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Jared Logan

Genre: Comedy

  1. Friday, November 06 8:00 PM (All ages)

In 2013, Jared appeared in his own half hour stand-up special on Comedy Central You can see him every week as a cast member on VH1’s Best Week Ever. He’s been featured on TBS's The Pete Holmes Show and Comedy Central's The Meltdown. He was a delegate for Comedy Central's Indecision 2012. Check out his web series Don't You Think on YouTube. Jared lives in New York but is originally from West Virginia. He belongs to one of the few mountain clans who did not handle snakes or make moonshine.

http://jaredlogan.com/

JD Hobson

Genre: Blues , Roots Rock

When Outlaw Country and Americana meet the Delta Blues you get a whole new genre. JD Hobson takes his Virginia Appalachian blues roots and combines it with Seattle’s Americana and rock scene, and a sound is created that has gotten people standing up to take notice.

“Hobson's brand of bluesy Americana is steeped in rich outlaw tradition.” (Seattle Weekly Reverb Magazine)

Jeffrey Foucault - CD Release Show with 10 String Symphony and Eli West

Genre: Folk

  1. Thursday, November 12 7:30 PM (All ages)

“Contemporary and timeless.”

– The New York Times

“Songwriting brilliance.”

– MOJO


I first saw Foucault play in a little Missoula theatre years ago, when many of us who grew up spinning our elders’

albums—Townes and Dylan, John Prine and Greg Brown—wandered around dolorously wondering when the next real songwriter would come along. Stetson sweaty, that little vagabond spark in his eye, he spun out a long Beam-fueled set and when it was over I walked out into the warm rain and thought, Damn. So that’s where he’s been. Since then Foucault has given American poetry some of its most vital lines and his musical searchings have become touchstones of density and durability. On this new record—his most poignant, honest, even scathing—his cry is a belt of pure blue Wisconsin lake ice with a back of December sunlight angling through bare limbed birches. Not so much penned as lived, these songs—about a show played perfectly to an empty bar, the real ones who die with nothing half the time— offer listeners that rare artistic combination of a voice and a world. And while there’s nothing not lonely about these songs, you can’t hear them and feel remotely alone. Here is our hurricane lamp, the heart whose flame won’t go out, whatever the wind. Hold it close.

-Chris Dombrowski (from the liner notes to SALT AS WOLVES)


A show played perfectly to an empty bar. A singer with life and death on his shoulders, swinging a microphone like Samson swung a jawbone. The real ones who die with nothing half the time. With SALT AS WOLVES, Jeffrey Foucault gives us in sound and image what poet and author Chris Dombrowski calls in the album’s liner notes, “that rare artistic combination of a voice and a world”: a tough, spare collection of darkly rendered blues and ballads, like a field recording of a place that never existed. In a series of letters to lovers, friends, heroes, and family, Foucault deftly weaves together disparate strands of sound and experience, raw love, and hard wisdom.


10 String Symphony is an arena for mesmerizing acoustic innovation.  Although difficult to categorize, their music is instantly recognizable as a blend of two distinct but equally vivacious musical voices, encompassing “aggressive, almost discordant, Celtic and dare I say punky string-chording experimentations” (The Bluegrass Situation).


Christian Sedelmyer (Jerry Douglas Band, Farewell Drifters) and Rachel Baiman met in Nashville, and realized a mutual love for the range and depth of the 5-String fiddle.  Their desire to see just how far a two-fiddle, two-vocals instrumentation could take them was the inspiration for the 10 String Symphony project.  By the time their first full-length album was released, their instrumentation had expanded to include the occasional clawhammer banjo and resonator mandolin, though still maintaining a, tightly woven and thoughtfully arranged sound.


Only two years old as a band, the duo has already gained recognition and attention from some major festivals, landing slots at the ROMP festival in Owensboro, KY, the Strawberry Music Festival in Yosemite, CA, and a headlining slot at the 2014 Auckland Folk Festival in New Zealand.


Jelly Rollers

Genre: Blues , Roots Rock

 IN THE BEGINNING, there was the blues. Jake-legged, hurt-fed and liquored-up, the music crawled gimpy and beat and beautiful out of the deltas and valleys and dusty byways of the American continent, crooning a seminal lament that, like a wolf to prey, went straight for the guts of love, longing and all that time takes away. Without the blues, there is no nothing—no jazz, no hip hop, no pop, no rock-‘n’-roll. It’s the foundation for everything. This, then, is the tradition mined and then moved forward by Seattle outfit the Jelly Rollers, an agglomeration of talented musicians who, for the past 15 years or so, have been steadily building a body of work that is both achingly old-timey and somehow new, fresh, of-the moment. And yet, the band makes this history and this tradition and this music its own, by daring to take it seriously and to play it as though life depended on it.

At the heart of the Jelly Rollers are guitarist/singer/songwriter Darren Loucas and singer/harp man Sean Divine, a pair of Miami natives who started playing together in 1993—creating a rough-hewn blues sound smack in the middle of the sub-pop world culture explosion. Loucas—whose playing is heavily influenced by the early bluesmen by way of ‘60s and ‘70s big rock acts like Led Zeppelin, the Who and Taj Majal—combines technical virtuosity with the deep, from-the-heart sentiment that elevates a certain few guitarists above the ever-growing herd. Divine’s harp work twines perfectly with Loucas’ guitar sounds, bobbing and chugging and weaving with bent notes and sustained howls of train-whistle heartbreak, and his voice has an alluringly rich and throaty quality; it is the voice of the blues—nostalgic and haunting. The rhythm section, comprised of drummer Eric Eagle and bassist Rebecca Young make up the last piece of the puzzle. Electrified and loaded for bear, this crackerjack foursome (often joined by world renowned boogie-woogie piano player, Arthur Migliazza) continues to surprise and delight fans and newcomers with music that rocks, rolls, swings and swoons.

In 2001, The Stranger’s weekly entertainment section wrote that “the Jelly Rollers play Americana the old, good way—the way the horn-pricked devil with his moonshine and dotted lines meant it to go... (they) sing about trains, women and what it’s like to walk down the road feeling bad, and they do it so well and true and simply that it feels sort of timeless.” Whether raving up a version of Willie Dixon’s “Pretty Thing” or introducing an original number, the Rollers have that rare and special ability to evoke a total atmosphere—a sepia-toned feeling for a particular time and place that can consume the listener in a collage of emotions and associations. Slow and mournful, up-tempo and fiery, the band touches upon various eras in the history of blues and rock, doing honor to such artists as the great Robert Johnson, Lightning Hopkins, Cephas and Wiggins, and their namesake, Jellyroll Morton. And yet, the Jelly Rollers make tradition their own, owning it, and taking it in new directions—much as the Beatles and the Stones and other great bands siphoned the soul of early blues to forge the foundation of rock-‘n’-roll as we know it.  This daring, talented and innovative band continues to break new ground in a genre that is as old as the hills. 

https://myspace.com/jellyrollers

Jelly Rollers

Genre: Blues , Roots Rock

  1. Thursday, September 17 9:00 PM (21+)

 IN THE BEGINNING, there was the blues. Jake-legged, hurt-fed and liquored-up, the music crawled gimpy and beat and beautiful out of the deltas and valleys and dusty byways of the American continent, crooning a seminal lament that, like a wolf to prey, went straight for the guts of love, longing and all that time takes away. Without the blues, there is no nothing—no jazz, no hip hop, no pop, no rock-‘n’-roll. It’s the foundation for everything. This, then, is the tradition mined and then moved forward by Seattle outfit the Jelly Rollers, an agglomeration of talented musicians who, for the past 15 years or so, have been steadily building a body of work that is both achingly old-timey and somehow new, fresh, of-the moment. And yet, the band makes this history and this tradition and this music its own, by daring to take it seriously and to play it as though life depended on it.

At the heart of the Jelly Rollers are guitarist/singer/songwriter Darren Loucas and singer/harp man Sean Divine, a pair of Miami natives who started playing together in 1993—creating a rough-hewn blues sound smack in the middle of the sub-pop world culture explosion. Loucas—whose playing is heavily influenced by the early bluesmen by way of ‘60s and ‘70s big rock acts like Led Zeppelin, the Who and Taj Majal—combines technical virtuosity with the deep, from-the-heart sentiment that elevates a certain few guitarists above the ever-growing herd. Divine’s harp work twines perfectly with Loucas’ guitar sounds, bobbing and chugging and weaving with bent notes and sustained howls of train-whistle heartbreak, and his voice has an alluringly rich and throaty quality; it is the voice of the blues—nostalgic and haunting. The rhythm section, comprised of drummer Eric Eagle and bassist Rebecca Young make up the last piece of the puzzle. Electrified and loaded for bear, this crackerjack foursome (often joined by world renowned boogie-woogie piano player, Arthur Migliazza) continues to surprise and delight fans and newcomers with music that rocks, rolls, swings and swoons.

In 2001, The Stranger’s weekly entertainment section wrote that “the Jelly Rollers play Americana the old, good way—the way the horn-pricked devil with his moonshine and dotted lines meant it to go... (they) sing about trains, women and what it’s like to walk down the road feeling bad, and they do it so well and true and simply that it feels sort of timeless.” Whether raving up a version of Willie Dixon’s “Pretty Thing” or introducing an original number, the Rollers have that rare and special ability to evoke a total atmosphere—a sepia-toned feeling for a particular time and place that can consume the listener in a collage of emotions and associations. Slow and mournful, up-tempo and fiery, the band touches upon various eras in the history of blues and rock, doing honor to such artists as the great Robert Johnson, Lightning Hopkins, Cephas and Wiggins, and their namesake, Jellyroll Morton. And yet, the Jelly Rollers make tradition their own, owning it, and taking it in new directions—much as the Beatles and the Stones and other great bands siphoned the soul of early blues to forge the foundation of rock-‘n’-roll as we know it.  This daring, talented and innovative band continues to break new ground in a genre that is as old as the hills. 

https://myspace.com/jellyrollers

Joe Doria Trio

Genre: Funk , Jazz , Organist

NW raised Joe Doria has been composing and performing on Hammond Organ, piano, and varied vintage keys/synths since the 90’s. Steeped in Hammond tradition studying the giants of the instrument he also never limits himself to one style and can be seen working with new projects often. Featured in numerous bands and CD’s, audiences are dazed with his ability to comp both the bass lines and the chordal structure of a song, while at the same time adding depth and dimension to every song he performs. At home and in touch with the Hammond, knowing the instrument and it’s history so well as to make it sing in any situation.

John Lennon Jam Starring Apple Jam

Genre: Rock , Singer-songwriter

  1. Tuesday, December 08 7:30 PM (All ages)

December 8th, 2015 marks the 35th anniversary of John Lennon’s passing. In his honor, the Triple Door will host the JOHN LENNON JAM, starring world-renowned Beatles tribute band, starring APPLE JAM. Apple Jam will showcase the music of John Lennon (Beatles and solo), including favorites, deep cuts, and rarely performed songs.

Far beyond other Beatles tribute bands, Apple Jam delivers unrivaled Beatles-infused musicianship and world-class showmanship, sans wigs or costumes. They approach Beatles music with enormous respect and devotion, and deliver jaw-dropping performances that must be experienced to appreciate. Apple Jam has performed to thousands at major venues on the West coast, the United Kingdom, and Finland

Apple Jam was formed December 8th, 2005, in support of (Just Like) Starting Over, a stage play based on John Lennon's final interview. Apple Jam’s line-up includes: Rick Lovrovich (bass), Johnny Jones (keyboards), Jakael Tristram (guitar), Doug Kilishek (guitar), and Josh Jones (drums)
http://www.applejamband.com

Watch/listen to recent concert clips:
https://youtu.be/Jd_B4zcWshc

“Seattle's Apple Jam are Beatlemaniacs with skills. They've devoted their musical lives to replicating with impeccable nuance the Fab Four's classic-intensive catalog”  - The Stranger

"The next best thing to a Beatles reunion!"  – Gillian G. Gaar (Rock journalist / Beatles historian)

“This band is tight, in the pocket and plays with real passion  – Seattle Music Insider

John Seman's Lil Coop Quintet

Genre: Experimental , Jazz

Bassist, composer, archivist and advocate for improvised music John Seman explores composition and free improvisation and musical past and future – in the moment – with his Lil Coop Quintet, featuring Simon Henneman on guitar, Robbie Beasley on trumpet, Darian Asplund on tenor sax, and Mark Ostrowski on drums. A fixture on the Seattle music scene for over fifteen years, Seman is co-founder (with Ostrowski) of nonprofit new music advocacy organization Monktail Creative Music Concern. www.monktail.com

Johnette Napolitano (of Concrete Blonde) w/ Laurie Sargent

Genre: Alternative Rock , Bassist , Singer-songwriter

  1. Saturday, November 07 8:00 PM (All ages)

Best known for her work as lead singer and bassist in the '80s and early-'90s alternative rock trio Concrete Blonde, Johnette Napolitano is also a poet, social activist, soundtrack composer, and sculptor. Born in Hollywood on September 22, 1957, Napolitano lurked on the fringes of the Los Angeles punk and new wave scene, working at the legendary Gold Star Studios until she formed the duo Dream 6 with guitarist Jim Mankey. The pair recorded a self-titled 1982 EP produced by Jim's brother Earle Mankey (like Jim, a former member of the first lineup of Sparks, and at the time one of the hottest producers on the L.A. new wave scene), which attracted the attention of IRS Records boss Miles Copeland. With a new drummer in Chicago transplant Harry Rushakoff and a new name supposedly bestowed by R.E.M.'s Michael Stipe that was supposed to connote the band's mix of hard and soft elements, Concrete Blonde released their self-titled debut in 1987. This was quickly followed by Free, Bloodletting (featuring the group's biggest hit, "Joey"), Walking in London, and Mexican Moon, before Concrete Blonde split in 1995.

Napolitano then moved on to two short-lived projects, Vowel Movement (a collaboration with Holly Beth Vincent of Holly & the Italians) and Pretty & Twisted (with the late Marc Moreland, formerly of Wall of Voodoo), as well as occasional Concrete Blonde reunion albums. Following this, Napolitano began a second career as soundtrack composer for small and medium-budget indie films such as Wicker Park and Underworld. She also released a pair of largely improvised and mostly electronic albums, Sketchbook and Sketchbook 2, in 2002 and 2006. Johnette Napolitano's first proper solo album, Scarred, followed in the spring of 2007. ~ Stewart Mason, Rovi

http://concreteblondeofficialwebsite.com/

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Tickets 206.838.4333

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