Moes Alley Santa Cruz Nightclub
TOUBAB KREWE + Orchestra Gold
Appearing Live at Moes Alley
Friday, April 12th
Ashville North Carolina Favorites Make Their Long Awaited Return To Santa Cruz
9:00 PM, Doors Open 8:00 PM, $15 Advance, $20 Day Of Show,

Eat At Moe's

Moe's Alley presents to long awaited return of TOUBAB KREWE for a not to be missed dance party blending music styles from around the globe.  Rounding out this wold music dance party is Orchestra Gold fronted by Malian singer Mariam Diakité so come early and don't miss a beat.

ABOUT TOUBAB KREWE - Some music cannot be found on a map or within iTunes categories. Some music is so original it seems snatched from the great, invisible substrata that runs below all human activity, a sound aching to be born without a flag or fixed allegiance – free, questing, overflowing with immediate, tangible life. This is the music of Toubab Krewe, the vibrant Asheville, NC-based instrumental powerhouse that creates a sonic Pangaea that lustily swirls together rock, African traditions, jam sensibilities, international folk strains and more. While nearly impossible to put into any box, it takes only a few moments to realize in a very palpable way that one is face-to-face with a true original who recognizes no borders in a march towards a muscular, original, globally switched-on sound.
Formed in 2005, Toubab Krewe has tenaciously honed their craft through relentless touring and a fierce dedication to carving out something they can truly call their own. The fruits of this hard work can be heard on their latest release, STYLO, (March 2nd, 2018). What Justin Perkins (kora, kamelngoni, guitar, percussion), Terrence Houston (drumset), Drew Heller (guitar, organ), Justin Kimmel (bass, keys), and Luke Quaranta (djembe, dunun, sangban, kenkeni, kryn, karenye) have wrought on STYLO reflects the many miles and musical journeys that have transpired since their last studio album, TK2.
This is a band that actively draws inspiration from whatever source floats into their purview, something they've exhibited in their decade and a half of heavy gigging, including regular appearances at major U.S. festivals like Bonnaroo, High Sierra, Electric Forest, Wakarusa, Hulaween, and abroad at such legendary gatherings as the Festival In The Desert in Essakane, Mali, Shanghai World Music Festival, and Jam Cruise. Whether on their own or collaborating with luminaries like the Last Poets' Umar Bin Hassan, Uncle Earl's Rayna Gellert, or Weedie Braimah, Toubab Krewe has already earned the attention and respect of a broad musical community.
Toubab carries echoes of African greats like Ali Farka Toure, Orchestra Baobab and Salif Keita, no doubt picked up during the group's travels to study and live in Guinea, Ivory Coast and Mali.  But what truly differentiates Toubab Krewe from other Statesiders inspired by African music is how they innovate on what they've learned instead of simply recreating tradition. Toubab Krewe carves out a new trail honoring the African originators they admire by making something alive and contemporary.

ABOUT ORCHESTRA GOLD - Orchestra Gold is driven by a mission to share Mali’s ancient musical treasures with the West. Musically, they are influenced by the 1960’s era Big-Band sound, the creative Golden Era which saw the first wave of reinterpretation of old folkloric music. Socially, they are driven a vision for a more equitable society, and a world where the music that hits the hardest can reach those who need it the most. Through a variety of additional activities such as dance workshops and classes for youth, Orchestra Gold strives to expose oldstyle art forms of this era not just to the broad audience at large but specifically to segments of the population (poor, under-resourced) that could most benefit from it.

The story of Orchestra Gold spans time and space, beginning as the seed of collaboration between Malian dancer/singer Mariam Diakité and Californian multi-instrumentalist Erich Huffaker. They first met in 2006 at a wedding, through djembe master Matché Kassim Traore. Their partnership developed as they began the boundary-defying work of identifying and reinterpreting ancient folkloric music that is seldom heard in its authentic entirety even today among younger Malian musicians. The initial partnership of Mariam and Erich is supplanted by a crew deeply representative of the Bay Area’s afrocentric music scene.

Sonically, Orchestra Gold is influenced by the Golden era of Malian music, utilizing western instrumentation (guitar, bass, drums) to reinterpret oldschool authentic folkloric music. Drawing from other disparate elements of the 60’s and 70’s such as afrofunk, groove-oriented classic rock and psychedelia, the oldstyle sound they promote prioritizes gritty, analog production, and a stripped-down approach to songwriting.

The handle, “Orchestra Gold”, has a dual meaning. On one hand, it pays homage to the celebrated style of big band music developed during Mali’s post-independence golden era 1960’s-1970’s. On a deeper level, the name reflects the fact that although Sub-Saharan West Africa (especially Mali) is well-endowed with the prized element gold, its true source of value is not its material resources, but its music.

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