NCIA & Bhang Present: Cannabis Carnival II feat Medeski Martin & Wood
Come one, come all to Cannabis Carnival II taking place at the historic Fillmore Auditorium during Cannabis Business Summit & Expo ’15 happening today, June 30th!
Presented by the National Cannabis Industry Association & Bhang Corporation this concert will benefit the the only trade association fighting for the growth of a responsible & legitimate cannabis industry at the national level!
Featuring an eclectic lineup of world class musicians supporting our cause, including the internationally renowned “avant-groove” jazz-funk trio Medeski Martin & Wood, revolving improvisational supergroup Everyone Orchestra(featuring members of The String Cheese Incident, Big Gigantic,Papadosio, Tea Leaf Green, The Motet, Elephant Revival, The Bridge, andThe Congress), Quixotic plus Rob Garza of Thievery Corporationperforming an evening opening DJ set.
Trust us, you won’t want to miss this years edition of our acclaimed multi-sensory benefit-concert experience!
Entertainment for the evening will not only include amazing music to stimulate the senses but also carnival themed attractions, games, food, intimate networking lounges PLUS live art & performances to stimulate the senses and provide a lively environment for Cannabis Business Summit attendees to engage with each other.
Tickets on-sale now at: www.livenation.com
Cannabis Business Summit attendees: $20 ADV / $30 DOOR**
General Admission: $40 ADV / $50 DOOR
VIP Access: $250 ADV / $300 DOOR
VIP Access Includes:
• VIP tickets include carnival themed catered food, drink tickets, private bar, balcony and networking lounge access, show poster and cannabis industry gift bag.
• 2 drink tickets
• Complimentary carnival themed catered food and other heavy hors d’oeuvres
• For VIP ticket option information, please email events@thecannabisindustry
Cannabis Carnival II
The Fillmore Auditorium
1510 Clarkson St, Denver, CO 80218
Show: 7:30PM – 12AM
7:00 : Concert kickoff by Congressman Jared Polis
7:30 – 8:15 Rob Garza
8:25 – 9:10 Quixotic
9:25 – 10:25 Everyone Orchestra
10:50 – 12:00 Medeski Martin & Wood
The consumption of marijuana and smoking of any kind is prohibited by law at this event.
Medeski Martin & Wood
Wide open: That’s the phrase John Medeski uses to describe his bandmates’ musical sensibilities, the attitude he seeks in himself, and the spirit of musical adventure that Medeski Martin & Wood have pursued for two decades.
The trio’s amalgam of jazz, funk, “avant-noise” and a million other musical currents and impulses is nearly impossible to classify, which is just how they like it. Medeski’s keyboard excursions, Chris Wood’s hard-charging bass lines and Billy Martin’s supple, danceable beats have come to resemble a single organism, moving gracefully between genre-defying compositions and expansive improvisation atop a relentless groove.
When the three assembled at Martin’s Brooklyn pad for their first jam session in 1991, the chemistry was immediate and undeniable. “Billy started playing a beat. Chris started playing a bass line. I started playing. And it was instant music,” Medeski remembers, noting that his transcription of this, MMW’s first recorded flight, became the track “Uncle Chubb” on their first album. Martin joined them at their subsequent Village Gate sets, and they never looked back.
Though the “jazz spirit,” as they like to call it, has been ever-present in their sonic voyages, Medeski Martin & Wood have won over a substantial audience that rarely responds to instrumental music, let alone a guitar-less trinity purveying an unholy blend of Jimmy Smith, György Ligeti and the Art Ensemble of Chicago. In fact, their club and festival appearances are packed with alternative-rock lovers as well as jam-band aficionados and jazz heads. “I blame Billy for that,” Medeski muses, hazarding that the drummer’s body-moving beats tend to disarm even the most pop-minded listeners. “Once they feel the groove he’s playing, I can get in there and infect their minds much more easily – and Chris can lay it down to keep them from losing it.”
The band’s onstage adventurousness sparked an experimental approach to recording as well – as on 1996’s solar-powered Shack-Man, recorded in a plywood shack amid the mango trees and plumerias on Hawaii’s big island (and featuring Martin’s artwork on its cover); the funked-out 1998 Blue Note disc Combustication, which enlisted two radically different engineers to create complementary sonic approaches; the acoustic live set Tonic (2000), recorded in New York, and its plugged-in twin, 2001’s Electric Tonic; 2004’s End of the World Party (Just in Case), produced by John King of the Dust Brothers; their two collaborations with guitarist John Scofield, A Go Go (1998) and Out Louder (2006, under the name Medeski Scofield Martin & Wood); the 2008 children’s record Let’s Go Everywhere; and the 2008-09 Radiolarian series, a trilogy of albums generated according to a strict policy of “Write > Tour > Record > Repeat,” as the band noted in an online announcement. They’ve also founded and run their own label, Indirecto.
The three also conduct a yearly musical retreat, Camp MMW, in the Catskills; with music classes, seminars, films, guest teachers and jam sessions, the August gathering encourages promising musicians of all stripes to get out of their comfort zones.
Their reflections on having reached the extraordinary milestone of playing together for some 20 years? “We’re old motherfuckers, man,” Medeski replies with a laugh, adding, “We’re in a really good place. We’ve been writing a lot of new music. We always want to create a certain vibration in the evening – if we’re doing something new and feeling the excitement, that’ll do it.”
The Everyone Orchestra’s conductor, Matt Butler has been leading a rotating cast of accredited musicians through full-length shows that are entirely improvised, since 2001, after touring with the rock band Jambay. In 2012, Butler gathered particularly well-known musicians from bands like Phish, Moe., and others, and recorded Everyone Orchestra’s first studio album, Brooklyn Sessions , which was still largely improvised.
“The experience of playing with different musicians, improvising every night, and getting the crowd involved in ways that they can’t be at a regular show has provided an unparalleled live music experience,” said Butler.
The Everyone Orchestra conductor/founder Matt Butler has taken its participants, both on stage and off, on improvisational journeys with the most diverse of lineups at festivals, theaters and philanthropic events both nationally and internationally. A laundry list of hundreds of musicians, dancers, singers, guest conductors and community organizations have embraced the experience of EO in single shots of musical adrenaline to the soul. Tuning in to his energy, the band and audience utilize The Conductor as their pivot to the set mood of each passing jam as he communicates with the musicians using hand signs, whiteboard and assorted mime suggestions.
The list of Everyone Orchestra participants is an increasingly wide and intercontinental group including members of The Grateful Dead, Phish, Furthur, Ratdog, Trey Anastasio Band, Gov’t Mule, String Cheese Incident, moe., members of Allman Brothers Band. including Oteil Burbridge, Yonder Mountain String Band, The New Mastersounds, Big Gigantic, The Punch Brothers, Dumpstaphunk, Galactic, Dirty Dozen Brass Band, Railroad Earth, Thievery Corporation, Lettuce, Infamous Stringdusters, Leftover Salmon, The Flecktones, Club d’Elf, ALO, Tea Leaf Green, Tuvan throat singers, live painters, dancers, chanters, choirs, hula hoopers, firespinners, jugglers, stiltwalkers, storytellers, a presidential candidate and hundreds of others among a growing legion of other performers.
Marching clearly into uncharted territory, The Everyone Orchestra balances the challenges of live group improvisation with triumphant tension and release conduits of music which head deep into the soul. This unique collaborative of performance deeply encourages and requires audience interaction. The edge of your seat enthusiasm for what is next is the fuel behind the continuous musical experiment of The Everyone Orchestra.
What is Everyone Orchestra → vimeo.com/36999515
Musicians Describe Everyone Orchestra →vimeo.com/33037192
Art that enchants, invigorates, and awakens the imagination has always been born of the rule breakers, and no one is breaking the rules more joyously, more fervently than Kansas City’s Quixotic. A melting pot of dance, aerial acrobatics, projection mapping, high fashion, and original live music, Quixotic is a cornucopia of mystical majesty that enraptures audiences who have never even dreamed a night at the theater could be this much fun. Sleek dancers pushing the boundaries of athletic artistry soar across neon skies that encompass and envelop traditional and non-traditional venues, bathing structures and even painting new nature on old in a vivid fantasy world. Evocative tribal electronica sets the stage for the visual panoply of color and agility in flight. Even the aural accompaniment blurs the lines between stylistic worlds, blending organic instrumentations of lush strings and primal drums with digital symphonies of programmed beats and bellowing subsonic frequencies.
Founded in 2005 by renowned graphic designer, percussionist, and artistic director Anthony Magliano and joined a year later by award-winning lighting and theater technology guru Mica Thomas, Quixotic’s mission statement was to tear down the walls that cloistered each discipline of the arts, unleashing a flood of new ideas that would wash away the staid norms of traditional theatre performance. It is the joint vision of Magliano and Thomas that has taken the loose collective of avant garde trendsetters and molded them into what the New York Times branded an “innovative circus [company].” This ultra-modern, multi-sensory experience shatters antiquated notions of “a night at the ballet.”
The stunning and surreal environments that set the scene for this experimental movement troupe has aligned its performers with the most progressive acts in the burgeoning electronic music scene (Dave Tipper and Shpongle, among others), but its undeniable grace, transcendent athleticism, and dogmatic dedication to haute couture also allows Quixotic to flawlessly complement the Kansas City Symphony.
The raw power, immersive experience, and sheer mesmerizing artistry of Quixotic Fusion cannot be conveyed through words, nor can audio or video alone capture the magic of an intense, firsthand glimpse of the collective in action. To truly get a sense of what it is to leave the earthly realm and enter a digital landscape of breathtaking wonder, where the bounds of genre—and gravity—have no meaning; you have to be there to believe.
Rob Garza of Thievery Corporation
Founding member of international music group Thievery Corporation, Rob Garza’s career includes decades-worth of accolades as a pioneer of a flourishing electronic music movement. Originally hailing from Washington, DC, Garza’s legacy includes a timeless music catalog that’s still in rotation today. His infusion of electronic music with the international flavors of dub, trip hop, reggae, and bossa nova gave birth to a new era of sound that has attracted a cult following across the decades. Since relocating to San Francisco, Garza’s latest experimentations take him to the far corners of the globe with solo DJ sets showcasing the best of Deep House and Nu-Disco. Ever the entrepreneur, Rob has multiple restaurants and clubs in Playa del Carmen, Mexico as well as Papa Diablo, a hand-crafted, top-shelf Mezcal made in Oaxaca, Mexico. Keep an eye out for his upcoming release this March 2015 of his debut EP “ Palace of Mirrors” releasing on his own label, Magnetic Moon Records. 2015 will be an exciting year to come!
For Garza – who’s devoted much of his life to creating a richly-textured foundation that’s defined Thievery Corporation – solo appearances for more intimate audiences inspires new creations based off the culture and styles encountered during his travels. Whether opening for Paul McCartney with Thievery, DJing in Nepal for climbers tackling Mt. Everest, or in more obscure clubs in remote corners of the world, an impeccable taste in music style resonates through the foundation of every show.
For inspiration, Garza continues to mine the sounds he’s discovered through traveling the global dance scene. “When I first came to San Francisco, I returned to my electronic roots in the dance community while also spending a great amount of time in Mexico, where there is a great dance music scene” says Garza. “There’s so much going on in terms of people taking influences from all these different genres—like house and dub and new wave and disco—and putting it all together in a way that’s very new and original and inspiring to my own music.”
His 2013 “Remixes” album presents a kaleidoscope of his past work with artists like Tycho, Gogol Bordello, Afrolicious, and Federico Aubelle and marked the start of a new chapter in his eternal music odyssey. Later in 2013, Garza teamed up with Canadian deep house producer Neighbour to release “Calle del Espirtu Santo.” Inspired by the spirit of his travels in Madrid, Spain, the EP is the first in a series of releases that recount the memories only an international music explorer can tell.