Mile High Blues Society



Welcome to The Mile High Blues Society!

Have a look around - support live music!
We are musicians, fans, venues, and media committed to enjoying and sustaining Denver's blues music scene.
We Support Live Local Blues - YOU can too!  Become a member today!
JOIN the MHBS

 



We Support Live Local Blues
We are musicians, fans, venues, and media committed to enjoying and sustaining Denver's blues music scene.
We Support Live Local Blues - YOU can too!  Become a member today! 

We are in our Annual Membership Drive / Renewal Campaign - so if your membership has expired please consider renewing to help us keep the Blues alive in Colorado. You can renew from the link below or via the instructions if your receive our renewal email notice!

Thank you for supporting live blues!
JOIN the MHBS


 


Grace-ful blues: Young Fort Collins teen brings new life to old-style music

Photo credit: Ruth Spicer Grace Kuch performing at the 2018 King Biscuit Blues Festival

 

By Steve Graham

One of the most respected blues musicians in Colorado is Grace Kuch, a 15-year-old homeschooled Fort Collins girl.

This year, the Mile High Blues Society sent Kuch to the International Blues Challenge, the world’s largest blues conference, which takes place over a week in January with workshops and, of course, plenty of live jams and showcases on Memphis’ legendary Beale Street.

“It’s all of your best music friends in a two-block radius,” Grace said in an interview in her Old Town Fort Collins living room. The room is filled with musical instruments, even though she is pretty much the only person who plays all the guitars, basses, mandolins and pianos in the house.

“She’s far surpassed my musical abilities,” said her mother, Jill. Grace’s grandfather was a guitarist, but neither of her parents play music. However, they support Grace’s career. Jill is her homeschool teacher, driver, chaperone and manager.

“A lot of our friends think we’re crazy,” Jill said.

She said Grace is gradually taking over more of her own management and booking. They both travel so often for gigs and festivals that a traditional school schedule does not work.

Grace practices a variety of musical styles, but she is really hooked on the blues. She has a passion for blues scales and chords, but she also loves the camaraderie among blues musicians, which she noticed at her first blues festival.

“I saw how amazing the blues community could be,” she said. “Everyone was super-supportive and helped me reach the next level.”

Grace mostly plays covers, but she has been working with Mary Claxton at the Music District on her songwriting.

“In this community, especially, we’re very lucky to be here because there are numerous opportunities all the time to learn and play,” Jill said.

Grace also has had opportunities to learn and play all over the country, including the King Biscuit Blues Festival in Helena, Ark., and a music camp in Big Indian, N.Y., where she met and played with members of the Allman Brothers and the North Mississippi Allstars.

“She has worked with so many different mentors in different aspects,” Jill said.

Her next goal is mastering the bass guitar. She is studying bass in June at the Pinetop Perkins masterclass in Mississippi in June.

Grace leads two distinct bands. She has a collective of other high school students that got together about a year ago. They play youth showcases that only accept musicians younger than 18.

For three years, she also has fronted a larger band of older musicians. Drummer David Osborne put together the group. He had been on hiatus from music but was inspired to pick up the sticks again after seeing Grace play a local show.

“They do it for the love of playing,” Jill said.

While they see Grace as the leader of the band, she said they also give her honest feedback, and she appreciates it. Both bands also help broaden Grace’s musical horizons.

“Because of all the different influences that her bandmates have, they have been playing music forever, and they are feeding her songs all the time and seeing what sticks,” Jill said.

She added that Grace is a quick learner and is constantly expanding her repertoire.

“She finds these gems and something will speak to her, and she’ll learn it like that,” Jill said, snapping her fingers.

For Grace, it all has to come back to the blues.

“I’m going to play the blues as long as I play music,” Grace said. “I don’t know if it will be strictly blues. I might venture into other areas of music but I know there will definitely be a blues influence on whatever I play.”

Jill noted that blues music encompasses a wide variety of styles.

“The (blues) umbrella is wide, and many people that don’t know the genre think it’s just the old bluesman, but there’s a huge genre especially with the progressive blues right now,” she said.

Grace is finding her niche and perfecting her style without pushing herself or her career too quickly.

“I don’t want to play a whole bunch of shows and burn myself out before I turn 21,” Grace said. “By then, I will have been in the music business for a long time but still pretty young, so I don’t want to push too hard and burn me out or burn other people out on me. I want to play and be in the community and have people see me but not push too much.”

She also is excited to remain part of the Fort Collins music scene.

“For the most part, it’s a really loving community,” Grace said. “You can work together to get through life through music. It’s not all perfect, but it’s a really nice way to connect with people on a different level.”

 

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Our Mission: To preserve blues heritage, celebrate blues recording and performance, expand worldwide awareness of the blues, and ensure the future of this uniquely American art form.

 
 


 

Download the 2019 Generation Blues Application
 

How Generation Blues Is Shaping The Musicians of Tomorrow


Jack with Robben Ford at Robben's Traveling Dojo Guitar Camp

"My favorite part of the camp was the faculty concert and sit-in which happened every evening. In this event, the band, which consisted of all the instructors, played multiple songs showcasing their amazing playing abilities. After that, each student got an opportunity to play a song of their choice in the band... I would like to thank The Blues Foundation once more for this scholarship. This camp was truly a life-changing event for me and I would certainly attend this camp or one similar to it again if granted the opportunity." - Jack Meyer, age 14
 

 

The Generation Blues Application is now open for the 2019 Summer Session!

Affiliate leaders, we're again asking for your assistance in sharing with both your membership and our surrounding blues community information regarding the Generation Blues youth scholarship program. Please help us pass along this important opportunity to the youth in your area. Thank you in advance for all that you do to promote the Blues and cultivate an active Blues community!
 
In 2010, The Blues Foundation expanded its longstanding Blues in the Schools youth education efforts with a new initiative entitled Generation Blues. This program exists to provide financial assistance to aspiring young blues musicians whose limited financial resources might prohibit them from attending a blues music learning opportunity. Since Generation Blues began, The Blues Foundation has awarded over 250 scholarships totaling more than $200,000 to our youth members as part of our mission to preserve blues heritage, celebrate blues recording and performance, expand worldwide awareness of the blues, and ensure the future of this uniquely American art form. With this youth-driven initiative, The Blues Foundation is able to assist qualified applicants under the age of 21 to study their instrument of choice at reputable camps, seminars and workshop programs during the summer months.

Visit the Blues Foundation’s website for more details about
Generation Blues by clicking here.
 
The deadline to submit a Generation Blues Application is March 31, 2019. For those interested in applying or have questions regarding the program, please take a moment to review our application and instructions.

Forward all completed applications to Elizabeth Montgomery Brown via email at elizabeth@blues.org or call at 901-527-2583 ext. 13.

Download the 2019 Generation Blues Application

 



FOR IMMEDIATE RELEASE:

 

Contact: Candace Avery

Unsigned Only Music Competition

615.251.4441

press@unsignedonly.com

www.unsignedonly.com

 

2019 UNSIGNED ONLY MUSIC COMPETITION ADDS BLUES CATEGORY

 

Judges Include: Taj Mahal, Ruthie Foster, Janiva Magness,

and Art Tipaldi (Editor, Blues Music Magazine) 

 

March 5, 2019 – Unsigned Only Music Competition is pleased to announce the addition of Blues to its line-up of eligible categories. Unsigned Only Music Competition is designed for all independent artists (including solo artists, groups, and vocalists) who are unsigned to a major label record deal. Unsigned Only's goal is to give artists exposure, recognition, and validation for their artistry and is the premier music competition in the world for indie and unsigned artists.

 

“We are very pleased that Blues artists will now be able to enter the competition and have their music heard by such an esteemed panel of judges,” said Candace Avery and Jim Morgan, Co-Founders of Unsigned Only. “The historical and cultural impact of Blues on so many other genres of music is undeniable, and we are happy to be an advocate for this vital form of music. We look forward to providing Blues artists the opportunity to showcase their music on a global platform.”

 

Unsigned Only awards more than $150,000 in cash and prizes split among 38 winners, including a $20,000 cash prize to the overall Grand Prize winner. The Grand Prize winner is also awarded one-on-one mentoring by an elite group of record company executives. This is a unique opportunity for an artist to directly network with the highest level of record company professionals and get guidance, advice, and feedback. First Place and Second Place winners will also be selected in each category and awarded prizes.

 

Since its inception in 2002, Unsigned Only has become an important source for discovering new talent, with five Grand Prize winners having been signed to record deals. Additionally, winners have seen major benefits including securing licensing and publishing deals, getting better gigs, increasing their media coverage, and expanding their fan base.

 

Categories include: AAA (Adult Album Alternative), AC (Adult Contemporary), Americana, Blues, Christian, Country, EDM, Folk/Singer-Songwriter, Instrumental, Jazz, Latin, Pop/Top 40, R&B/Hip-Hop, Rock, Screen Shot (songs suitable for placement in film/TV/advertising/gaming), Teen (artists 18 years old or younger), Vocal Performance, and World Music.

 

Entry information is available at https://www.unsignedonly.com.

 

Unsigned Only is sponsored by Berklee College of Music; Eventric; Hybrid Studios; Lurssen Mastering; Merch Cat; Musicians Institute; Musician Wellness; Pro Tour Nutrition; Radio Airplay; Shubb Capos; Symphonic Distribution; The Music Business Registry; and Vocal Eze

 

 



The Blues Foundation salutes its milestone 40th class of Blues Hall of Fame inductees with a special ceremony at the Halloran Centre for the Performing Arts and Education in Memphis on May 8.

THE QUEEN OF SOUL, THE COUNT,
AND THE UNCROWNED QUEEN OF THE BLUES
ARE AMONG THE MUSIC ROYALTY BEING
WELCOMED INTO THE BLUES HALL OF FAME ON MAY 8 

Pee Wee Crayton, Moe Asch, and Booker T. & the MG’s join Aretha Franklin, Count Basie, and Ida Cox in The Blues Foundation’s 40th Blues Hall of Fame induction class, which also honors historic recordings by Muddy Waters, Ray Charles, B.B. King,
Bessie Smith, 
and Elmore James
 

MEMPHIS, Tenn.—It will be quite the regal evening when The Blues Foundation salutes its milestone 40th class of Blues Hall of Fame inductees with a special ceremony at the Halloran Centre for the Performing Arts and Education in Memphis on May 8. This year’s lucky 13 honorees represent all five of the Blues Hall of Fame’s categories: Performers, Non-Performing Individuals, Classics of Blues Literature, Classics of Blues Recording (Song), and Classics of Blues Recording (Album). 

The five performers entering the Blues Hall of Fame this year reflect the breadth of the blues’ influence throughout the music world. The legendary singer Aretha Franklin has been hailed as the Queen of Soul, but the blues is very much a foundation of her music, as albums like Aretha Sings the Blues and her Dinah Washington tribute stand as a testament to. Count Basie busted out of the blues-rich Kansas City music world to become the King of Swing, and the blues certainly has proven integral to his sound. Ida Cox rose to fame in the 1920s during the classic vaudeville blues era. Dubbed “The Uncrowned Queen of Blues,” Cox might not be as well-known as her peers Ma Rainey and Bessie Smith, but she has achieved a lasting influence, particularly with her song “Wild Women Don’t Have the Blues,” which has become a feminist anthem.

Texas-born guitarist Pee Wee Crayton found his greatest success after moving to California, where he became a kingpin of the West Coast blues scene of the late ’40s. From 1948, his tune “Blues After House” represents the first and only instrumental by a guitarist to top Billboard’s R&B (then still called “Race Records) charts. Booker T. & the MG’s, a band synonymous with Memphis and Stax Records, played on a galaxy of great soul and blues albums, including all of Albert King’s Stax studio records in the 1960s. Entering the Blues Hall of Fame in its Business, Academic, Media & Production category this year is Moses Moe” Asch. While leading Folkways Records and other labels, Asch helped to document and disseminate a remarkable range of roots music. Acoustic blues was prominent among his releases, with Lead Belly, Sonny Terry & Brownie McGhee, Elizabeth Cotten, Reverend Gary Davis, and Big Bill Broonzy among the artists whose records he released.

This year’s selections for landmark recordings spotlight works by several long-time Blues Hall of Famers. Elmore James’ 1965 album The Sky Is Crying and his song “Shake Your Moneymaker” both are entering the Blues Hall of Fame. Last year, the Blues Hall inducted B.B. King’s album Blues Is King, and this year it is recognizing King’s 1954 classic tune “Everyday I Have the Blues.” Muddy Waters adds to his Blues Hall of Fame honors with the induction of his influential 1950 tune “Rollin’ Stone.” Ray Charles’ iconic “I Got a Woman” and Bessie Smith’s signature version of “The St. Louis Blues” round out 2019’s recording honorees. Additionally, the Blues Hall’s choice for the Classic of Blues Literature is the revelatory historical work Lost Delta Found: Rediscovering the Fisk University-Library of Congress Coahoma County Study, 1941-1942, which was compiled by John W. Work, Lewis Wade Jones, and Samuel C. Adams, Jr.

Taking place during Blues Music Week, the Blues Hall of Fame Induction Ceremony will be held May 8 at the Halloran Centre (225 South Main Street, Memphis). A cocktail reception kicks off the festivities at 5:30 p.m. before the Ceremony begins at 6:30 p.m. Tickets are $75 per person. The celebrating continues the next night (May 9) when The Blues Foundation presents the 40th Annual Blues Music Awards at Memphis’ Cook Convention Center (7 p.m. start time). Individual BMA tickets are $150 per person with Tables for 10 at $1,500 each. Both events are open to the public and tickets can be purchased now at THIS LINK. Reservations can be made for The Blues Foundation’s block of rooms at the Sheraton Memphis Downtown and the reservation link can be found at www.blues.org.

As part of the Induction Ceremony, the Blues Hall of Fame Museum is securing special items representing each of the new inductees, and those artifacts will be installed and available for viewing beginning May 8. The Museum has been a treasure for both serious blues fans and casual visitors since opening in May 2015. Through intriguing exhibits (including traveling exhibits that rotate every six months) and individualized galleries, it offers an entertaining and educating exploration into all that is blues culture. The Museum features interactive touchscreen displays along with three master databases where visitors can hear the music, watch videos, and read the stories about each of the Blues Hall of Fame’s over 400 inductees. Each gallery also displays a fascinating array of album covers, photographs, historic awards, unique art, musical instruments, costumes, and other one-of-a-kind memorabilia.

The Blues Hall of Fame Museum (421 S. Main St., Memphis) was built through the generosity and support of blues fans so that it would serve all four components of the Blues Foundation’s mission: preserving blues heritage, celebrating blues recording and performance, expanding awareness of the blues genre, and ensuring the future of the music. Its hours are 10 a.m.–5 p.m. Monday-Saturday and 1–5 p.m. on Sundays. Admission is $10 for adults and $8 for students with ID; entry is free for children 12 and younger and Blues Foundation members. You can become a member for a little as $25 per person; find out how by visiting www.blues.org and clicking on Join Now.

ABOUT THE INDUCTEES:

Performers

Aretha Franklin was long recognized as the Queen of Soul; however, she also was viewed as the Queen of the Blues as well as gospel royalty. Regardless of the genre, her powerful vocal range, striking intimacy, and impeccable timing made her one of the greatest singers ever. Her father, the famous preacher Reverend C.L. Franklin, was from the Mississippi Delta. He moved the family to Memphis (where Aretha was born) before settling in Detroit. He also guided Aretha to sign with John Hammond at Columbia, where her first release was “Today I Sing the Blues. At Atlantic Records she scored hits with “Respect,” “Chain of Fools,” and many others which entered the repertoires of blues and soul bands, including the flip side of “Respect,” “Dr. Feelgood.” Franklin, who died in 2018, garnered more than 20 Grammys (including the Lifetime Achievement Award), along with receiving the prestigious Kennedy Center Honors, the NAACP Vanguard and Hall of Fame awards, and induction into the Rock and Roll Hall of Fame.

William James “Count” Basie, who was born in Red Bank, New Jersey, began his career on the East Coast but his sound was forever linked to Kansas City, a freewheeling crossroads that was a hotbed for both jazz and blues. Dubbed “The King of Swing,” Basie created music rooted in the blues. He played blues piano with an easy, economical touch; wrote or revamped an impressive cache of blues and jump tunes; and employed acclaimed vocalists who could sing the blues with a mastery that matched Basie band’s musicianship such as Jimmy Rushing, Billie Holiday, and Joe Williams. While he has been honored with too many awards to mention, it is only appropriate that the Blues Hall of Fame recognize Count Basie both for the debt he owed to the blues and for what he gave back in return.

Connie Curtis“Pee Wee” Crayton grew up in Austin, Texas and migrated to California in the mid-1930s, living first in Los Angeles and then Oakland. With tutelage from T-Bone Walker and jazz guitarist John Collins, Crayton developed his own guitar style, incorporating their sophistication but picking with a harder edge. One of West Coast blues’ brightest stars, Crayton reached No. 1 in 1948 on Billboard’s “Race Records” chart (renamed “Rhythm & Blues” in 1949) with “Blues After Hours,” which remains the only instrumental credited to a guitarist ever to top the R&B charts. After his chart success ran out in 1950, Crayton continued to display a dynamic flair on later records and delivered many memorable live performances. His periodic guitar battles with longtime friend T-Bone Walker always made headlines. Crayton, who died in 1985, also has been cited as an influence on both Elvis Presley and Chuck Berry.

Booker T. & the MG’s delineated the soulful sound of Memphis playing behind a cavalcade of stars at Stax Records, all the while making instrumental hits of their own. Their first record, 1962’s “Green Onions,” was followed by 14 more chart hits, including ”Hip-Hug-Her” and “Time Is Tight.”The original group — consisting of Booker T. Jones (organ), Steve Cropper (guitar), Lewie Steinberg (bass), and Al Jackson, Jr. (drums) — came together in 1962, with Donald “Duck” Dunn taking over on bass a few years later. They also were an integrated band, which was rare then, particularly in the South. Their Stax, Volt and Atlantic sessions included recordings with Albert King, Otis Redding, Wilson Pickett, The Staple Singers, Rufus Thomas, and Carla Thomas. The group entered the Rock and Roll Hall of Fame in 1992 and received a Recording Academy Lifetime Achievement award in 2007, while “Green Onions” was inducted into the Blues Hall of Fame in 2018.

Ida Cox was touted as the “Uncrowned Queen of the Blues” from the start of her recording career in 1923. Although Ma Rainey and Bessie Smith typically are mentioned as the top stars of the classic vaudeville blues era, Cox was every bit their rival. A high-class entertainer who dressed in the finest gowns, Cox also was a composer of note. Her tune “Wild Women Don’t Have the Blues” has become a feminist anthem, while other titles and verses of hers have resurfaced in the work of legendary bluesmen — for example, “How Long, Daddy, How Long” (Leroy Carr), “Death Letter Blues” (Son House), “Mojo Hand” (Lightnin’ Hopkins) and “I Am So Glad” (Skip James). Cox retired in 1945 following a stroke; however, she was coaxed into recording again during the 1960s blues revival and cut an LP with the Coleman Hawkins Quintet in 1961. Cox passed away in 1967.

Individual (Business, Academic, Media & Production):

Moses “Moe” Asch ranks as one of the preeminent figures in the history of folk music, thanks to his tireless work in releasing more than 2000 albums on Folkways Records along with records on Asch, Disc and his other labels. The extraordinary scope of his catalog encompasses ethnic music from around the globe in addition to spoken word, sounds of nature, and other esoteric audio documentation. Folkway’s blues roster contained such luminaries as Lead Belly, Elizabeth Cotten, Reverend Gary Davis, Champion Jack Dupree, Honeyboy Edwards, Memphis Slim, and Big Joe Williams. Important too were Folkways’ field recordings that documented traditional African-American music from the American South. The educational value of the Folkways albums was further enhanced by detailed liner note inserts, another example of Asch’s pioneering vision. He also made sure that every Folkways record stayed in print, a policy that continued after the Smithsonian acquired his catalog following Asch’s death in 1986.

Classics of Blues Literature

Lost Delta Found: Rediscovering the Fisk University-Library of Congress Coahoma County Study, 1941-1942 presents a unique and valuable perspective on the pioneering Coahoma County study that also was recounted in Alan Lomax’s Land Where the Blues Began, a prior Classics of Blues Literature honoree. Written by African-American scholars from Fisk University, Lost Delta Found documents their crucial but often overlooked work on the project. First planned for publication back in the ’40s, the original manuscript, written by John W. Work with an introduction by Lewis Wade Jones, was submitted to the Library of Congress but was reported missing or misplaced for years. This 2005 Vanderbilt University Press publication, edited by Robert Gordon and Bruce Nemerov, also includes the 1947 master’s thesis by Samuel Adams, who was part of the Fisk crew, along with additional information on the county’s black music that was documented by others during their trips there.

Classics of Blues Recording: Singles:

“Rollin’ Stone” by Muddy Waters stands as a landmark recording for several reasons. Cut in February of 1950, it was the first blues record that Chess ever issued (and the second overall, following a Gene Ammons instrumental). It also is the only classic Chess track Muddy sang and played by himself, demonstrating that he didn’t always need his stellar band in order to deliver a stirring performance. And then, of course, there was that English rock group that took its name from this song as well as a San Francisco-born music magazine whose name drew inspiration from the song title.

“Shake Your Moneymaker” by Elmore James was recorded in New Orleans in 1961, and marked an exuberant, up-tempo departure from the slide guitar master’s deep blues recordings. First issued as a 45 on Bobby Robinson’s Fire label, the single reveals a more hard-driving musical approach than that of its predecessor, “Roll Your Moneymaker,” by Shakey Jake. “Shake Your Moneymaker” has remained popular with rock bands — Black Crowes, George Thorogood, Fleetwood Mac, and Rod Stewart have all recorded it.

“I Got a Woman” by Ray Charles perfectly illustrates the way Charles transformed the sacred into the secular. He heard the Southern Tones’ gospel tune “It Must Be Jesus” (a 1954 Duke Records release) on a car radio, and when he went into the studio in Atlanta on November 18, 1954, he kept the music but changed the words, exemplifying a common assertion that the thin musical line between gospel and blues often lies only in the lyrics. “I Got a Woman” became his first No. 1 R&B hit and remains one of the iconic works in the annals of rhythm & blues.

“Everyday I Have the Blues” rates as one of the most ubiquitous blues tunes. Its late entry into the Blues Hall of Fame reflects the fact that no strong consensus emerged on which of the hundreds of recorded versions was most deserving. B.B. King is most associated with the tune, and so the first of his own many versions gets the honor. Issued as a single on the RPM label, it was recorded on March 2, 1954, and hit Billboard’s R&B charts in January 1955, just weeks before another hit rendition by Joe Williams and the Count Basie band.

“The St. Louis Blues” is one of the most recorded songs of all time, in any genre. Few versions of the W.C. Handy tune, however, can compare with Bessie Smith’s. Part of the magic of this 1925 Columbia single is its spare arrangement. “The Empress of the Blues” was accompanied by only Louis Armstrong on cornet, and Fred Longshaw on pump organ (a rare instrument on recordings during that era). The only surviving film footage of Bessie Smith is a 1929 short film St. Louis Blues, which features her singing the song again; this time backed by a larger group.

Classic of Blues Recording: Album

Elmore James: The Sky is Crying is the other James recording being honored with a Blues Hall of Fame induction this year. James, who died in 1963, did not live to see the release of this 1965 compilation, which was the first U.S. album to collect sides he recorded for Bobby Robinson from 1959-1961. Seven of the 12 tracks on this classic collection were first issued as singles on Robinson’s Fire label, with the other tunes, including a remake of his signature song, “Dust My Broom,” came out on other Robinson imprints, Sphere Sound and Enjoy.
 

For more information regarding The Blues Foundation’s 40th Annual Blues Hall of Fame Induction Ceremonyplease contact Conqueroo: Cary Baker • (323) 656-1600 • cary@conqueroo.com





This MHBS Sunday Blues Jam


at Rockabillies 12363 West 64th Avenue (64th & Ward Road) Arvada, CO 80004

Open 11:00 a.m.
Signup for the jam as early as 6:00p.m.
Jam starts at 7:00p.m.
ALL AGES UNTIL 9PM AFTER 9PM OVER 21 ONLY

Hosted alternately by Doc Brown's Blues Band and MHBS Member Bands

Join us!  Full backline and PA provided. Feel free to bring your own amps and pedals.

Signup as early as 6pm. Jam starts at 7:00pm

Hosts:
Sunday - March 3 - Doc Brown's Blues Band Host
Sunday - March 10 - 50 Shades of Blue Host
Sunday - March 17 - Doc Brown's Blues Band Host
Sunday - March 24 - Shack & Friends Host
Sunday - March 31 - Doc Brown's Blues Band Host
Sunday - April 7 - Dan Haynes Trio Host
Sunday - April 14 - Doc Brown's Blues Band Host

 

 


 

Denver Botanic Gardens announces initial lineup for 2019 Summer Concert Series Presented by UMB Bank

 

Tickets for general public go on sale Tuesday, April 9, at 10am

 

WHAT: For immediate release: Initial concerts announced for Denver Botanic Gardens 2019 Summer Concert Series
WHEN: Dates and times vary, see show details below
WHERE: Denver Botanic Gardens, UMB Bank Amphitheater, 1007 York St., Denver, 80206
TICKETS: Denver Botanic Gardens 2019 Summer Concert Series General Public Sale April 9 at 10am, concerts.botanicgardens.org
MEDIA CONTACT: Barry Osborne, (303) 643-5817, barry@swallowhillmusic.org
PRESENTING SPONSOR: UMB Bank
PRODUCED BY: Swallow Hill Music
ASSOCIATE SPONSORS: Elevated Third, Perry & Co.
SUPPORTING SPONSORS: Colorado Cider Company, Denver Center for the Performing Arts Broadway, Halcyon Hotel Cherry Creek, Marczyk Fine Foods, Metropolitan State University of Denver, United Airlines, Xcel Energy
MEDIA SPONSOR: 97.3 KBCO

DENVER- Denver Botanic Gardens is excited to announce the initial lineup for its 2019 Summer Concert Series presented by UMB Bank. The series is celebrated for bringing beloved, internationally-known musical artists to a place of unsurpassed beauty in the city.

Denver Botanic Gardens Summer Concert Series is produced by Swallow Hill Music and takes place at the UMB Amphitheater at the Gardens’ York Street urban oasis.

Among the acts taking the stage at the UMB Amphitheater this summer are Ziggy Marley, Michael McDonald, JJ Grey & Mofro and Jonny Lang, and Judy Collins.

The initial series lineup is below. More artists and dates will be added soon. Tickets go on sale to the general public Tuesday, April 9, at 10am.

Denver Botanic Gardens Summer Concert Series

Unless otherwise noted, all shows start at 6:30pm; gates open at 5:45pm.

Ziggy Marley

Monday, July 1

 

Michael McDonald

Thursday, July 18

    

Gipsy Kings

Wednesday, July 24

 

DOUBLE VISION REVISITED featuring Bob James, David Sanborn & Marcus Miller with guests Billy Kilson & Larry Braggs

Monday, August 5

 

JJ Grey & Mofro and Jonny Lang

Tuesday, August 6

 

Judy Collins w/ Joan Osborne (Sings the Songs of Bob Dylan)

Monday, August 12

 

John Hiatt

Tuesday, August 13

 

About Denver Botanic Gardens: 
Green inside and out, Denver Botanic Gardens was founded in 1951 and is considered on of the top botanical gardens in the United States and a pioneer in water conservation. Accredited by the American Alliance of Museums, the Gardens' living collections encompass specimens from the tropics to the tundra, showcasing a plant pallette chosen to thrive in Colorado's semi-arid climate. The Gardens is a dynamic, 24-acre urban oasis in the heart of the city, offering unforgettable opportunities to flourish with unique garden experiences for the whole family - as well as world-class education and plant conservation research programs. Additional sites extend this experience throughout the Front Range: Denver Botanic Gardens Chatfield Farms is a 700-acre native plant refuge with an active farm in Jefferson County; Mount Goliath is a high-altitude garden and interpretive site on the Mount Evans Scenic Byway, The Gardens also manages programming at Plains Conservation Center in Aurora. For more information, visit up online at www.botanicgardens.org.

 

About Swallow Hill Music:
Founded in 1979, Swallow Hill Music is a nonprofit community for musicians and music lovers who appreciate the ability of music to bring people together. As a home for individuals and families who want to learn about, listen to and perform music, Swallow Hill Music enhances Colorado's cultural vitality and is a model for experiential music schools and performance spaces across the country. The organization serves more than 165,000 people through its school, outreach programming and concerts annually. Swallow Hill Music also presents and produces concerts at a wide range of venues across Denver. For more information visit www.swallowhillmusic.org.

 

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(Contact us at ads@MileHighBluesSociety.com to have your ad here!
You may purchase your ad through our STORE link)

BANDS - REMEMBER!!!
Your MHBS Membership gets you FREE show posting in the newsletter and on our website!
Send your posters and show notices to shows@MileHighBluesSociety.com


2019 is a special year for Swallow Hill Music… We’re turning 40! The past four decades have been incredible. Stay tuned for an anniversary concert series, archival footage from years gone by, and so much more! Thanks for being a part of the Swallow Hill community as we look forward to many more years of bringing the joy of music to life every day. 



Sunday - March 24 - Shack & Friends Host
Sunday - March 31 - Doc Brown's Blues Band Host
Sunday - April 7 - Dan Haynes Trio Host
Sunday - April 14 - Doc Brown's Blues Band Host








 


Third Friday
Open Mic - streamed live
6 to 8pm
700 Kalamath, Denver. 



 




 


 


Every Friday - Open Mic 7pm to 10pm

Scott "SHACK" Hackler will be playing solo EVERY MONDAY NIGHT
at Morrison Holiday Bar, 6:00-10:00. This will run until football season.



 


The Custom Shop Band




 

Lincoln Station, Lonetree, Colorado


Dannik's Gunbarrel Corner Bar



 



 

 

 




 
THE MILE HIGH BLUES SOCIETY  MAILING ADDRESS
Mile High Blues Society
P. O. Box 12464
Denver, Colorado 80212-2464


THE BLUES STORE IS OPEN - MHBS T-SHIRTS ARE HERE
The Mile High Blues Society Store is Open for Business! You can order one of our very cool, high quality MHBS T-shirts. Prompt shipment via USPS Priority Mail. Show your colors; visit the store HERE
 


MHBS GIG ZONE
Are you a blues player looking for a gig, or a band looking for a player? Post a message in the Gig Zone! It's the best way to get hooked up with the right people in the Denver blues scene. Check it out.

 
SIGN UP NOW!  SUPPORT LIVE LOCAL BLUES
Membership has its benefits!  You will receive the "Blues Insider" newsletter, with news and reviews.  Members get a discount on tickets to shows and invitations to members-only events presented by The Mile High Blues Society, among other perks.  As a MHBS member you will be a strong supporter and advocate for local blues.  

Membership starts at only $15,  Please 
click here to get started.

 

Business Members


303 Blues Project


 














FLIPSIDE MUSIC
www.Flipside-Music.com


Lincoln Station Coffee/Pizza/Music

9360 Station St. #175,
Lone Tree, Colorado 80124



The Oriental  Theater


 


3355 South Wadsworth Blvd
Lakewood, CO 80227

(303) 980-6200

http://www.the-rusty-bucket.com




DrumCity - GuitarLand
9225 W. 44th. Ave.
Wheat Ridge, Colorado USA 80033
Phone: 303-421-4515, 303-424-9393
 




Lil Devils
http://www.lildevilslounge.com



Westminster Brewing Company
 



 

 

 

 

 

 

 



Ziggies Presents

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