SETH GLIER & PETER MULVEY


Sunday, January 27th

7:00pm / doors at 6:00pm

General admission: $15

Table of 4 reserved seats: $75

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Despite his relatively young age, Massachusetts based singer/songwriter/pianist/guitarist, SETH GLIER, is a seasoned troubadour. Averaging over 250+ live performances annually Seth has gone from opening act to headlining his own shows and playing major folk festivals. He’s shared the stage with artists as diverse as James Taylor, Ani DiFranco, Martin Sexton, Emmylou Harris and Ryan Adams and has quickly become known for his passionate live sets. His music has also caught the ears of fans, industry and critics alike with USA Today stating that his “exquisite tenor echoes Bruce Springsteen and Billy Joel.” The incredible acclaim on his sophomore record, The Next Right Thing, led to the single “Lauralee” hitting #1 on Clear Channel’s NEW! Discover & Uncover program as well as a Grammy® nomination, a first for both himself and his New York based label, MPress Records

As a national spokesperson for the Autism Awareness Foundation, an advocate or Musicians On Call, and with a ROCK THE VOTE Road Trip 2012 stop under his belt, Seth has become increasingly comfortable expressing his social beliefs, both onstage and off. In 2012 he took home Best Social Action Song for his track “The Next Right Thing” at the 11thAnnual Independent Music Awards, his second IMA win.

His third album on MPress Records, Things I Should Let You Know is steeped in all the most gorgeous aspects of Americana, folk, blues, pop and soul with each of the 13 tracks it encompasses telling its own story, weaving tales of love, pain and epic self-realization from a young man coming into his own, all wrapped in sweeping melodies and striking vocals. Things I Should Let You Know will be available nationwide on MPress Records January 12, 2013.

 

The Good Stuff, PETER MULVEY‘s fifteenth record, is a collection of standards which promptly rejects the accepted definition of “Standard” in favor of a more vivid, open
approach. The music of Tom Waits is right there with Duke Ellington; Willie Nelson next to Thelonious Monk; Jolie Holland juxtaposed with Bill Frisell. Mulvey (along with his band, the Crumbling Beauties) address each tune with a true artist’s touch. His mirthful, gravelly baritone is front and center from moment one, and every track is a master class in restraint, phrasing, and commitment. Twenty-odd years on the road, performing songs from his own catalog and from a vast, varied, and deep well of classic and obscure covers, has prepared Mulvey to deliver this collection. Night after night, the process of divining the heart of a song, being alert to where the moment can lead, has shaped him as an artist. To each rendition, he brings the soul of a singer, a light touch in a heavy world. Recorded in just three days at Signature Sounds Studios in the Connecticut Woods, the performances feature upright bassist Paul Kochanksi, violinist Randy Sabien, guitarist David Goodrich, and drummer Jason Smith. The arrangements run from quintet-in-full-swing down to hushed trio.

The centerpiece of The Good Stuff is a sequence in which a bluesy take on the Ellington classic “Mood Indigo” is sandwiched between Tom Waits’ obscure “Green Grass,”
lovingly relocated from the guttural, and a charmingly haphazard rendition of Jolie Holland’s “Old Fashioned Morphine”. This triptych represents not so much the diversity of songwriting on the record as the commonality. “I’d put those three artists in the same drawer in the big bureau of songwriters,” says Mulvey. “They’re from different eras, and considered different animals — jazz composer, bohemian beat poet, Americana revivalist — but to my ear they’re the same, in that they’re always trying to write a timeless song.”

Throughout the recording session Peter Mulvey was constantly throwing curveballs at the band . . . and at himself. He’d scan the list of songs he put together ahead of
recording to find one unfamiliar to some or all in the room, and they’d create an arrangement on the fly and record it immediately. “When everything isn’t planned ahead of time, it can be magical how each musician finds a way into the song,” says Mulvey. “When the performance comes alive, it’s such a charge. You know that old expression ‘That’s really happening’? It’s literal. It’s such a beautifully concise description of what it means when music is really, really alive: it’s literally happening.”

The point of departure for this happening is a great song, a classic, whether enshrined in the canon or not. This record is an argument for the Great American Songbook not as a musty tome but as a living, breathing document, always open to renewal and revision. Something meant not just to be revered, but also enjoyed. In other words, The Good Stuff.