The Minnesota Musicians Concert Series

Born and raised in Chicago, Jake La Botz spent his early days studying under the last of the city’s pre-war era bluesmen. He began releasing his own albums in 2000 and would go on to spend the next two decades amassing a litany of critical acclaim as he worked his way up from playing street corners and tattoo parlors to sharing bills with luminaries like Ray Charles, Etta James, Dr. John, and Mavis Staples. When he’s not on the road, La Botz can be often be found
onscreen (he’s appeared in everything from True Detective to Rambo and even starred in the stage musical Ghost Brothers of Darkland County, written by Stephen King and John Mellencamp) or teaching meditation in prisons, Buddhist Centers, and living rooms around the country.

 

”Jake LaBotz turns paranoia into a haunting, Tom Waits-worthy piece of cabaret Americana with “They’re Coming for Me,” the title track from his newest solo effort. He delivers his lyrics like a method actor, imbuing each line with a mix of theatricality and wild, wide-eyed believability.” —Rolling Stone

“…this idiosyncratic songwriter can handle types of heavy lifting that many others frankly can’t.”” —No Depression

“From the first time I heard him playing guitar and singing his songs in a smoky bar on La Brea and Sunset, I became a devoted fan of Jake La Botz.” —Steve Buscemi.

Named after lead singer, Tim Dooley, Timisarocker was formed as a 4-piece punk band from the Twin Cities in 2014. Over the years, their style and sound has constantly evolved without changing the core value of their performance ability. With musical influences ranging from every which way, Timisarocker prides itself in not sounding like anyone or anything else. As a band, Timisarocker creates music that crosses many different genres in hopes to get their songs stuck in your head. They are all about breaking down barriers and advocating for those who suffer from mental illnesses, hoping that their music brings them peace of mind and reassures them that they are not alone.

Hendrix’s works are difficult to explain in literal context as he attempts to lean on leaving his practice open to interpretation. Distorted clarinets, flutes, and pianos are just a few elements that bend and break as the music runs. His practice is a stab at the process of taking contemporary technology and twisting it into a complex but clear form of musical expression.