#JT Bates

[thebowerypresents]

Bonny Light Horseman Find Beauty on First Night at Music Hall of Williamsburg

Bonny Light Horseman – Music Hall of Williamsburg – June 18, 2024

Beauty in music is often found in the perfect: a classically trained voice hitting the note, interlocking instruments in lockstep, complicated rhythms pulled off without error. But for other musicians, artists like Anaïs Mitchell, Eric D. Johnson and Josh Kaufman, there is much more beauty to be found in the imperfect. Each has built a successful career in the slightly off-kilter, and together, as the band Bonny Light Horseman, that knack for finding beauty in the almost, warmth in the ragged and joy in the imperfections has only been magnified. Tuesday night a packed Music Hall of Williamsburg found delight and warmth, joy and beauty in the first of two Brooklyn shows for the band.

The set opened with “Blackwaterside,” Mitchell’s and Johnson’s voices waltzing around each other with a glowing friendliness. Mitchell’s mournful singing on “The Roving” was offset with Kaufkman’s leap-off-the-page guitar. Bonny Light operate in the space where folk becomes rock, and at times during their show, you could almost see the evolution that took centuries take place in a single song: Johnson’s plunking banjo on “Green, Green Rocky Road” swallowed whole by Kaufman’s electric guitar and the swinging vocal harmonies; drummer JT Bates’s quiet folkie brushwork going stick-sharpened and back again on the lovely “Comrade Sweetheart”; the touching “Fleur de Lis” turning vicious with a slide guitar solo outro; Mitchell’s melancholy on “When I Was Younger” getting a full Zeppelin makeover midway through. 

Mike Lewis joined in on several songs with his saxophone, amplifying the emotional arc on “Jane Jane” and adding oomph to the rollicking set-closing “Sweetbread.” Like the entire show, the three-song encore was a mix of tracks off their just-released album, Keep Me on Your Mind/See You Free, and older material, with “Old Dutch” personifying their evolved rock and roll and “Bonny Light Horseman” reminding of their roots in the oldest of old folk and the beauty to be found therein. Perfect. —A. Stein | @Neddyo

(Bonny Light Horseman play Music Hall of Williamsburg again tonight.)(Bonny Light Horseman play Union Transfer in Philly tomorrow.)

(Bonny Light Horseman play The Sinclair in Cambridge, Mass., on Sunday.)

Photos courtesy of Katie Dadarria | www.instagram.com/dadarria

[duranduratulsa]

Now showing on my Spooktober Filmfest...Misery (1990) on classic DVD 📀! #movie #movies #horror #stephenking #JamesCaan #kathybates #LaurenBacall #FrancesSternhagen #RichardFarnsworth #jtwalsh #90s #dvd #spooktober #halloween #october

[evermoredeluxe]

jt bates deserved a grammy just for his drumming on tis the damn season

[musicletter]

«Looking Glass», il nuovo album della sublime Alela Diane

«Looking Glass», il nuovo album della sublime Alela Diane #streaming #aleladiane #album2022

Prodotto da Tucker Martine, Looking Glass è il nuovo album della folk singer statunitense Alela Diane. Pubblicato il 14 ottobre 2022, Looking Glass racchiude 11 bellissime tracce scritte dalla stessa Diane e vede la collaborazione di numerosi musicisti come Peter Broderick, Liberty Broillet, Eli Moore, JT Bates, Anna Fritz, Luke Ydstie e Ryan Francesconi. Nel nuovo disco Alela Diana suona…

[diskilop]

Zacc harris

#Zacc harris full#

"Guitarist Zacc Harris delivers a sound that is lucid, clear.providing rich. Harris did all the composing, and gets anĪ grade for penmanship." - Tom Surowicz, Star Tribune Quintet features the cream of the Twin Cities scene: Bryan Nichols, Brandon Every track isĪrresting and well thought-out, delivering freshness, fire and filigree. " is no offhand affair, no jamming session. even if you can still hear those influences." - David Cazares, MPR News Once a player who sought to emulate greatĪrtists like Wes Montgomery and Pat Martino, Harris now has a distinct voice. " has been a key part of an emerging Twin Cities sound, fused from Likes of Wes Montgomery and Pat Metheny." - Rick Mason, City Pages "The Garden showcases Harris's compositions, which adeptly andĬompellingly link the past and future of jazz, and guitar work, which isĬonsistently articulate with an enticing fluidity seemingly influenced by the With skill and focus, the sextet bring the tracks to life, making it veryĮnjoyable to listen to.the performances matching the quality of the compositions, resulting in a fineĪlbum from the Zacc Harris Group." - Mike Gates, UK Vibe "There’s a warm, thoughtful narrative running through this recording, not surprising given the "Small Wonders is big on melody, intelligent arrangements, and powerful as well as thoughtful solos." The album features 9 new originals and a allstar sextet with John Raymond, Brandon Wozniak, Bryan Nichols, Chris Bates and JT Bates.

#Zacc harris full#

The album received high acclaim with the Star Tribune calling it "quietly resonant" and City Pages saying, "It’s a collection of smart contemporary jazz interpretations of folk standards.Harris’ eloquent guitar work highlights pointed commentary with a deft array of melodic abstractions, tempo shifts and harmonic changes." All About Jazz wrote, "the arrangements are full of fresh twists, all played with an understated warmth." In Fall of 2021, Harris will release Small Wonders on Shifting Paradigm, the long awaited Zacc Harris Group follow up to The Garden. In 2017, Harris released his second album as leader, a trio project called AMERICAN REVERIE on which he explored a range of nostalgic songs, from Americana classics to Bob Dylan, re-imagined with a jazz tilt. City Pages writer Rick Mason says, "The Garden showcases Harris's compositions, which adeptly and compellingly link the past and future of jazz, and guitar work, which is consistently articulate with an enticing fluidity seemingly influenced by the likes of Wes Montgomery and Pat Metheny." The American Composers Forum chose Harris for one of its three Minnesota Emerging Composers Awards in 2016, to write and record a second album with this group, due out in September 2021. Renowned jazz critic Bill Milkowski wrote for JazzTimes Magazine, "Twin Cities modern jazz renegades shift nimbly from a punk-jazz aesthetic to ECM-ish sensitivity.startlingly original stuff." In 2012, Harris released his first album as leader, THE GARDEN, on Shifting Paradigm Records. Jazz Improv Magazine says, "Harris delivers a sound that is lucid, clear.providing rich-sounding accompaniment, and well-crafted solos" while Cadence Magazine calls some of Harris' work with Atlantis Quartet "worthy of John McLaughlin." MPR News states, "Harris makes his own mark on standards with enough new hooks to keep jazz alive." As co-leader of Atlantis Quartet, Harris has released five critically acclaimed albums since 2006, as well as a digital anthology of the band's first decade together. Harris has toured as leader and sideman throughout the US and UK, including a 2016 run with Zacc Harris Group at London's famed Ronnie Scott's Jazz Club. He performs in a host of creative projects including Atlantis Quartet, winner of the 2015 McKnight Fellowship and named 2011 Best Jazz Artist, as well as the Zacc Harris Group, American Reverie, and Zacc Harris Trio which has had the longest running weekly jazz gig in Minnesota since 2007. Since moving to Minneapolis in 2005, Zacc Harris has gained a reputation as one of the area's top guitarists, being named 2017 Twin Cities Best Jazz Artist by the City Pages.

[nwdsc]

(▶︎ Rolling Golden Holy | Bonny Light Horsemanから)

Rolling Golden Holy by Bonny Light Horseman

2022年10月7日リリース Produced by Josh Kaufman Engineered by Bella Blasko at Longpond, Stuyvesant, NY and Dreamland, WestHurley, NY Mixed and Mastered by D. James Goodwin at the Isokon, Kingston, NY “Exile” EDJ -vocals, banjos, percussion Anais -acoustic guitars, vocals Josh -nylon string guitar, organ, synth, vocals, piano JT Bates -drums, percussion Mike Lewis –bass “Comrade Sweetheart” Anais -vocals, acoustic guitar EDJ -vocals, piano Josh -nylon string guitar, b3, synths, electric guitar, 12 string guitars JT Bates -drums, percussion Mike Lewis –bass “California” EDJ -vocals, acoustic guitar, piano Anais -acoustic guitar, vocals Josh -electric guitars, acoustic guitar, nylon string guitar, mandolin, dulcimer, b3, Piano “Summer Dream” Anais -vocals, claps EDJ -vocals, 12 string guitars, harmonica, tambourine, claps Josh -electric guitars, drum machine, acoustic guitars, bass, claps JT Bates -drums, percussion “Gone By Fall” EDJ -vocals, 12 string guitar Anais -acoustic guitar, vocals Josh -nylon string guitar, bass, vocals “Sweetbread” Anais -vocals EDJ -banjo, vocals, hi piano Josh -bass, nylon string guitar, electric guitars, soft pedal piano, synth JT Bates -drums, percussion Mike Lewis -tenor saxophone Inspired by trad. "Rye Whiskey" / "Jack Of Diamonds" “Someone to Weep for me” EDJ -vocals, acoustic guitar, piano Anais -acoustic guitar, vocals Josh -nylon string guitar, hi string guitars, electric guitars, dulcimer, vocals JT Bates -drums, percussion Mike Lewis –bass “Fleur De Lis” Anais -vocals EDJ -dulcimers, vocals Josh -piano, b3, synth, electric guitars, drum machine, bass, drums JT Bates -drums, percussion “Fair Annie” Josh -vocals, nylon string guitar, electric guitars, b3, percussion, Wurlitzer,mandolin Anais -vocals, acoustic guitar, dulcimer EDJ -banjo, dulcimer JT Bates -drums and percussion Mike Lewis –bass Inspired by trad. "Fair Annie" “Cold Rain and Snow” EDJ -vocals, dulcimer, shaker Anais -vocals, acoustic guitar Josh -vocals, banjo, electric guitar, Wurlitzer, percussion JT Bates -drums, percussion MikeLewis –bass Bonny Light Horseman is: Anais Mitchell, Eric D. Johnson and Josh Kaufman with JT Bates and Mike Lewis All songs by Bonny Light Horseman

[path-of-my-childhood]

JT Bates Talks About Drumming For Taylor Swift

By: Jill Riley for The Current Date: July 29th 2020

[Transcript]

How did you end up on a Taylor Swift record? Well, because of Aaron [Dessner]. You know, I've worked with Aaron for the last couple years, in Big Red Machine, Lone Bellow, various other sessions he's been hiring me for. And I've done a few things for him since COVID began; we've been, you know, we're always texting and talking. He's a very inspiringly creative person who just is really constantly making things, and it's pretty incredible. So he, yeah, contacted me at some point and was like, "Hey, I've got this special, fun little project going on here; can you record some drums on a few songs for me?" Because obviously, we're all recording remotely at this point. So yeah, it was very hush-hush, the whole thing, and obviously not really letting out any information as to who this person was or anything like that, and so yeah! You know, you do these things and you send them off, and you don't really know what it's going to end up being or what it's going to be like, and then, sometimes, I guess, apparently, it's a Taylor Swift record.

So was there some kind of code word, like "Operation blah blah"? I mean, did you even know that it was a Taylor Swift song when you started recording? No. I didn't.

So what did you get? You got like a music track? Yeah. You know, I mean, that's how they set it up. I mean, obviously, there's... whatever! There's a lot of reasons that would be set up that way; I don't need to go into that. But anyway, yeah, so he just said, "I can't really tell you who this is." But you know, I know Aaron pretty well; he's become a close musical brother in a lot of ways in the last few years, so I know when he sends me things, I've learned his aesthetic - not that I always know what he's going to do - but just that I can give him some things that he's going to - I know which things I do that he likes, so then you just, you know, like, yeah. I mean, there's a lot of this going on; it's like, someone sends you a song, and normally, we'd be hanging out in a studio talking, and maybe I'd even be listening to the artist sing the song while I'm, you know, maybe not a finished vocal, but like, something's there; you know, when you're at the studio, usually there's something to play to or something like that. So this was a really different experience! But really fun. And then he contacted me very early in the morning on Thursday [July 23] and was like, "Buddy, it's Taylor Swift." And I was like, "I can't believe…" (laughter)  My 15-year-old and my wife were both, you know, aware that I had done this something for Aaron for somebody that's, you know, we're not allowed to know who this person is, whatever, and they were like, "Oh my gosh, what if it's Taylor Swift? That'd be so cool." And they were right.

That's great! I love hearing the insight on that because, you know, I have seen you as a live drummer with a number of bands and artists. But kind of to get that inside view of what it's like to be a session drummer, and it's not unusual for you to get sent something or just called into a studio. Or you get something sent to your studio, and it's like, "Hey, can you play on this?" I mean, that's not a totally unusual thing in your world. No, it's not. And I mean, honestly, during quarantine, you know, for anyone out there wondering how their favorite artists are still putting songs out and still releasing music, that's how it's happening. That's how it's all happening. I mean, I have a handful of friends who I know have gone to a couple studios and done actual physical sessions, but it's really interesting. It's really fun. There's some really fun parts of it for me, because I can sort of be here and I can spend all day, you know, whereas maybe normally that would be wasting someone else's time; I can really kind of get lost and go down a rabbit hole trying different things. Sometimes it just happens instantly, and I can't even believe how quickly I'm sending something back to someone.

And then specifically with Aaron, yeah, it's just like I know that if I've sent him like three or four takes of a song, he's going to grab what he likes and get what he likes, and if he doesn't, then he'll be like, "Hey, can you try this or that?"

Lately, I've been incorporating a lot more FaceTime into it, just personally, because, like, the first couple months of COVID, doing a lot of this was really fun, and then now, I'm really kind of seeking that conversation, because it's just, you know, it's just such a different thing from the live thing and feeling people's energy and feeling the energy of a song and being able to ask a songwriter while you're at the studio, like, "Hey, what's this one about? Where's this coming from?" and all that.

And then also, just the musical, the technical information, too. So yeah, it's really fun, but I've been able to do a bunch of work for a bunch of different, fun people during this, and like I said, it was just sort of, I still kind of can't believe it. (laughter)

We're talking about Taylor Swift's new record, "Folklore"; I'm talking with Twin Cities drummer JT Bates about playing on a couple of the tracks, so "epiphany," "seven" and "the last great american dynasty" are the songs that you play on. So when Aaron Dessner sent you those tracks, what kind of direction did he give you? He probably knows you well enough where he's like, "Hey, can you come up with a couple different things on this?" Yeah. It was a little different. I mean, I don't know how familiar you are with the Big Red Machine stuff, but on that record and a lot of that music that I play on, he's got so much drum programming going, that a lot of times, from me, he's looking for the opposite of that; sort of like the more live activity, "action" sometimes they call it, or smearing things, where I'm not maybe trying to play exactly - you know, because there's a machine playing the beat, so maybe I can be more of a color, more of a texture, things like that. But he did say, kind of out of the gate on this one, "This is going to be more of a poppy sort of thing, so not really looking for the Big Red stuff." And so, like, on "the last great american dynasty," he was like, he just really wanted me to kind of get in; there's a beat that he programmed, and I'm basically just doubling that, just to have, it kind of fills it out in a different way when there's live drums.

[On] "seven," that one he definitely was like, "You'll know what to do on this one." It was kind of a straightforward thing. But then, you know, texturally on that one, we did a little back and forth of trying out different dynamics of the drums, you know, because - and again, that's stuff that, if we were all in a room, would be like a five-second decision, but this was like, I do something, I email it to him; he texts me back. You know, it's like, whatever.

And then, "epiphany," he was like, "Yeah, I'd just like a little bit more of an orchestral sort of thing," so I did a couple different things and then they ended up just using actually just one part of it, but used it throughout.

And that's an interesting part about working with a lot of modern producers, is it's so easy to grab just a certain part that they like or something that grabs their ear, and then, so you might do a lot of work, and then they might just use one little part.

Just like a little… (laughter) But that's fine, too. And that's something that I've learned: How to be really comfortable with [that]. And it's a really great, unattached feeling, you know, to just be like, "Well, here's a bunch of stuff; you're going to use what you're going to use anyway, so if you want something more specific, you'll tell me." That's the great part about Aaron; that's like how he included so many of his good friends and collaborators and our other good buddies on this recording, and friends and family of his and stuff. You know, it's like he knows, he sees people's strengths that way and understands how they could be an asset to a certain song or to a certain vibe or a texture or something like that.

You mentioned friends and family, and I'm really impressed by Aaron Dessner's ability to keep a secret from you, because when it comes to my close friends, I just feel like if I was pushed even just a little bit, like, "Come on, Jill; what is this?" I'd be like, "OK, here's what it is, but don't tell anyone!" But that's pretty impressive. There's, you know, yeah. You want to get called back for more of these things. So there's partly that, there's also just, you could tell he felt funny, when he did call me, I mean, he was like, "Oh, man, I can't even…" Obviously, there's contractual stuff for him, so it's like, he's not going to, you know, anyhow. So and then, of course, I was really curious, but I know Aaron pretty well, and he's a kind of to-himself sort of fella, and so he's not someone I would bug like that anyhow. But yeah. I mean, I was definitely curious, but I'm also good at, I've learned over time, just waiting for surprises or whatever…

All will be revealed. (laughter) It's like, "He just worked with Michael Stipe. Let's see… who could it be next?" That was another crazy one! I played on that song too for him, and it was like, "OK, man, I guess we're playing with Michael Stipe. Great!" You know?

[...]

If your daughter gets to return to school this fall, she's going to have a reason to brag about her dad. Of everything that you've ever done, now she's going to have a reason to brag about her dad. The one cool thing I did, yep! (laughter)

That's really how it goes! Yep!

[taylorswifthongkong]

Interview: JT Bates talks about drumming for Taylor Swift

[nofatclips-home]

You Get Got by David Huckfelt from the album Stranger Angels - Created by Dominic Hanft

[thebowerypresents]

Anaïs Mitchell and Bonny Light Horseman Bring a Little Romance to Webster Hall on Monday Night

Anaïs Mitchell/Bonny Light Horseman – Webster Hall – 02/14/22

For many, Valentine’s Day is a time for romance—hearts, flowers and love songs. But for others, it might feel like the opposite, perhaps a day to go anti-romantic, commiserate about love lost or worse. For those in attendance at Webster Hall on Monday night, there was opportunity for both sides of the love coin to land facing up, as the same band played two sets, two different ways. First up, Bonny Light Horseman, a sort of folk supergroup, a band of if-you-know-you-knows who just happen to fit together in perfect this-should-be-a-band! fashion. Led by the trio of Anaïs Mitchell, Eric Johnson and Josh Kaufman, they opened with “Deep in Love,” Johnson and Mitchell finding harmony imploring, “Don’t you break my heart,” Kaufman’s guitar twinkling brightly. “The Roving” continued the theme of perhaps opposite-of-love songs, but that didn’t mean there wasn’t an air of romance in the music. Mitchell’s and Johnson’s voices don’t feel like they should fit on paper, one Capulet, one Montague, so to speak, but throughout the opening set, on songs like “Blackwaterside” and the intricate interplay of “Jane Jane,” they sounded positively star-crossed. With Kaufman’s guitar, JT Bates on drums and Michael Lewis on bass (and saxophone), the band played as if struck with Cupid’s musical arrow, very much meant to be.

After a short break, the same band minus Johnson returned, this time backing Mitchell for a headlining set of her own material, largely off her just-released self-titled LP. Anyone in the audience worried about not getting any truly romantic songwriting on a Valentine’s Monday had to be feeling the love as Mitchell opened with “Real World” and then “Brooklyn Bridge,” singing lines like “I wanna dance in your real grip / Feel your real hands on my hips / Taste real whiskey on your lips / When we kiss in the real world” in the former and “I wanna take you by the hand / I wanna tell you everything” in the latter. With Mitchell, it’s not just what she sings but the way she sings them, almost like she’s passionately exhaling the lyrics into the air to be inhaled in small bits by the audience so they circulate throughout everyone’s body. Those are some love songs. Kaufman’s guitar cooed long wails in accompaniment, Lewis’s sax matching Mitchell’s cadence on “Brooklyn Bridge.”

Johnson returned to beef up the sound and add more of that harmony for the middle stretch of the set, which included a run of songs from Mitchell’s Hadestown, ending with a strong duet on “Wedding Song.” The set closed with new material, finishing on “Little Big Girl,” Kaufman on piano—his third instrument of the night—the band’s chemistry continuing to the very end. For those who hadn’t gotten their fill of romance, the three-song encore was enough to send everyone’s hearts aflutter. “Now You Know” was quintessential Mitchell, words and melody intertwined with a voice that embodied it all, a love song perfectly matched to the moment. Back as Bonny Light Horseman, they debuted their cover of Dire Straits’ “Romeo and Juliet,” a nicely folked-up version of another spot-on song for the moment. The show closed with one last Bonny Light number, “10,000 Miles,” a love song whose tale might not have a happy ending, but with the vocals completely in sync and the players in full musical embrace, the love story of this Valentine’s Day show was undoubtedly sealed with a kiss. —A. Stein | @Neddyo

Photos courtesy of Sachyn Mital | www.sachynmital.com

[duranduratulsa]

Up next on my Spooktober Filmfest...Misery (1991) on classic DVD 📀! #movie #movies #horror #drama #misery #stephenking #kathybates #JamesCaan #ripjamescaan #laurenbacall #RIPLaurenBacall #RichardFarnsworth #riprichardfarnsworth #FrancesSternhagen #jtwalsh #ripjtwalsh #90s #dvd #spooktober #halloween #october

[evermoredeluxe]

you know what i love about swifties? i could say i love JT bates and you all would know who im talking about. credit is everything baby.

[893thecurrent]

Happy birthday to drummer JT Bates!

Photo by Nate Ryan, 2013

[diyeipetea]

JazzX5#316. Zacc Harris Group: "The Void" [Small Wonders (Shifting Paradigm Records, 2021)] [Minipodcast de jazz] Por Pachi Tapiz

JazzX5#316. Zacc Harris Group: “The Void” [Small Wonders (Shifting Paradigm Records, 2021)] [Minipodcast de jazz] Por Pachi Tapiz

“The Void” Zacc Harris Group: Small Wonders (Shifting Paradigm Records, 2021) Zacc Harris, John Raymond, Brandon Wozniak, Bryan Nichols, Chris Bates, JT Bates. Zacc Harris es el autor del tema. El disco está publicado por Shifting Paradigm Records: https://shiftingparadigmrecords.bandcamp.com/ © Pachi Tapiz, 2021 JazzX5 es un minipodcast de HDO de la Factoría Tomajazz presentado, editado y…

[gayjokes]

i can’t wait to be one of like twelve people excited about the potential upset that’s happening in division 3 collegiate women’s rowing right now.. i hope ithaca wins but i don’t think they’re gonna

[herbertbestboi]

I've just gone down a massive rabbit hole and found out that not only is the Bates Motel show incestuous with Norman Bates and Norma Bates (son and mother) but there's people out here that actually ship it. Likeeeeee can we just leave Norman Bates alone please! First the remake made him extra weird by masturbating when spying on people but now he wants to bang his mum???? I'm tired guys #letnormanbebabyagain