PHIL COOK + WILLIAM TYLER
A Benefit Concert for VIA Health Partners
“Jamie and Elana Jollie, along with Bluedot Cares present a wonderful night of music to benefit Via Health Partners and specifically their “Family Fund”.
Via Health Partners, formerly Hospice & Palliative Care Charlotte Region is the first hospice organization in North Carolina and now the largest nonprofit hospice provider in the Carolinas, Via serves more than 5,000 patients each day with compassion, dignity, and expert care.
Proceeds from this event will support Via’s Family Fund, a unique resource that empowers their social workers to make small but life-changing grants to hospice families in urgent need.
Whether it’s covering a utility bill to prevent a shutoff, helping a family avoid eviction, providing food support, or purchasing critical medical equipment—these micro-grants allow families to focus on what matters most: being present with their loved one.
The Family Fund is 100% donor-supported. Your sponsorship will directly help families facing both emotional and financial hardship during one of life’s most vulnerable chapters.
We expect this event to sell out—and with your support, we can maximize both awareness and impact for this vital mission.”
PHIL COOK:
You already know Phil Cook, at least if you’ve listened to any of the most essential folk-rock, indie rock, or even gospel records of the last decade. The spirited piano solo on Hiss Golden Messenger’s “Day O Day,” the incisive melody of Bon Iver’s “AUTAC,” the mesmerizing elegance of the keys on Hurray for the Riff Raff’s “Life on Earth”—yes, those are all Phil Cook, a beloved collaborator capable of transforming an entire song with a pretty lick here, a sharp line there. The War on Drugs, The Blind Boys of Alabama, Ani DiFranco, Nathaniel Rateliff, Frazey Ford, the Indigo Girls: Cook’s partnerships in just the last dozen years shape their own best-of.
But now, Phil Cook has returned to his first musical love: solo piano. It is, after all, the instrument of his upbringing and now the most direct line between his fathoms-deep sensitivity and the ears of his audience. On the new release, All These Years, Cook’s playing—a chronicle of gorgeous and emotionally expansive meditations—reorients expectations of solo piano composition and improvisation. Indeed, that exquisite album is just the start for a player approaching the grand old instrument from the perhaps unlikely foundation of American folk music.
WILLIAM TYLER:
No other solo American guitarist this century has impacted that fecund scene quite like William Tyler. After crucial stints in Silver Jews and Lambchop, this adopted son of Nashville emerged at the dawn of the last decade with a string of inquisitive albums that paired the measure of his country rearing and classical enthusiasm with his ardor for postmodern experimentation, field recordings and static drifts folded beneath exquisite melodies. Tyler dug Chet Atkins and Gavin Bryars, electroacoustic abstraction and endless boogie. His productive little enclave of instrumental music has increasingly followed such catholic tastes, not only ushering new sounds and textures into the form but also critical new voices and perspectives.
And on the brilliant, bracing, and inexorably beautiful Time Indefinite, Tyler’s first solo album in five years, he steps at last into the widening gyre he helped create. The guitar serves as a starting point for an album that will make you reconsider not only Tyler but also the possibilities and reach of an entire field. A vortex of noise and harmony, ghosts and dreams, anguish and hope, Time Indefinite is not a great guitar record. It is a stunning record—a masterpiece of our collectively anxious time, really—by a great guitarist.
