John Mayer Dicount Tickets Sioux City, IA On Wednesday - November 20, 2013 - 7:00 PM in Sioux City, Iowa For Sale

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John Mayer Discount Tickets Sioux City, IA
Event
Venue
Date/Time
 
John Mayer & Phillip Phillips
Isleta Amphitheater (formerly Hard Rock Pavilion)
Albuquerque, NM
Tuesday
10/1/xxxx
7:30 PM
view
tickets
John Mayer & Phillip Phillips
Ak-Chin Pavilion (Formerly Desert Sky Pavilion)
Phoenix, AZ
Wednesday
10/2/xxxx
7:00 PM
view
tickets
John Mayer & Phillip Phillips
Sleep Train Amphitheatre - Chula Vista (formerly Cricket Wireless Amphitheatre)
Chula Vista, CA
Friday
10/4/xxxx
7:30 PM
view
tickets
John Mayer & Phillip Phillips
Hollywood Bowl
Los Angeles, CA
Saturday
10/5/xxxx
7:30 PM
view
tickets
John Mayer
I Wireless Center (formerly Mark Of The Quad Cities)
Moline, IL
Tuesday
11/19/xxxx
7:00 PM
view
tickets
John Mayer
Tyson Events Center - Gateway Arena
Sioux City, IA
Wednesday
11/20/xxxx
7:00 PM
view
tickets
John Mayer
Pinnacle Bank Arena
Lincoln, NE
Friday
11/22/xxxx
7:00 PM
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tickets
John Mayer
Target Center
Minneapolis, MN
Saturday
11/23/xxxx
7:00 PM
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tickets
John Mayer
KFC Yum! Center
Louisville, KY
Tuesday
11/26/xxxx
7:00 PM
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tickets
John Mayer
Van Andel Arena
Grand Rapids, MI
Wednesday
11/27/xxxx
7:00 PM
view
tickets
John Mayer
Fedex Forum
Memphis, TN
Friday
11/29/xxxx
7:00 PM
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tickets
John Mayer
Chesapeake Energy Arena (formerly Oklahoma City Arena)
Oklahoma City, OK
Saturday
11/30/xxxx
7:00 PM
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tickets
John Mayer
INTRUST Bank Arena
Wichita, KS
Sunday
12/1/xxxx
7:00 PM
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tickets
John Mayer
Schottenstein Center
Columbus, OH
Tuesday
12/3/xxxx
7:00 PM
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tickets
John Mayer
Bridgestone Arena (Formerly Sommet Center)
Nashville, TN
Wednesday
12/4/xxxx
7:00 PM
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tickets
John Mayer
Frank Erwin Center
Austin, TX
Friday
12/6/xxxx
7:00 PM
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tickets
John Mayer
New Orleans Arena
New Orleans, LA
Saturday
12/7/xxxx
7:00 PM
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tickets
John Mayer
Amway Center
Orlando, FL
Monday
12/9/xxxx
7:00 PM
view
tickets
John Mayer
Jacksonville Veterans Memorial Arena
Jacksonville, FL
Tuesday
12/10/xxxx
TBD
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tickets
John Mayer
North Charleston Coliseum
North Charleston, SC
Thursday
12/12/xxxx
7:00 PM
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tickets
John Mayer
Richmond Coliseum
Richmond, VA
Friday
12/13/xxxx
7:00 PM
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tickets
John Mayer
Baltimore Arena (Formerly 1st Mariner Arena)
Baltimore, MD
Saturday
12/14/xxxx
7:00 PM
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tickets
John Mayer
Webster Bank Arena At Harbor Yard
Bridgeport, CT
Monday
12/16/xxxx
7:00 PM
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tickets
John Mayer
Barclays Center
Brooklyn, NY
Tuesday
12/17/xxxx
7:00 PM
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tickets
Traditional and Latin Jazz musicians have taken separate risks to develop unique experimental approaches. Welcome to Peaceful. Friendly. Rolando.Rolando is a quiet, hidden neighborhood in San Diego?s Eastern Area. First laid out in the xxxxs and built primarily in the postwar boom of the xxxxs and 50s, Rolando is home to the nostalgic architecture and beauty of close-knit, bungalow-style houses set in Eastern Area?s charming rolling hills.Many special features set Rolando apart. Take your dog on a walk on Rolando's safe sidewalks in the evening to enjoy the warm yellow glow of our acorn-style lampposts. Explore our eight unique ?catwalks? (public sidewalks in-between houses) which connect many of Rolando?s meandering, tree-lined streets. Visit our burgeoning restaurant scene which boasts many award-winning destination spots like Terra American Bistro, Bistro Sixty (San Diego Desserts), Bridges Bar & Grill, Next Door Wine Bar, Alforon Lebanese Cuisine, and much more. The Rolando area is also home to family-friendly Clay Park, Henry Clay Elementary School, the Rolando Little League ball fields, and the Ray & Joan KROC Center.historyEarly Rolando History*Set apart by the Spanish provincial administration as ranch land for Mission San Diego de Alcala, the Rolando area was granted to Don Santiago Arguello in xxxx after the Mexican government secularized the mission system. The Mexican-American War gave the United Sates its 31st state in xxxx, and confusion over land titling prevented the Rolando area from being partitioned for sale until xxxx.City of Rolando.? San Diego?s Largest Residential Project. The Only Subdivision on Two Main Highways ?- ?Where you will love to live!? ?By the middle of the xxxxs, California was undergoing rapid growth. After the city announced that University Avenue would be paved from Euclid Avenue to La Mesa, Rolando seemed to be prime real estate. One of its first xxxx advertisementread: ??City of Rolando.? San Diego?s Largest Residential Project. The Only Subdivision on Two Main Highways ?- ?Where you will love to live!? ?Called ?Rolando? for its distinctive rolling hills and because Spanish-sounding names were a popular marketing tool, the early community looked promising. Unfortunately, the Great Depression intervened and development lagged. But the post-World War II population boom revived demand for housing in Rolando. For many, it is ?Where you love to live!?Traditional jazz musicians have spent decades building, destroying, and reconstructing the harmonic foundation of jazz. Latin Jazz musicians have emphasized rhythmic diversity, exploring the connections between jazz and a variety of Caribbean and South American traditions. Paths often cross through the stylistic embellishment of jazz standards with fixed harmonic forms, and diverge between avant-garde and Latin music. Rolando Matias and his Afro-Rican Ensemble bring all jazz roads together into an intriguing mixture of risk, experimentation and history on ?Live? Volume One.Several repertoire choices immediately set the band apart from many Latin Jazz ensembles. Rasshan Roland Kirk?s ?Volunteered Slavery? stands the furthest outside of Latin Jazz conventions. Matias opens the piece with spoken word, and then leaves the rhythm section work solely to bassist Roger Hines. He freely defines a sparse swing feel behind trumpet player Mike Wade and pianist Baris Buyukyildirim until the full Latin rhythm section brings the song to an up-tempo finish. The veiled appearance of a two-chord dance song starts Pharaoh Sanders? ?Thembi (Part 1),? as tenor saxophone player Eddy Bayard plays the melody. Wade and Bayard push their solos outside the harmony while Buyukyildirim and Hines boldly eliminate the harmonic center. As the band transitions into the sparse texture of ?Thembi (Part 2),? Buyukyildirim freely explores the territory between traditional melodies, polytonality, and Tyner-like open voicings. Beyond the novelty of unusual song choices, the full commitment to the musical aesthetics creates a stimulating musical experience.Matias and his group rhythmically reconstruct standards as well, elevating the traditional music with their inspired performances. Joe Henderson?s ?Mamacita? inherits a salsa rhythm, while maintaining its original Hard Bop flare. Wade and Bayard have done their homework on this jazz era, and they deliver fiery solos full of blues flavor and bop shape. ?Black Narcissuss? opens with Hines rhythmically bowing his bass over a comparsa rhythm. As the rhythm section builds intensity, Bayard delivers the melody and then plays a strong and passionate solo. Buyukyildirim takes center stage in ?Tico Tico,? a Bomba with traditional melodic and harmonic structures. After locking the melody into the drums, Buyukyildirim completely explores the changes, alternating between tense rhythmic patterns and flowing melodic phrases. His creativity and technical precision inspire the percussionists and the overall performance generates an album highlight. ?Song for Judd? features exciting percussion solos from Matias on congas and guest timbalero Bobby Matos. Matias and Matos bring a passionate sense of tradition to the ensemble, providing heartfelt and studied moments. The group builds strong performances, combining the best of both jazz worlds with their defined personal voices.Matias and his group prioritize risk taking on ?Live? Volume One, bringing together diverse musical aesthetics. At times, the album reflects the downsides of musical risks ? momentary lacks of unity, occasional tuning issues in the winds, and an uneven recording. Yet the positive results push the band into uncharted Latin Jazz territory, forcing them to explore new improvisational challenges. Their musical journey reflects broad jazz history knowledge and an unbridled creative spirit. Their performance evolves into a clear statement of personality and character, exposing a tradition of unified experimentation.See more at:Matias and his group rhythmically reconstruct standards as well, elevating the traditional music with their inspired performances. Joe Henderson's "Mamacita inherits a salsa rhythm, while maintaining its original hard bop flare. Wade and Bayard have done their homework on this jazz era, and they deliver fiery solos full of blues flavor and bop shape. "Black Narcissus opens with Hines rhythmically bowing his bass over a Comparsa rhythm. As the rhythm section builds intensity, Bayard delivers the melody and then plays a strong and passionate solo. Buyukyildirim takes center stage in "Tico Tico, a Bomba with traditional melodic and harmonic structures. After locking the melody into the drums, Buyukyildirim completely explores the changes, alternating between tense rhythmic patterns and flowing melodic phrases. Matias and guest timbalero Bobby Matos bring a passionate sense of tradition to "Song for Judd, providing heartfelt and studied percussion solos. The group builds strong performances, combining the best of both jazz worlds with their defined personal voices.Matias and his group prioritize risk taking on "Live Volume One, bringing together diverse musical aesthetics. At times, the album reflects the downsides of musical risks?momentary lacks of unity, occasional tuning issues in the winds, and an uneven recording. Yet the positive results push the band into uncharted Latin jazz territory, forcing them to explore new improvisational challenges. Their musical journey reflects broad jazz history knowledge and an unbridled creative spirit. Their performance evolves into a clear statement of personality and character, exposing a tradition of unified experimentation.Traditional and Latin jazz musicians have taken separate risks to develop unique experimental approaches. Traditional jazz musicians have spent decades building, destroying, and reconstructing the harmonic foundation of jazz. Latin jazz musicians have emphasized rhythmic diversity, exploring the connections between jazz and a variety of Caribbean and South American traditions. Paths often cross through the stylistic embellishment of jazz standards with fixed harmonic forms, and diverge between avant-garde and Latin music. Percussionist Rolando Matias and his Afro-Rican Ensemble bring all jazz roads together into an intriguing mixture of risk, experimentation and history on "Live Volume One.Several repertoire choices immediately set the band apart from many Latin jazz ensembles. Rahsaan Roland Kirk's "Volunteered Slavery stands the furthest outside of Latin jazz conventions. Matias opens the piece with spoken word, and then leaves bassist Roger Hines to freely define a swing feel behind trumpet player Mike Wade and pianist Baris Buyukyildirim. The full Latin rhythm section brings the song to an up-tempo finish. The veiled appearance of a two-chord dance song starts Pharaoh Sanders' "Thembi (Part 1), as tenor saxophonist Eddy Bayard plays the melody. Wade and Bayard push their solos outside the harmony while Buyukyildirim and Hines boldly eliminate the harmonic center. As the band transitions into the sparse texture of "Thembi (Part 2), Buyukyildirim freely explores the territory between traditional melodies, polytonality, and Tyner-like open voicings. Beyond the novelty of unusual song choices, the full commitment to the musical aesthetics creates a stimulating musical experience.