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The Musical,' the first fully improvised Off-Broadway musical to launch on a national stage. Daniel Bennett is an official endorsing artist for Morgan Mouthpieces. The group have been playing more or less constantly for over a decade and are stalwarts of public libraries as well as jazz clubs and festivals.

They recently completed 10 packed US tours.

Full text of "The Times , , UK, English"

The group have appeared on TV and radio to share their take on music with a wide audience. The new album has been in the pipeline for some time and was anticipated with high expectations. Jazz In Europe got an exclusive preview. The Daniel Bennett Group performed 10 national tours in the last year. I have to say from the start, this is not the Daniel Bennett I was expecting.

Past music has been more than listenable, jazzy, theatrical and very pleasant but this — this shows a maturing and confidence in their own identity which is palpable from the first note. The first listen was fine, the second good and the third I was hooked.

The CD opens, as all CDs must, with a familiar sound — it could almost have been lifted from one of their previous albums. This is confident, joyful music and tight? Boy is it tight. Which is played — in various forms again and again but never becomes tiresome. Daniel shows he knows how to work a theme and it breaks at just the right place for a complete change in texture and feel before re-establishing the theme in this far too short, delightful track.

There is a lovely, open feel to this track and Daniel is supported by light but effective drums and guitar. His playing is superb. The composition is full of depth and warmth, each musician used fully, echoing the theme set by Daniel. A rollicking drum solo from Matthew Feick cuts a decent break at the 1.

Our listings tell you what it costs to go, or how to find out when they announce it. See the "Details, Details" section. You're broke this year? Use the web addresses or phone numbers provided to check that out and we even tell you the deets about a few that TOLD US they want helping hands or that always need large contingents of volunteers. Don't get all down in the Trumpster Dumpster. If sumpin' in here looks great, but you can't do it this year? Tell your piggy bank you're attending that fresh-find next year!

For artists, our Festival Guide is one of the best tools to survey the scene. You can determine which crowds, where, are the ones who especially want what you do.

So, you'll know where to apply to get booked next year! We've dropped the word "annual," since just about everything in the festival universe is.

That's a big point this year, and it proves that what big corporate entertainment media says is as bogus as monopoly money. It's visible in two major ways. There is a yuge trend evident with big festivals in And, not as token singles, but as appreciable cadres amongst acts of widely diverse genres.

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So when that happens, we list it. We include complete lineups for most all the festivals. So you can tell, at a glance, "who-all" is in the lineups.

And when you check it out, that new "inclusive eclecticism" slaps you across the face.

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As Eventbrite wrote on April 3rd, "Independence and the DIY spirit are an enormous and admirable part of the music scene — particularly in a world that feels increasingly corporate and cookie cutter. Some of the oldest, most unique, and best-known festivals across the US are still independently owned. So whether you're the type that likes to call the shots, or you want to support independence in the arts, you'll be in good company at any of these sought-after fests.

Of course, we understand that a lot of hardcore folkies and bluegrass devotees won't attend festivals that book too much, uhh, "variety. For one thing, if you know what's up, you can choose to get a one-day ticket to see a few favorite bands. For another, it proves a major point that Big Music won't admit: How can we say that?

Because of the proof of the musical tastes and preferences of those buying tickets to the big festivals!