BECAUSE THE NIGHT: A Tribute to the Songs & Poetry of Patti Smith

BECAUSE THE NIGHT: A Tribute to the Songs & Poetry of Patti Smith

Michael Alago, Richard Barone, Church Of Betty, Benjamin Cartel, Rony Corcos, Emily Duff, Heather Eatman, Queen Esther, Irakli Gabriel & Anana Kaye, Mamie Minch, Puma Perl, Dina Regine, Tammy Faye Starlight, Natti Vogel

Fri · April 29, 2016

Doors: 8:30 pm / Show: 9:00 pm


Tickets at the Door

This event is 21 and over

Richard Barone
Richard Barone
Richard Barone is an acclaimed recording artist, performer, producer, and author. Since his beginnings on radio at age seven as "The Littlest DJ" and later fronting indie-pop icons The Bongos, Barone has produced countless studio recordings and has collaborated with artists in every musical genre -- from Lou Reed and Moby to Liza Minnelli, Tiny Tim and most recently, Pete Seeger. As musical and theatrical director, he has scored shows and staged all-star concert events at such venues as Carnegie Hall and the Hollywood Bowl. His memoir Frontman: Surviving The Rock Star Myth was published by Hal Leonard Books. His most recent studio album,Glow (Bar/None Records), was produced by Tony Visconti. A deluxe CD/DVD set, "'cool blue halo' 25th Anniversary Concert" was released this winter on Digsin/RBM Records. Barone lives in Greenwich Village, New York City where he was recently appointed to the Board of Advisors for Anthology Film Archives and as a Professor at New York University's Clive Davis Institute of Recorded Music.
Church Of Betty
Founder of the pioneering Indo-pop group Church of Betty and indie music label Fang Records, Chris Rael is one of New York City's most prolific veteran composers. Critically acclaimed throughout his recording and nightclub career, Rael now writes music and prose for film, theatre, and world music orchestra.

As a young man in Maryland, Rael made weird, simple conceptual songs. Arriving in the East Village in 1986, he sought out kindred spirits and formed the independent musicians' co-op Fang Records, releasing the underground classic Acorn by the Mommyheads, 101 Crustaceans' Songs of Resignation, and dozens of other intrepid titles.

In 1988 he traveled to India for the first time, discovering a love for South Asian music that colored Church of Betty's sound palette thereafter. He returned to Varanasi annually during the '90s, studying Hindustani classical singing with the late Balchandra Patekar and sitar with Rabindra Goswami. His organic integration of these influences with progressive rock n roll broke new ground in world music composition and shaped his soaring acrobatic vocal style.

Church of Betty's early incarnation included pianist/guitarist Ed Pastorini of 101 Crustaceans, the late Jan Kotik of the Mommyheads on drums, bassist Cindy Rickmond, and bassoonist Claire de Brunner. Later Kotik moved to guitar, and Jon Feinberg (drums) and Joe Quigley (bass) came on board as the rhythm section.

Church of Betty was part of the first wave of progressive acts through the original Knitting Factory on Houston Street. The band blanketed the downtown club scene, playing regularly at rock clubs such as CBGB, appearing on public radio, and performing at public arts venues in the U.S. and Canada. Fang released the group's first two albums, West of the East and Kashi. Ponk Records released the third, In Search of Spiritual Junkfood.

In 1993 the group toured Europe and performed at the Contemporary Indian Music Festival in Vienna, where Rael met British-Indian world music star Najma. The two collaborated on Forbidden Kiss, a daring update of songs by classic Bollywood composers S.D. and R.D. Burman, eventually released to great fanfare on Shanachie Records in 1996. Performing with Najma, Rael met his long-time tabla partner Deep Singh.

Upon Singh's arrival, Church of Betty reeled off a series of formidable albums from 1998 to 2003: Comedy of Animals, Fruit on the Vine, Tripping With Wanda, and Revenge of the Hippies. The group became regular favorites at Greenwich Village's legendary Bottom Line, also performing at Town Hall, Symphony Space, Lincoln Center, the Brooklyn Academy of Music, Prospect Park, the National Mall in Washington, DC, the Warhol Museum in Pittsburgh, and many others, including National Public Radio's All Things Considered and A Prairie Home Companion. Betty's live lineup included guitarist/percussionist Marlon Cherry and violinists Gregor Kitzis and Rima Fand.

Rael's creative community extended beyond Church of Betty. He produced 100 multi-band bills for Fang, later curating music for the original Howl! Festivals. He was a member of the wildly inventive rock band The Hand with Kenny Siegal and Brian Geltner, now of the group Johnny Society. The Hand opened a studio called The Kennel in then-deserted Dumbo, Brooklyn. Joined by producers Bryce Goggin and Danny Kadar, The Kennel generated remarkable music for nearly a decade.

In 1997, Rael met and soon married performance artist Penny Arcade. The pair joined artistic forces and became the center of a thriving creative community in the Lower East Side, producing theatre, video, recordings, concerts and live performances of every ilk. Highlights included Arcade's theatre pieces Bad Reputation and New York Values at PS122, and the couple's Rebellion Cabaret, performed at Sydney Opera House in 2005.

Church of Betty scattered geographically in 2003. Following his solo efforts The Devil You Know and Cranberry Street, Rael relocated to Los Angeles for a couple years in the late 2000s. During this time he began creating original narrative video, scoring film, and developing his first theatrical piece ARABY, based on the short stories of James Joyce's Dubliners. The text-and-song cycle opened to rave reviews at Dixon Place in 2009, luring Rael back to his creative community in New York.

Rael won the Outstanding Soundtrack Award at the Outfest Film Festival in Los Angeles in 2005 for Queer Realities and Cultural Amnesia, a documentary produced by the Lower East Side Biography Project. In 2011 he won the New York International Fringe Festival's Excellence in Music Composition Award for ARABY, which also appeared in the festival's prestigious Encore Series.

Over the years he has worked with such luminaries as progressive composer Elliott Sharp; singers Annabella Lwin of Bow Wow Wow, Curt Smith of Tears for Fears, and Shara Worden of My Brightest Diamond; bands Oasis, Johnny Society, White Magic, Rebecca Moore & Prevention of Blindness, Ida, Mecca Bodega, and Life in a Blender; Indian classical masters Amar Nath Mishra, Samir Chatterjee, Steve Gorn, Krishna Batt, and Ramesh Mishra; theatre stars Stew of Passing Strange, John Kelly, and Frank London of the Klezmatics; Beat poets Marty Matz, Ira Cohen, and Charles Henri Ford; punk rock legend Jayne County and pop visionary David Byrne.

He now lives in Brooklyn with Bulgarian singer Vlada Tomova and their son Sasha, composing for his new global orchestral ensemble, developing theatre and film projects, and creating scores for Halfkaste Productions, his film music company with Deep Singh. The Church of Betty extended family reunites in various incarnations to make music for inspired moments in time.
Benjamin Cartel
Benjamin Cartel
When his indie-folk band, Kaiser Cartel, took an indefinite break after releasing their second album, Benjamin Cartel decided to move ahead by going back to where he'd started. That meant resurrecting the buzz-worthy solo career he'd kicked off in New York City, back in the early 00's. Combining older songs with newer material, he carved out a sound that split the difference between John Lennon's classic pop and Wilco's wry rock & roll. Cartel began recording the tunes with a group of NY-based musicians, then sent the unfinished products to Swedish producer Kristoffer Ragnstam, who beefed up the acoustic recordings with bass, drum tracks, guitars and keyboards. A proper EP was created, almost by accident, and Cartel chose to call it Money and Love.

When it came time to record a full-length album, he turned to Ragnstam once again. This time, however, he flew overseas and joined the producer at his studio in Gothenberg, a quiet European city that helped fire up Cartel's imagination. Inspired by a feeling longing for his friends back home and a surge of excitement for his new songs, he finished the album in 12 days. The result is Gothenberg, a solo album inspired by everything from breakups to Alfred Hitchcock movies.
Emily Duff
"American made Country Infused Memphis Blues Rock and Roll"
Heather Eatman
Heather Eatman
Heather Eatman was born in Jacksonville, East Texas, a town so small, as Heather describes it, "the phone book is only a quarter-inch thick". She was a quiet, studious kid with an active imagination. Her dad taught drama at the local college and Heather eagerly absorbed the world of magic he brought into the house.

Heather signed to Oh Boy in 1993 and spent the next two years readying her debut album MASCARA FALLS. The album was produced by Roger Moutenot, who also handles producer duties on the new release. Heather toured the US, opening for Oh Boy owner John Prine and appearing at such illustrious venues as the Fillmore and the Ryman Auditorium. She landed a booking on The Conan O'Brien Show. Robert Hilburn, pop critic for the Los Angeles Times, praised her debut: "...there is a sizeable portion of Eatman originality in her music, and it will be interesting to see how she expands on that freshness."

Critics also warmed to her subsequent release, CANDY & DIRT (1999), which Heather released on her own imprint Impossible Records. In 2000 Heather teamed with manager Mike Maska and together they brought her new project, REAL, to Nashville's Eminent Records. Mike encouraged Heather to experiment with co-writing and introduced her to songwriter Bruce Brody. Heather penned two of the album's tracks with Brody and also included her first cover, the Willie Dixon tune "Spoonful."

REAL represents a breakthrough on many levels to Heather. As a songwriter she feels more focused on musiciality and melody; she's balanced her sharply-drawn tales of outsiders with unabashed love songs; and she's reached the point in her career when she can fully trust her own artistic instincts. She's excited by this new departure from second-guessing and self-criticism. "You can't know the future," she says, "but you can have faith -- wonderful things can happen."
Mamie Minch
Mamie Minch
Mamie Minch first appeared in the NYC live music scene as an acoustic guitarist and singer with a voice and sensibility well beyond her years. One listen to her and you’ll understand- there is music you want to sing, and there is music you were meant to sing. Mamie found her voice in reviving -and writing- antique blues songs, even though whe’s now just over a quarter century old.

Minch’s father played fingerstyle guitar on his vintage Martin- he taught her the Mississippi John Hurt and Rev. Gary Davis songs that started her excitement about fingerstyle guitar and became her musical bedrock. She culled DIY aesthetic influences from her teenage exposure to punk and garage bands in her hometown in Delaware; she liked the parallel unself-conciousness in the approach of these musicians and traditional American folk musicians.

Around this time Mamie also started exploring Bessie Smith, Sarah Martin, and Memphis Minnie- their unabashed sensuality and the winking, confessional nature of their songs was to become a major influence in her performing and songwriting style. Upon coming to New York Mamie’s fascination with early recordings found a community of kindred spirits. Some of her first connections were with a group of 78 collectors who would throw listening parties for their rarest finds.

She shortly co-founded The Roulette Sisters, a popular all-woman retro quartet that performed originals and covers of blues, country tunes and early girl group harmony peices by the like of the Boswell and Andrews Sisters. She kept growing musically, spending a summer travelling through europe with an Italian anarchist street band, and busking extensively in New York City as part of Music Under New York.

Upon leaving the band in 2007 Mamie has been working on her own material as a songwriter and performer. She has played residencies at Brooklyn’s world music mecca Barbes and the 68 Jay Bar in Dumbo, and shared the stage with Dayna Kurtz, Jolie Holland, Bliss Blood, and loads of other talented friends. Her debut solo CD, the Razorburn Blues, is a limited edition handmade item.
Natti Vogel
Although Natti always expressed himself through song, having memorized entire musicals and operas from toddlerhood on, he didn't begin to take himself seriously until a close friend heard his first recording, "Jelly! A Marinal Rock Opera." Declaring it sophisticated and innovative, this friend encouraged Natti to try writing in earnest. So Natti thrashed at his piano all night long. What he had written by sunrise was his first serious composition, the jazzy, manic-depressive piano ballad "Headjam."
17-year-old Natti took this newfound talent to New York City to attend the New School University, where he couldn't stop creating random melodies, funky piano riffs and lyrical oddities, at every available moment. He formed a band, which played his newly sprouting works, eventually winning them the first place prize in his university's Battle of the Bands.
Since going rogue, Natti has performed at a whole host of amazing rock clubs, concert halls, churches, radio stations, webcasts, theaters, lecture halls, protest rallies and decadent salons in the US, Scotland, China, Taiwan and Japan, accruing many eccentric and intelligent fans along the way.
Venue Information:
Union Hall - Brooklyn
702 Union Street
Brooklyn, NY, 11215