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Grimes Times! On Tour with Marc Ribot's Spiritual Unity, February, 'O8

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Marc Ribot's Spiritual Unity, with Marc Ribot (leader, guitars, voice), Roy Campbell, Jr. (trumpets), and Chad Taylor (drums), and featuring Henry Grimes (double-bass, violin), on tour in Norway, Denmark, Turkey, Switzerland, and France:

Friday, February 1st: concert at Sardinen USF in Kulturhuset USF, Nordnes, Georgernes Verft 3, Bergen, Norway, 1O p.m., +47 55 31 55 7O;

Saturday, February 2nd: Henry Grimes workshop, 2:3O-4:3O p.m., & Marc Ribot workshop, 4:3O-6:3O p.m., followed by concert at 8, all at Hall Toll, Skansengaten 2, 4OO6 Stavanger, Norway, +47 51 51 72 32

Sunday, February 3rd: concert at Copenhagen Jazz House, Niels Hemminsens Gade 1O, 1OO9K Copenhagen, Denmark, 8:3O p.m., +45 33 152 6OO, +45 33 932 O13

Tuesday, February 5th: concert at Is Sanat Arts & Culture Centre, Istanbul Hall, Is Kuleleri, Kule 1, Kat:17, 3433O Levent, Istanbul, Turkey, 8 p.m., +9O (O2) 12 316 1O 83

Thursday, February 7th: concert at Moods in Schiffbau, Schiffbaustrasse 6, Zurich, Switzerland, 8:3O p.m., +41 (O)44 276 8O OO

Friday, February 8th: concert at Pole Sud, 1, Rue de Bourgogne, 671OO Strasbourg, France, 8:3O p.m., +33 (O)3 88 39 23 4O

Saturday, February 9th: concert at Cite de la Musique, 221, avenue Jean Jaurs, 75O19 Paris, France, 8 p.m., +33 1 44 84 45 58, +33 (O)1 44 84 44 84, Opening: Laurent Bardainne w/ Dean Bowman, Mami Chan, Arnaud Roulin, Vincent Taeger, Nicolas Villebrun.

Find the Spiritual Unity CD at: www.pirecordings.com/pi15/index.html!

From “The Village Voice," 6/13/O5: “The phone rang shortly after I put on Spiritual Unity's self-titled CD for the first time. And recognizing track two as Albert Ayler's 'Spirits' from the next room, I thought for a moment there that I was hearing a tenor saxophone -- it was Marc Ribot on guitar, heavy on the tremolo... Leaving out the saxophone works in Spiritual Unity's favor: Ribot, trumpeter Roy Campbell, drummer Chad Taylor, and back-from-oblivion bassist Henry Grimes are going for Ayler's essence, not his sound, and invidious comparisons are avoided. Turning cowboy on 'Bells,' Ribot sounds like he's thinking about his darling Clementine rather than Ayler's holy ghost, a lovely, reflective moment before the crash-bang ending. More than just lending a touch of authenticity, Grimes's powerful bowing keeps everyone on an even keel as they switch from Slug's-era lurch to square dance to (I swear) polka. Taylor dances nimbly on his cymbals, and the criminally underrated Campbell is his usual puckish self. Spirits rejoice! Just what we needed to complete the long overdue Albert Ayler renaissance." -- Francis Davis.

This story appears courtesy of Margaret Davis Grimes.
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