Saturday
09
DEC

JMB: Melvin Seals JGB, Tony Hall Dphunk, Alan Evans SouLive

21:00
00:00

Martyrs'

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Martyrs'

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Joe Marcinek Band's Dead Funk Summit w/ Melvin Seals (Jerry Garcia Band) Tony Hall (Dumpstaphunk) and Alan Evans (Soulive)
Marty Sammon Band opens the show
9pm - $25 - 21+

The Joe Marcinek Band is an ever evolving mixture of original compositions and incredible musicians. Each show has a slightly different lineup and interpretation. The music is a blend of jazz and funk with a cerebral emphasis on groove and improvisation. They dropped their latest album ‘Slink’ via Hitman Records in December 2016, featuring Bernie Worrell’s (P-Funk, Talking Heads) last recording and produced by Joey Porter (The Motet).

Marty Sammon was born and raised on the South Side of Chicago. His encouraging family and Irish culture provided a solid structure for Marty to demonstrate himself as a musical prodigy. Without abandoning his roots and being drawn to music that captures the universal joys/pains of life’s experience, Marty’s natural ability and sincere persona was welcomed into a city that is selective to those musicians that are only proven to be aesthetically true to it’s signature sound. By the age of fifteen, Marty was performing with L.V. Banks and absorbing the sounds and lifestyle of the Chicago Blues scene. Shortly thereafter, fate and opportunity would collide.Marty’s talent was quickly recognized by earning the attention of Phil Guy (Buddy Guy’s younger brother).Phil Guy exposed Marty to a funkier, heavier, soulful side of the Blues; an expression Marty could easily translate. James Montgomery of the Chicago Playboys took immediate notice and introduced Marty to Otis Rush. Marty shared the stage with Otis Rush for five years until he received the call to tour the world and perform with Blues legend and Rock and Roll Hall of Fame inductee, Buddy Guy. For almost a decade, Marty has been a member of the “Damn Right Blues Band” and has contributed as a studio musician on Buddy Guy’s most recent recordings.Marty Sammon’s intense playing reaches beyond the basic rules of finger placement and posture at the keyboard; his hands become blurred motions as the rest of his body matches the unpredictability and soul of his improvisation.

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