Benefit for Soup at Spaulding Court: Sax & Violence / Jay Clark Reid / Jeremy Waun

Mon, Mar 20, 2017 @ 8:00 pm to 2:00am

Monday, March 20 / 8pm doors
Sax & Violence (Ambient violin/sax combo)
Jay Clark Reid (Americana/Alt-country)
Jeremy Waun (Folk/Lo-fi)

Since February, 2010, Friends of Spaulding Court has been in the midst of a rehabilitation process at Spaulding Court, a 20 unit townhouse complex built in 1912. We help out our neighbors and do cool stuff. You can help us along the way!

This concert raises funds for the bands playing Spaulding Court SOUP this year.

Spaulding Court SOUP: Join us at Spaulding Court for a potluck dinner where neighbors help fund neighborhood projects! Learn about creative projects happening in Corktown, North Corktown, Core City and Woodbridge and vote on which project to fund with the money raised from the dinner. Anyone is welcome to attend the dinner, but all project proposals must benefit these communities’ residents.

Attendees make a suggested donation of $5 and learn about four projects that benefit the community. Over a potluck-style dinner, attendees vote on which project they think benefits the community the most. The winner goes home with all of the money raised at the door to carry out their project. Residents and supporters connect, share ideas, and community resources. Also, each dinner also features a local artist!

Sax & Violence: Saxophone human, violin human, drum robot.

Jay Clark Reid: “Jay Clark Reid testifies with raw, passionate and world-weary lyrics and vocals… He conjures up a whole landscape and lifestyle in the space of a verse.” – Americana U.K.

“Jay Clark Reid emotes great passion.” – Birdmansound.com.

“Echoes of Grievous Angels, Blue Rodeo and Andrew Cash. Reid paints compelling portraits of the continent’s rugged terrain and the effect on the people who experience it.” – Exclaim.

[From Detroit Metro Times] Jeremy Waun: 

Twenty-six-year-old Jeremy Waun grew up in rural Michigan, just outside Port Huron. He laughs easily, is cagily smart, plays in a bunch of bands, and gets by “merchandising flowers and tropical plants for a wholesale greenhouse.” I’m not sure what that means, but it sounds pretty hippy-ish. Waun says that “I feel real deal vibes and want to convey emotion through words and sounds,” when asked about searching for a guiding principle or philosophy. But that was such a hippie question, anyway!

Waun dresses in neon tie-dye, wears his hair long, and his first solo LP, the excellent and limited edition City Vibes, just released by Feeding Tube Records in Florence, Mass., is powered by acoustic guitar and his own voice, not really anything else. Sometimes he double-tracks on the vocals, and he’s not afraid to let both the guitar and the vocals get deeply in the red. So there’s a lot of distortion, but it’s a mellow record, which is a swell dichotomy. His last tape was called Nu Metal Guru, because having a sense of humor is important.
“It’s always funny being the solo guy — paint a huge picture with as little as possible,” Waun says. “I have been recording mostly to cassette, sometimes with boomboxes. The songs on City Vibes are all from two of my sold-out cassettes.”

The next tape is called Nu Kingdom; he ought to have it in town here before he goes on tour later in March.

“I’ve released a lot of tapes; some are shorter in length,” he says.

“Usually about every time I go on tour I record whatever I’m tossing around at the time,” he says. “My favorite tape is Nature’s Tongues. I feel strongly about all the material on it, and it was my first tape.”

Tapes in general have become a crucial part of Waun’s process, not just his discography.

“A few years back, I met this rad dude named Johnny running a record shop out in Ferndale called Hybrid Moments,” he says, of the founder of zzz tapes. “I played some shows, and it was always a blast. This guy came to me with an idea for a tape release — it would kick off a new label he wanted to start. He had an old karaoke machine and brought me out to a swamp in the middle of the night. He also photographed the session and used actual 35mm negatives on each of the tapes. Johnny once went on tour with me doing percussion on my sets and slinging his tapes. I had like $150, and we were in my car and went for like a month. He kept me human; truly an amazing guy.”