Early Show at Amnesia – Sunday, February 19, 2012

Songbird Presents:

Early Show at Amnesia – Sunday, February 19, 2012

Early Show at Amnesia Music Hall  853 Valencia Street – 5-8:30 pm

$7-10 Cover

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Late Show at Amnesia – Sunday, February 19, 2012

Songbird Presents:

Late Show at Amnesia – Sunday, February 19, 2012

Sioux City Kid Acoustic Set -

The Disposition – https://www.facebook.com/momoscheeskos#!/thedispositionmusic

Late Show at Amnesia Music Hall  853 Valencia Street – 9 pm – Close$7-10 Cover

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Late Show at Amnesia – Saturday, February 25, 2012

Songbird Presents:

Late Show at Amnesia – Saturday, February 25, 2012

Brass Menazeri and More  – brassmenazeri.com

Late Show at Amnesia Music Hall  853 Valencia Street – 9 pm – Close$7-10 Cover

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Saturday, February 25th – Happy Hour Event – Songbird Presents – Book Release Party: variously, not then by Travis Ortiz

 Saturday, February 25th

Free Event at Amnesia Music Hall  853 Valencia Street – 5-8:30 pm

 

varioulsy, not then by Travis Ortiz

Featuring Travis Ortiz reading from the new book

And music by San Francisco’s very own

DFTram (Ambisonic, Sound Capsule, dftram.com)

Mike Bee (Vinyl Dreams)

 

BIO

Travis Ortiz is a writer, visual artist and DJ living in San Francisco, California. He is the author of Geography of Parts (Melodeon Poetry Systems), and his work has been published in Bay Poetics, Chain, Salt, WOOD (www.medusa.org/wood/), Mirage #4/Period[ical], and Poetics Journal. Travis’ new ambient CD compilation with the Ambisonic collective, Chillout, includes his collaboration with Databass (Sean Abreu) featuring text from variously, not then. Travis founded the press ghos-ti, which highlights the visual aspects of poetry. He is also the co-director (with Lyn Hejinian) of Atelos, a literary project commissioning and publishing cross-genre work by poets.

 

Thoughts On Travis Ortiz: 

“Written, designed and typeset by Travis Ortiz, variously, not then is a confoundingly complex cross-genre work touching upon meaning, loss, memory and return. Part-prose, part-poetry, part-essay, part-aphorism, part-philosophy, part-graphic design, the writing folds in upon itself instantly twisting from one morphology to the next. Vexing and brilliantly beautiful.”

—John Zorn

 

“This dazzlingly designed book opens up into a linguistic density that holds its weight in thought’s recalcitrant measures, as if poetry once again had substance sufficient to hold its own against all comers and the no-shows too.”

—Charles Bernstein

 

“Through variously, not then’s mode of elegant abstraction, Travis Ortiz recesses the particulars of what is known to foreground a deontological episteme: here percept is processed as becoming-ethical, becoming-political; watching as witnessing; place as public. As Ortiz obsessively truncates narrative trajectory at the level of the sentence through a nearverbless, uncompleting syntax that nonetheless bears the heft of aphorism, he defines and valorizes experience as the recursive, analytic motion of a mind inventorying and weighing circumstances never fully fleshed for the reader and likewise withholding assessment and practical action from the conscientious consciousness displayed. variously, not then thus trades clean aporia for a suspension that layers the transversal trackings of the mind as it cannily, subtly accounts stakes behind stakes; it portrays a longing for detachment that would make interpretive moral cognition less painful if not for its shadowing of language’s privative disconnect as it fails to touch emergency. Perhaps as Ortiz works to re-invent disinterested humane engagement, he creates a new category of political time, intruding a third term into the duo of chronos and kairos: this temporality of the re-circulation of repeated words is not circular but seems instead to gather folds such that chronos puckers and warps and kairos recedes behind or ahead of the horizon. variously, not then admirably captures a current feeling of unrest and unease at its most vigilant and self-aware, awaiting the disclosures of decisions whose absconded agency, in Ortiz’s treatment, both speaks the complexities that enmire it almost beyond retrieval and eloquently begs its recovery.”

—Judith Goldman

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Live at Amnesia – Sunday, January 22, 2012 – Songbird Festival – Band Feature – Blind Willies

Blind Willies: Gospel revised by pimps, poets

 

 

 

Late Show at Amnesia Musica Hall 853 Valencia Street – 9 pm to Close $7-$10 Cover

 

 

Featuring The Jean Genies: David Bowie Tribute, Blind Willies, Whisky Pills

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Songbird Series – Bird Branch Interviews – Skyler Fell

Click here for interview with Ginger Murrary.

About Accordion Apocalypse

 
Accordion-

 
The accordion is a musical instrument of the handheld bellows-driven free reed aerophone family, sometimes referred to as a squeezebox.
The accordion is played by compressing and expanding the bellows, while pressing buttons or keys to allow air to flow across reeds, thereby producing tones and chords.
http://en.wikipedia.org/wiki/AccordionApocalypse-
(literally: the lifting of the veil), is a term applied to the disclosure to certain privileged persons of something hidden from the majority of humankind.
http://en.wikipedia.org/wiki/Apocalypse
Main PersonalPicture
Skyler Fell is an accordion repairwoman, tuner, sales person, inspirator, and teacher at San Francisco’s Accordion Hub, The Accordion Apocalypse Repair Shop. Professionally trained by master craftsman and accordion builder, Vincent Cirelli of Cirelli Accordion Service, and Boaz of the former Boaz Accordions. Skyler offers accordion sales & online store, tuning & repair, accordion workshops, and admission to the San Francisco Antique Accordion Museum. Available by appointment.
Skyler also performs with many groups of talented friends, as “The HoboGobblins”, HUMANWINE, and also assorted trio’s and circus troupes. She has played many venues including Slims, Amnesia, The DNA Lounge, The LA Accordion Festival, The SF Accordion Festival, The High Sierra Music Festival, Burning Man, The San Francisco Accordion Club, Silicon Valley Accordion Society, Circo Romani at Cellspace, Lucid Dream Lounge, The Dreamtime Circus, The Autonomous Mutant Festival and the world famous Cotati Accordion Festival. She can also be found playing at local street parades, bart stations, and farmer’s markets. She is currently working on putting a new SF Accordion Festival together in 2010 to host awesome accordion bands and fans, and bridge the gap between accordionists in the bay area.How the Accordion Apocalypse Started:
In the late 90′s after seeing talented musician Danyella aka. The Little Prince in the awesome all girl psycho cirkus punk band “Cypher in the Snow” at 924 Gilman Punk Rock Collective in Berkeley. I was hooked. “Where do I find such a beautiful and emotion producing instrument?….and so close to my Ukranian roots.” I soon stumbled upon the wonderful “Boaz Accordions” on Sacramento St., and asked if I could do a “work/trade” cleaning and organizing accordion reeds by pitch for my first accordion lessons and a borrowed a little accordion to practice on.
Later I visited Europe, and stayed with Danyella at this amazing squat and played at a free winter circus class, in Amsterdam. At the school we practiced and learned juggling, playing accordion, massive jump ropes, stretching, unicycle, and all kinds of fun stuff. We would go out and busque on the squares and busy streets. What new exhilirating joy!Upon my return to the Bay Area, I found a broken accordion in the Cyclone warehouse in the industrial district of San Francisco. I new exactly where to take it! I again visited Boaz Accordions at their new larger location across the Bay, and asked for a repair estimate. Then I started a payment plan bringing them $20/week for my first accordion repair. After a cordial visit from me every week, and learning of our shared metalworking background, interest in fixin’ stuff, and love of Klezmer music, eventually Boaz Rubin took me under his wing and offered me an accordion repair apprenticeship. Boaz and Judy Rubin put me to work turning little tiny brass buttons on the jewelers lathe for a concertina, doing bellows repair, and refreshing the wax and leathers on older accordions.One year later, Boaz got offered a job in Richmond, Virginia working with “Hohner”, and left quickly to take the job. I helped the Rubin’s move and worked with them 24 hours a day 7 days a week to pack up both their shop and home. Since they left years ago, I have continued to service the accordion community by opening The Accordion Apocalypse Repair Shop. Where I take appointments, do all kinds of accordion repairs, tuning, and teaching. In addition I study 2 to 4 days a week with my mentor, 87 year old accordion builder Vince Cirelli. I have found passion in the accordion and the friendly surrounding community and work hard at my accordion shop “The Accordion Apocalypse Repair Shop”, blossoming since the move out of a farm house garage in Oakland, into a larger better suited warehouse studio right by Candlestick Park in San Francisco’s Bayview District (Open January 2006).

Since at the Bayview location, The Accordion Apocalypse Repair Shop has expanded to include a large showroom with both new and used accordions and accessories, an online store, museum cases with beautiful antiques, a well organized repair center, group workshops and rentals for beginners, racks of books and sheet music to peruse. Specialties include antique re-builds, and small sized piano accordions.

For the past 3 years Skyler has been studiously apprenticing with Vince Cirelli. Here is some interesting information about this talented, amazing, and warm hearted accordion hero.

Skyler’s Mentor Vincent J. Cirelli of Cirelli Accordion Service-
Master craftsman Vincent Joseph Cirelli began to develop his skills early while growing up in the North Beach District of San Francisco. In 1920, the year of his birth, North Beach was considered the hub of the accordion culture and San Francisco was the center of a flourishing accordion manufacturing industry. Vince remembers the accordion factory of Guerrini & Company located within walking distance from the house where he lived as a young boy.

His informal introduction to the instrument began at the early age of ten. He recalls the sound of an accordion emanating from an open window while playing outside one day. “I liked the melodic sounds that I heard coming from the accordion”. Shortly thereafter, he began accordion lessons with Emilio Civita, a graduate from the Conservatory of Music in Milano, Italy.

By age 12, his growing enthusiasm for music and dedication to the instrument caught the interest of Faust Piatanesi of Colombo & Sons. Vince was offered a part-time job after school, and with his father’s permission began working as a shop helper at Colombo & Sons Accordion Corporation. This event would eventually direct young Vincent’s future to the accordion making industry.

During his attendance at Galileo high school in San Francisco, Vince continued to develop and refine the skills crucial in becoming an accordion maker. Attending both day and evening classes at Galileo’s woodworking and cabinet shop, he utilized every available resource for making accordion parts. Upon graduating in 1939, Vince once again returned to Colombo & Sons. This time however, working alongside master craftsman Mario Zanoni, Angelo Pietri, Chuck Zanoni, and master tuner Eric Gylling.

Returning home after serving four years in the U. S. Coast Guard, Vince established Cirelli Accordion Service in 1946. Initially, he began making accordion parts including bass and treble shells for Pacific Accordion. Later that year, Caesar Pezzolo, the well-known composer and teacher, appointed Cirelli Accordion Service to upgrade his imported accordion line specifically for the American market. The design revisions incorporated by Vince greatly improved the instrument and these changes were communicated to the factory in Italy. The accordion, La Melodiosa, was a success and considered by many artists, one of the finest accordions produced at that time. Vince also managed to complete the first of seven Cirelli accordions later that year. Deciding to “road test” his new instrument, he signed with the popular train tours of that time to entertain onboard while traveling across America.

Married in 1949, Vince moved his expanding business to another location in San Francisco. He focused primarily on repairing, tuning, and teaching the accordion. Contracted through West Coast Wholesale Music, H. C. Kessler, and Pacific Music Supply Co., Vince inspected and serviced virtually every new Frontalini, V. Soprani, and Galanti accordion received by these companies. If you have ever played or currently own one of these instruments from the bay area, chances are that the master craftsman himself subjected it to a thorough going-over.

In 1963, world-renowned recording artist, Michael Corino introduced Vince to Lee Deiro, owner of Pietro Derio Publications of New York. After several discussions, Cirelli Accordion Service became the exclusive West Coast distributor for Pietro Deiro Publications, one of the world’s largest accordion music publishing houses. That same year Mario and Edward Pancotti, of the Excelsior Accordion Company, established a full service bay area dealership through Cirelli Accordion Service. Vince sold and serviced the Excelsior accordion line to many fine musicians and recording artist for more than twenty-seven years.

Today, nearly sixty years later, this great-grandfather amazingly is still very dedicated to his enduring career with the accordion. He continues to provide the same high standard of specialized service including restorations of unique historical instruments. Vincent J. Cirelli is truly a master craftsman and many people throughout the entire accordion industry recognize him.

“I am eternally grateful to the San Francisco pioneers of the accordion manufacturing industry. Without their generosity and support I would not have been able to learn this fascinating trade. My life has truly been enriched by the many talented artist and kind friends that play this remarkable instrument.” – Vincent J. Cirelli

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Early Show, Sunday, January 22, 2012 – At Amnesia

 

 

Chris Jones

Matthew Welde

Bill Cramer and The Shared Land

Early Show at Amnesia Musica Hall   853 Valencia Street – 5-8:30 pm, $7-$10 Cover

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Friday, January 6, 2012 – Songbird Presents – Mark Growden with Special Guest The Mockingbirds 2 – Shows

Viracocha SF
988 Valencia Street, SF, CATwo Shows

Doors at 7:45
8 pm – 9:40 pm

Doors at 10 pm
10 pm – 11:45 pm
$15 – $30 Sliding Patron Scale

Mark Growden is a singer, writer, multi-instrumentalist, composer, record producer, visual artist, and the artistic director of the Marigny Opera House in New Orleans, LA. Growden has released several critically acclaimed albums, including Saint Judas, which was awarded “2010 Rekkid of the Year” by music blog Stash Dauber and ranked in the 2010 Village Voice Critics Poll. Growden has toured the the US extensively, performing at venues such as the The Fillmore, Cowell Theater, and Great American Music Hall in San Francisco; Snug Harbor in New Orleans; and The Knitting Factory and Tonic in New York. Mark has composed original musical scores for a number of Dance and Theater companies, including Joe Goode Performance Group and Alonzo King’s Lines Contemporary Ballet, with whom he and his collaborators won the Isadora Duncan Award for Best Original Score for a New Dance Piece. He has scored several films, including Blood Tea and Red String, which won Best Animation at both the San Francisco Independent Film Festival and the Fantasia Film Festival in Montreal.

Paul McNees (aka The Mockingbirds) is a musician, teacher, writer, and is pursuing a Phd exploring the deep roots of human music making from the level of metaphysics and philosophy. The MockinSendgbirds is a labor of love that gives expression to Paul’s dedication to music and his love of the alchemy of collaborative participation. 

Paul has been involved in the Bay Area music scene since the early 90′s. As a songwriter and multi-instrumentalist, he has added his talents to several bands and projects over the years: Bass Line Dada, Hoarhound (with Ari Fellows Mannion of Loretta Lynch), The Handshakes, Ramona the Pest, and Conception Vessel One. His first cd “Songs and Other Delusions” was performed almost completely solo. This time out, Paul is proud to be collaborating with an old friend and colleague – Mark Growden. The new Mockingbirds album “Lacuna” was inspired as a tribute to Paul’s father whom he lost in May of 2011. His songs have lost their sardonic edge and move toward the tender and transcendent. Paul will be joined by a cast of brilliant musicians: Lisa Mezzacappa – stand up bass, Alex Kelly – cello, Dan Cantrell – accordion, , Clay Koweek - guitar and mandolin, and Mark Growden – baritone sax, banjo, and vocals. The album will be recorded during the second week of January and released in the early spring.

The Mockingbirds
Mark Growden

The Mockingbirds personnel:
Paul McNees – voice, guitar, banjo
Mark Growden – voice, banjo, bari sax  
Dan Cantrell – accordion
Alex Kelly – cello -
Clay Koweek – acoustic guitar
Lisa Mezzacappa – upright bass

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January 8th – Skyler Fell of Accordion Apocalypse and Songbird Presents: Early Show Accordions with Love II – Accordion Babes Revue

 

Accordion Babes Revue 

 

Early Show at Amnesia Musica Hall   853 Valencia Street – 5-8:30 pm

Sunday Jan 8th, 5 to 8:30 pm

$10

Yeti 

 

Amber Lee & the Anomalies

 

Luz Gaxiola & Circus Finelli 

 

Vagabondage 

 

Big Lou the Accordion Princess’ French Trio 

 

& your Hostess with the Mostess: Skyler Fell 

 

 

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Sunday, January 8th – Skyler Fell of Accordion Apocalypse and Songbird Presents: Late Show – Accordions with Love II – The Big Squeeze

The Big Squeeze

 

 

 

 

 

at Amnesia Musica Hall   853 Valencia Street – 9-Close

Juliet Strong,  will be opening up the show and joined by Diana Strong, accordion and Sean Tergis, Cahon A special trio set of soulful originals, and cheeky folk tunes.

With a buttery voice and a simultaneously melancholy yet uplifting sound, San Francisco Bay Area singer/songwriter, Juliet Strong, touches audiences with her depth of sound and lilting lyrics. Juliet’s background in Folk, Classical and Jazz shines through with her rich tone and vocal versatility. Combined with energetic, rhythm piano, an eclectic band and a touching vulnerability, audiences take a smooth velvety ride through Juliet’s world of speculations about life, and the nature of things.

www.julietstrong.com
www.dianastrong.webs.com

 

Mark Growden 

 
Angus Matin 

Eggplant Casino with special guest Allison Lovejoy

and More!

Music by DJ Squeezie – aka Momos Cheeskos 

9 pm to Close

 

$10

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