Jayme Stone


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About

Two-time Juno-winning banjoist, composer and instigator Jayme Stone makes music inspired by sounds from around the world—bridging folk, jazz and chamber music. His award-winning albums both defy and honor the banjo’s long role in the world’s music, turning historical connections into compelling sounds.

Jayme Stone’s Folklife (2017) follows the bends ...

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Contact

Publicist
Ron Kadish
812 339 1195 x 202

Current News

  • 05/19/201707/22/2017
  • Marquette, MI

Jayme Stoneat Hiawatha Festival, Marquette, MI on July 22-23

Jayme Stone’s Folklife : Sea Island Spirituals, Creole calypsos and stomp-down Appalachian dance tunes

The first time Jayme Stone set foot in the Library of Congress, he was in a rush. With only a few hours to spare before an evening show—and without a library card (or any academic credentials)—he was determined to discover some hitherto unheralded field recording. Fortunately, he found an enthusiastic ally in Todd Harvey, head of the Lomax Archive at the American...

Press

  • Musical Memoirs, Feature story, 11/06/2017, Circle of Song: Jayme Stone's Folklife and Macmath: The Silent Page Text
  • RootsWorld, Album review, 11/03/2017, Jayme Stone's Folklife Text
  • Nappa Valley Register, Article, 06/21/2017, Macro and micro musical musings Text
  • The Union, Event preview, 06/01/2017, Hot Club of Cowtown, Jayme Stone’s Folklife to take stage at Miners Foundry in Nevada City Text
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News

07/22/2017, Marquette, MI, Hiawatha Music Festival, Marquette Tourist Park
05/19/201707/22/2017, Jayme Stoneat Hiawatha Festival, Marquette, MI on July 22-23
Event
07/22/2017
Event
07/22/2017
Ticket URL
https://hiawathamusic.org/
Ticket Phone
906-226-8575
Ticket Price(s)
$65.-$ 70
Venue Zip
49855
Venue City, State
Marquette, MI
Venue St. Address
2145 Sugar Loaf Ave
Venue
Hiawatha Music Festival, Marquette Tourist Park
The first time Jayme Stone set foot in the Library of Congress, he was in a rush. With only a few hours to spare before an evening show—and without a library card (or any academic credentials)—he was determined to discover some hitherto unheralded field recording MORE» More»

Jayme Stone’s Folklife : Sea Island Spirituals, Creole calypsos and stomp-down Appalachian dance tunes

The first time Jayme Stone set foot in the Library of Congress, he was in a rush. With only a few hours to spare before an evening show—and without a library card (or any academic credentials)—he was determined to discover some hitherto unheralded field recording. Fortunately, he found an enthusiastic ally in Todd Harvey, head of the Lomax Archive at the American Folklife Center.

Within minutes, Stone—banjoist, composer and instigator—was ushered into the underground stacks of the world’s largest library. Walking past a gold-embossed sign that read, “Archive of Folk Song,” he knew he’d found the Mother Lode. Stone held the first-ever Lead Belly recording from 1933 (on acetate disc), a box of letters from Woody Guthrie (including his son Arlo’s birth announcement) and Alan Lomax’s midcentury rolodex (“Do Not Give Out” written in red next to Pete Seeger’s number). But nothing prepared Stone for the unearthly crackle of hearing these old recordings in all their analog glory.

Stone was no newcomer to seeking the hidden histories behind the music he loved. At age 12 he was collecting bootleg tapes and by 15 making pilgrimages across the country to see the Grateful Dead. Curious and studious, Stone was always interested in the stories behind the sounds. “There’s an old Zen saying about how you shouldn’t ‘seek to follow in the footsteps of the wise,’” says Stone, “but rather ‘seek what they sought.’” So he did.

He traced the origin of the Dead’s repertoire and lyrical references to a book called the Old-Time String Band Songbook by the New Lost City Ramblers. “The Ramblers were to the folk revival what the beat poets were to the hippie movement,” says Stone. “They were on the front edge of a movement.” From their book, Stone discovered the music of Elizabeth Cotton, Mississippi John Hurt, Dock Boggs and others. He started listening to Lomax’s field recordings and sending away for unreleased albums from the Smithsonian Folkways catalogue. They’d arrive in oversize boxes with mimeographed liner notes. He’d fallen down a deep well.

Fast forward twenty years to the new album—Jayme Stone’s Folklife—out April 7 on Borealis Records. It features singer extraordinaire Moira Smiley (tune-yArDs), Grammy-winning songster Dom Flemons (Carolina Chocolate Drops), cornetist Ron Miles (Bill Frisell), singer Felicity Williams (Bahamas) and more. It’s a follow-up to Jayme Stone’s Lomax Project (2015) which brought together an all-star cast including Tim O’Brien, Margaret Glaspy and Julian Lage.

Jayme Stone’s Folklife follows the bends and bayous through the deep river of song and story. This gathering of versatile musicians blows the dust off of old songs and remakes them for modern ears. The album is a musical journey through the Appalachians, the Sea Islands and the Caribbean. With spellbinding singing and virtuosic playing, the repertoire reaches into the arcane corners of American roots music with shape note hymns, Gullah spirituals and Creole calypsos.

The record comes with detailed song notes as well as a series of bright, folkloric illustrations commissioned from artist Camilla Perkins. As Stone explains in the introduction, “In this age of monoculture, it’s no wonder that many of us seek nearly-forgotten artifacts from the past: an antique Radio Flyer wagon, a dog-eared first edition, a hymn as old as dirt. But I’m no collector, nor am I particularly nostalgic. I revel in the act of discovery. I want 33⅓ revelations per minute. I crave collaboration. So I gathered together fellow keen-eared musicians to help blow the dust off these carefully chosen songs, uncover their hidden histories, and till fresh soil to see what might spring forth from these sturdy seeds.”

Stone is the consummate collaborator, unearthing musical artifacts and magnetizing extraordinary artists to help rekindle these understudied sounds. He is a passionate educator and producer. Stone has been called the “Yo-Yo Ma of the banjo” (Globe and Mail) and his music has been featured on NPR, CBC, BBC and at venues across North America and abroad, including the Lincoln and Kennedy Centers. Jayme Stone’s Folklife is the prolific artist’s seventh album and he’s won two Juno and three Canadian Folk Music Awards.

 

 

Event
07/22/2017

07/07/2017, Winnipeg, MB, Winnipeg Folk Festival
05/19/201707/07/2017, Jayme Stone at The Winnipeg Folk Festival July, 6-9, 2017
Event
07/07/2017
Event
07/07/2017
Ticket URL
http://winnipegfolkfestival.ca/concerts-events#!programmation=artist$jayme-stone-s-folklife/293
Venue Zip
R3B 3P2
Venue City, State
Winnipeg, MB
Venue St. Address
Winnipeg Folk Festival 203-211 Bannatyne Ave.
Venue
Winnipeg Folk Festival
The first time Jayme Stone set foot in the Library of Congress, he was in a rush. With only a few hours to spare before an evening show—and without a library card (or any academic credentials)—he was determined to discover some hitherto unheralded field recording. MORE» More»

Jayme Stone’s Folklife : Sea Island Spirituals, Creole calypsos and stomp-down Appalachian dance tunes

The first time Jayme Stone set foot in the Library of Congress, he was in a rush. With only a few hours to spare before an evening show—and without a library card (or any academic credentials)—he was determined to discover some hitherto unheralded field recording. Fortunately, he found an enthusiastic ally in Todd Harvey, head of the Lomax Archive at the American Folklife Center.

Within minutes, Stone—banjoist, composer and instigator—was ushered into the underground stacks of the world’s largest library. Walking past a gold-embossed sign that read, “Archive of Folk Song,” he knew he’d found the Mother Lode. Stone held the first-ever Lead Belly recording from 1933 (on acetate disc), a box of letters from Woody Guthrie (including his son Arlo’s birth announcement) and Alan Lomax’s midcentury rolodex (“Do Not Give Out” written in red next to Pete Seeger’s number). But nothing prepared Stone for the unearthly crackle of hearing these old recordings in all their analog glory.

Stone was no newcomer to seeking the hidden histories behind the music he loved. At age 12 he was collecting bootleg tapes and by 15 making pilgrimages across the country to see the Grateful Dead. Curious and studious, Stone was always interested in the stories behind the sounds. “There’s an old Zen saying about how you shouldn’t ‘seek to follow in the footsteps of the wise,’” says Stone, “but rather ‘seek what they sought.’” So he did.

He traced the origin of the Dead’s repertoire and lyrical references to a book called the Old-Time String Band Songbook by the New Lost City Ramblers. “The Ramblers were to the folk revival what the beat poets were to the hippie movement,” says Stone. “They were on the front edge of a movement.” From their book, Stone discovered the music of Elizabeth Cotton, Mississippi John Hurt, Dock Boggs and others. He started listening to Lomax’s field recordings and sending away for unreleased albums from the Smithsonian Folkways catalogue. They’d arrive in oversize boxes with mimeographed liner notes. He’d fallen down a deep well.

Fast forward twenty years to the new album—Jayme Stone’s Folklife—out April 7 on Borealis Records. It features singer extraordinaire Moira Smiley (tune-yArDs), Grammy-winning songster Dom Flemons (Carolina Chocolate Drops), cornetist Ron Miles (Bill Frisell), singer Felicity Williams (Bahamas) and more. It’s a follow-up to Jayme Stone’s Lomax Project (2015) which brought together an all-star cast including Tim O’Brien, Margaret Glaspy and Julian Lage.

Jayme Stone’s Folklife follows the bends and bayous through the deep river of song and story. This gathering of versatile musicians blows the dust off of old songs and remakes them for modern ears. The album is a musical journey through the Appalachians, the Sea Islands and the Caribbean. With spellbinding singing and virtuosic playing, the repertoire reaches into the arcane corners of American roots music with shape note hymns, Gullah spirituals and Creole calypsos.

The record comes with detailed song notes as well as a series of bright, folkloric illustrations commissioned from artist Camilla Perkins. As Stone explains in the introduction, “In this age of monoculture, it’s no wonder that many of us seek nearly-forgotten artifacts from the past: an antique Radio Flyer wagon, a dog-eared first edition, a hymn as old as dirt. But I’m no collector, nor am I particularly nostalgic. I revel in the act of discovery. I want 33⅓ revelations per minute. I crave collaboration. So I gathered together fellow keen-eared musicians to help blow the dust off these carefully chosen songs, uncover their hidden histories, and till fresh soil to see what might spring forth from these sturdy seeds.”

Stone is the consummate collaborator, unearthing musical artifacts and magnetizing extraordinary artists to help rekindle these understudied sounds. He is a passionate educator and producer. Stone has been called the “Yo-Yo Ma of the banjo” (Globe and Mail) and his music has been featured on NPR, CBC, BBC and at venues across North America and abroad, including the Lincoln and Kennedy Centers. Jayme Stone’s Folklife is the prolific artist’s seventh album and he’s won two Juno and three Canadian Folk Music Awards.

 

 

Event
07/07/2017

06/06/2017, Santa Monica, CA
05/19/201706/06/2017, Jayme Stone’s Folklife at The Annenberg Community Beach House in Santa Monica, CA
Event
06/06/2017
Event
06/06/2017
Ticket Price(s)
FREE
Venue Zip
90402
Venue City, State
Santa Monica, CA
Venue St. Address
415 Pacific Coast Hwy at Beach Coast Way
The first time Jayme Stone set foot in the Library of Congress, he was in a rush. With only a few hours to spare before an evening show—and without a library card (or any academic credentials)—he was determined to discover some hitherto unheralded field recording. MORE» More»

Jayme Stone’s Folklife : Sea Island Spirituals, Creole calypsos and stomp-down Appalachian dance tunes

The first time Jayme Stone set foot in the Library of Congress, he was in a rush. With only a few hours to spare before an evening show—and without a library card (or any academic credentials)—he was determined to discover some hitherto unheralded field recording. Fortunately, he found an enthusiastic ally in Todd Harvey, head of the Lomax Archive at the American Folklife Center.

Within minutes, Stone—banjoist, composer and instigator—was ushered into the underground stacks of the world’s largest library. Walking past a gold-embossed sign that read, “Archive of Folk Song,” he knew he’d found the Mother Lode. Stone held the first-ever Lead Belly recording from 1933 (on acetate disc), a box of letters from Woody Guthrie (including his son Arlo’s birth announcement) and Alan Lomax’s midcentury rolodex (“Do Not Give Out” written in red next to Pete Seeger’s number). But nothing prepared Stone for the unearthly crackle of hearing these old recordings in all their analog glory.

Stone was no newcomer to seeking the hidden histories behind the music he loved. At age 12 he was collecting bootleg tapes and by 15 making pilgrimages across the country to see the Grateful Dead. Curious and studious, Stone was always interested in the stories behind the sounds. “There’s an old Zen saying about how you shouldn’t ‘seek to follow in the footsteps of the wise,’” says Stone, “but rather ‘seek what they sought.’” So he did.

He traced the origin of the Dead’s repertoire and lyrical references to a book called the Old-Time String Band Songbook by the New Lost City Ramblers. “The Ramblers were to the folk revival what the beat poets were to the hippie movement,” says Stone. “They were on the front edge of a movement.” From their book, Stone discovered the music of Elizabeth Cotton, Mississippi John Hurt, Dock Boggs and others. He started listening to Lomax’s field recordings and sending away for unreleased albums from the Smithsonian Folkways catalogue. They’d arrive in oversize boxes with mimeographed liner notes. He’d fallen down a deep well.

Fast forward twenty years to the new album—Jayme Stone’s Folklife—out April 7 on Borealis Records. It features singer extraordinaire Moira Smiley (tune-yArDs), Grammy-winning songster Dom Flemons (Carolina Chocolate Drops), cornetist Ron Miles (Bill Frisell), singer Felicity Williams (Bahamas) and more. It’s a follow-up to Jayme Stone’s Lomax Project (2015) which brought together an all-star cast including Tim O’Brien, Margaret Glaspy and Julian Lage.

Jayme Stone’s Folklife follows the bends and bayous through the deep river of song and story. This gathering of versatile musicians blows the dust off of old songs and remakes them for modern ears. The album is a musical journey through the Appalachians, the Sea Islands and the Caribbean. With spellbinding singing and virtuosic playing, the repertoire reaches into the arcane corners of American roots music with shape note hymns, Gullah spirituals and Creole calypsos.

The record comes with detailed song notes as well as a series of bright, folkloric illustrations commissioned from artist Camilla Perkins. As Stone explains in the introduction, “In this age of monoculture, it’s no wonder that many of us seek nearly-forgotten artifacts from the past: an antique Radio Flyer wagon, a dog-eared first edition, a hymn as old as dirt. But I’m no collector, nor am I particularly nostalgic. I revel in the act of discovery. I want 33⅓ revelations per minute. I crave collaboration. So I gathered together fellow keen-eared musicians to help blow the dust off these carefully chosen songs, uncover their hidden histories, and till fresh soil to see what might spring forth from these sturdy seeds.”

Stone is the consummate collaborator, unearthing musical artifacts and magnetizing extraordinary artists to help rekindle these understudied sounds. He is a passionate educator and producer. Stone has been called the “Yo-Yo Ma of the banjo” (Globe and Mail) and his music has been featured on NPR, CBC, BBC and at venues across North America and abroad, including the Lincoln and Kennedy Centers. Jayme Stone’s Folklife is the prolific artist’s seventh album and he’s won two Juno and three Canadian Folk Music Awards.

 

 

Event
06/06/2017

06/04/2017, Napa, CA, Napa Valley Performing Arts Center, 3:00 PM
05/23/201706/04/2017, Jayme Stone’s Folklife with Moira Smiley, Sumaia Jackson & Tristan Clarridge in Yountville, CA
Event
06/04/2017
Event
06/04/2017
Ticket URL
http://lincolntheater.com/vbo/?page=selectevent&eid=18228&edid=0
Ticket Phone
http://lincolntheater.com/events/
Ticket Price(s)
$20
Venue Zip
94599
Venue City, State
Yountville, CA
Venue St. Address
100 California Dr
Venue
Napa Valley Performing Arts Center
Concert Start Time
3:00 PM
The first time Jayme Stone set foot in the Library of Congress, he was in a rush. With only a few hours to spare before an evening show—and without a library card (or any academic credentials)—he was determined to discover some hitherto unheralded field recording. MORE» More»

Jayme Stone’s Folklife : Sea Island Spirituals, Creole calypsos and stomp-down Appalachian dance tunes

The first time Jayme Stone set foot in the Library of Congress, he was in a rush. With only a few hours to spare before an evening show—and without a library card (or any academic credentials)—he was determined to discover some hitherto unheralded field recording. Fortunately, he found an enthusiastic ally in Todd Harvey, head of the Lomax Archive at the American Folklife Center.

Within minutes, Stone—banjoist, composer and instigator—was ushered into the underground stacks of the world’s largest library. Walking past a gold-embossed sign that read, “Archive of Folk Song,” he knew he’d found the Mother Lode. Stone held the first-ever Lead Belly recording from 1933 (on acetate disc), a box of letters from Woody Guthrie (including his son Arlo’s birth announcement) and Alan Lomax’s midcentury rolodex (“Do Not Give Out” written in red next to Pete Seeger’s number). But nothing prepared Stone for the unearthly crackle of hearing these old recordings in all their analog glory.

Stone was no newcomer to seeking the hidden histories behind the music he loved. At age 12 he was collecting bootleg tapes and by 15 making pilgrimages across the country to see the Grateful Dead. Curious and studious, Stone was always interested in the stories behind the sounds. “There’s an old Zen saying about how you shouldn’t ‘seek to follow in the footsteps of the wise,’” says Stone, “but rather ‘seek what they sought.’” So he did.

He traced the origin of the Dead’s repertoire and lyrical references to a book called the Old-Time String Band Songbook by the New Lost City Ramblers. “The Ramblers were to the folk revival what the beat poets were to the hippie movement,” says Stone. “They were on the front edge of a movement.” From their book, Stone discovered the music of Elizabeth Cotton, Mississippi John Hurt, Dock Boggs and others. He started listening to Lomax’s field recordings and sending away for unreleased albums from the Smithsonian Folkways catalogue. They’d arrive in oversize boxes with mimeographed liner notes. He’d fallen down a deep well.

Fast forward twenty years to the new album—Jayme Stone’s Folklife—out April 7 on Borealis Records. It features singer extraordinaire Moira Smiley (tune-yArDs), Grammy-winning songster Dom Flemons (Carolina Chocolate Drops), cornetist Ron Miles (Bill Frisell), singer Felicity Williams (Bahamas) and more. It’s a follow-up to Jayme Stone’s Lomax Project (2015) which brought together an all-star cast including Tim O’Brien, Margaret Glaspy and Julian Lage.

Jayme Stone’s Folklife follows the bends and bayous through the deep river of song and story. This gathering of versatile musicians blows the dust off of old songs and remakes them for modern ears. The album is a musical journey through the Appalachians, the Sea Islands and the Caribbean. With spellbinding singing and virtuosic playing, the repertoire reaches into the arcane corners of American roots music with shape note hymns, Gullah spirituals and Creole calypsos.

The record comes with detailed song notes as well as a series of bright, folkloric illustrations commissioned from artist Camilla Perkins. As Stone explains in the introduction, “In this age of monoculture, it’s no wonder that many of us seek nearly-forgotten artifacts from the past: an antique Radio Flyer wagon, a dog-eared first edition, a hymn as old as dirt. But I’m no collector, nor am I particularly nostalgic. I revel in the act of discovery. I want 33⅓ revelations per minute. I crave collaboration. So I gathered together fellow keen-eared musicians to help blow the dust off these carefully chosen songs, uncover their hidden histories, and till fresh soil to see what might spring forth from these sturdy seeds.”

Stone is the consummate collaborator, unearthing musical artifacts and magnetizing extraordinary artists to help rekindle these understudied sounds. He is a passionate educator and producer. Stone has been called the “Yo-Yo Ma of the banjo” (Globe and Mail) and his music has been featured on NPR, CBC, BBC and at venues across North America and abroad, including the Lincoln and Kennedy Centers. Jayme Stone’s Folklife is the prolific artist’s seventh album and he’s won two Juno and three Canadian Folk Music Awards.

 

Event
06/04/2017

06/03/2017, Santa Rosa, CA, Occidental Center for the Arts, 8:00 PM
05/23/201706/03/2017, Jayme Stone in Concert at Occidental Center for The Arts at 8:00 PM in Occindental, CA
Event
06/03/2017
Event
06/03/2017
Ticket URL
http://www.brownpapertickets.com/event/2947858
Ticket Phone
707.874.9392
Ticket Price(s)
$25 Advance / $28 at door
Venue Zip
95465
Venue City, State
Occidental, CA
Venue St. Address
3850 Doris Murphy Ct.
Venue
Occidental Center for the Arts
Concert Start Time
8:00 PM
The first time Jayme Stone set foot in the Library of Congress, he was in a rush. With only a few hours to spare before an evening show—and without a library card (or any academic credentials)—he was determined to discover some hitherto unheralded field recording. MORE» More»

Jayme Stone’s Folklife : Sea Island Spirituals, Creole calypsos and stomp-down Appalachian dance tunes

The first time Jayme Stone set foot in the Library of Congress, he was in a rush. With only a few hours to spare before an evening show—and without a library card (or any academic credentials)—he was determined to discover some hitherto unheralded field recording. Fortunately, he found an enthusiastic ally in Todd Harvey, head of the Lomax Archive at the American Folklife Center.

Within minutes, Stone—banjoist, composer and instigator—was ushered into the underground stacks of the world’s largest library. Walking past a gold-embossed sign that read, “Archive of Folk Song,” he knew he’d found the Mother Lode. Stone held the first-ever Lead Belly recording from 1933 (on acetate disc), a box of letters from Woody Guthrie (including his son Arlo’s birth announcement) and Alan Lomax’s midcentury rolodex (“Do Not Give Out” written in red next to Pete Seeger’s number). But nothing prepared Stone for the unearthly crackle of hearing these old recordings in all their analog glory.

Stone was no newcomer to seeking the hidden histories behind the music he loved. At age 12 he was collecting bootleg tapes and by 15 making pilgrimages across the country to see the Grateful Dead. Curious and studious, Stone was always interested in the stories behind the sounds. “There’s an old Zen saying about how you shouldn’t ‘seek to follow in the footsteps of the wise,’” says Stone, “but rather ‘seek what they sought.’” So he did.

He traced the origin of the Dead’s repertoire and lyrical references to a book called the Old-Time String Band Songbook by the New Lost City Ramblers. “The Ramblers were to the folk revival what the beat poets were to the hippie movement,” says Stone. “They were on the front edge of a movement.” From their book, Stone discovered the music of Elizabeth Cotton, Mississippi John Hurt, Dock Boggs and others. He started listening to Lomax’s field recordings and sending away for unreleased albums from the Smithsonian Folkways catalogue. They’d arrive in oversize boxes with mimeographed liner notes. He’d fallen down a deep well.

Fast forward twenty years to the new album—Jayme Stone’s Folklife—out April 7 on Borealis Records. It features singer extraordinaire Moira Smiley (tune-yArDs), Grammy-winning songster Dom Flemons (Carolina Chocolate Drops), cornetist Ron Miles (Bill Frisell), singer Felicity Williams (Bahamas) and more. It’s a follow-up to Jayme Stone’s Lomax Project (2015) which brought together an all-star cast including Tim O’Brien, Margaret Glaspy and Julian Lage.

Jayme Stone’s Folklife follows the bends and bayous through the deep river of song and story. This gathering of versatile musicians blows the dust off of old songs and remakes them for modern ears. The album is a musical journey through the Appalachians, the Sea Islands and the Caribbean. With spellbinding singing and virtuosic playing, the repertoire reaches into the arcane corners of American roots music with shape note hymns, Gullah spirituals and Creole calypsos.

The record comes with detailed song notes as well as a series of bright, folkloric illustrations commissioned from artist Camilla Perkins. As Stone explains in the introduction, “In this age of monoculture, it’s no wonder that many of us seek nearly-forgotten artifacts from the past: an antique Radio Flyer wagon, a dog-eared first edition, a hymn as old as dirt. But I’m no collector, nor am I particularly nostalgic. I revel in the act of discovery. I want 33⅓ revelations per minute. I crave collaboration. So I gathered together fellow keen-eared musicians to help blow the dust off these carefully chosen songs, uncover their hidden histories, and till fresh soil to see what might spring forth from these sturdy seeds.”

Stone is the consummate collaborator, unearthing musical artifacts and magnetizing extraordinary artists to help rekindle these understudied sounds. He is a passionate educator and producer. Stone has been called the “Yo-Yo Ma of the banjo” (Globe and Mail) and his music has been featured on NPR, CBC, BBC and at venues across North America and abroad, including the Lincoln and Kennedy Centers. Jayme Stone’s Folklife is the prolific artist’s seventh album and he’s won two Juno and three Canadian Folk Music Awards.

Below are tour dates in support of Jayme Stone’s Folklife.

2017 Tour Dates

Mar 22             Ten Pound Fiddle, East Lansing, MI

Mar 23             Berman Center for the Performing Arts, West Bloomfield, MI

Mar 24            Old Town School of Folk Music, Chicago, IL

Mar 25             South Milwaukee Performing Arts Center, South Milwaukee, WI

Mar 26             C.S.P.S. Hall, Cedar Rapids, IA

Mar 27             Cedar Cultural Center, Minneapolis, MN

Mar 29             UBS Atrium Series, Weehawken, NJ (matinee)

Mar 29             Joe's Pub, New York, NY (evening)

Mar 31-Apr 1  University of Saint Joseph, West Hartford, CT

Apr 2               Walkover Gallery, Bristol, VT

Apr 3               Club Passim, Cambridge, MA

Apr 26             Stockey Center, Parry Sound, ON

Apr 27             Nineteen on the Park, Stouffville, ON

Apr 28             Alliance Francaise, Toronto, ON

Apr 29             Livewire Concerts, Kingston, ON       

May 2              Bridgewater College: Cole Hall, Bridgewater, VA

May 4              Library of Congress: Coolidge Auditorium, Washington, DC

May 31                        Freight and Salvage, Berkeley, CA

Jun 1                Kuumbwa Jazz, Santa Cruz, CA

Jun 2                Miners Foundry, Nevada City, CA

Jun 3                Lincoln Theater,  Yountville, CA

Jun 4                Occidental Center for the Arts, Occidental, CA

Jun 6                Annenberg Beach House, Santa Monica, CA

Jul 7-9              Winnipeg Folk Festival, Winnipeg, MB

Jul 22-23          Hiawatha Festival, Marquette, MI

Event
06/03/2017