Danielle Miraglia and the Peter Parcek 3 at the me&thee
Danielle Miraglia comes armed with a strong steady thumb on an old Gibson, an infectious stomp-box rhythm and harmonica with tunes ranging from heart-felt to socially conscious that will move both your heart and hips. On her latest "Glory Junkies" she's joined by a killer cast of musicians blending the classic rock vibe of The Rolling Stones and Janis Joplin with Danielle's signature lyrical ability to explore human nature at its best and worst.
"The genius of Glory Junkies is that Miraglia successfully pokes fun at a proverbial "selfie nation," while also fully owning that tendency. Glory Junkies offers up deeply narrative lyricism and carefully crafted compositions...Glory Junkies boasts a song about reality TV, and one (the title track) that pokes fun at immortalizing one's own image. Others stray into more personal territory, hitting close to home on Miraglia's family dynamic, but the concept of the album remains a mainstay throughout." - Liz Rowley, BestNewBands
Danielle has toured and played major venues across the United States and beyond, shining in both the Folk and Blues circuits including New York State Blues Festival, New Bedford Summerfest, The Narrows Center for the Arts (Fall River, MA), The Birchmere (Alexandria, VA), The Ramshead (Annapolis, MD), Sellersville Theater (Sellersville, PA) and the list goes on.
She has shared the stage with the likes of Johnny Winter, Bettye Lavette, John Hammond Jr., Joan Osborne, John Mayall, Sonny Landreth, John Oates, Colin Hay, Robert Cray, Rodney Crowell and many more.
Raised just outside of Boston in Revere, MA, where its famous beach is better known for girls with big hair than its history as a popular tourist attraction, Danielle was raised on a variety of popular music, from her parent's Motown records to the classic rock influences like The Rolling Stones and Led Zeppelin that encouraged her to learn to play guitar at thirteen. A passion for the arts and an outstanding gift for writing lead her to Emerson College in Boston's downtown theater district. After graduating with a degree in Creative Writing, she put her writing skills, originally intended for novels, towards songwriting and began performing at open mike nights in the Boston area. Here she "found her tribe" as she describes it and set out on a full time musical career.
Danielle's debut full length record "Nothing Romantic" was a breakthrough for Miraglia as a serious songwriting force, who could put into words what so many feel - a true explorer of the complexities of the human condition. Jon Sobel of Blogcritics.com described her song "You Don't Know Nothin'" as "One of the best new folk songs I've heard in years. Its depiction and dissection of human misunderstanding is both sharp and tender. All you need to know about what drives people apart and what draws them together can be witnessed in a few hours spent in a bar. Many of us feel something along those lines, but Danielle Miraglia is that rare songwriter who can put it into words."
Danielle's second release "Box of Troubles," explores the highs and lows that life has to offer with bare bones instrumentation. Alternate Root says "Danielle Miraglia's guitar work keeps Delta traditions alive. Her steady thumb and playing style trace a direct line to the blues of the field and chicken shacks. Vocally, Danielle's voice digs in, twisting within the delivery, seeming to break but more likely soaring before the fall. 'Box of Troubles' balances good times with the bad, her characters' roles' defined and believable."
Peter Parcek's daring, incendiary and soulful style is a distinctive hybrid. He weaves rock, gypsy-jazz, country, folk, and blues-- especially blues-- into a tapestry of melody, harmony and daredevil solos that push those styles to their limits without sacrificing the warmth of his own personality.
Peter calls his approach "soul guitar," an appellation that alludes to his playing's depth of feeling and character, as well as its deepest roots in classic American music. But Peter's sensibilities are equally attuned to the future.
Peter's journey as a musician began when the Vietnam War erupted and he graduated high school. With the blessings of his mother and the help of a family friend, he relocated to London, England, and found himself in the thick of the British blues explosion.
"I got real lucky," he recounts. "Whenever I could afford it or sneak in, I could see Eric Clapton, Jeff Beck and Peter Green in clubs, as well as many other great guitarists who were on the scene, but never made it big.
Daunted by the six-string virtuosity on display all around him, Peter put down his guitar to sing and blow harmonica and joined a band, playing rooms like the famed Marquee Club one night on a bill with the Pink Floyd. But fate intervened. He was returned to the States for lack of a British work permit.
Once back in Middletown, CT, Peter began witnessing great American blues artists in concert: Skip James, Muddy Waters, Albert King, Jimi Hendrix, B.B. King, Albert Collins, Buddy Guy. "I would sit as close as possible so I could see exactly what they were doing on the guitar," he says. "It was an amazing education."
Decades later, he would receive a superlative from Guy. "I met some people who knew Buddy and took me to his dressing room after a show," Peter says. "I felt a little out of place, because I didn't really know anybody. So out of nervousness, I guess, I just absent mindedly picked up one of Buddy's guitars, unplugged, and started playing. After a while I realized the room was quiet and I looked up, and Buddy was watching me with his finger pressed to his lips for silence.
"You're as bad as Eric Clapton," Guy remarked. "And I know Eric Clapton."
Peter, who is remarkably modest about his virtuosity, says he didn't get serious about his instrument until he moved to Massachusetts. "That's when I developed from a guitar owner to a guitar player, by practicing eight to 10 hours a day," he explains.
Between jobs as a school counselor and instrument salesman, Peter joined his first serious band, Boston's Nine Below Zero. Their visceral take on classic and original blues won them regional acclaim and led to Peter playing on recordings for the piano legend Pinetop Perkins and a stint as Perkins' touring bandleader.
"It was an amazing time," Peter relates, "and it inspired me to take the reins of my own music and form a band."
"What I try to bring to any music I play, but especially to blues, is something I learned from Skip James when I saw him perform at Wesleyan University in the '60s," says Peter. "He played beautifully, with real elegance, and conducted himself in a gentlemanly manner. But people kept talking, so at one point he stopped playing and announced, 'Mr. Skip would appreciate it if you would stop perambulating when he is expressing.' And then he left until things quieted down.
"That made something click in me. Skip showed me that it was right to play blues with dignity and style, and to express and conduct yourself as an artist. He obviously put his entire soul into what he was doing on a lot of levels. And that's what I try to do whenever I pick up a guitar."
Be sure to see Peter pick up his guitar with the Peter Parcek 3, as he channels his "soul guitar" sound in explosive live performances throughout the greater Boston area and beyond.
me&thee coffeehouse (View)
28 Mugford St.
Marblehead, MA 01945
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