really compliments the music. Will: Exactly! Yes, that’s the same approach that we were taking with the original Strings Attached series in the church; was that context where people walk into it. It’s not just about hearing the music directly, but it’s the environment that you’re in. It really affects the emotional receiving of the song, or the music. So same thing, you’re right! With Strings on Grass, we’re in this beautiful, gorgeous yard with large trees, and there’s lights shining in the trees, along with the stars above. There’s something about hearing music in a natural setting. It’s very different from Saint David’s, but I think it’s very natural. You know, for instance, Karen and I love Kerrville (The folk festival). So there’s a little bit of a being-around-the-campfire feeling, and we really enjoy it. So people are coming for the experience. The full on music in nature experience. So we look forward to hearing your songs. It makes me think, are there in nature songs in there? (Will chuckles.) Maybe we should pick out a song that’s fitting for that setting.Christine: Yeah, we’ll have to look at that.Chris: How many of these have you done, Will?Will: We’ve been doing them for about a year, just over a year. So we’re probably at 12 or 13. Chris: Oh cool!Will: We’ve done one every month, and we take off the winter months, obviously. And yeah, I’m really enjoying putting these shows on. People enjoy bringing kids, but still are able to really enjoy the music. Some outdoor events, you know, people start to talk, and then the music becomes the background to conversations. So we’re still trying to bring over that respect for listening, which is what we started with at Saint David’s. Chris: Well we’re really looking forward to it.Will: That sounds great. So, okay, onto the other questions. There’s an artist whom I really respect, and I have been studying his book called Effortless Mastery. You may have heard about it when I sent you the list of questions. Kenny Warner talks about the idea of just getting out of the way of yourself and your ability to grow and thrive as an artist. It has a relation to mindfulness work, meditation, you know, the idea of just letting things happen. Like the song “Let it Be” that the Beatles wrote. So I’ve been very attracted to this idea of getting out of the way of myself, as a performer, as a creative person. There’s this quote in here, I’ll read it quickly: “Ultimately, musicians of the world must come to realize their potential of their calling. Like Shamans, we may service healers, metaphysicians, inciters, exciters, spiritual guides, and sources of inspiration. So if the musician is illuminated from within, he becomes a lamp that lights other lamps.” And it goes on. I was very attracted to that idea, and the fact that we could relate this to you, for instance how you have the swan songs organization. How do you resonate with this? Christine: Well, most of it does. In fact, all of that resonates with me especially because I do practice mindfulness meditation. Recently my mind has been very busy because I’m so active in other things. So I’m in a different mindset most of the day, and then I get to the performance, walk onstage, and start singing. When I find my mind racing, and I’m not really present, I actually close my eyes and practice meditation, in between the lines of the song. That’s by focusing on my breath, and being in the moment, it brings me back to why I’m there, and then it starts to become a gift to me when I can really get out of my own way. It’s certainly hard for me, because there’s so much going on in my life and in my brain. But that’s the technique that I use. And I have my own personal prayer that I wrote years and years ago that I say. For instance, every morning, or especially before a performance. One of the phrases in there is: “My life is a vehicle for divine love, and my music is the instrument of expression.” So I believe that the quote you just read resonates with me because of what I say to myself.Will: Mhm. And so you still find that you have to remind yourself when you get up there on stage.Christine: Totally. It doesn’t come naturally, but the more you do it, the more years you sing, as a performer, and I think just as a person who’s connected to why I do this, it’s obvious to me when I’m not connected, I’m like whoops! oops! oops! It’s kind of like when you’re meditating, and your thoughts start to take off, and thinking, and you have to bring it back to the breath. When I’m doing that on stage, I realize “Oh, I am really not here. I just created an agenda in my mind while I’m trying to sing a song. “ And that of course is not going to work for the entire performance. And I think I can feel it when I shift back. And I think Chris can feel it too, he’s like “okay! you’re here with me now.” He knows exactly when I’m not. And even if I’m singing all of the right notes, and getting all of the lyrics, it’s obvious when I’m not present.”Chris: Well it’s amazing how much you can think about while you play. And I look at it this way: We spend our whole lives learning, and preparing, but when you step on stage, and that one person has come because they love your music, or they need something out of that evening, well then it’s time to just let it seep out, explode out. And I know that when I totally forget that I’m taking a piano solo, for example, if I just let it fly, those are the ones that get responded to the most. Not if I’m trying to play like Fats Waller, or if I’m trying to make sure that my left hand is in time, you know. If I just explode, those are the ones that people react to. Will: I was going to ask you a question, related to that comment, actually. What does a great solo feel like, or look like to you? And part of what you’re saying, is you’re so out of the way, you really don’t even notice it. So that’s what you’re saying?Chris: Well it’s come from years of doing it, you know. There are solos that musicians have a term for, that you’re very aware of. It’s called noodling. And it’s just you know what notes go on the scale, and so you play some. But to me, a solo is like a whole song itself. It’s a whole competition. It has a beginning, and it has a rise, and it has to resolve itself at just the right time. It has to be emotional, it has to be clever at times, you know, but it more than anything, it has to just fit the mood of the piece that you’re in. Will: So I’ve got a little follow up question with something related to that. I’ve always wondered: For me, I’ve studied the jazz traditional method, and if you look at Charlie Parker, or even Louis Armstrong, when they take a solo, they take certain approaches. With Louis, he takes the melodic approach, always relating his solo to the main melody. Whereas Charlie Parker and some of those main cats, you know, the bee-boppers, completely are going way off. So how much are you actually improvising? Do you consciously go off completely from the melody? Or do you generally always try to work off of the melody?Chris: You know, in the studio, when I’m trying to get something out of a soloist, I refer to it as “melody plus”. Which is an odd thing. Will: Okay.Gage: I don’t like to get too far away from the melody. And I’m totally happy with a baritone guitar solo that plays the melody, I think that’s beautiful. One of the coolest solos on record—and this also relates to you mentioning “What’s your favorite song?”—there’s a Glenn Campbell recording of Jimmy Webb’s “Wichita Lineman”. And when the solo comes in, its just the melody, and it is so satisfying to hear that. It’s better than any hot lick that could ever have been picked by Tommy Tedesco, or another guitar player. It’s just the melody. (Chris starts humming.) And it’s just gorgeous. So there’s a lot of songs that I will just play the melody, and others, “melody plus”, as I call it. You’ve got to sneak off and do something exciting, two-thirds of the way through. Bring it back to the home base at the end of a solo. Will: So it’s like those little shuttle inflections on the melody that make it your own. It really brings it into the moment. This particular melody you’re talking about, he pretty much states it the way it is?Chris & Christine: Yeah.Will: Nice. Okay, this is from a musician standpoint. I’m always interested to hear other musicians’ approach to that. Because the jazz players sometimes will be like: “Oh, well that’s boring. I don’t want to hear the melody over and over and over again.” But then if I listen to some folk or pop records, that’s all they do! And it’s like you said, it’s actually very pleasing to hear the melody. I don’t want to get too far off on that, but I’ve come from a jazz position, and then for the last 15-20 years have been around people like Eliza, and you guys, and been pulled back toward “this”, kind of stating simplicity, and roots music. And so it’s an interesting journey for me to get back to being grounded; what naturally comes up as opposed to—. You know as you were talking about earlier, I’ve got this classical background, but I’ve spent a lot of times in the last 25 years just coming back to the roots music. Which is an oral tradition, it’s not a written tradition. So I love it. I love staying with the melody.Christine: It’s interesting, as a singer, I’ve found, that because I’m playing with so many different players now at Mystery Monday, (Monday nights at El Mercado) lead players jump up there without hearing most of the songs we’re doing. And so I’m really struck by how a soloist impacts the way I sing, and what I get from that and the way we interact. Chris was saying there’s a beginning, a middle, a rise and end, and really the whole solo can be a mess, but if you end it in a way that really leads into what I’m about to say or sing, I’m always like “Yes that was awesome!” There’s something about setting up what the singer’s about to do next that is part of the role of the solo. If it’s a certain kind of solo, I bring that excitement and that energy, or that tenderness or that folk. Whatever it is, it so compliments what the singer is about to do. And feeds into it. So I really appreciate that.Chris: Well and I think that’s the role of the soloist… especially in a vocal group. The role is to not draw the attention away from the song, not to be all “Look at me look at what I can do!” That’s when they’re not considerate of the melody, or the vocalist, that’s about to come back and deliver the song. And it has to relate to the song itself. I’m a jazz fan, and I love the older stuff. I used to love the Miles Davis Quintet records, and I would just get lost in them because half the time I couldn’t follow what they were doing. On a heart-level, it doesn’t get me, but just washing through my brain, and giving me exciting musical experiences it does that. But on a heart-level, I would much rather just hear a great country song, actually. I’d rather hear Lefty Frizzell sing about forgetting to shave that day. Will: Yeah, I get that. And from working with singer-songwriters for the last 15-20 years, I enjoy the sideman aspect. I enjoy the simple art of laying out and finding where to fill, to compliment the song. Because from my standpoint, a great song exists with simply the melody and the lyrics. Even without a rhythm part, you can just sing it a cappella . So then therefore everything that I’m bringing to the table has got to be supportive. Essentially, I’m not really needed. So I’ve got to find this beautiful space where I can just slide my creativity in, and so I’ve really enjoyed that, because I originally came from playing instrumental jazz. In that, i was playing all of the material. What I’m trying to do is bring what I’m learning from this—playing with singer-songwriters—back to the instrumental music. Bring the heart back.Chris: And that’s exactly right. And when Christine and I do a show, and we have a new musician with us, including y’all, we always say, find your spots, but don’t forget, we do this all the time without you. You know, it’s all there. It just needs a little spice and seasoning. Will: Exactly, okay now to the next question. That was good, nice organic flow. So, do you have a preferred question? Chris: Well you asked what we do on date nights. We went to see the Martian in 3-D the other night. That was a good date. Christine: Yeah, at the Alamo. We actually don’t get many date nights, we’re just always so busy. We play so many weekly things. He plays every Sunday morning at Riverbend, and we both play Mondays at different venues. He plays every Wednesday, we’re almost always working on weekends, and we spend a lot of time doing studio sessions during the day. So date night, usually we opt for a movie or if we have a night off, we always want to be with our kids, and grandchildren, so we do family dinners a lot. That’s our indulgent time is to get the entire family over, and cook together. And they’re all great cooks, so I get to take advantage of that, because I’m not. (Laughs.) Our evenings are late. Chris doesn’t usually come out of the studio, and I’m not usually home until 9:30 or 10, so we have late evenings together. That’s our down time too, if we’re not working. Will: Yeah, with Karen and I, I always dreamed of having a musical family. We kind of do, like with Coralina, we have some music that we play with her. But it’s not like there’s music being played all the time in the house, because we try to take a break from that. Is that kind of what it looks like in your household?Chris: Yeah, we actually have one album that we play every time we cook, and it’s Paolo Conte’s greatest hits! It’s all in Italian, and we all sing along, even though we don’t know the words. (Christine chuckles.) But it’s just the perfect kitchen music.Will: That’s funny.Christine: Yeah you had asked also about practicing, and what that looks like. And we really don’t, we really don’t practice. When we have new songs, we sort of learn them as we go on stage. Although, I need practice more than Chris does, I’ll say. I’ll be like, “We really need to sit down and go over this, if it’s a new one that we’ve released.” I really need to get it in my brain, and go over what the arrangement is. But quite often it’s just as we go because we’re playing so much. And then there’s so much business to take care of during the day. And with all of my nonprofit work, I’m just like an office person everyday. It’s just regular office hours and then I play gigs. Will: Oh, I’ve got a great follow up question to this. It’ll help me to hear your answer to this, because I myself spend so much time taking care of my business as well. And in the Western world, we’re so focused on time, and doing. And after all, we’re actually not “human doings”, we’re “human beings”. Sometimes I just think: Okay, well if I didn’t have to do all of those business oriented tasks, what would you do if you had more time available. Let’s say if you had four more hours in the day, is there anything you’d want to do in regards to practicing and taking your music to the next level? Christine: If it was musically, I would relearn to play the piano, and to write with it. I enjoy writing with piano, but I hardly ever do it. Piano was actually my first instrument as a child, but I haven’t really played in two years. So if I really was going to spend indulgent time on the music part, I would reconnect with piano, and I would get my flute fixed, because my flute has such old pads, that I can’t event play it. I would revive my flute because I also used to play that for many years. And I love to play it I just haven’t put the focus onto it. And just creatively in general, I really want to write more books and essays. I would spend more time writing, which means you have to spend a lot of time unplugged, in solitude. Nature helps me, gardening helps me, to get into that space. And I am so far from that right now. Chris: Yeah we don’t have time for that right now. I haven’t written a song in a long time because I’m so busy working on other people’s songs. All day every day. And then I take 30 minutes to try to think about what I’m going to do for example, I’ve got a show tonight at 6 o’clock with a guitar player I’ve never played with. And I’ve got to think about what might work between us when I don’t have even a clue of what his style is. So I’ll take some time and put a little thought into that. Christine: And he’s in the studio now working on someone else’s music all afternoon.Chris: Right, now if I had four hours a day, I’m sure I would be composing, and working on some tracks for t.v placement, and writing a new song for Albert and Gage. Will: Nice, well this was great. We took a little extra time, so thank you guys. I wish we could go on, I just love it. I’m trying to do these little interviews to create some interesting content where it’s from the point of view of us as musicians. I think it could create some interesting conversations. And this could be content that you could have up for years. This feels kind of like as if I was Terry Gross, except for Will Taylor with Fresh Air. So I appreciate y’all for being guinea pigs for my new idea, I really appreciate it. I enjoyed you guys.Christine: Thank you, it was a good conversation.RSVP to the show here.

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| Great Austin musicians in a country setting, under the stars featuring new arrangements by Will Taylor Location: Private Home in Far South Austin RSVP to get the detailsWhen: Starts around 7:30 - Depending on SeasonSee dates below for each show. Watch Video about the series! |

Jimmy LaFave April 19th

MAY 16 Christine Albert
JUNE 6 David Glaser and Songs of James Taylor
JULY 11 Abbey Road Re-Imagined
AUGUST 15 Gina Chavez
SEPTEMBER 12 Dana Cooper
NOVEMBER 7 Libby Kirkpatrick
DECEMBER 5 Gurf Morlix

| Strings on Grass Sunset Series 2015 Season(We are accepting donations in advance for all concerts. Suggested donations made in advance are $20/person. Checks should be made out to Strings Attached)

| | Strings on Grass is a handicap accessible, smoke free, outdoor house concert series located near Slaughter Creek Dr. and Manchaca. Well-behaved youngsters any age are welcome.All attendees are encouraged to bring a picnic, their own seating, pillows, blankets as needed. Attendance is by invitation only and RSVPs are required. Directions will be emailed to those with confirmed reservations.2 ways To RSVP for Strings on Grass1) Online: click here or 2) By mail: please fill out the form below and mail it at least 1 week before the show.Will TaylorStrings on Grass Series9300 S IH 35Suite A500Austin, TX 78748Suggested donation is $20/person per show.Checks made out to Strings Attached.Want to HELP STRINGS ON GRASS?1. Join our tag team (Let us tag you a few times a month on FB and get some free music as thanks) 2. Become a Patron 3. Volunteer |

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| Strings on Grass Sunset Concert Seriesfeaturing Jimmy LaFave and surprise mystery guestGreat Austin musicians in a country setting, under the stars featuring new arrangements by Will Taylor |

| Sunday, April 19, 2015(Doors open at 6:30, show starts at 7:30)at private home near Slaughter and Manchaca RSVP to get complete information |

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| Strings on Grass is a donations-based concert series, so pay what you can or feel.Suggested contribution: $20/person at the door. |

| We are pleased to bring back Jimmy Lafave and a secret mystery guest, lover of Barton Springs in from Vermont. (See videos of Jimmy here) The last few years we’ve been in the studio with Jimmy, recording a cut with him on his Jackson Browne Tribute album, and two songs on his most recent album release. Back in the 80’s my high school best friend and I would take our strings downtown and sit in at the Chicago House open mike frequently hosted by Jimmy Lafave. Years later I ran into Jimmy at a live KGSR radio tribute to Bob Dylan; from that radio show the first season of Strings Attached was born.Here are a few songs I arranged for that first show back in 2001:Never is a MomentWhen It Starts to Rain (KUT Radio Appearance)Jimmy LaFave was born in Wills Point, Texas, a small town 30 miles east of Dallas. He began school down the road in Mesquite and by Junior High was making music perched behind his Sears & Roebuck drum kit. It wasn’t long before his mother traded a drawer full of green stamps for his first guitar and the switch to singer–songwriter was in progress. His family later moved to Stillwater, Oklahoma, where he finished high school. Although he has lived in Austin for over 20 years, many people think of him as being from Oklahoma, because of his strong musical ties to the state and what he often refers to as its “red dirt music.” It was in this landscape that he began to define his sound and soak up a combination of his experiences among authentic songwriters from the tradition of Woody Guthrie. Before leaving Oklahoma for Austin, Jimmy did some independent recording and toured the southwest with the first version of his band Night Tribe. Read more here…."Jimmy LaFave sings like a soul caught up in the rapture."--Claudia Perry, The Houston PostJimmy LaFave is a musician, songwriter, and performing artist of unprecedented talent. An artist's artist."--Bob Johnston, Producer: Blonde On Blonde, Nashville Skyline, Johnny Cash, Paul Simon"Jimmy LaFave's songs move me 'cause he sings them with grit, passion, and uncommon beauty."--Lucinda Williams, Recording Artist"Jimmy LaFave uncovers the soul of America. And he does that so movingly and so beautifully that words fail."--Niew Revue, European newsweekly"Jimmy LaFave delivers with foot-to-the-floor passion." --Playboy"Jimmy, your words and music have captured new audiences who appreciate the Austin soundscape and the songwriting it encompasses. You are one of Austin's favorites, and you know that I'm one of your biggest fans."--Ann Richards, Former Governor of Texas |

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| Strings on Grass is a handicap accessible, smoke free, outdoor house concert series located near Slaughter Creek Dr. and Manchaca. Well-behaved youngsters any age are welcome.All attendees are encouraged to bring a picnic, their own seating, pillows, blankets as needed. Attendance is by invitation only and RSVPs are required. Directions will be emailed to those with confirmed reservations.2 ways To RSVP for the Jimmy LaFave concert1) Online: click here or 2) By mail: please fill out the form below and mail it before April 14, 2014 toWill TaylorStrings on Grass Series – Jimmy LaFave9300 S IH 35Suite A500Austin, TX 78748Suggested donation is $20/person.Checks made out to Strings Attached.After April 14, please RSVP here http://stringsattached.org |

| RSVP for the Jimmy LaFave house concert, April 19, 2015Please note that we will acknowledge receipt of your donation by email. If you do not hear from us, please contact us.To: Strings on Grass Series – Jimmy LaFave9300 S IH 35Suite A500Austin, TX 78748Name: _______________________________ Number of people in my party: ________ Email address: ___________________________ Phone #____________________Please check one:___ I am enclosing my donation now. (Make checks payable to "Strings Attached" and postedated for 4/19/2015. Suggested amount: $20/person.)___ I would prefer to take my chances and wait to make my donation ($20/person) at the door. |

2015 Strings on Grass Season |

Christine AlbertDavid Glaser and Songs of James TaylorAbbey Road Re-ImaginedGina ChavezDana CooperLibby KirkpatrickGurf Morlix

| Strings on Grass Sunset Series 2015 Season(We are accepting donations in advance for all concerts. Suggested donations made in advance are $20/person. Checks should be made out to Strings Attached)

| | Want to HELP STRINGS ON GRASS?1. Join our tag team (Let us tag you a few times a month on FB and get some free music as thanks) 2. Become a Patron 3. Volunteer |

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