Vocal and Musical Roots Powerhouse
American Roots Revue works from the core of America’s richest musical traditions of First Nation, gospel, blues, folk, rock and R&B. Fresh off of a 2014 five-city ‘Legacy’ summer tour in Minnesota, American Roots Revue continues to reinvent itself with a new line-up of powerful vocal artists that spans generations and genres.
Joining its ranks for a special November 1, 2014 concert at the Dakota at 7:00 and 9:00 p.m., are three high-profile Twin Cities singers, including red hot folk-rock singer-songwriter Chastity Brown, longtime Jazz stalwart and chanteuse, Prudence Johnson and formidable Gospel singer, Robert Robinson. The ensemble will be backed by the vocal group, Joyful Noize(Adara Thomas, Amanda Snyder, Rachael Okerlund, Rachel Svanoe.)
Led by renowned troubadour and community builder Larry Long, the Revue’s revamped lineup of world-class singers is equaled only by the strong supporting musicians such as: Drummer Michael Bland(Prince, Soul Asylum, Paul Westerberg, et al); Guitarist Cory Wong (Bryan White, Alexander O’Neal, Foreign Motion, others); Pedal Steel player Joe Savage(Hank Thompson, Dan Wilson, Wanda Jackson, David Frizzell, John Gorka, and many others); Bass Player Jimmy Anton(Jonny Lang, Jesse Johnson, Doc Severson, others).
American Roots Revue first featured these dynamic artists together during the celebration of what would have been Pete Seeger’s 95th birthday last spring in a sold-out concert at the Fitzgerald Theater called “For Pete’s Sake.”
Chastity Brown — who will perform songs from her upcoming album – is breaking out nationally and just returned from a one-month tour of Europe. Add these veteran and remarkable singers like Prudence Johnson, Larry Long, and Robert Robinson together with Chastity and you have an evening to measure time from.
What Other People Have Been Saying...
“…abundant talent” – Star Tribune Larry Long: A Troubadour for Social Justice, Star Tribune, 4/24/14
“Chastity Brown is that rarity, an R&B singer not in thrall to the diva delusion. Her folk-blues style instead comes from an earthier tradition…languid slide guitar and a ghostly burr of organ underscore “House Been Burnin,” while fellowship for the foreclosed and abandoned in “When We Get There” is evoked in Dylanesque harmonica and the way her voice cracks on the highest notes. Songs of return and redemption predominate.” – Andy Gill, The Independent, July, 2013 (London)