Prin­ci­pal harpist with the Yakima Sym­phony, Jill will present a solo harp recital
demon­strat­ing the vari­ety of sounds and col­ors her instru­ment can produce.

Tick­ets avail­able at Yakima Sym­phony Orches­tra, 248‑1414 or online:
http://yakimasymphony.org/concerts/chamber.cfm
Yakima Sym­phony Cham­ber Orches­tra
Lawrence Golan,
Con­duc­tor & Vio­lin
Jef­frey & Joseph Brooks, Clar­inets
Mendelssohn: Son and Stranger Over­ture
Corigliano: Elegy for Orches­tra
Suk: Ser­e­nade for Strings
Bach: Vio­lin Con­certo No. 2 in E Major,
(Lawrence Golan, Vio­lin)
Krom­mer: Con­certo for Two Clar­inets in E-flat Major, Op. 35
(Jef­frey & Joseph Brooks, Clar­inets)
TICKETS FOR THIS EVENT ARE AVAILABLE THROUGH THE YAKIMA SYMPHONY ORCHESTRA, 248‑1414 or
http://yakimasymphony.org/concerts/chamber.cfm

YOU CANNOT PURCHASE TICKETS FROM THIS LINK.

YSO flautist Dianne Kin­ney and oboist Julie Wade have selected inter­est­ing orig­i­nal reper­toire for this duet recital.

2012 Latino & Latin Amer­i­can Cul­tural Film Series
Pre­sented by Allied Arts and The Sea­sons Per­for­mance Hall
includes unlim­ited nacho bar and Salsa Danc­ing fol­low­ing each movie
 March 2: “La Mis­sion” (rated R, 117 min, English)

Mod­er­a­tor: Dr. Lauro Flo­res, Pro­fes­sor & Chair, Depart­ment of Amer­i­can Eth­nic Stud­ies, Uni­ver­sity of Wash­ing­ton
Grow­ing up in the Mis­sion dis­trict of San Fran­cisco, Che Rivera (Ben­jamin Bratt) has always had to be tough to sur­vive. He’s a pow­er­ful man respected through­out the Mis­sion bar­rio for his mas­culin­ity and his strength, as well as for his hobby build­ing beau­ti­ful lowrider cars. A reformed inmate and recov­er­ing alco­holic, Che has worked hard to redeem his life and do right by his pride and joy: his only son, Jes, whom he has raised on his own after the death of his wife. Che’s path to redemp­tion is tested, how­ever, when he dis­cov­ers Jes is gay. To sur­vive his neigh­bor­hood, Che has always lived with his fists. To sur­vive as a com­plete man, he’ll have to embrace a side of him­self he’s never shown. Writ­ten by Global Cin­ema

2012 Latino & Latin Amer­i­can Cul­tural Film Series
Pre­sented by Allied Arts and The Sea­sons Per­for­mance Hall
includes unlim­ited nacho bar and Salsa Danc­ing fol­low­ing each movie
 March 2: “La Mis­sion” (rated R, 117 min, English)

Mod­er­a­tor: Dr. Lauro Flo­res, Pro­fes­sor & Chair, Depart­ment of Amer­i­can Eth­nic Stud­ies, Uni­ver­sity of Wash­ing­ton
Grow­ing up in the Mis­sion dis­trict of San Fran­cisco, Che Rivera (Ben­jamin Bratt) has always had to be tough to sur­vive. He’s a pow­er­ful man respected through­out the Mis­sion bar­rio for his mas­culin­ity and his strength, as well as for his hobby build­ing beau­ti­ful lowrider cars. A reformed inmate and recov­er­ing alco­holic, Che has worked hard to redeem his life and do right by his pride and joy: his only son, Jes, whom he has raised on his own after the death of his wife. Che’s path to redemp­tion is tested, how­ever, when he dis­cov­ers Jes is gay. To sur­vive his neigh­bor­hood, Che has always lived with his fists. To sur­vive as a com­plete man, he’ll have to embrace a side of him­self he’s never shown. Writ­ten by Global Cin­ema

Long before Seat­tle was the grunge rock cap­i­tal of Amer­ica, Jim Bas­night was on the scene.  His twenty five years of music mak­ing are about to be cat­a­logued into a CD ret­ro­spec­tive enti­tled, WE ROCKED AND ROLLED: 25 YEARS OF JIM BASNIGHT, THE MOBERLY’S AND BEYOND (BETTER THAN YOUR RECORDS). Judg­ing by his exten­sive cat­a­logue, this ret­ro­spec­tive promises to be a voy­age through every­thing thing that makes rock n roll fun, with the garage power pop of THE MOBERLY’S and his other band THE ROCKINGHAMS to the jazzier-acoustic feel of THE JIM BASNIGHT THING, and the BEATLES-meets– THE BEACH BOYS-meets-THE KINKS and every­thing in between feel (with every instru­ment imag­in­able) of his lat­est group THE JIM BASNIGHT BAND.
 For this spe­cial per­for­mance, Bas­night will be per­form­ing a selec­tion of his orig­i­nal songs back­stage at The Sea­sons.
NOT AMY is, at its core, the kind of old fash­ioned artis­tic exchange that made The Bea­t­les what they were. Search the val­ley, or the Pacific North­west for that mat­ter, for two more highly acclaimed solo per­form­ers and song­writ­ers than Chad Bault and Navid Eliot, and you will find a very short list of can­di­dates. Find two more acclaimed writ­ers that work well together, and peo­ple may very well call you a liar. Luck (and pos­si­bly a touch of fate) brought Chad, Navid, and another very tal­ented vocal­ist, Jenny Dagda­gan together, in Yakima, Wash­ing­ton.
Chad Bault grew up in the Yakima area, and was a main­stay of the local rock scene– very early on, with his band BIG BROTHER, and later as a solo act. Chad later earned his stripes as a tour­ing artist, and a reg­u­lar per­former of many years on the Port­land music scene, with his for­mer band, TRAIN GO SORRY, before mov­ing back to the Yakima Val­ley in 2008. The Port­land Tri­bune had this to say about Chad: “Whether at a whis­per or full vol­ume, Bault has that rare abil­ity to stop con­ver­sa­tion and turn every head in the house in his direc­tion.”
Navid Eliot, a Seat­tle native, moved to Yakima about 1½ years ago, where he has since been described as, “…the kind of heavy-gigging musi­cian scenes are built upon.” A for­mally trained musi­cian, and the 2003 win­ner of the Wash­ing­ton State divi­sion of the John Lennon Stu­dent Song­writer com­pe­ti­tion, Navid has been a gig­ging musi­cian and work­ing song­writer for more than a decade. Pre­vi­ous to his move to Yakima, Navid co-founded the Seat­tle band CURTAINS FOR YOU.
Com­bin­ing the writ­ing and vocal abil­i­ties of Chad Bault and Navid Eliot, with the breath-taking, Emmy Lou Harris-esque har­monies of Jen­nifer Dagda­gan, and the rhythm sec­tion of Mitch Sander and Shelby Cuyle is what makes NOT AMY. To pic­ture the sound: take a pinch of mid-60’s folk groups (The Mama’s and The Papa’s, Peter Paul & Mary, Simon and Gar­funkel); a pinch of the 90’s garage rock the mem­bers all grew up on; and a heap­ing help­ing of the thought-provoking writ­ing styles of Townes Van Zandt and Bob Dylan and you’ve got the sound-stew that is NOT AMY.

Long before Seat­tle was the grunge rock cap­i­tal of Amer­ica, Jim Bas­night was on the scene.  His twenty five years of music mak­ing are about to be cat­a­logued into a CD ret­ro­spec­tive enti­tled, WE ROCKED AND ROLLED: 25 YEARS OF JIM BASNIGHT, THE MOBERLY’S AND BEYOND (BETTER THAN YOUR RECORDS). Judg­ing by his exten­sive cat­a­logue, this ret­ro­spec­tive promises to be a voy­age through every­thing thing that makes rock n roll fun, with the garage power pop of THE MOBERLY’S and his other band THE ROCKINGHAMS to the jazzier-acoustic feel of THE JIM BASNIGHT THING, and the BEATLES-meets– THE BEACH BOYS-meets-THE KINKS and every­thing in between feel (with every instru­ment imag­in­able) of his lat­est group THE JIM BASNIGHT BAND.
 For this spe­cial per­for­mance, Bas­night will be per­form­ing a selec­tion of his orig­i­nal songs back­stage at The Sea­sons.
NOT AMY is, at its core, the kind of old fash­ioned artis­tic exchange that made The Bea­t­les what they were. Search the val­ley, or the Pacific North­west for that mat­ter, for two more highly acclaimed solo per­form­ers and song­writ­ers than Chad Bault and Navid Eliot, and you will find a very short list of can­di­dates. Find two more acclaimed writ­ers that work well together, and peo­ple may very well call you a liar. Luck (and pos­si­bly a touch of fate) brought Chad, Navid, and another very tal­ented vocal­ist, Jenny Dagda­gan together, in Yakima, Wash­ing­ton.
Chad Bault grew up in the Yakima area, and was a main­stay of the local rock scene– very early on, with his band BIG BROTHER, and later as a solo act. Chad later earned his stripes as a tour­ing artist, and a reg­u­lar per­former of many years on the Port­land music scene, with his for­mer band, TRAIN GO SORRY, before mov­ing back to the Yakima Val­ley in 2008. The Port­land Tri­bune had this to say about Chad: “Whether at a whis­per or full vol­ume, Bault has that rare abil­ity to stop con­ver­sa­tion and turn every head in the house in his direc­tion.”
Navid Eliot, a Seat­tle native, moved to Yakima about 1½ years ago, where he has since been described as, “…the kind of heavy-gigging musi­cian scenes are built upon.” A for­mally trained musi­cian, and the 2003 win­ner of the Wash­ing­ton State divi­sion of the John Lennon Stu­dent Song­writer com­pe­ti­tion, Navid has been a gig­ging musi­cian and work­ing song­writer for more than a decade. Pre­vi­ous to his move to Yakima, Navid co-founded the Seat­tle band CURTAINS FOR YOU.
Com­bin­ing the writ­ing and vocal abil­i­ties of Chad Bault and Navid Eliot, with the breath-taking, Emmy Lou Harris-esque har­monies of Jen­nifer Dagda­gan, and the rhythm sec­tion of Mitch Sander and Shelby Cuyle is what makes NOT AMY. To pic­ture the sound: take a pinch of mid-60’s folk groups (The Mama’s and The Papa’s, Peter Paul & Mary, Simon and Gar­funkel); a pinch of the 90’s garage rock the mem­bers all grew up on; and a heap­ing help­ing of the thought-provoking writ­ing styles of Townes Van Zandt and Bob Dylan and you’ve got the sound-stew that is NOT AMY.

These two pianists will present a delight­ful duet recital of French four-hand music.

Tick­ets:  $16.00, VIP $25.00

The Illu­sion of Elvis
Danny Ver­non
Elvis Presley’s voice, soul and pres­ence would always cut through the
deep­est of scratched RCA records. This is what Danny Ver­non found at a very early age when he began singing along with his Father’s dis­carded albums unaware of Presley’s vast impact in Amer­i­can cul­ture. With a devout pas­sion, Danny would sing and dance along with the King’s music trust­ing that one day he would be recap­tur­ing his own “Illu­sion of Elvis” show on stage.

Danny’s pro­fes­sional expe­ri­ences have included being a singing server at a
revolv­ing restau­rant, strum­ming gui­tar and singing acoustic folk/rock tunes in lounges and night­clubs, and record­ing an orig­i­nal coun­try album in Nashville receiv­ing national air­play. This broad back­drop of skill­ful ver­sa­til­ity helps give sta­bil­ity and gen­uine­ness to his “Illu­sion of Elvis” show.

He enjoys per­form­ing all 3 decades of Elvis’ career, includ­ing the “reck­lessly aban­doned” hill­billy cat 50′s, the sleek 60′s movie years includ­ing the Come­back Spe­cial, and the sexy 70′s jump­suit years.
In his own words, “From the many years of admi­ra­tion of Elvis, I’ve sought to cre­ate a show that would hold the excite­ment of the King on stage
through­out var­i­ous stages in his career. I also try to show respect and
sup­port the integrity of the man and his music.”

With the voice, look, and pas­sion of the twen­ti­eth cen­tury icon, Danny
Ver­non strives to re-capture Elvis Presley’s appeal to an ever-growing
audience.

Tick­ets:  $16.00, VIP $25.00

The Illu­sion of Elvis
Danny Ver­non
Elvis Presley’s voice, soul and pres­ence would always cut through the
deep­est of scratched RCA records. This is what Danny Ver­non found at a very early age when he began singing along with his Father’s dis­carded albums unaware of Presley’s vast impact in Amer­i­can cul­ture. With a devout pas­sion, Danny would sing and dance along with the King’s music trust­ing that one day he would be recap­tur­ing his own “Illu­sion of Elvis” show on stage.

Danny’s pro­fes­sional expe­ri­ences have included being a singing server at a
revolv­ing restau­rant, strum­ming gui­tar and singing acoustic folk/rock tunes in lounges and night­clubs, and record­ing an orig­i­nal coun­try album in Nashville receiv­ing national air­play. This broad back­drop of skill­ful ver­sa­til­ity helps give sta­bil­ity and gen­uine­ness to his “Illu­sion of Elvis” show.

He enjoys per­form­ing all 3 decades of Elvis’ career, includ­ing the “reck­lessly aban­doned” hill­billy cat 50′s, the sleek 60′s movie years includ­ing the Come­back Spe­cial, and the sexy 70′s jump­suit years.
In his own words, “From the many years of admi­ra­tion of Elvis, I’ve sought to cre­ate a show that would hold the excite­ment of the King on stage
through­out var­i­ous stages in his career. I also try to show respect and
sup­port the integrity of the man and his music.”

With the voice, look, and pas­sion of the twen­ti­eth cen­tury icon, Danny
Ver­non strives to re-capture Elvis Presley’s appeal to an ever-growing
audience.

Back­stage at The Sea­sons  $10.00 pre-show, $12.00 day of show
Vetiver are com­monly lumped into the nascent “freak folk” move­ment along­side the likes of Joanna New­som and Six Organs of Admit­tance, thanks to leader Andy Cabic’s friend­ship with scene founder Deven­dra Ban­hart. (Besides Banhart’s musi­cal con­tri­bu­tions to Vetiver’s first two albums, Cabic co-wrote Banhart’s break­out song “At the Hop,” from 2004′s Rejoic­ing in the Hands; on the same album, Ban­hart paid trib­ute to his friend’s band in the song “When the Sun Shone on Vetiver.”) How­ever, the band’s roots go deeper than Syd Bar­rett and Linda Per­hacs, encom­pass­ing the U.K. shoegazer scene and the mid-’90s D.I.Y. indie rock scene. Cabic was part of the lat­ter, form­ing the Ray­mond Brake in his native Greens­boro, North Car­olina in the early ’90s. The Ray­mond Brake’s noisy, Sonic Youth-influenced take on indie rock was a nat­ural fit with both the Chapel Hill art-punk scene and the influ­en­tial Wash­ing­ton D.C. indie Sim­ple Machines, which released the band’s debut album Piles of Dirty Win­ters in 1995. After a hand­ful of EPs and one more album, 1996′s Never Work Ever, the Ray­mond Brake broke up and Cabic migrated west­ward, even­tu­ally set­tling in San Fran­cisco. While study­ing at the San Fran­cisco Art Insti­tute, Cabic met fel­low stu­dent Ban­hart and instantly estab­lished a close work­ing rela­tion­ship with the bearded sprite. While play­ing live gigs with Ban­hart, New­som and oth­ers, Cabic started writ­ing songs for his new project Vetiver, named for an Asian rel­a­tive of lemon­grass that’s used in per­fume mak­ing. Adding Ban­hart on gui­tar and back­ing vocals, Jim Gay­lord on vio­lin, and Alissa Ander­son on cello behind Cabic’s vocals, banjo, and acoustic gui­tar, Vetiver released its first, self-titled, album on the DiCristina label in 2004. (The album, pro­duced by Thom Mon­a­han of the Per­nice Broth­ers, also included guest spots by New­som, Mazzy Star’s Hope San­doval, and for­mer My Bloody Valen­tine drum­mer Colm O’Ciosoig.) Vetiver was fol­lowed in 2005 by a stop­gap odds and sods col­lec­tion called Between that included two live tracks, plus a new ver­sion of a song from Vetiver and a cover of Fleet­wood Mac’s “Save Me a Place.” For Vetiver’s sec­ond full-length album, 2006′s To Find Me Gone, Cabic finally added a drum­mer, Otto Hauser, and bassist Kevin Barker to the core trio of him­self, Ban­hart, and Ander­son. After the album was released, Cabic intro­duced a sta­ble, full-time record­ing and tour­ing lineup of him­self, Ander­son, Hauser, new gui­tarist Sanders Trippe, and new bassist Brent Dunne. In 2008 the band released A Thing of the Past, a col­lec­tion of cov­ers of songs by artists like Michael Hur­ley, Ron­nie Lane and Townes Van Zandt who have influ­enced Cabic along the way. The band’s next album, 2009′s Tight Knit,was released by new label Sub Pop.~ Stew­art Mason, All Music Guide

Back­stage at The Sea­sons  $10.00 pre-show, $12.00 day of show
Vetiver are com­monly lumped into the nascent “freak folk” move­ment along­side the likes of Joanna New­som and Six Organs of Admit­tance, thanks to leader Andy Cabic’s friend­ship with scene founder Deven­dra Ban­hart. (Besides Banhart’s musi­cal con­tri­bu­tions to Vetiver’s first two albums, Cabic co-wrote Banhart’s break­out song “At the Hop,” from 2004′s Rejoic­ing in the Hands; on the same album, Ban­hart paid trib­ute to his friend’s band in the song “When the Sun Shone on Vetiver.”) How­ever, the band’s roots go deeper than Syd Bar­rett and Linda Per­hacs, encom­pass­ing the U.K. shoegazer scene and the mid-’90s D.I.Y. indie rock scene. Cabic was part of the lat­ter, form­ing the Ray­mond Brake in his native Greens­boro, North Car­olina in the early ’90s. The Ray­mond Brake’s noisy, Sonic Youth-influenced take on indie rock was a nat­ural fit with both the Chapel Hill art-punk scene and the influ­en­tial Wash­ing­ton D.C. indie Sim­ple Machines, which released the band’s debut album Piles of Dirty Win­ters in 1995. After a hand­ful of EPs and one more album, 1996′s Never Work Ever, the Ray­mond Brake broke up and Cabic migrated west­ward, even­tu­ally set­tling in San Fran­cisco. While study­ing at the San Fran­cisco Art Insti­tute, Cabic met fel­low stu­dent Ban­hart and instantly estab­lished a close work­ing rela­tion­ship with the bearded sprite. While play­ing live gigs with Ban­hart, New­som and oth­ers, Cabic started writ­ing songs for his new project Vetiver, named for an Asian rel­a­tive of lemon­grass that’s used in per­fume mak­ing. Adding Ban­hart on gui­tar and back­ing vocals, Jim Gay­lord on vio­lin, and Alissa Ander­son on cello behind Cabic’s vocals, banjo, and acoustic gui­tar, Vetiver released its first, self-titled, album on the DiCristina label in 2004. (The album, pro­duced by Thom Mon­a­han of the Per­nice Broth­ers, also included guest spots by New­som, Mazzy Star’s Hope San­doval, and for­mer My Bloody Valen­tine drum­mer Colm O’Ciosoig.) Vetiver was fol­lowed in 2005 by a stop­gap odds and sods col­lec­tion called Between that included two live tracks, plus a new ver­sion of a song from Vetiver and a cover of Fleet­wood Mac’s “Save Me a Place.” For Vetiver’s sec­ond full-length album, 2006′s To Find Me Gone, Cabic finally added a drum­mer, Otto Hauser, and bassist Kevin Barker to the core trio of him­self, Ban­hart, and Ander­son. After the album was released, Cabic intro­duced a sta­ble, full-time record­ing and tour­ing lineup of him­self, Ander­son, Hauser, new gui­tarist Sanders Trippe, and new bassist Brent Dunne. In 2008 the band released A Thing of the Past, a col­lec­tion of cov­ers of songs by artists like Michael Hur­ley, Ron­nie Lane and Townes Van Zandt who have influ­enced Cabic along the way. The band’s next album, 2009′s Tight Knit,was released by new label Sub Pop.~ Stew­art Mason, All Music Guide

Fea­tures Josh Cav­all, Ron­nie Grey, The Eisen­z­im­mers, Bob All­gaier, and others.

2012 Latino & Latin Amer­i­can Cul­tural Film Series
Pre­sented by Allied Arts and The Sea­sons Per­for­mance Hall
includes unlim­ited nacho bar and Salsa Danc­ing fol­low­ing each movie
 NBC News calls him “America’s Prince of Pride”. Crit­ics around the world have com­pared him to “a cross between Andy Warhol and Billy Gra­ham.”  Minneapolis-St. Paul Mag­a­zine calls him “one of the finest solo the­atre artists of the 21^st cen­tury.” He’s been seen in fea­ture films, on Com­edy Central’s “The Gra­ham Nor­ton Effect,” “In the Life” on PBS,  “Fri­day Night Lights” and “30 Rock” on NBC and has head­lined con­certs, the­atres and com­edy clubs around the world.  Meet “mas­ter enter­tainer” Jade Este­ban Estrada.
Join us for this spe­cial per­for­mance enti­tled “Tor­tilla Heaven” See Jade act out three gen­er­a­tions of a Mex­i­can fam­ily, includ­ing both gen­ders! This makes for a comedic, yet very real story of Mex­i­can fam­i­lies try­ing to relate to one another. Whether you love them or hate them, they are going to be there when you need help the most! 

All show­ings will be at The Sea­sons: 101 N. Naches Ave, Yakima, WA 98901, 453‑1888