October 23, 2008 Throckmorton Theater Mill Valley, Ca "Vivaldi Variety Show" Set 1 01. Spring Sonnet: Erik Yates 02. Vivaldi Spring mvt 1: Allegro * 03. Vivaldi Spring mvt 2: Largo * 04. Vivaldi Spring mvt 3: Allegro * 05. Applause- Intro Sing Cats 06. Shine $ 07. Applause 08. Summertime $ 09. Applause Band Change 10. Summer Sonnet: Nat Keefe 11. Vivaldi Summer mvt 1: Allegro non molto * 12. Applause 13. Vivaldi Summer mvt 2: Adagio * 14. Applause 15. Vivaldi Summer mvt 3: Presto * 16. Applause Run Time: 40:02 Intermission Set 2 01. Autumn Leaves $ 02. Applause Ensemble Introductions 03. Autumn Sonnet: Zachary Matthews 04. Vivaldi Autumn mvt 1: Allegro * 05. Applause 06. Vivaldi Autumn mvt 2: Adagio molto * 07. Applause 08. Vivaldi Autumn mvt 3: Allegro * 09. Applause 10. Winter Sonnet: Willow Horne 11. Vivaldi Winter mvt 1: Allegro non molto * 12. Applause 13. Vivaldi Winter mvt 2: Largo * 14. Applause 15. Vivaldi Winter mvt 3: Allegro * 16. Applause - Thanks You's- HBR Intro 17. Footprints in the Snow # 18. Applause 19. Frosty Morning # 20. Applause 21. Birds and the Bees # 22. Applause Run Time: 49:19 * Baroque Ensemble: Aaron Redner on violin Karen Shinozaki on violin Erin Benim on violin Michelle Maruyama on viola JungHae Kim on harpsicord Eugene Sor on cello Bryan Horne on contrabass $ Swing Cats: Aaron Redner on violin Adam Roszkiewicz on archtop electric guitar Bryan Horne on contrabass Erik Yates on banjo, flute and acoustic guitar # Hot Buttered Rum All Songs: Aaron Redner and Bryan Horne Notes: - All accoutic show Source: Peluso CEMC6-CK21 Din >Canare cables> FR2LE (Busman T-mod) 24/48, DRC, Front row balcony, 25 ft back, 15 feet up Lineage: FR2LE (Busman T-mod)> SF 9 (24/48>16/44) > CDWAV> Flac Taped by: Tim McCarthy Transferred by: Tim McCarthy 352e967789f133139f9c7224a7623c21 *HBR2008-10-23_Aaron_Vivaldi_Set101.flac 5cd8d67255d5b6e7660807d984cd7ca5 *HBR2008-10-23_Aaron_Vivaldi_Set102.flac ed6ad84bd69446e941f6f8766d6e92bd *HBR2008-10-23_Aaron_Vivaldi_Set103.flac 8f56a5156411388eba70543a9facf04f *HBR2008-10-23_Aaron_Vivaldi_Set104.flac 9c158ffbbc386dde46a320aec687d0d1 *HBR2008-10-23_Aaron_Vivaldi_Set105.flac 28c123d64263eda952febcaa4139ca96 *HBR2008-10-23_Aaron_Vivaldi_Set106.flac f66dd7d6b113f83244f2f4303ce28be2 *HBR2008-10-23_Aaron_Vivaldi_Set107.flac 17e726c6a310cd810112ecbe4fca8b20 *HBR2008-10-23_Aaron_Vivaldi_Set108.flac 4e5bfb4165a1ec078157b2c2cd08d8bc *HBR2008-10-23_Aaron_Vivaldi_Set109.flac 80324b90ca6b345c57cd126e555c067c *HBR2008-10-23_Aaron_Vivaldi_Set110.flac 6399798772c9a0757c27d7962ebdd4f1 *HBR2008-10-23_Aaron_Vivaldi_Set111.flac efb6c667c05f8b0289e6458f6f48cbc5 *HBR2008-10-23_Aaron_Vivaldi_Set112.flac 13627d9e477c62f69a7a7a65c0a06f6c *HBR2008-10-23_Aaron_Vivaldi_Set113.flac 564a1093aa221c3c1154fed1cff53e82 *HBR2008-10-23_Aaron_Vivaldi_Set114.flac ed0defcf218b9bb54773c1ba468665d0 *HBR2008-10-23_Aaron_Vivaldi_Set115.flac 90968d0ebf57c7a06c1d21974d352783 *HBR2008-10-23_Aaron_Vivaldi_Set116.flac b3ba706dbf25715566652f891bb6722a *HBR2008-10-23_Aaron_Vivaldi_Set201.flac c9edbd9a19c363636009a26402ab3b55 *HBR2008-10-23_Aaron_Vivaldi_Set202.flac e178f3f70444f5784730b83d9e361147 *HBR2008-10-23_Aaron_Vivaldi_Set203.flac e603775268090caeb9d525c69efb981a *HBR2008-10-23_Aaron_Vivaldi_Set204.flac 39c413b59f05405a4e423d6212c149b1 *HBR2008-10-23_Aaron_Vivaldi_Set205.flac 0620bb814603d54a53565d8207cf5da8 *HBR2008-10-23_Aaron_Vivaldi_Set206.flac 446d9995140a0b048cead8f0d0f5ceac *HBR2008-10-23_Aaron_Vivaldi_Set207.flac 298ab0af3e8139f7da9b31816d9c466a *HBR2008-10-23_Aaron_Vivaldi_Set208.flac a910dcdc0a9ce840d967121e75f6f67f *HBR2008-10-23_Aaron_Vivaldi_Set209.flac 51cbc146038fa52c45f25f1118c61eaf *HBR2008-10-23_Aaron_Vivaldi_Set210.flac 2a6beaaaf689c6faac3b86daf318b37b *HBR2008-10-23_Aaron_Vivaldi_Set211.flac c42a7239ebdb62ff4fa3a4957db88009 *HBR2008-10-23_Aaron_Vivaldi_Set212.flac a19e702724bc17c4b3a345378e260c61 *HBR2008-10-23_Aaron_Vivaldi_Set213.flac 98f96ccc9ed7031af5b5bbbe47fa6ae3 *HBR2008-10-23_Aaron_Vivaldi_Set214.flac e5bb6841943db84800d0fb938cb34d82 *HBR2008-10-23_Aaron_Vivaldi_Set215.flac 75a0341cc520b4ca51753d8132ed38f7 *HBR2008-10-23_Aaron_Vivaldi_Set216.flac 519a123ff25ef042f239fb2532d0d97f *HBR2008-10-23_Aaron_Vivaldi_Set217.flac 9cf3ba9c5a44197e6c47ac4431ea9d25 *HBR2008-10-23_Aaron_Vivaldi_Set218.flac 813a5762aeeb5ab72811b36ae42445ad *HBR2008-10-23_Aaron_Vivaldi_Set219.flac 50df09a2ca5092c781bbabc68c31fbd2 *HBR2008-10-23_Aaron_Vivaldi_Set220.flac b23ba33c615f2115457dbc5e55c67962 *HBR2008-10-23_Aaron_Vivaldi_Set221.flac 6a70e97697772bdae82c4d495b21fd3a *HBR2008-10-23_Aaron_Vivaldi_Set222.flac No errors occured. "Aaron Redner, Hot Buttered Rum's fiddler and song-writer extraordinaire, will step out of that role on October 23rd to host at Mill Valley's beautiful 142 Throckmorton Theatre a very special evening of classical, swing, jazz, and bluegrass music. The acoustic show will revolve around Antonio Vivaldi's Four Seasons masterpiece, played by a string quartet joined by Redner on violin. Between each individual concerto, Redner and company will play complementary music from other genres, with each piece related to the preceding "season." This unique format promises a diverse evening of music that will contemporize and reinterpret Vivaldi's work by sandwiching it between and contrasting it against more modern pieces. Redner will be joined by a stellar cast of local musicians, including members of Hot Buttered Rum. The instrumentation promises to be as varied as the music and players, with harpsichord and guitar played in addition to the string quartet." http://www.hotbutteredrum.net/index.php?option=com_content&task=view&id=2520&Itemid=114 Aaron Discusses Vivaldi Variety Show, Side Projects Saturday, September 27, 2008 In anticipation of Aaron Redner's exciting announcement of his upcoming performance of Vivaldi's Four Seasons concerto and thematically related tunes, Adam Gromfin discusses with Redner the Vivaldi evening, the state of Hot Buttered Rum side projects, and what it would be like to fiddle with the Dead. Q: What was your inspiration for putting together this evening? Redner: My musical past is steeped in Classical music. I spent years and years in school studying classical violin. The repertoire for the instrument is phenomenal. Since I joined Hot Buttered Rum we’ve been on the road non-stop for 6 years. I now feel the need to tap into my classical roots and fuse them with the new skills I’ve gained from playing improvisational music with roots found in Americana. Q: Why Vivaldi? And why his Four Seasons piece? For those unfamiliar with the piece, can you give a brief background? AR: I picked the Four Seasons because of the widespread appeal of the music. People will be caught off guard when they realize how familiar the music is to their ears. It is one of the first examples of programmatic music and each concerto is prefaced by a beautiful poem to describe the music. At the event, someone will read a poem before each corresponding concerto to set the mood. I view these concerti as among the most amazing examples of human creativity. Q: Over the past few years, it seems that the members of HBR have made an effort to pursue side projects. Nat has hosted two Carnival Concerts, Zac has played some side shows (including a kids’ gig), Erik has played a couple Erik & Friends gigs, and The Jawdroppers [project with Hot Buttered Rum members Bryan Horne, Erik Yates, Redner, and a rotating cast of additional musicians] seem to play somewhat regularly now. What role do these side projects play for you personally and what effect do you think they have on the band and its own music? AR: Hot Buttered Rum has spent so much time on the road — up to 175 dates a year. The “side-projects” we take on enable us to explore music outside of the HBR sphere. The more that each of us stretches out musically, the more we define what individual contribution to the band’s music we will provide. And the projects hopefully allow our fans to see more and more depth in HBR’s music. Q: What will most surprise people by the evening? AR: Hopefully people will be surprised by how much fun they can have at a Classical concert. There will actually be a lot of music that is not “Classical.” But I’m interested in breaking down barriers and showing people that Classical music can be fun and that there doesn’t need to be a wall between performer and audience. People will also be blown away at the level of musicianship provided by the other musicians in the concert who are all top-shelf! Q: What does it mean to have seasonally-related tunes interspersed between the movements? Any concerns about it feeling disjointed for the audience? AR: It shouldn’t be a disjointed experience for the audience at all. I will seek to provide a good flow to the concert that blurs the distinctions between musical styles. Songs like Summertime and Autumn Leaves are from the jazz idiom, but are beautiful tunes that leave a lot of room for interpretation. I seek to bring a similar sense of spontaneity to the Vivaldi, which actually offers lots of space for a very individualistic version. Q: What would Vivaldi say if he attended? AR: Probably something in Italian that I would barely understand!?! Vivaldi was a virtuoso who lived an interesting and productive life. I think he’d approve of my desire to tie his music to other great composers. Q: Any interest in composing more Classical pieces and importing them into Hot Buttered Rum’s repertoire — a sort of fusion of Classical and Contemporary, akin to what people might expect at the Vivaldi show? The instrumental music I bring into the Butter world tends to be influenced by American string music and jazz. The great composers came up with much better Classical music than I ever could. Q: Fair enough. Then let’s talk about some more contemporary composers. I’d imagine that there aren’t not a lot of musicians out there who, sporting a Grateful Dead tattoo play a Dead cover in a bluegrass setting one night and a Vivaldi concerto in a Classical setting next. Given the variety of music you play, and the multiple musical languages and vocabularies in you, is it ever hard to keep them separated? Or is it something that you prefer not to separate, letting the musical languages meld into a sort of pidgin/fusion style all your own? AR: I’ve been inspired by people like Edgar Myer, Béla Fleck, Chris Thile, and Mark O’Connor. All of them are musicians who are able to play fluently in a variety of musical styles while always sounding like themselves. This comes from an understanding of each musical idiom that can only come from studying the repertoire of that style. Developing a lifestyle that enables hours of practice is necessary to achieve that facility. I try to forget everything when I’m on stage and let my imagination drive the experience. Watching the Olympics really got me fired up. When you watch a transcendent athlete, you see that they give everything they have when the time is right and hope that the years of technical preparation provides them with the chops they need to succeed. Q: If you could step into a time machine and get on stage at some of the Dead shows you attended, which tune would you want to play fiddle on, and how do you think it would have sounded? AR: If I could have played with the Dead, I’d have picked something that had an open, free section like Bird Song or Dark Star. Songs like that are completely different each time and I’d love to add my musical DNA to those tunes. We [Butter] are about to do a tour with the Dark Star Orchestra in the Northeast in November. Maybe that dream will kinda come true! Q: And now for the clichéd and obligatory (but often interesting) interview question: What’s the most played music on your ipod or CD player this month? AR: Django Reinhardt and Stephane Grappelli. David Grisman. And a few different versions of the Four Seasons. And whatever someone gives me to listen. I love discovering new music! Q: With all the talk of genre bending, and barrier crossing, I have to ask: Do you consider yourself more a fiddler or violinist, and is the only real difference between a fiddle and violin that no one has ever spilled beer on the latter? AR: Some of the best “Classical” players I know call their instruments fiddles. I don’t make a distinction between the two and view them as interchangeable. I love playing fiddle tunes and will continue to learn new ones as long as I live. Gotta run, actually – I just spilled beer on my phone!?!