Sunday, March 23, 2008

Stephanie McKay w Me'shelle N'dege Ocello at Blue Note March 24th 2 shows 8pm and 10:30 - $20


If you have never witnessed Stephanie McKay perform you have missed the train.

Stephanie brings an infectious energy and soulful vocals with lyrics that bring a fresh perspective on the issues of today.

She will be joined by Me'Shelle Ndege Ocello on bass who has

This show will be as hot as it gets on Monday night, so make sure you are there to get a seat and view the history of these two artists performing together.

Check out Stephanie's music at this link

Check out Me'Shelle's music at this link

Please review the Press Release below

Hope 2 C U there at the show.



Blue Note

World's Finest Jazz Club & Restaurant, 131 West 3rd St., NY, NY 10012 ~ (212) 475-8592

Produced By Jill Newman Productions

WHAT: Singer Stephanie McKay wears many hats, and thus far in her young career, her credits run the gamut from jazz artists such as Roy Hargrove and his RH Factor Project to hip-hop artists Mos Def and Talib Kweli. Yet McKay’s most impressive output is the work she’s done under her own name, beginning with her debut CD in 2003 titled “McKay”, and an EP released in late 2007. As we await her 2008 release, McKay will appear with fellow soulstress and bassist Meshell Ndegeocello at the Blue Note, 131 W. 3rd.

WHEN: Monday, March 24, 2008;
Two Sets @ 8pm & 10:30pm, nightly

WITH: Stephanie McKay (vocals), Meshell Nedegeocello (bass, vocals), John Deley (keyboards), Manny Laine ( drums), Eli Menezes (guitar), Patrick Andriantsialonina (bass)

COST: $20 @ table / $10 @ bar

Living in the post-millennium era of bootylicious videos and plastic grooves, the death of soul music has been greatly exaggerated. Bronx, NY native Stephanie McKay has managed to garner international praise from critics and fans alike with her powerful urban poetics, which effortlessly combine soul, hip-hop, funk and rock. Known from touring the world with the Brooklyn Funk Essentials and having performed with the likes of diverse artists such as Roy Hargrove, Kelis, Mos Def, Talib Kweli, and Tricky, in 2003 Stephanie McKay teamed up with producer Geoff Barrow of Portishead for her debut CD.
Released in the UK, the album immediately garnered the praise of music critics over the pond. The Guardian raved that Stephanie McKay's debut was "resurrecting the passion and pride of politically conscious and eternally lovelorn ladies of late-1960s, early 1970s soul, McKay shines bright," while MOJO boasted Stephanie McKay is "extraordinarily eclectic" and her album was "...a coherent artistic statement and definitely worth investigating."
Her fall 2006 self-titled EP (Astralwerks) marked McKay's US debut. Containing 5 songs, the EP included tracks from her forthcoming release, "Tell it Like it Is," as well as tracks from her first album. American audiences finally got a taste of what UK fans have been praising for some time. And to experience Stephanie McKay live is the real treat. Her performances are pure passion. She is dynamic, soulful and full of showmanship. Not to be missed!

Impossible to pin down, endlessly inventive, and possessed of an encyclopedic array of grooves, singer, songwriter, and bassist extraordinaireMeshell Ndegeocello has spent the 10+ years of her musical career upturning conventional wisdom. Though her greatest chart success was a duet with grain-rocker John Cougar Mellencamp on a cover of Van Morrison’s “Wild Night,” her profoundly deep bass tone makes her an in demand player with artists as diverse as the Rolling Stones, Herbie Hancock, and Madonna.

Born in Germany in the late ‘60s, Ndegeocello honed her musical chops in Washington D.C.’s well-established go-go scene (a subgenre of funk that features heavy drumming and audience call-and-response) throughout the late ‘80s before releasing her debut album, Plantation Lullabies, in 1993. She was the first female bassist to win “Bassist of the Year” from Bass Player Magazine and has been nominated for nine Grammy awards.

Ndegeocello’s latest release is an album titled “The World Has Made Me The Man Of My Dreams.” The New York Times called her band “a continuing, changeable experiment, balancing between pop-song structures and jamming.” In fact, “her presence is mercurial, and everything she sang or played on electric bass was rapturous, implying groove and melody without making it explicit.”

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