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David Grisman

Railroad Earth

Leftover Salmon

Yonder Mountain String Band

Chris Thile

Darrell Scott

The Del McCoury Band

Greensky Bluegrass

The Infamous Stringdusters

Jerry Garcia Band (JGB)

New Riders of the Purple Sage

Peter Rowan

Ricky Skaggs

The Seldom Scene

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Tony Trischka

Bill Monroe

Noam Pikelny

Young and in the Way

Bryan Sutton

David Grisman Tickets

David Grisman Concert Tickets

Escape into the jazz-blues genre with David Grisman tickets from TicketSmarter. One of the great, eccentric characters to come out of the New York Greenwich Village scene and the American folk music revival of the early 1960s, mandolin player David Grisman mixed together bluegrass, jazz and country into an improvised, rootsy sound that his good friend Jerry Garcia of The Grateful Dead dubbed 'dawg music'. The son of a professional trombonist, Grisman grew up in a fairly straight-laced family in New Jersey but after his father died when he was ten, he found an outlet in early rock & roll and the popular folk-pop of the Kingston Trio.

Forming his own folk club when he was in high school, he abandoned the piano and turned instead to the mandolin after befriending folklorist Ralph Rinzler. He soon discovered country-bluegrass stars like Doc Watson and Bill Monroe and hung out with the artists, musicians, protesters and eccentrics who gathered in New York's Washington Square Park.

From playing his first gigs with Maria Muldaur at an Italian restaurant, he learned from mandolin player Frank Wakefield and joined Stefan Grossman's Even Dozen Jug Band before recording his debut album 'Early Dawg' with Del McCoury in 1966. Other musical adventures included the psychedelic rock act Earth Opera, bluegrass ensemble Old and in the Way and supergroup Muleskinner; but it wasn't until the late 1970s that he established his own band and started releasing albums 'The David Grisman Quintet', 'Hot Dawg' and 'Quintet '80'. His unique style was also influenced by the gypsy jazz of Django Reinhardt and contemporary classical composers, and during an extraordinary career, he worked with artists as diverse as The Grateful Dead, violinist Stephane Grappelli, slide guitarist Bonnie Raitt and Italian singer Beppe Gambetta.

Despite consistently positioning himself outside of the mainstream music industry, he became a prolific recording artist, regularly releasing albums for over 50 years, many of them through his own label Acoustic Disc. In the 1990s he teamed up with his old pal Jerry Garcia on 'Not for Kids Only' and 'So What' and with his hero Doc Watson on 'Doc & Dawg'. In more recent years he reformed his early band Old and in the Way and performed live with DGBX (David Grisman Bluegrass Experience). In 2017 he proved he was still on top of his game, collaborating with fast-fingered guitarist Tony Emmanuel on the acclaimed album 'Pickin'. Buy David Grisman tickets today and get lost in the music.

How much are David Grisman tickets?

On a whole, David Grisman ticket prices can be found starting from various ranges as determined by the venue and whether the artist is performing at a festival. Admission for a 1-4 day pass at the New Orleans Jazz and Heritage Festival at the New Orleans Fairgrounds can start from around $90 - $430 and VIP options can begin at about $1,950. Choose the level that’s right for you and buy from our site today.

When do David Grisman tickets go on sale?

The date and time that David Grisman concert tickets go on sale will vary. Once a tour is announced, you can typically buy admission from us right away. Very often, we have tickets available in advance of a public sale and a pre-sale code is not required.

David Grisman Tour Dates & Concert Schedule

Don’t be surprised to find David Grisman playing at intimate jazz clubs and appearing on the lineup of festivals such as the Beale Street Music Festival in Memphis, Tennessee and the New Orleans Jazz and Heritage Festival in Louisiana. Other popular performance platforms include the Birdland Jazz Club in New York City and the Chicago Blues Festival in Illinois. David Grisman tour dates will typically feature an array of gigs at a variety of venues and events.

Show after show, the artist brings a signature style and smooth vibe that sounds superior to any stage. The David Grisman concert schedule generally boasts a plethora of options. So, make plans to be in the audience!

Songs from the David Grisman Tour Setlist

David Grisman's setlist while performing in Oakland , CA at “Yoshi's Oakland” included the following songs:

• Bluegrass on the Beach
• Albuquerque Turkey
• Minor Swing
• Waltz for Gigi
• Karado's Breakdown
• All Dawg's Waltz
• Shady Grove

Source: Setlist.fm

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Published: 2023/06/03

Sam Grisman Project Detail Live and In Person 2023 Tour

Sam Grisman, bassist and son of music icon David Grisman and his band, the Sam Grisman Project, have announced a string of new tour dates that will celebrate the music of his father, Jerry Garcia and beyond.

Grisman and his band–Ric Robertson, Aaron Lipp and Chris J. English, “The Core Four”–have been showcasing their genuine passion for the music that has so deeply inspired them while also sharing their own original creations this year. And now they’re set up to continue their mission to reveal the profound impact the music has had on their individual voices and bring joy to audiences far and wide as they play iconic and incredible songs as true compatriots.

In the spring, Grisman successfully did so with incredible stops across New England, and the new dates will see the artist and his friends further their mission with stops in cities across the U.S., including San Francisco, Albuquerque, N.M., Pelham, Tenn., Manchester, Vt. and Washington, DC from June 22 through Nov. 4.

“It’s been a wonderful whirlwind getting to play music for all of you fine folks this year, and we’re excited to be continuing our endless tour into the summer and beyond!,” the Grisman wrote on social media. “Please don’t be a stranger, grab some tickets, tell your friends, and come on out and hang with us! Follow us on  @bandsintown  and check our website for updates and new show adds and we’ll see you out on the road!”

Learn more and find tickets to Sam Grisman Project here.

View this post on Instagram A post shared by Sam Grisman Project (@samgrismanproject)

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David Grisman Concert Setlists & Tour Dates

David grisman at the john g. shedd institute for the arts, eugene, or, usa.

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David Grisman at Aladdin Theater, Portland, OR, USA

David grisman at gordon center for performing arts, owings mills, md, usa, david grisman at freight & salvage, berkeley, ca, usa.

• Old Timey Art
• Little Bitty Town
• Dawg On A String
• No End of Love
• Funky Plunky
• Lobster Rolls
• Money Moves Up
• Zaydeh's Waltz
• Farm & Fun Time

David Grisman at Chautauqua Auditorium, Boulder, CO, USA

David grisman at the lincoln center, fort collins, co, usa, david grisman at rogue theatre, grants pass, or, usa, david grisman at alberta rose theatre, portland, or, usa, david grisman at triple door, seattle, wa, usa.

David Grisman

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Most played songs

• E.M.D. ( 5 )
• Blue Dawg ( 3 )
• Fanny Hill ( 3 )
• Jack-A-Roe ( 3 )
• Minor Swing ( 3 )

More David Grisman statistics

Charlie Hustle & The Grifters Charlie Hustle & The Pickers The David Grisman Bluegrass Experience The David Grisman Sextet Jerry Garcia & David Grisman David Grisman with The Del McCoury Band The David Grisman Quartet The David Grisman Quintet Jefferson Starship The Johnson Mountain Boys Kitchen Dwellers The Del McCoury Band Neighbor Old & In the Way Pert Near Sandstone Sam Grisman Project Scott Law Shadowgrass The String Cheese Incident Stringband Spectacular Billy Strings Molly Tuttle & Golden Highway Doc Watson & David Grisman Yonder Mountain String Band

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Artists covered

[traditional] Johnny Bond Philip Braham Dick Burnett The Carter Family Nat King Cole The David Grisman Sextet Miles Davis Bob Dylan Lefty Frizzell Jerry Garcia & David Grisman Vince Gill The David Grisman Quintet Mississippi John Hurt Bill Monroe Bill Monroe and the Bluegrass Boys Charlie Monroe Charles Ernest Moody Moon Mullican Mickey Newbury John Newton Old & In the Way Django Reinhardt The Rolling Stones The Stanley Brothers Big Mama Thornton

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Gigs seen live by

51 people have seen David Grisman live.

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David Grisman

Latest setlist, david grisman on august 30, 2019.

Freight & Salvage, Berkeley, California

Note: The Dawg Trio with David Grisman, Sam Grisman, & Danny Barnes

David Grisman Tickets

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David Grisman

This page last updated on April 5, 2011.

Album Reviews

Compliments (Jerry Garcia)

Not for Kids Only (w/ Jerry Garcia)

That High Lonesome Sound (Old & in the Way)

Shady Grove (w/ Jerry Garcia)

Keepers & With His Funky Friends (Merl Saunders)

Breakdown (Old & in the Way)

So What (w/ Jerry Garcia)

Bluegrass Mandolin Extravaganza

The Pizza Tapes (w/ Jerry Garcia & Tony Rice)

Stolen Roses: Songs of the Grateful Dead (Various Artists)

Music from Rancho deVille (Charles Sawtelle)

New River (w/ Denny Zeitlin)

Grateful Dawg Soundtrack (w/ Jerry Garcia)

The Long Haul (Pete Sears)

Life of Sorrow

Hold On, We're Strummin' (w/ Sam Bush)

100% Handmade Bluegrass (Various Artists)

Live at Mechanics Hall (Bill Monroe)

Been All around This World (w/ Jerry Garcia)

Now & Then (The Rowan Brothers)

Satisfied (w/ John Sebastian)

Concert Reviews

Cosmic Hippo Jazz (Review of 6/12/96 Concert)

The Book Beat

Encounters with Bob Dylan by Tracy Johnson

News and Tour Dates

Concert Preview: David Grisman Sextet in Chicago in April (2011)

Concert Preview: David Grisman and John Sebastian in Chicago in December (2009)

Photo Journals

David Grisman Quintet at Suwannee SpringFest (2008)

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Old & in the Way / Old & in the Gray at The Music Box

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David Grisman Quintet

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Alberta Rose Theatre

Dimitriou's Jazz Alley

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Itzhak Perlman: In the Fiddler’s House

About this concert.

In this special performance, Houston Symphony Artistic Partner Itzhak Perlman presents his collection of traditional klezmer music, In the Fiddler’s House. Released more than 25 years ago, the album became a PBS special that earned Perlman his third Emmy Award.

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Undeniably the reigning virtuoso of the violin, Itzhak Perlman enjoys superstar status rarely afforded a classical musician. Beloved for his charm and humanity as well as his talent, he is treasured by audiences throughout the world who respond not only to his remarkable artistry, but also to his irrepressible joy for making music.

Having performed with every major orchestra and at venerable concert halls around the globe, Itzhak was awarded a Presidential Medal of Freedom, the Nation’s highest civilian honor, in November 2015 by President Obama for his meritorious contributions to cultural endeavors of the United States and for being a powerful advocate for people of disabilities. In 2016, he received the Genesis Prize in recognition for his exceptional contributions as a musician, teacher, advocate for individuals with special needs, and dedication to Jewish values. In 2003, he was granted a Kennedy Center Honor by the John F. Kennedy Center for the Performing Arts in celebration of his distinguished achievements and contributions to the cultural and educational life of the United States. President Clinton awarded him the National Medal of Arts in 2000, and President Reagan honored him with a Medal of Liberty in 1986.

Itzhak has performed multiple times at the White House, most recently in 2012, at the invitation of President Barack Obama and Mrs. Obama, for Israeli President and Presidential Medal of Freedom honoree Shimon Peres; and at a State Dinner in 2007, hosted by President George W. Bush and Mrs. Bush, for Her Majesty The Queen and His Royal Highness The Duke of Edinburgh. In 2009, he was honored to take part in the Inauguration of President Obama, premiering a piece written for the occasion by John Williams alongside cellist Yo-Yo Ma, clarinetist Anthony McGill, and pianist Gabriela Montero, for an audience of nearly 40 million television viewers in the United States and millions more throughout the world.

Born in Israel in 1945, Itzhak completed his initial training at the Academy of Music in Tel Aviv. An early recipient of an America-Israel Cultural Foundation scholarship, he came to New York and soon was propelled to national recognition with an appearance on the  Ed Sullivan  Show in 1958. Following his studies at The Juilliard School with Ivan Galamian and Dorothy DeLay, he won the prestigious Leventritt Competition in 1964, which led to a burgeoning worldwide career. Since then, Itzhak Perlman has established himself as a cultural icon and household name in classical music.

In June 2019, Masterclass.com, the premier online education company that enables access to the world’s most brilliant minds, including Gordon Ramsay, Wolfgang Puck, Martin Scorsese, Ron Howard, Helen Mirren, Jodie Foster, and Serena Williams, premiered its first-ever classical-music class taught by Itzhak. Available exclusively at www.masterclass.com/ip, his class offers students an intimate and inspirational approach to the world of violin where he covers fundamental techniques, practice strategies, and ways to build a richer sound.

Itzhak has further delighted audiences through his frequent appearances on the conductor’s podium. He has performed as conductor with the New York Philharmonic, Chicago Symphony, Philadelphia Orchestra, Boston Symphony, National Symphony, San Francisco Symphony, Los Angeles Philharmonic, and the symphony orchestras of Houston, Dallas, Pittsburgh, Seattle, Montreal, and Toronto, as well as at the Ravinia and Tanglewood festivals. He was music advisor of the St. Louis Symphony from 2002 to 2004, where he made regular conducting appearances, and he was principal guest conductor of the Detroit Symphony from 2001 to 2005. Internationally, he has conducted the Berlin Philharmonic, Royal Concertgebouw Orchestra, London Philharmonic, English Chamber Orchestra, and the Israel Philharmonic.

In the 2019-20 season, Itzhak embarked on a debut tour of a new program entitled “An Evening with Itzhak Perlman” which captures highlights of his career through narrative and multi-media elements, intertwined with performance. The tour goes to Penn State, UC Santa Barbara, UC Davis, McCallum Theatre Palm Desert, Mesa Arts Center, Artis-Naples, and the State Theatre New Jersey. On the orchestral front, Perlman makes appearances with the Israel Philharmonic in Zubin Mehta’s final appearances as music director and performs with the Baltimore Symphony, Atlanta Symphony, Oregon Symphony, Calgary Philharmonic, Charlotte Symphony, Grand Rapids Symphony, Toledo Symphony, and Colorado Springs Philharmonic. Throughout the season, he plays recitals with his longtime collaborator, Rohan De Silva, across North America in Northridge (Los Angeles), Costa Mesa, Rohnert Park (Sonoma County), Seattle, Spokane, Greenville, Knoxville, a Florida tour, and the NYC region. During the summer, he led the Chicago Symphony Orchestra in an all-Tchaikovsky program at the Ravinia Festival.

2018 marked the 60 th  anniversary of Itzhak Perlman’s U.S. debut and appearance on the  Ed Sullivan  Show, which took place on November 2, 1958. This milestone was celebrated with a return to the Ed Sullivan Theater on November 2, 2018, in a special guest appearance on  The Late Show with Stephen Colbert .

Further to his engagements as violinist and conductor, Itzhak is increasingly making more appearances as a speaker. Recent speaking engagements include appearances in Texas at Lamar University, South Dakota with the John Vucurevich Foundation, Washington, D.C. for the Marriott Foundation and New York, in conversations with Alan Alda at the 92 nd  Street Y and Alec Baldwin at New York University.

A recent award-winning documentary, titled  Itzhak , premiered in October 2017 as the opening film of the 25 th  Annual Hamptons International Film Festival. It was released theatrically in more than 100 cinemas nationwide in March 2018, with international releases that followed in Summer 2018. Directed by filmmaker Alison Chernick, the enchanting documentary details the virtuoso’s own struggles as a polio survivor and Jewish émigré and is a reminder why art is vital to life. Visit  www.itzhakthefilm.com  for more information. In October 2018, the film made its debut on PBS’  American Masters  in a broadcast throughout the United States.

Itzhak’s recordings have garnered 16 Grammy Awards and regularly appear on the best-seller charts. In 2008, he was honored with a Grammy Lifetime Achievement Award for excellence in the recording arts.

His most recent album features him in a special collaboration with Martha Argerich. Released in 2016 by Warner Classics, it marked an historic first studio album for this legendary duo exploring masterpieces by Bach, Schumann, and Brahms. It had been 18 years since their first album, a live recital from the Saratoga Performing Arts Center. On that momentous occasion in 1998, in addition to recording the material for their initial disc, the pair recorded Schumann’s Violin Sonata No. 1. The Schumann Sonata at long last was released in 2016 alongside new material, making the album a fascinating “then and now” portrait of how two living legends have evolved musically.

Itzhak recorded a bonus track for the original cast recording of the critically acclaimed Broadway revival of  Fiddler on the Roof , released on Broadway Records in March 2016. The cast recording features him on a track titled “Excerpts from Fiddler on the Roof,” arranged by John Williams.

The year 2015 brought three record releases in celebration of his 70 th  birthday: a new Deutsche Grammophon album with pianist Emanuel Ax performing Fauré and Strauss Sonatas, a 25-disc box set of his complete Deutsche Grammophon and Decca discography, and a 77-disc box set of his complete EMI/Teldec discography titled  Itzhak Perlman: The Complete Warner Recordings .

In 2012, Sony released  Eternal Echoes: Songs & Dances for the Soul , featuring a collaboration with acclaimed cantor Yitzchak Meir Helfgot in liturgical and traditional Jewish arrangements for chamber orchestra and klezmer musicians, and in 2010, Sony released a recording of Mendelssohn Piano Trios with cellist Yo-Yo Ma and pianist Emanuel Ax. Highlights of albums over the last two decades have included a Deutsche Grammophon album with Itzhak conducting the Israel Philharmonic, a live recording with Martha Argerich performing Beethoven and Franck Sonatas (EMI);  Cinema Serenade  featuring popular hits from movies with John Williams conducting (Sony);  A la Carte , a recording of short violin pieces with orchestra (EMI), and  In the Fiddler’s House , a celebration of klezmer music (EMI) that formed the basis of the PBS television special. In 2004, EMI released  The Perlman Edition , a limited-edition 15-CD box set featuring many of his finest EMI recordings as well as newly compiled material, and RCA Red Seal released a CD titled  Perlman reDiscovered , which includes material recorded in 1965 by a young Itzhak Perlman.

Other recordings reveal his devotion to education, including  Concertos from my Childhood  with the Juilliard Orchestra under Lawrence Foster (EMI) and  Marita and her Heart’s Desire , composed and conducted by Bruce Adolphe (Telarc).

A major presence in the performing arts on television, Itzhak Perlman has been honored with four Emmy Awards, most recently for the PBS documentary  Fiddling for the Future , a film about his work as a teacher and conductor for the Perlman Music Program. In 2004, PBS aired a special entitled  Perlman in Shanghai  that chronicled an historic and unforgettable visit of the Perlman Music Program to China, featuring interaction between American and Chinese students and culminating in a concert at the Shanghai Grand Theater and a performance with 1,000 young violinists, led by Itzhak and broadcast throughout China. His third Emmy Award recognized his dedication to klezmer music, as profiled in the 1995 PBS television special  In the Fiddler’s House , which was filmed in Poland and featured him performing with four of the world’s finest klezmer bands.

He has entertained and enlightened millions of TV viewers of all ages on popular shows as diverse as  The Late Show  with David Letterman,  Sesame Street ,  The Frugal Gourmet ,  The Tonight Show,  and various Grammy Awards telecasts. His PBS appearances have included  A Musical Toast  and  Mozart by the Masters , as well as numerous  Live from Lincoln Center  broadcasts such as  The Juilliard School: Celebrating 100 Years.  In 2008, he joined renowned chef Jacques Pépin on  Artist’s Table  to discuss the relationship between the culinary and musical arts, and lent his voice as the narrator of  Visions of Israel  for PBS’s acclaimed  Visions  series. Itzhak hosted the 1994 U.S. broadcast of the  Three Tenors, Encore ! live from Dodger Stadium in Los Angeles. During the 78 th  Annual Academy Awards in 2006, he performed a live medley from the five film scores nominated in the category of Best Original Score for a worldwide audience in the hundreds of millions. One of his proudest achievements is his collaboration with film composer John Williams in Steven Spielberg’s Academy Award-winning film  Schindler’s List , in which he performed the violin solos. He can also be heard as the violin soloist on the soundtrack of Zhang Yimou’s film  Hero  (music by Tan Dun) and Rob Marshall’s  Memoirs of a Geisha  (music by John Williams).

Itzhak has a long association with the Israel Philharmonic and has participated in many groundbreaking tours with this orchestra from his homeland. In 1987, he joined the IPO for history-making concerts in Warsaw and Budapest, representing the first performances by this orchestra and soloist in Eastern bloc countries. He again made history as he joined the orchestra for its first visit to the Soviet Union in 1990, and was cheered by audiences in Moscow and Leningrad who thronged to hear his recital and orchestral performances. This visit was captured on a PBS documentary entitled  Perlman in Russia , which won an Emmy. In 1994, he joined the Israel Philharmonic for their first visits to China and India.

Over the past two decades, Itzhak has become actively involved in music education, using this opportunity to encourage gifted young string players. Alongside his wife, Toby, his close involvement in the Perlman Music Program has been a particularly rewarding experience, and he has taught full-time at the Program each summer since its founding in 1993. He currently holds the Dorothy Richard Starling Foundation Chair at The Juilliard School.

Numerous publications and institutions have paid tribute to Itzhak Perlman for the unique place he occupies in the artistic and humanitarian fabric of our times. Harvard, Yale, Brandeis, Roosevelt, Yeshiva, and Hebrew universities are among the institutions that have awarded him honorary degrees. He was awarded an honorary doctorate and a centennial medal on the occasion of Juilliard’s 100 th  commencement ceremony in 2005. Itzhak Perlman’s presence on stage, on camera, and in personal appearances of all kinds speaks eloquently on behalf of the disabled, and his devotion to their cause is an integral part of his life.

music director, arranger, saxophone, piano

A multi-instrumentalist, composer, and ethnomusicologist, Dr. Hankus Netsky is chair of New England Conservatory’s contemporary improvisation department, a pioneering multi-cultural music department now in its 41st year. He also is founder and director of the Klezmer Conservatory Band, an internationally renowned Yiddish music ensemble. Hankus has composed extensively for film, theater, and television; collaborated closely with such artists as Itzhak Perlman, Robin Williams, Joel Grey, Theodore Bikel, and Robert Brustein; and produced numerous recordings, including ten by the Klezmer Conservatory Band.

He was the recipient of the Yosl Mlotek award and a Forward Fifty award for his role in the resurgence of traditional Eastern European Jewish ethnic musical culture and a New England Conservatory Outstanding Alumni award as well as the Conservatory’s Louis Krasner and Lawrence Lesser awards for Excellence in Teaching. He has taught at McGill University, Hampshire College, Wesleyan University, and Hebrew College. His essays on Jewish music have been published by the University of California Press, the University of Pennsylvania Press, the University of Scranton Press, Hips Roads, and the University Press of America. Temple University Press published his book, Klezmer, Music and Community in 20th Century Jewish Philadelphia, in 2015.

clarinet, mandolin

Born into a family with a long line of cantors, composers, and both classical and vaudeville musicians, Andy Statman grew up in Queens, New York. His early musical memories include 1950s rock and roll, big band jazz, and classical music; family get-togethers where the celebrants danced to klezmer melodies and Tin Pan Alley and Broadway tunes; and the rabbi in his afternoon religious school who sang Hasidic songs. Andy started playing bluegrass at age 12 and was soon performing with local bands at colleges, on radio, in clubs, and at Washington Square Park in Greenwich Village. At 17, after hearing avant-garde jazz saxophonist Albert Ayler, he began studying saxophone. He became a protégé of legendary klezmer clarinetist Dave Tarras, for whom the master wrote a number of melodies and bequeathed four of his clarinets.

Andy has appeared on more than 100 recordings. His Between Heaven and Earth album was picked as one of the Top Ten CDs of the Year by The New York Times . He has recorded and toured with the Grateful Dead, Bob Dylan, Dr. John, Ricky Skaggs, Béla Fleck, David Grisman, and Itzhak Perlman, among others. A Grammy Award nominee and recipient of grants from the NEA Fellowship and NY State Council on the Arts, he has performed at Carnegie Hall, Town Hall, Lincoln Center, the Met, and at major venues throughout the United States, Europe, Canada, Japan, and Israel. In 2012, Andy received the National Heritage Award from the National Endowment for the Arts—the highest honor given to tradition-based musicians and artists in the United States.

vocals, violin

Michael Alpert has been a pioneering figure in the renaissance of East European Jewish music and Yiddish culture since the 1970s. He is the recipient of a 2015 National Heritage Award from the National Endowment for the Arts–this country’s highest honor for traditional and heritage artists. He is internationally known for award-winning performances and recordings with Brave Old World, David Krakauer, Itzhak Perlman, Theodore Bikel, Daniel Kahn, Frank London, and others. A native Yiddish speaker and one of the only contemporary singers adept in the traditional style of pre-war East European generations, he is also a celebrated innovator in Yiddish song, with original compositions on social and political themes.

Michael was musical director of the Emmy/Rose D’Or-winning PBS special Itzhak Perlman: In the Fiddler’s House , and is featured in film and broadcast media worldwide. An important link to Old World Jewish musicians, he has documented Jewish music and dance around the globe, is a leading teacher and scholar of the Yiddish cultural arts, and has played a central role in the transmission of Ashkenazic music and dance to younger generations. A longtime research associate of the YIVO Institute for Jewish Research, he is currently a senior research fellow at NYC’s Center for Traditional Music and Dance; he has taught at Oxford, Columbia, and Indiana Universities, and the New England Conservatory of Music. He is married to the literary scholar Emily Finer.

vocals, accordion

Lorin Sklamberg is a founding member of the Grammy Award-winning Yiddish-American roots band the Klezmatics; his composition  Happy Joyous Hanukkah  with lyrics by Woody Guthrie has been published in choral arrangements by Hal Leonard. He has been heard on innumerable recordings and live shows, solo and in collaboration with such diverse artists as Jane Siberry, Odetta, Chava Alberstein, Emmylou Harris, Tracy Grammer, Neil Sedaka, Natalie Merchant, and Tony Kushner. He has written and performed for film, dance, stage, and circus, and has produced a number of recordings of world and theater music. He also teaches Yiddish song from São Paulo to St. Petersburg.

Lorin’s and Frank London’s Hasidic “spiritual” programs have resulted in three critically-acclaimed recordings. Projects include  Saints and Tzadiks  with Dublin-born chanteuse Susan McKeown, the score for Erik Anjou’s documentary  Deli Man  (USA, 2014) ;  the  Semer Ensemble,  a celebration of Jewish recordings made in Berlin 1933-38; the award-winning Yiddish-Bavarian  Alpen Klezmer  with Andrea Pancur and Ilya Shneyveys;  Sklamberg and the Shepherds  (traditional and original Yiddish, Russian, and South Mediterranean music); and composer Jocelyn Pook’s   Drawing Life , a multi-media song cycle commissioned by the Jewish Music Institute of London. By day, Lorin serves as the sound archivist of New York’s YIVO Institute for Jewish Research. He is “One of the premier American singers in any genre,” according to Robert Christgau,  All Things Considered , National Public Radio.

vocals, percussion

Judy Bressler recorded, as a special guest singer on ARC in 2015 with Yale Strom and Hot Pstromi, City of the Future-Yiddish Songs from the Former Soviet Union . She is a founding member of Boston’s Klezmer Conservatory Band and is the featured vocalist on all ten KCB CD’s. A third-generation Yiddish performer, Judy was seen in the PBS documentary film A Jumpin’ Night In The Garden Of Eden and was featured hilariously with Joel Grey in Borscht Capades ’94 . Being part of In the Fiddler’s House with Itzhak Perlman and company since 1996, the first studio album, the second album “live” at Radio City Music Hall, Mexico City, Moscow, klezzing the Hollywood Bowl, Carnegie Hall (debut) in 2015 for 100 th anniversary of the National Yiddish Theatre Folksbiene and Symphony Hall, Boston (debut) 2016 were all highly memorable events, acclaimed and loved by critics and audiences alike.

Frank London is a Grammy-award winning trumpeter and composer, a member of the Klezmatics, and the leader of the Hungarian-New York band, Glass House Orchestra, the bhangra funk group Sharabi (with Deep Singh), and his Shekhinah Big Band. He has performed and recorded with John Zorn, Pink Floyd, Mel Tormé, Lester Bowie’s Brass Fantasy, LaMonte Young, They Might Be Giants, and David Byrne. Frank is featured on more than 400 CDs.

His own recordings include  Invocations  (cantorial music); Frank London’s Klezmer Brass Allstars’  Di Shikere Kapelye ,  Brotherhood of Brass ;  Nigunim  and  The Zmiros Project  (Jewish mystical songs, with Klezmatics vocalist Lorin Sklamberg);  The Debt  (film and theater music);  The Shekhina Big Band ; the soundtrack to  The Shvitz ; the soundtrack to Perl Gluck’s  Divan  and four releases with the Hasidic New Wave. His first symphony,  1001 Voices: A Symphony for Queens  (with text by Judith Sloan and video by Warren Lehrer)   for orchestra, chorus, soloists, tabla, erhu,   narrator, actors, and film premiered in 2012.

He is currently composing a Yiddish opera in a Cuban nightclub,  Hatuey: Memory of Fire  with Elise Thoron;   and his latest collaboration is an exploration of klezmer and cantorial music with Cantor Yaakov Lemmer and clarinetist Michael Winograd. Frank’s other projects include the folk-opera  A Night in The Old Marketplace  (based on Y.L. Peretz’s 1907 play) and the multi-media work  Salomé, Woman of Valor  (with Adeena Karasick).

A leading voice in the world of klezmer music and Yiddish song for more than 30 years, the Klezmer Conservatory Band (KCB) continues to thrill audiences all over the world. With a repertoire ranging from Yiddish standards to rousing dance medleys and little-known gems, KCB musicians have served as important ambassadors in promoting the universal appeal of Jewish music.

Over the years, the band has appeared at dozens of international music festivals in major venues across the United States, Europe, and Australia, and on ten international broadcasts of A Prairie Home Companion . KCB provided the musical accompaniment for The Fool and the Flying Ship , a 1991 video featuring Robin Williams, played an integral rode in Joel Grey’s Borscht Capades ’94 , and performed the music for the much-acclaimed American Repertory Theatre production, Shlemiel the First . Since the late 1990s, Itzhak Perlman has featured KCB in his CD, video, and touring project, In the Fiddler’s House , including performances at Wolf Trap, Great Woods, Radio City Music Hall, the Ravinia Festival, the Saratoga Music Festival, Moscow’s Barvikha Concert Hall, the Mizner Park Amphitheatre in Boca Raton, and the Mann Music Center (Philadelphia).

In December 2002, the KCB performed a concert of orchestral arrangements of klezmer and Yiddish music with the Atlanta Symphony Orchestra. In 1988, world-renowned choreographer Bill T. Jones choreographed a piece based on music from their CD, A Jumpin’ Night in the Garden of Eden , for the Boston Ballet. Recently, the band re-joined Itzhak as an integral part of his cantorial/Hassidic/klezmer/Yiddish folk music project, Eternal Echoes , and received rave reviews for their recent Sony CD release and live concert performances, including Boston’s Symphony Hall, Brooklyn’s Barclay’s Center, and the Hollywood Bowl. The band is soon to be featured in Rejoice! , a full-length PBS Great Performances music special.

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U.S. Open: Nine things to know about Pinehurst No. 2

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Need to Know

The U.S. Open visits a historic venue that still provides a unique challenge

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Few courses in this country can match the pedigree of North Carolina’s famed Pinehurst No. 2, the Donald Ross gem that will host this week’s U.S. Open.

Home of the North & South Men’s Amateur since 1901 and the North & South Women’s Amateur since 1903, Pinehurst has also been the site of the North & South Open Championship (1901-1951), the U.S. Amateur (1962, 2008, 2019) and the U.S. Women’s Amateur (1989). Pinehurst No. 2 also was home to the PGA Championship in 1936.

The 1951 Ryder Cup was played there, as was the PGA TOUR’s Hall of Fame Classic/World Open (1973-1982) and the TOUR Championship (1991, 1997). This year’s U.S. Open follows previous incarnations of that event in 1999, 2005 and 2014, the latter year when No. 2 also staged the U.S. Women’s Open a week after the men’s.

That most recent U.S. Open at No. 2 also was the debut of a new look for Ross’ gem, with the Bermudagrass rough replaced by sandy waste areas that gave the course a more rustic feel. This will be the second time the U.S. Open has been played under those conditions. Before play gets underway Thursday, here are nine things to know about this historic venue:

1. Fantastic finishes

Though tournaments have been played at Pinehurst No. 2 since the start of the 20th century, it wasn’t until the end of it that the U.S. Open arrived. The first U.S. Open at Pinehurst No. 2 also produced one of the most famous finishes in the tournament’s history, one that is still memorialized in a statue that stands behind the 18th green (though the statue will be moved during the tournament so that it is more accessible to fans).

Payne Stewart holed an 18-foot par putt on 18 to win the 1999 U.S. Open by one over Phil Mickelson and finish two shots ahead of Tiger Woods and Vijay Singh. It was a memorable finish, immortalized by the tragedy that followed shortly after. Stewart died in a plane crash just four months after winning his third major championship.

Payne Stewart celebrates victory after sinking his final putt during the last day of the 1999 US Open at Pinehurst No. 2. (Tom Able-Green /Allsport)

Woods came close at Pinehurst again six years later. He finished two shots behind New Zealand’s Michael Campbell, however. The 2005 U.S. Open at Pinehurst was Campbell’s lone PGA TOUR victory. Campbell’s final-round 69, which Woods matched, allowed him to pass an eclectic trio that held the 54-hole lead. Retief Goosen, winner of the 2001 and 2004 U.S. Opens, was atop the leaderboard entering Sunday alongside two players who had to go through Final Qualifying, Olin Browne and Jason Gore.

Goosen played in Sunday’s final group alongside Gore, who was on the Korn Ferry Tour at the time. Goosen and Gore were a combined 25 over par Sunday, clearing the way for Campbell. Gore would win three consecutive starts on the Korn Ferry Tour (and shoot a 59), then win his lone PGA TOUR title later that year.

Ten years ago, the USGA broke new ground by holding the men’s and women’s U.S. Opens on back-to-back weeks at Pinehurst No. 2. First, Martin Kaymer rode a hot putter to separate from the field as Erik Compton and Rickie Fowler tied for second, eight back. They were the only three players to finish under par.

Michelle Wie then broke through as a major winner by recovering from a double-bogey on the 16th hole Sunday with a birdie on 17 to secure a two-shot victory over Stacy Lewis.

2. More than 'turtle backs'

You’ll often hear the putting surfaces at Pinehurst No. 2 referred to as ‘turtle-backs.’ This is an oversimplification and not Ross’ original intent. There is good reason to believe that the centers and some of the edges of Pinehurst’s greens have risen over time through aggressive top-dressing, sand splash from greenside bunkers, and some aggressive reconstruction work in the late 20th century. The results have been greens with more of that domed, convex, turtleback effect than is evident in the early photography – and more than Ross intended. This has contributed to the myth that those turtle-back greens are either the products of Ross’ design or characteristic of his work elsewhere. In both cases, they are not.

A view of the ninth hole at Pinehurst No. 2. (David Cannon/Getty Images)

Ross took pains to build green with rolling contours and did not rely only on simple convex, turtle-back shapes.

3. Ross' writings

Ross may have been a Scotsman, but he transformed the American golf landscape. He’s credited with more than 400 course designs, expansions and renovations starting in 1900. The North Carolina sandhills were especially important to him. He wintered at Pinehurst, where he expanded the resort to four courses. Pinehurst No. 2 evolved slowly, not reaching its current routing until the run-up to the 1936 PGA Championship when its sand greens were converted to grass. It achieved its current routing when Ross created the current fourth and fifth holes, replacing two others that were taken out of rotation.

In the 1936 PGA Championship program, Ross wrote one of his rare, detailed analyses of his own designs. The essay, “Architectural Features of the Championship Course,” highlights four elements of play that have stood the test of time.

Ross focuses first on the importance of “long and accurate tee shots.” He believed there should be a penalty for straying from the short grass and an advantage for properly positioning. “The landing area should be more exacting for a longer hitter,” Ross wrote. That means narrowing down fairways or cutting off the preferred landing zone with bunkers or rough.

Secondly, Ross declared the pre-eminence of “accurate iron play” as the ideal measure of shot-making. By that, he specifically said, “I consider long iron play to be the ultimate test of a player’s skill.” In those days (1936), players generally faced approach shots on par-3s and par-4s of 180-220 yards, which would have meant anything from a 5-iron and longer. Second shots on par-5s would have been at least as long to leave one in a proper position for a short-iron third.

Ross’ third point focused on putting strategy. He gave players a “good opportunity on shorter putts” by having simple contours closer to the holes. Longer lag putts would face “complex, vexing problems” by forcing players to go up, over and around sweeping slopes. Ross took particular pains to build interesting green contours and did not rely on anything as simple as the convex, turtle-back shape that is sometimes compared to an upside-down saucer.

Finally, Ross believed in “interesting greenside contours, especially for shorter holes.” He believed the recovery from a missed approach should require precision. As someone who had grown up and apprenticed on the classic Scottish links of Dornoch, St. Andrews and Carnoustie, Ross appreciated how Pinehurst’s sandy soil could be shaped to replicate the “humps and hollows of Scottish seaside courses.”

4. A new look

The Pinehurst No. 2 of the 1999 and 2005 U.S. Opens is no longer.

In the run-up to the 2014 U.S. Open, Bill Coore and Ben Crenshaw undertook a meticulous restoration of Pinehurst No. 2. They brought back a scruffier, tawnier look, feel and playability that Pinehurst had before becoming lush, soft and green in the 1970s. In the absence of Ross’ own design plans they had to rely upon photographic evidence and the occasional map – like the one showing the old, single line of steel irrigation pipe. That unlocked the key to the restored irrigation plan, which entailed reducing the number of sprinklers in use from 1,100 to 450. The fairways became defined by the reach of the sprinklers. The areas outside of their spray returned to nature, featuring the sandy soil and native plants of the region.

A view from tee on the17th hole at Pinehurst No. 2. (David Cannon/Getty Images)

Tree management and the removal of 20 acres of bermudagrass rough led to widened fairways and extensive areas of sandy, wiregrass native areas lining the holes. This led to greater uncertainty -- and sometimes stiffer penalties -- after wayward drives.

Since 2014, the native wire grass areas have filled in, producing even more hazardous unpredictability. Competitors at this year’s U.S. Open will see more wiregrass around the landing areas than a decade ago and the additional growth of local plants, adding even more penalty for those who miss the fairway.

The greens have also been converted from bentgrass to Champion Ultradwarf Bermudagrass, a species more tolerant of warm weather.

Pinehurst No. 2 does not look like your standard lush resort layout. It now sports a classic Sandhill look because it is not overseeded in winter and looks semi-dormant: frittery at the edges in season and firm and fast year-round.

5. Firm, fast and shorter?

Pinehurst No. 2 will have a scorecard yardage of 7,550 yards, though it will likely play shorter because of the firm conditions, allowing extensive roll-out of tee shots that hit the fairway. Relative to today’s distances, Pinehurst will actually play shorter than it did in its U.S. Open debut a quarter-century ago.

The average drive on the PGA TOUR through this year’s PGA Championship was 297.1 yards. Twenty-five years ago, Pinehurst measured 7,175 yards, and the average drive was 271.6 yards.

In other words, the golf course is 5% longer while drives are traveling 11 percent longer.

At the 1936 PGA, the course measured 6,879 yards and had a par of 72, two strokes higher than today. We can safely estimate that the average drive went about 240 yards – certainly no farther. When we measure 1936 against 2024, we come up with some interesting data.

Best shots from waste area and pine straw, featuring Tiger Woods, Justin Thomas and others

The course is now 10% longer, while PGA TOUR drives are traveling 24% longer. If we take the total percentage of course yardage covered by an average of 14 drives played per round, we find that in 1936, the driver comprised 49% of all distance traversed; today the driver accounts for 55%.

Even with today’s length, players will be hitting more short irons into greens, not the long irons Ross so admired.

6. Three holes that typify the test

The beauty of Pinehurst No. 2 is that every hole is interesting and demanding. This is not the kind of course where obvious disaster looms; water is not in play, and out-of-bounds does not loom. And yet, you can quickly look foolish around the greens after a wayward approach. Here are three dramatic examples of the test that makes Pinehurst No. 2 unique.

No. 3: This short par-4 is listed at 387 yards, but if previous form is any guide, it will be made drivable at least one day. A deep, punitive bunker extends out into the fairway on the right at the far end of the waste area ranging at 305 yards to carry and to be avoided at all cost. The green here is perched up dramatically over a trio of protecting front bunkers and falls off steeply behind. It does not make for a receptive target.

A view from the tee on the par 4, third hole at Pinehurst No. 2. (David Cannon/Getty Images)

Unless it’s within drivable range, the likely play is to lay up to the fairway and, from there, hit a very precise wedge. On the left, just beyond a boundary fence, is the stylish two-story cottage where Ross lived from 1925 until he died in 1948. Local lore has it that the third green’s proximity to his yard led him to spend a lot of time there, making this a particularly devilish putting surface.

No. 5: There might be something to that tale about Ross’ continued tinkering with the third green because Pinehurst’s other extremely vexing green, on the 588-yard fifth hole, sits next to No. 3 and thus also near Ross’ cottage.

A view from behind the green of the par 5, fifth hole on Pinehurst No. 2. (David Cannon/Getty Images)

The left side of the putting surface seems to collapse into the native wiregrass area. A ridge down the middle creates a divide such that any right-to-left approach may slingshot across the green and down the steep slope on the left. Compounding the difficulty on approach is a slight fall-off toward the back of the green that makes it hard to stop a shot struck with too much velocity or too little spin.

The shape of the green and hole location require care in the angle of approach and, to set that up, the angle of the tee shot. The ideal entry line is from the left side of the fairway; this maximizes the width of approach and creates a better incline to support the shot. But the fairway canters from right to left, and the low left side kicks steeply into a long sandy waste area. It’s a classic example of the ideal line of approach bringing a player closest to significant trouble.

No. 16: This is the longest par 4 at Pinehurst, measuring 536 yards. While it plays slightly downhill from tee to green, the putting surface is propped up modestly and is extremely well bunkered on the sides and behind. Along the way, this hole is classic Ross, requiring a variety of shot shapes.

Throughout the course, players will find situations calling for a right-to-left tee shot followed by a left-to-right approach shot — and vice versa on the next par 4 or 5. The sequence can change depending on which side of the green the hole is cut on that day.

A view from behind the green on the par-4 16th hole with the par-3 17th hole at Pinehurst No. 2. (David Cannon/Getty Images)

On the 16th hole, the ideal drive is a right-handed player’s draw to make use of the natural fairway slope, followed by a left-to-right iron shot into the convex putting surface. There’s little point to flag-hunting on this hole, as throughout No. 2, a smart player who aims for the center of the green will continually face manageable putts while reducing exposure to trouble at the margins. That means playing more for pars than for birdies. At U.S. Opens at Pinehurst, par is always a good score.

7. Lessons for your own game

Folks spectating on-site or watching from home can learn a lot from observing play at Pinehurst No.2, starting with creativity around the greens.

Sole reliance on a lofted wedge will not suffice around the greens; players will have a variety of options for their short-game shots.

Historically, Pinehurst has not been a bomber’s paradise, serving as a reminder that there are many ways to excel. Yes, length is an asset, but only length with accuracy. Seeing how relatively short hitters and classic shot-makers can fare against the power players will be fascinating.

Finally, the aesthetics of the course remind that the ultra-green look of a course doesn’t always translate to the best test of shot-making. The turfgrass coverage of Pinehurst No. 2 is healthy, dense and ideal for providing tight lies that truly test the crispness of a player’s contact with the ball.

8. There are no design plans

Ross started his career in the early 1900s and became known for meticulous documentation of full routings and hole-by-hole elements. Yet for all the time Ross pored over the evolution of Pinehurst No. 2, much of it with longtime Pinehurst superintendent Frank Maples — Ross’ construction coordinator in and around the Carolinas — there are no surviving drawings or plans for the course, if they were ever drawn up at all.

An aerial view of the par-4 eighth hole (L) with the par-4 16th hole (center) and the par-3 17th hole (R) at Pinehurst No. 2. (David Cannon/Getty Images)

We have pretty good photography of the course from the 1930s, plus basic two-dimensional look-down schematics of the holes from that 1936 PGA Championship program. But otherwise, there are no scaled drawings showing bunker depths, green heights or slope percentages.

9. Agronomic advantages

Now a second home to the USGA, Pinehurst has long been a catalyst for agronomic advancement. In the 1920s, Ross set up test plots throughout the resort in his search for a suitable turfgrass to thrive in that warm climate – including a multi-species plot just outside the front steps of the downtown Holly Inn.

The basic tool for the 1999 U.S. Open was the Stimpmeter. A prototype firmness meter was used at the 2005 U.S. Open. Moisture meters to probe below the surface were introduced in 2014. The technology in beta-testing this year is the G-3 golf ball.

The G-3 is a dimple-less ball that doubles as a digital information storage unit, measuring the greens' smoothness, speed and firmness.

That information is then fed into the USGA’s proprietary Deacon software to help create a comprehensive database. The database will, among other things, help superintendents monitor how aerification and top-dressing programs impact putting surfaces.

It helps to have a new operations building near the parking lot where the old tennis courts stood. USGA Golf House Pinehurst now houses the USGA Green Section, the Research and Test Center, and the Word Golf Hall of Fame. An outdoor testing range and pavilion are now under construction to facilitate more accurate equipment research.

As for tending to Pinehurst No. 2, the course will be in the very capable hands of veteran superintendent John Jeffreys (16 years at Pinehurst), golf course maintenance operations manager Kevin Robinson (27 years) and director of course and grounds management Bob Farren, CGCS (44 years). They are aided by a staff of 40 full- and part-time employees, 30 volunteers from other Pinehurst-area courses, and another 30 volunteers from a wider net of courses, as well as alumni employees and industry partners.

Bradley S. Klein is a veteran golf writer and author of 10 books on course design. A former PGA TOUR caddie, he was architecture editor of Golfweek for over two decades and is now a freelance journalist and course design consultant. Follow Bradley S. Klein on Twitter .

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With spring in the rearview mirror, that can only mean one thing.

It’s Dave Matthews Band tour season.

For the 32nd time — dating back to 1991 (!) — the newly inducted 2024 Rock and Roll Hall of Famers are embarking on a nationwide run. This time around, they’re hitting amphitheaters, pavilions, and music centers all over North America from June through September.

Along the way, the “Ants Marching” band marches into  Saratoga Springs  on July 5-6 and then Long Island’s  Jones Beach Theater  on July 9.

After that, Dave hits Holmdel, NJ’s  PNC Bank Arts Center  on July 10 and Camden, NJ’s  Freedom Mortgage Pavilion  on July 19-20.

And if you want to see them live, last-minute tickets are quite affordable to catch the inimitable group live.

At the time of publication, our team found some tickets going for as low as $41 before fees on Vivid Seats.

Other shows have seats starting anywhere from $55 to $259 before fees.

Can’t wait to “Crash” and jam with DMB live this summer?

We’ve got everything you need to know and more about Dave Matthews Band’s summer 2024 tour below.

All prices listed above are subject to fluctuation.

Dave Matthews Band tour schedule 2024

A complete calendar including tour dates, venues, and links to the cheapest tickets available can be found here:

(Note: The New York Post confirmed all above prices at the publication time. All prices are in US dollars, subject to fluctuation and include additional fees at checkout .)

Vivid Seats is a verified secondary market ticketing platform, and prices may be higher or lower than face value, depending on demand.

They offer a 100% buyer guarantee that states your transaction will be safe and secure and your tickets will be delivered prior to the event.

Dave Matthews Band festival appearances

To close their tour, Dave and the gang will hit three back-to-back-to-back fests.

For a closer look at who they’ll be performing with and where, we’ve got everything you need to know about each of the Band’s 2024 festival appearances below.

Dave Matthews Band set list

While DMB doesn’t adhere to a strict set list, we can let you know what they played at a recent show on their summer run.

Courtesy of  Set List FM , here’s what Dave and co. played — including a few surprising covers — on June 1 in Dallas, TX.

01.) “When the World Ends” 02.) “Funny the Way It Is” 03.) “You Never Know” 04.) “Madman’s Eyes”

05.) “#41” 06.) “Can’t Stop” 07.) “Samurai Cop (Oh Joy Begin)” 08.) “Black and Blue Bird” 09.) “Warehouse” 10.) “Lover Lay Down” 11.) “Let’s Dance” (David Bowie cover) 12.) “Stolen Away on 55th & 3rd” 13.) “Lie in Our Graves” 14.) “Spaceman” 15.) “Grey Street” 16.) “Everyday” 17.) “Ants Marching”

18.) “Some Devil” 19.) “All Along the Watchtower” (Bob Dylan cover)

Dave Matthews Band new music

In May 2023, Dave Matthews Band dropped their tenth studio album “Walk Around The Moon.”

Over 12 tracks, DMB delivers their trademark bluesy, folksy, rock sound along with a few new flourishes.

Personally, we’re partial to the album’s title track, the deceptively simple “The Ocean and the Butterfly” and the rowdy, rollicking barnstorming good time of a song “After Everything.”

To hear the record for yourself,  click here .

Huge rock tours in 2024

This year is shaping up to be one of the best for live music in recent memory.

As evidence, here are just five huge acts you won’t want to miss these next few months.

•  Bruce Springsteen and the E Street Band

•  Phish

•  The Killers

•  Foo Fighters

•  Red Hot Chili Peppers

Who else is hittin’ the road? Check out our list of the  52 biggest concert tours in 2023 here  to find out.

Why you should trust ‘Post Wanted’ by the New York Post

This article was written by Matt Levy , New York Post live events reporter. Levy stays up-to-date on all the latest tour announcements from your favorite musical artists and comedians, as well as Broadway openings, sporting events and more live shows – and finds great ticket prices online. Since he started his tenure at the Post in 2022, Levy has reviewed Bruce Springsteen and interviewed Melissa Villaseñor of SNL fame, to name a few. Please note that deals can expire, and all prices are subject to change.

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Golden Ring Tours Immerse in Russian heritage, architectural masterpieces & stunning landscapes.

Golden ring tours overview.

Our Golden Ring Tours take place close to Russia's capital Moscow, yet seemingly a world away, adventuring to the beautifully preserved ancient cities of the Golden Ring route is a must. The cities of the Golden Ring are perfect destinations for travellers seeking the idyllic, provincial Mother Russia of old. A must short detour when Visiting Moscow. Scattered across a rural landscape of rolling hills, flower blanketed meadows, rivers and streams. The cities of the Golden Ring were considered political backwaters by the time Soviet industrialisation took hold, escaping much of the urban progress that rapidly engulfed Moscow and its surroundings. Consequently, many locals to the Golden Ring still lead a largely traditional existence, living in tight-knit communities where the ancestral izba (wooden farmhouse) is the centre of daily life.

 Golden Ring Russia, Travel Highlights:

• Regarded as open-air museums, be enthralled by many of the Golden Ring’s ancient settlements and architectural masterpieces . These include the UNESCO-listed monasteries and onion-dome cathedrals in Yaroslavl, the white stone monuments of Vladimir (the Golden Gates, the church of Boris and Gleb), and the medieval wooden houses and windmills in Suzdal.
• Our Golden Ring Tours facilitate immersion in the colourful culture of provincial Russia. Towns such as Ivanovo and Kostroma still maintain a largely traditional way of life. When you visit the Golden ring, be sure to try the delicious traditional Russian cuisine, admire time-honoured handicrafts and unearth ancient relics of the Soviet times.
• Discover the sacred places of the orthodox religion at their many cathedrals, churches and historical monuments like the Trinity Lavra of Saint Sergius, the Holy Assumption Cathedral and the Cathedral of Transformation.
• Uncover the age-old allure of Russia by delving into the rich history and legends of the Golden Ring. From Russian princes and knights to the early Tsars and Mongol invasions, you will experience something straight out of a fairytale.
• Admire the stunning natural landscapes of the Golden Ring dominated by rippling meadows, lush green forests and winding rivers used to link fortified towns in the middle ages.

Many Golden Ring cities date back to at least the 10th century, and played a vital role in Medieval history, associated with the formation of the Russian Orthodox Church, the reign of Tsars and the Mongol Invasions. When you go on a Golden Ring tour, you will notice that virtually every town is a living museum, made up of ancient forts, towering monasteries, imposing palaces and magnificent cathedrals. Recognised for their artistic merit as an important place in history, four sites on the Golden Ring circuit have gained UNESCO World Heritage Site status, including the 1,000-year-old city of Yaroslavl.

Explore Golden Ring Tours

Golden Ring at a Glance

Take a short detour from Moscow to discover the age-old allure of Russia. Travelling from the capital to the countryside, where golden spires and the onion-shaped domes of colourful monasteries dot the horizon, explore the historic and enchanting towns of Suzdal, Vladimir and Sergiev Posad.

Golden Ring - Reflections of Russian Heritage

The tour will take you to the eight cities of the Golden Ring, starting from Vladimir. The 'classical' route will take you to the fascinating sites of ancient cities. Get to see calm, slow, peaceful life in rural Russia and enjoy its architectural gems, culture and history.

Moscow, St Petersburg and Golden Ring Rendezvous

This tour of Moscow, St. Petersburg and the Golden Ring explores the places that shaped Russia’s history – past, present and future. Uncover Moscow’s ongoing revolutionary spirit, before journeying back in time to rural, medieval Russia. End in St Petersburg, a city of royal splendour and undeniable romance.

A custom tour made to order

We understand sometimes our set departure dates do not align with your ability to travel at that time, or you just want to travel bespoke. We got you covered.

Go custom — gives you the choice & flexibility of creating your own bespoke itinerary, using our tours for inspiration.

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A Traveller’s Guide to Russia’s Golden Ring Region

The perfect retreat from million-miles-an-hour Moscow, the medieval cities of Russia's Golden Ring are nestled amid green hills and floral meadows, ...

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Bluegrass Beyond Borders: Red Brick Boys plays bluegrass in Russia

Ever since the end of the second world war, relations between the US and Russia have been fraught with tension and suspicion. Although mutual mistrust peaked during the Cold War, it continues to pique and polarize the two nations even today.

Yet, even in the midst of this milieu, music has found a way to thaw the chill, courtesy of goodwill tours featuring an array of high profile musicians that’s included Billy Joel, Paul McCartney, and the Nitty Gritty Dirt Band, among the many. The connections made with the average individual has not only nurtured mutual understanding, but also encouraged ordinary citizens to emulate American music and, in turn, integrate it into their own musical ventures.

One such outfit that did just that is the Red Brick Boys , a group that evolved out of Moscow’s Scottish dancing community. Formed in 2009 by Alexander Dmitrienko (guitar, vocals), Keyreel Raskolenko (fiddle), Iskander Telyashev (harp) and Alexey Chudinov (banjo), it currently boasts the distinction of being the only bluegrass/roots music band in Moscow that adheres to a traditional template with old-time acoustic instrumentation.  

Over the course of its collective career, Red Brick Boys have seen some of its members depart for other environs. Raskolenko moved to Austin, Texas, but still performs with the band when he returns home. Chudinov left Russia, relocated to the Czech Republic, and became integrated into that country’s bluegrass scene. Nevertheless, Dmitrienko and Telyashev remain firmly committed to moving the band forward and they continue to helm the group today.

Dmitrienko’s own affinity for bluegrass is still a constant. It is, he says, a sound that stirred him from early on. “The first influence I can remember was the record of Joan Baez playing traditional tunes with Greenbriar Boys,” he recalls. “Later, it was tapes of Bill Monroe and Stanley Brothers, followed by CDs of Doc Watson, Peter Rowan, Alison Krauss, and Jerry Douglas. He also cites David Grisman, Mike Compton, and Tim O’Brien as artists that furthered his fascination.

Although the Red Brick Boys are still based in Moscow, Dmitrienko admits that their hometown appeal is decidedly limited. “I can’t say that there are wide audiences that have any interest in bluegrass music,” Dmitrienkoso responds ruefully when asked about their local following. “Our gigs are mostly attended by either real fans of the genre, who are sure excited and enthusiastic, or curious newbies, who sometimes become fans as well. Many people consider our music too traditional or too hard to comprehend, but that’s to be expected.”

Nevertheless, there are certain ties to Russian folk music that suggest the respective roots can be intertwined.

“The similarities that exist include a number of plucked string instruments that exist in Russian folk tradition, together with a certain resemblance of melodies and harmony,” Dmitrienko notes.   “The ‘Russian folk fiddle,’ nearly dead now, also has a certain similarity to the old-time manner of fiddling.”

Likewise, the band’s handle is no accident either. “The name came quintessentially from the fact that Moscow’s classic architecture is nearly all red-brick based,”   Dmitrienko explains, adding that it also refers to his love of “the architectural style of New England’s towns.”

While the group hasn’t had an opportunity to tour New England, or any other part of the States for that matter, Dmitrienko says their dream is to eventually make their way to Nashville and Raleigh, North Carolina for the World of Bluegrass convention. In the meantime, they’ve had the opportunity to perform with several notable stateside artists who have come to Russia to tour.

“Della Mae visited Russia in 2019, so we invited them to our session and had a great time playing together,” Dmitrienko recalls. “We also had a jam session with Tommy Emanuel about five or six years ago, as I was translating his live broadcast for Russian fans. We made friends and played together in Russia with Donna Ulisse and her husband Rick Stanley, Ralph’s nephew. We also did some online activities with Maya De Vitry and Oliver Craven, who were playing with the Stray Birds band at the time, and we became distant mates with Trent Wagler and the Steel Wheels as well.” 

Not that they’ve been confined to playing only at home. “We toured several times during the summer months over these last ten years, usually to festivals that feature different kinds of music,” he further explains. “We’re generally billed as something that’s totally different from the variety of music that they usually present.”

Not surprisingly then, their repertoire leans towards covers of traditional material, although   Dmitrienko notes that one song that’s proved to be especially popular with their fans is a cover of a Joe Pernice song called Silo .

“I wouldn’t say that bluegrass music is necessarily all that popular worldwide,” Dmitrienko suggests. “But for me, that is probably what makes it so great…the fact that it’s not a genre for everyone, but rather for people who understand and have some great taste for music, harmony, and improvisation.”

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Jason Kidd Recalls the Time He Saw Rod Thorn in Awe of Jerry West

Schuyler callihan | jun 13, 2024.

• West Virginia Mountaineers

Dallas Mavericks head coach Jason Kidd was able to spend some time with West Virginia great Rod Thorn earlier in his NBA career. Just before Game 3 of the NBA Finals, Kidd shared a story that involves Thorn and encapsulates the iconic figure that is the late Jerry West.

"Jerry was a gentleman to everyone. He was the best. You talk about history, you talk about the game of basketball and what he stood for. One of the stories (I have is) when I was with the Nets and Rod Thorn and we're going to Memphis to play Memphis and I'd never seen a grown man drool before. I asked Rod why was he drooling and he's like, 'That's my idol'. I was like looking for Michael Jordan, but Michael wasn't anywhere close and I said, 'Jerry West?' And that's when I learned a little bit about West Virginia and it was an incredible moment because I had never seen Rod in awe before. To see that, to see Jerry and the way he handled Rod was very impressive. And when you talk about West Virginia and basketball, D'Antoni, Rod, and Jerry West...it was a historic moment for me because I was learning about West Virginia and they're all very well put together, educated, and very smart. I just never saw Rod in that atmosphere before of being silenced and listening. It was like a little kid."

Mavs head coach Jason Kidd shares a cool story about Jerry West: "When I was with the Nets and Rod Thorn and we're going to Memphis to play [the Grizzlies] and I never seen a grown man drool before. I asked Rod why he was drooling and he was like, 'That's my idol.' And I was… pic.twitter.com/X8phO4YxwR — ClutchPoints (@ClutchPoints) June 12, 2024

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SCHUYLER CALLIHAN

Publisher of Mountaineers Now on FanNation/Sports Illustrated. Lead recruiting expert and co-host of Between the Eers, Walk Thru GameDay Show, Mountaineers Now Postgame Show, and In the Gun Podcast.

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