We never celebrate milestones; however, 5 years has a nice ring to it and it is time to celebrate with past and present employees along with all of the artists, partners and friends who have helped make this place happen! Join us June 2-8 for a week long celebration featuring performances by a few familiar bands. Cover will be $5 per show. The kitchen will be creating a "best of" food menu and the bar will be slinging drink specials featuring Jim Beam products. We can't thank everyone enough for their support these first 5 years!
Born in Winston-Salem, North Carolina, Tim Sparks started picking out tunes by ear on an old Stella flat top during a bout of encephalitis that kept him out of school for a year. He taught himself to play the music he heard around him: traditional country blues and the gospel his grandmother played on piano in a small church in the Blue Ridge Mountains.
At age 14, Tim was nominated by a musically astute uncle for a scholarship at the prestigious North Carolina School of the Arts. There he studied the classics with Segovia protege Jesus Silva while continuing to play all kinds of music, increasingly turning to classic jazz for inspiration. He adapted compositions by Jelly Roll Morton, Scott Joplin, and Fats Waller to the guitar, frequently reducing piano arrangements to their essence. Early influences were Doc Watson, Arthur Smith, and most importantly Duck Baker, who opened up a horizon of possibilities for fingerstyle guitar.
After a stint on the road with a Chicago-based rhythm and blues band, Sparks arrived in Minnesota where he soon established himself as a journeyman guitarist and session player. While recording three albums with the seminal vocal jazz ensemble Rio Nido, Sparks also became proficient in jazz styles from Brazilian to Be Bop. It was at this time he arranged Carla Bley's composition "Jesus Maria" for Leo Kottke. ( Rio Nido's first two vinyl recordings have recently been re-issued on CD on the Japanese Vivid Sound Label.
Sparks also found time to revive his interest in classical music, adapting Tchaikovsky's Nutcracker Suite to the guitar, a work that has been cited as a significant contribution to solo guitar literature. For Sparks it was a labor of love that earned him the National Fingerstyle Guitar Championship in Winfield, Kansas in 1993.
A sojourn abroad inspired his interest in European and Mediterranean styles, particularly the music of the Balkans. Upon his return to Minnesota, Sparks immersed himself in the ethnic music scene, performing on Oud and Saz in Middle Eastern ensembles and playing guitar in Greek, Klezmer, and Sephardic groups. This work culminated in the recording of Sparks' Balkan Dreams Suite, a remarkable collection of odd-meter guitar arrangements. Many of the Balkan Dreams compositions were recorded on Tim's debut solo CD, The Nutcracker Suite, in 1993. This recording was hailed by Guitar Player Magazine as "an exhilarating, odd-meter minefield inspired by Near Eastern music" and "an important recording from a gifted composer, arranger, and performer." Two more releases followed on the Acoustic Music label, Guitar Bazaar (1997) and One String Leads To Another (1999).
Sparks' work came to the attention of John Zorn, the saxophonist, composer, and curator of Tzadik Records in New York and thereby led to a new cycle of compositions inspired by traditional Jewish melodies. Neshamah (1999) is a solo effort. Tanz, which garnered Downbeat Magazine's highest praise, five stars, in 2000 and At the Rebbe's Table (2002) include ensemble work. All three releases have been acclaimed by a broad spectrum of critics and listeners alike. Spring of 2003 saw the release of Masada Guitars, featuring interpretations of John Zorn's music by Tim, Bill Frisell, and Marc Ribot. In recent years, Sparks' musical focus has come full circle, returning to the country blues and classic jazz that served as a springboard for his worldwide guitar explorations. He toured with Dolly Parton in 2005 and recorded Roots, Rags and Blues for Truefire/Acoustic Guitar Workshop.
Over the years guitarist Phil Heywood’s lyrical, groove-oriented fingerpicking has made him a performing partner of choice for such acoustic guitar greats as Leo Kottke and most recently Tim Sparks. Last fall Phil released Rollin’ On, his sixth solo CD, which brings together a repertoire of rootsy (think Leroy Carr or Rev. Gary Davis) and contemporary songwriters’ material – the title track is a Mark Knopfler piece – and even includes a 3-song instrumental suite of Bob Marley songs. Heywood is no one-note Johnny; his strong arrangements and original pieces traverse a gratifying emotional range, with a groove for every mood. A soul-satisfying instrumentalist, Heywood draws listeners in with his voice as well, singing in a warm, plainspoken baritone that blends smoothly with his rock-solid guitar work.
Heywood is a former National Fingerpicking Champion and winner of the American Fingerstyle Guitar Festival Competition. He has appeared on NPR’s A Prairie Home Companion with guitar legend Chet Atkins, and shared the stage with a host of great players, including Leo Kottke, Norman Blake, John Renbourn, Pat Donohue, John Hammond, Chris Smither, Greg Brown and Spider John Koerner.