 Cotton / Kramer / Montgomery
Academy of Music , Nothampton, Massachusetts
Saturday, September 13, 2008, 7 PM
doors open at 6:30
This is a show you’re guaranteed to remember.
Ticket prices are
$25.00 - Regular Seating /
$35.00 - VIP Seating
$150.00 - Meet & Greet the Band & VIP Seating
Academy
of Musicdirections
Tickets available at the the boxoffice and at the door.
Boxoffice:
413.584.9032 or Ticketweb at (866) 468-7619 or online
->link:  |
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THE
KRAMER-MONTGOMERY BAND
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| JAMES
COTTON
 Grammy
Award, 1996 - "Deep in the Blues" - Traditional Blues
Album
Inducted into the Blues Hall of Fame, Memphis, TN, 2006
Inducted into Smithsonian Institution, 1991
Handy Award, 2003 - "35th Anniversary Jam" - Traditional
Blues Album
Handy Award, 2001, 1997 - Traditional Male Artist of the Year
Handy Award, 1997 - Acoustic Album of the Year - "Deep
In The Blues"
Handy Award, 1991, 1987 - Instrumentalist of the Year - Harmonica
Handy Award, 1991 - Contemporary Album of the Year - "Harp
Attack"
Premier Harmonica Player Award, 2000, 1999 - Memphis Chapter
of National Academy of Record Arts and Sciences
Down Beat 45th Annual Critics Poll, 1997 - "Deep in the
Blues" - Blues Album of the Year
Down Beat 62nd Annual Readers Poll, 1997 - "Deep in the
Blues" - Blues Album of the Year
Lifetime Achivement Award, 2000 - presented by The Pocono Blues
Festival
Blues Legend Award, 2002 - presented by The New England Blues
Society
Howlin' Wolf Award, 2002 - presented by The Blues Foundation
Theresa Needham Blues Award, 1994 - for oustanding service to
the Blues community
Honorary and Lifetime Member, 1993 - of the Sonny Boy Blues
Society
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| JAY
GEILS
 Jay
Geils was born John Geils Jr. in New York City, NY, the guitarist's
nickname becoming the handle for one of the most legendary musical
groups in the history of Boston rock & roll, the J. Geils
Band. During live performances, singer Peter Wolf would say,
"Play it Jerome" to his lead guitarist when Geils
took a solo. "Occasionally it was Tyrone [that Wolf called
him on-stage]," the musician told the All Media Guide.
Growing up in New Jersey, Geils was
a big jazz fan during his high school years thanks to his father's
(John "Jack" Geils) love of the genre. "All the
music I heard...probably the first music I heard as a kid in
the late '40s...was Benny Goodman," says Geils. Jack Geils
Sr. had many 78 rpms in his record collection -- Count Basie,
Duke Ellington, Benny Goodman -- and he also took the young
musician to concerts, a performance by Louis Armstrong when
he was ten or 12 years old being particularly memorable. Geils'
own musical playing began when he performed Miles Davis tunes
on trumpet and drums. He got turned on to the blues when New
York radio station WRVR broadcast recordings by Howlin' Wolf,
Muddy Waters, Little Walter, and others on Sunday afternoons.
Geils went off to college in the fall
of 1964, enrolling at Northeastern University in Massachusetts,
where he played trumpet in the Northeastern marching band. Immediately
drawn to the burgeoning folk scene in Boston in 1965, Geils
witnessed Tom Rush, Dave Van Ronk, Boston University student
Jim Kweskin's the Jim Kweskin Jug Band, and other proponents
of that movement. So busy absorbing the live music around him,
Geils transferred to Worcester Poly-Technic Institute. "I
wound up transferring to Worcester Tech...because I wasn't doing
too well at Northeastern...going to see all those guys,"
Geils says. At the Worcester school he met harp player Magic
Dick Salwitz and bassist Danny Klein and they formed what Geils
termed "this little kinda acoustic folk blues group,"
which they called the J. Geils Blues Band.
 At
Worcester Tech, Geils was trained as a mechanical engineer,
which would serve him well decades later as he opened his own
vintage auto restoration shop.
From 1985 (the year after the
final J. Geils Band release, the You're Getting Even While I
Was Getting Odd disc) to 1992, Geils claims he "didn't
even touch a guitar" -- and at the height of the rock band's
fame, from 1980-1984, Geils probably ran five races a year,
driving at Watkins Glen and other venues for that sport. He
was doing car restorations in the post-Geils Band days, selling
that business in 1996 to one of his clients. The two things
his father introduced him to were jazz and sports cars; the
guitarist was always a big foreign sports car racing fan, owning
several vintage Ferraris.
There's a video from the early days of
the Boston Blues Allstars with Billy Briggs on piano and Barry
Tashian on vocals and drums, both from the Remains, along with
Magic Dick, Danny Klein, and Geils, recorded by a friend of
Tashian's for a Boston University Communications Department
senior project in 1969. Tashian turned Geils on to Billy Butler,
a longtime guitar player with Bill Doggett, someone Geils calls
"one of the great undersung players."
The J. Geils Blues Band merged with two members
of the Hallucinations, singer Peter Wolf and drummer Stephen
Jo Bladd. After promotion man Mario Medious brought them to
the attention of Atlantic's Jerry Wexler, they recorded a bit
with rock critic Jon Landau, but the project was abandoned.
About a year later, Seth Justman joined the group and they recorded
their first album.
 After
Peter Wolf and the J. Geils Band went their separate ways, J.
Geils formed Bluestime with Magic Dick in 1992, also playing
with various musicians like Kevin Visnaskas in the Blood Street
Band. Along with producing friend Danny Klein's Stone Crazy
band (Geils was a brilliant and underrated producer, having
worked with Michael Stanley in 1972 on the Friends & Legends
LP), Geils worked with Gerry Beaudoin and Duke Robillard in
the New Guitar Summit (utilizing the Bluestime rhythm section).
Geils and Beaudoin also performed in an acoustic trio, Gerry
Beaudoin's Kings of Strings, where Geils played rhythm guitar
and Jerry Miller provided his mandolin. With all this musical
output, Geils released his first solo record in 2003, a jazz
CD which features many guest sax players. From the days when
members of the J. Geils Band were on his case to learn more
Jimi Hendrix riffs and he was off playing Charlie Christian
instead, the founding member of a hugely popular and respected
ensemble that opened for the Rolling Stones live and performed
with Buddy Guy on record now has his guitar singing the music
of his heart, the sounds that inspired one of the most familiar
names in rock music. ~ Joe Viglione, All Music Guide
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THE
UPTOWN HORNS
 The
Uptown Horns (Arno Hecht, Crispin Cioe, Bob Funk and recent
recruit Larry Etkin) are Rayban wearing, horn carrying professionals
whose credits read like a who's who of music. Their signature
horn riffs can be heard on the turntables of America on chart
toppers including Grammy-award winning James Brown's "Living
in America," the B-52's "Love Shack," Buster
Poindexter's "Hot Hot Hot, "Joe Cocker's "Unchain
My Heart," Tom Waits' "Rain Dogs" LP, and Billy
Joel's "River of Dreams" LP, among numerous others.
Hundreds of additional recordings and touring credits include
names such as the Rolling Stones, B.B. King, Bruce Springsteen,
Robert Plant, Aretha Franklin, REM and the B-52's, to name a
few.
For nearly 15 years, this autonomous
unit has been revered as one of the most respected brass sections
in the world. Horn groups, on the whole, are an anomaly in the
music industry. "We knew that most horn bands break up
when members take solo projects both on the road and in sessions,"
says Funk. 'We adopted an all for one and one for all mentality."
These four classically trained musicians have outlasted the
few who have tried. Laughs Hecht, "The Uptown Horns are
an anarchist collective and our guiding principles are to make
great music while destroying any sense of law and order."
The original members of the Uptown
Horns converged on the NY session scene in the late 70s: Arno
from NY; Cioe from Michigan; Funk from Colorado; and former
member Paul Litteral from Kentucky. Etkin, a native New Yorker,
worked with The Horns off and on prior to taking over Litteral's
trumpet duties.
As session horn players, their
paths often crossed from one studio to the next. The members
of the Horns often played together on numerous recordings, jingles
and live performances. Their shared influences cover the waterfront
from punk to classical, jazz to rock, blues to avant garde/fusion.
As Chuck Berry says, "These
cats are cool."
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LOUIE
BELLO
 Louie
Bello and The Bello Project is on fire After finishing a crazy
year on CBS Rockstar, ABC The One and shooting his first Independent
movie Dirty Crimes, Louie is back and ready to knock down every
door in the industry.
He is currently working on his
second album and is back in the studio writing for SONY MUSIC
again. He recently started working with SURE FIRE Music Group
who is currently partnered up with Marcus Siskind and MASS APPEAL
MUSIC (UNIVERSAL MUSIC GROUP). Together LOUIE and SURE FIRE
have started off the year writing some amazing songs that the
world is gonna love. Louie is also working with Boston Super
producer MALIK WILLIAMS (LIPTUNES MUSIC) on movie scores and
soundtracks as well as some crazy joints for his up and coming
album.
Louie and his company BELLOBABY
ENT. is also getting set to shoot his first full length movie
this summer called OHIO which is a follow up to the smash hit
DIRTY CRIMES. The new Jam WE CAN'T LOOSE is catching fire right
now all over the EAST COAST. The song was written by LOUIE,
STAXX and Produced by LINGO. It has become the official anthem
for RED SOX star DAVID ORTIZ. GET THE RINGTONE NOW.
The long awaited album for his
sister LISA BELLO is still in production but will be here by
the summer and the new single GIRLZ Featuring DRE ROBINSON (UNIVERSAL)
will be taking the summer by storm. So stay tuned for a crazy
year and spread the word on LOUIE and THE BELLO PROJECT. We
On Fire!!!!!!!
myspace.com/louiebello
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| VENUE:
About the ACADEMY OF MUSIC
 Sarah
Bernhardt slept here (in her coffin, no less). Harry Houdini
had a trapdoor cut into the stage here to allow him to perform
his amazing disappearing act here. Mae West bared all here (literally,
according to some).
"Here," of course,
is The Academy of Music Theatre. It's a special place, one with
a long tradition of presenting local and international talent,
both live onstage and on-screen.
The Academy of Music began as
the dream of businessman and Northampton native Edward H. R.
Lyman (1819-1899). Lyman considered himself a "trustee"
for his hometown, and he decided that one of the things he should
do for the city was ensure that it had a place "suitable
for lectures, concerts, opera, and the drama for the public
good." He accomplished his goal through the construction
and donation of the Academy of Music Theatre, which was built
between 1889 and 1890. Lyman gave the theatre to the city of
Northampton as a gift in 1892, and generations of area residents
have benefited from his generosity, enjoying live theatre, music
and dance, as well as films. The Academy of Music is one of
the historical, architectural, and cultural treasures of Northampton
and the entire the Pioneer Valley. It remains true to Edward
Lyman's original dream, and it has brought that vision forward
to the 21st century, continuing in its mission to enrich greater
Northampton's quality of life.
The Academy of Music Theatre
is a non-profit organization dedicated to providing a well-equipped,
elegant, and accessible place for the people of Northampton
to present and enjoy lectures, concerts, operas, live theater,
films, and other entertainment. Over the past year, the Academy
has made great progress bringing live performances and events
back to its stage, and it is fast becoming the performance home
for many of the area's top performing arts organizations. The
Academy's Season Premier Gala Fundraiser on September 4, 2008
at the Hotel Northampton will celebrate a year of success and
will showcase an entertaining array of performances by the theater's
Resident Companies, including Commonwealth Opera, Pioneer Valley
Ballet, the Pioneer Valley Symphony, Old Deerfield Productions,
and Pioneer Arts Center of Easthampton. We hope you'll join
us!
Academy
of Music Theatre website.
Directions
to the theatre.
Map
to the theatre.
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The
Reel Blues Fest, Inc. is a non-profit organization dedicated
to helping musicians receive access to medical care and to
supporting the work of independent filmmakers. Proceeds from
events will be distributed to eligible 501 (C) (3) organizations
pursuant to the guidelines established by The Reel Blues Fest,
Inc.
For
more information call 508-495-FILM |
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