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Showtime: 10:30PM
Doors Open at 10:00PM

80.00 Dinner and Music Package
40.00 Music Ticket Only

?uestove takes over the Blue Note kitchen with a three-course

tasting menu

featuring the international debut of LOVE'S DRUMSTICK

Creole-seasoned buttermilk fried chicken drumsticks.

Limited Quanties of Dinner Packages available.

Advance Purchase Highly Recommended!!!!

Bar seating available on a first-come, first-seated basis for $25

[ Complete Show Schedule... ]
"?uestlove Eats ... In Concert" w/ Black Thought & Rahzel
?uestlove, drums & electronics
Black Thought, vocals
Rahzel, beatboxing
Members of Brass Heaven, horns

And introducing "Love's Drumstick"


?uestove takes over the Blue Note kitchen with a three-course ?uest Loves Food tasting menu featuring the international debut of "Love's Drumstick" Creole-seasoned, buttermilk-fried chicken drumsticks. Mirroring the three-course tasting, ?uestlove will lead off a not-to-be-missed three act "tour d'course" performance with close musical friends Black Thought, Rahzel "The Godfather Of Noyze," Black Thought, and Brass Heaven. Be there and Four Square.

Drummer and producer Ahmir Thompson is a living link between the digital science of modern hip-hop and the flesh-and-blood textures of vintage R&B. He co-founded the Roots, universally hailed as one of the most sonically inventive hip-hop acts. Meanwhile, his collaborations with such artists as D'Angelo, Erykah Badu, and Common have reasserted the importance of real-time playing in a style dominated by sampling and programming.

"I'm really into the game of making people guess, is it a machine, or is it him?" says Thompson, who also goes by the name ?uestlove (pronounced "Questlove"). One famous example is the Roots' biggest hit, "You Got Me," which sounds for all the world like a programmed side stick pattern until Thompson cuts loose with a blazing drum-and-bass groove. Like much of Thompson's work, the passage is startling, witty, and funky.

"Hip-hop is based in rhythm, repetition, and perfect time," says Thompson. "With Roots stuff, I go for a more perfect, quantized-type sound than I would with, say, Erykah or D'Angelo. For D'Angelo's Voodoo [2000], we wanted to play as perfectly as we could, but then deliberately insert the little glitch that makes it sound messed up. The idea was to sound disciplined, but with a total human feel." For Thompson, "human feel" is bred in the bone. His father was the leader of the '50s doo-wop group Lee Andrews and the Hearts, and Ahmir literally grew up onstage. "I was playing percussion at gigs from the age of seven because my parents didn't believe in babysitters," he says. "By 13, I was the musical director, and I stayed in that world until I got a record deal with the Roots at age 22."

Thompson relies on several Yamaha kits: a new Maple Custom Absolute, several sets from the early '80s, and the Stage Custom he used with D'Angelo. But Thompson's tireless studio experimentation is as crucial to his drum sounds as the instruments themselves. "I like to mold sounds like clay," he says. "Sometimes I put drums through a guitar amp. Or we might put mikes everywhere in the room, down the hall, anyplace you might hear the drums. Sometimes we use just the farthest mikes, EQ them until they sound dirty enough, mix it all to one track, really compress it, and then bounce it to another track. We'd go around that cycle a few times six generations, maybe."


Blue Note
131 W. 3rd St
New York, NY 10012

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