(Gulf Shores, Alabama)

Hangout organizers have decided to stream some of the festivals acts through Myspace.com in order to accommodate the thousands of people whom were not lucky enough to get tickets to this years festival.  The artists and times of the streaming is listed below.  Here is the direct link to the streaming:

http://www.myspace.com/hangoutmusicfest?pm_cmp=ed_spl_1her_hangout

Schedule provided by Myspace.com

Gulf Shores, Ala – May 14, 2012 – The City of Gulf Shores would like to make all residents and visitors aware of the following road and beach closures related to the Hangout Music Festival.

Traffic/Roadways:

· Highway 59 will close from W. 1st Ave heading south at 11:59 PM on Tuesday, May 15 to all vehicular and pedestrian traffic.

· Access to West Beach will be available through Windmill Ridge Rd or by taking W. 1st Ave to W. 3rd St.

· Access eastbound to Orange Beach will be available through the Gulf State Park, Canal Rd or by taking E. 1st Ave to E. 2nd St.

· On Monday, May 21, Highway 59 will reopen at W. 1st Ave for limited exiting traffic beginning at 6:00 AM until 5:00 PM.

· All normal traffic conditions will resume on Tuesday, May 22 at 6:00 AM.

Public Beaches:

· Public beach access at W. 2nd St. is currently closed.

· The public beach area at Gulf Place will close to the public at 11:59 PM on Tuesday, May 15.

· All residents and visitors are encouraged to utilize other public beach access points including W. 6th St, W. 13th St, Little Lagoon Pass and the Gulf State Park.

· All public beaches will return to normal use on Thursday, May 24.

For more information regarding detours or closures, please contact City Hall at 968-2425.

###

Please head to www.taukband.com for more updates.

Check out more on Tauk here:

Facebook:   http://www.facebook.com/taukband

Twitter:       http://twitter.com/taukband

YouTube:    http://www.youtube.com/user/taukband

MySpace:    http://www.myspace.com/tauk

Instagram:  @TaukBand

Tour Dates

5/17    Hangout Music Fest                          Gulf Shores, AL

5/20    The WorkPlay Theatre                   Birmingham, AL

5/21     Smith's Olde Bar                                     Atlanta, GA

5/23     The Basement                                          Nashville, TN

5/24     Patton Alley Pub                                     Springfield, MO

5/25     Blue Moose Tap House                         Iowa City, IA

5/25     Summer Camp Music Festival           Chillicothe, IL

6/2        The Bitter End                                         New York, NY

6/10     Bonnaroo                                                   Manchester, TN

7/14     Great South Bay Music Festival        Patchogue, NY

8/3        Jones Beach Amphitheater                 Long Island, NY

8/11     Peach Festival (w/ Allman Bros.)   Scranton, PA

10/11   Harvest String Festival                        Ozark, AR

(Gulf Shores)

HANGOUT MUSIC FESTIVAL ANNOUNCES SCHEDULE BY DAY

TICKETS ON SALE FRIDAY FOR SPECIAL LATE-NIGHT CONCERTS

March 31, 2011 (Gulf Shores, Ala) -- Hangout Music Festival has announced the daily performance schedule for their 2nd annual beach, music and arts event. Headliners including Widespread Panic and My Morning Jacket open the festival on Friday, May 20th, Foo Fighters, The Flaming Lips, and The Avett Brothers round-out Saturday, May 21st, and Paul Simon, The Black Keys, and Michael Franti and Spearhead close-up the festival on Sunday, May 22nd. A full schedule with more than 60 bands can be found on the Hangout Music Festival website.

Hangout has also announced that tickets for select late-night performances go on sale this Friday, April 1st at 10 am ET for Hangout Music Festival ticketholders. Attendees to Hangout who have already purchased their 2011 festival tickets will have an advance week to secure their tickets to the exclusive Hangout late-night concerts. Late-night tickets are limited and can be purchased through the Hangout website and Front Gate Tickets. Any remaining tickets after the first week of sale will be made available to the general public on Friday, April 8th.

The Hangout will host 2 late-night stages Friday and Saturday night of the festival. A 3,000 capacity Hangout Late-Night Tent will host sets by Bassnectar and Pretty Lights – who will both perform additional sets during the main Hangout festival event. A second Hangout Late-Night Stage is located within the Hangout Restaurant. All shows begin at midnight.

Performing Friday, May 20th in the Hangout Late Night Tent is Bassnectar with special guest Beats Antique. Tickets are $25 for Hangout Festival ticket buyers, $30 regular price, and $35 day of show.

Performing Saturday, May 21st in the Hangout Late Night Tent is Pretty Lights. Tickets are $25 for Hangout Festival ticket buyers, $30 regular price, and $35 day of show.

Performing Saturday, May 21st on the Hangout Late Night Stage is Tony Clifton and The Katrina Kiss-My-Ass Orchestra. Tickets are $25 for Hangout Festival ticket buyers, $30 regular price, and $35 day of show.

Passes to the Hangout Music Festival are on sale now for $174, with a few $525 VIP passes remaining. “Big Kahuna” VIP tickets have already sold-out. Passes can be purchased on the Hangout website, through Front Gate Ticketing and at the Hangout Restaurant in Gulf Shores, AL.

(Gulf Shores)

Today's Hobnobgulfshores.com Hangout Music Festival Profile is Medeski Martin and Wood.

Wide open: That’s the phrase John Medeski uses to describe his bandmates’ musical sensibilities, the
attitude he seeks in himself, and the spirit of musical adventure that Medeski Martin & Wood have
pursued for two decades.
The trio’s amalgam of jazz, funk, “avant-noise” and a million other musical currents and impulses is
nearly impossible to classify, which is just how they like it. Medeski’s keyboard excursions, Chris
Wood’s hard-charging bass lines and Billy Martin’s supple, danceable beats have come to resemble a
single organism, moving gracefully between genre-defying compositions and expansive improvisation
atop a relentless groove.

Floridian Medeski had his first out-of-body experience playing a Mozart piano sonata as an adolescent.
He soon began playing at every opportunity – from school musicals and talent shows to marching band,
in which he served as a percussionist -- and had his mind blown by an Oscar Peterson record. As a teen,
he formed his own jazz-fusion trio and was invited to tour Japan by legendary bassist Jaco Pastorius. He
made his way to the New England Conservatory of Music (NEC) and entered its boundary-pushing Third
Stream department, which nurtured his improvisational impulses and encouraged him to find his own
musical voice. He worked as a sideman in Boston and rediscovered roots music playing seven nights a
week Mr. Jelly Belly.

California-born, Colorado-bred Wood, meanwhile, learned folk and blues songs at the feet of his
musician/biologist dad and poet mom, swooned at the fearless innovations of Mingus and Monk, attended
NEC and eventually studied with Geri Allen, Dave Holland and other luminaries. His apprenticeship
with these powerful music figures was, he admits, a humbling one. “Sometimes my lesson would consist
of me improvising for an hour with Geri watching,” he relates. “It was terrifying, because it exposed
every weakness. But the more you accept who you are, the more free you are to express that. Your bag
of tricks as a player becomes a doorway to infinite possibilities.”

Martin, who’d grown up in New York and New Jersey, imbibed a range of musical currents from his
classical violinist father and Radio City Rockette mother, but it was his older brothers who first exposed
him to rock and soul. He fell in love with Hendrix, James Brown, Sly Stone, Zappa and KISS and began
bashing his uncle’s kit; soon he was in the jazz band at school, then at the preparatory division of the
Manhattan School of Music. As a musical omnivore in New York City, he studied with assorted greats,
mastered an array of percussion instruments, formed the samba band Batucada and played with everyone
from jazz-pop superstar Chuck Mangione to Bill Frisell to New York’s avant-garde heroes the Lounge
Lizards.

What the three had in common before their band was a relationship with jazz mentor/drummer Bob
Moses, who first brought his conservatory-trained protégés Medeski and Wood together for a session.
“John was a madman,” Wood recalls. “He could drive the music, but it wasn’t about the limelight – just
raw enthusiasm. He had a freer spirit than you find in most musicians. It was inspiring to be around.”
And Medeski’s first impression of the bassist? “He was a monster, a badass,” the keyboardist marvels.
“He was technically so strong, and played with such energy. I felt a kinship with him, rhythmically and
energetically. He was young and wide open, and could recall anything you taught him – he just has that
kind of mind. I thought, ‘This guy’s a good resource.’”

The two soon found themselves in New York, where they shared an apartment; many hours of jamming,
animated chatting about music and poring over the keyboardist’s vast record collection ensued.
The pair had moved to the city with the intention of becoming jazz sidemen, but what they encountered
there altered their course. Their passion for jazz was undimmed, but they found the city’s jazz scene
stifling – Medeski compares it to the classic zombie flick Night of the Living Dead – and gravitated
instead to the freewheeling downtown art-music world. Populated by boundary-pushing creators of all
stripes and hybrid forms, this loose-knit community inspired them. “Everybody was reaching for
something new, drawing from every genre, looking for new sounds,” says Wood. “It was a high-risk
situation; not everything worked. But when it did, it was beautiful.”

They also played a series of week-long engagements at the Village Gate with assorted drummers. While
these gigs were rewarding, they still fell squarely within the parameters of “jazz.” – until they played with
Billy Martin, about whom Moses had often raved. Medeski had jammed with the drummer before,
finding his very un-jazzlike use of funk, hip-hop and Brazilian and African grooves bracing and – you
guessed it – “wide open.” “I’d also seen him play live with his band Illy B,” he recalls. “He was really
creative and he got all the girls dancing. I thought, ‘This guy’s got something.’”
Adds Wood, “Billy didn’t play jazz, but he improvised like a jazz player. It shifted things for me – he
wouldn’t necessarily start swinging when I played a walking bass line. He brought the eighth-note feel
that makes hip-hop and Brazilian beats so compatible with jazz, and he didn’t play like a drum machine;
he was always playing interactively.”

“My spirit is all about experimenting,” Martin explains. “If I could just experiment and improvise 24
hours a day, I would be happy.”

When the three assembled at Martin’s Brooklyn pad for their first jam session, the chemistry was
immediate and undeniable. “Billy started playing a beat. Chris started playing a bass line. I started
playing. And it was instant music,” Medeski remembers, noting that his transcription of this, MMW’s
first recorded flight, became the track “Uncle Chubb” on their first album. Martin joined them at their
subsequent Village Gate sets, and they never looked back.

The trio still hadn’t chosen a name when they began booking gigs in jazz clubs; downtown godfather
John Lurie gave them a shortlist, from which they selected the mad moniker Coltrane’s Wig. “We pissed
off a lot of jazz-club owners with that,” Medeski volunteers, a little sheepishly. “They were like, ‘What is
wrong with you?’” The name lasted through exactly one round of home-made press kits (created with the
gear in the basement of Martin’s highly supportive dad). Much regional touring, notably in the southern
U.S., followed. 1992 saw them release their debut album, Notes From Underground.

Though they started out with a more-or-less straightforward piano-bass-drums jazz setup, the threesome
expanded their sound with unusual configurations. Medeski added electric piano (outfitted with
distortion pedals and other effects), and began switching back and forth among Hammond organ,
Clavinet, Mellotron and other keys. Wood alternated between stand-up and bass guitar, stuck paper
behind his strings for a “snare” effect and occasionally employed a drumstick as a slide. Martin, who
enjoys, in his words, “the whole pots and pans approach,” began keeping an international assortment of
percussion instruments in his battery, as well as objects for banging that are not typically considered
musical. “You need to be in touch with that feeling you had as a child when you listened to sound,”
Medeski insists. “Everything going on around you is music. When you’re in touch with that, you can
play from that deep place more easily – you can create music with real freedom and openness.”
Though the “jazz spirit,” as they like to call it, has been ever-present in their sonic voyages, Medeski
Martin & Wood have won over a substantial audience that rarely responds to instrumental music, let
alone a guitar-less trinity purveying an unholy blend of Jimmy Smith, György Ligeti and the Art
Ensemble of Chicago. In fact, their club and festival appearances are packed with alternative-rock lovers
as well as jam-band aficionados and jazz heads. “I blame Billy for that,” Medeski muses, hazarding that
the drummer’s body-moving beats tend to disarm even the most pop-minded listeners. “Once they feel
the groove he’s playing, I can get in there and infect their minds much more easily – and Chris can lay it
down to keep them from losing it.”

The band’s onstage adventurousness sparked an experimental approach to recording as well – as on
1996’s solar-powered Shack-Man, recorded in a plywood shack amid the mango trees and plumerias on
Hawaii’s big island (and featuring Martin’s artwork on its cover); the funked-out 1998 Blue Note disc
Combustication, which enlisted two radically different engineers to create complementary sonic
approaches; the acoustic live set Tonic (2000), recorded in New York, and its plugged-in twin, 2001’s
Electric Tonic; 2004’s End of the World Party (Just in Case), produced by John King of the Dust
Brothers; their two collaborations with guitarist John Scofield, A Go Go (1998) and Out Louder (2006,
under the name Medeski Scofield Martin & Wood); the 2008 children’s record Let’s Go Everywhere; and
the 2008-09 Radiolarian series, a trilogy of albums generated according to a strict policy of “Write >
Tour > Record > Repeat,” as the band noted in an online announcement. They’ve also founded and run
their own label, Indirecto.

MMW has also backed up a diverse roster of artists, including punk godfather Iggy Pop (both live and on
his album Avenue B), R&B sax giant Maceo Parker, MacArthur Genius Grant recipient John Zorn and
pop singer-songwriter Natalie Merchant.

The band members have also kept things fresh by pursuing scores of other projects. Medeski produced
two albums by the Wood Brothers, Chris Wood’s rootsy partnership with his brother, Oliver, as well as
work by the Dirty Dozen Brass Band; has played with a dazzling array of artists, including The Word
with Robert Randolph, Ray LaMontagne, The Blind Boys of Alabama, John Zorn, Trey Anastasio,
Susana Baca and the rock band Grizzly Adamz; fronted his own band, John Medeski & The Itch; and
performed as a solo pianist. He and Martin have also performed and recorded as the duo Mago. Martin,
for his part, has recorded several solo discs and an album of breakbeats (under his own name and as Illy
B), collaborated with DJ Logic, DJ Spooky, Dave Burrell and other artists, authored a book, pursued his
own visual art, and produced and directed Fly in a Bottle, a feature-length documentary film about the
making of the Radiolarian series. The Wood Brothers have released three LPs and an EP of cover songs
and toured with the likes of Zac Brown Band, Levon Helm, Bruce Hornsby & The Noisemakers and k.d,
Lang.

The three also conduct a yearly musical retreat, Camp MMW, in the Catskills; with music classes,
seminars, films, guest teachers and jam sessions, the August gathering encourages promising musicians of
all stripes to get out of their comfort zones.

Their reflections on having reached the extraordinary milestone of playing together for some 20 years?
“We’re old motherfuckers, man,” Medeski replies with a laugh, adding, “We’re in a really good place.
We’ve been writing a lot of new music. We always want to create a certain vibration in the evening – if
we’re doing something new and feeling the excitement, that’ll do it.”
“I think we’ll be reflecting on the anniversary a lot, pulling out old material and approaching it in new
ways,” ventures Wood. “We’re always growing and changing, and the fact that we’re always doing stuff
with other people keeps it alive, because we bring fresh energy to the group.”

“Musically, we’re changing all the time,” Martin asserts, adding that the band’s constant improvisation
produces moments when “We look at each other like, ‘Oh my God, how in the hell did we just decide to
do that?’ We look at each other with our mouths open sometimes, and that’s the beautiful thing about it.”
“This band is each of us expressing who we really are,” summarizes Medeski. “That’s all.”
And so Medeski Martin & Wood enter their third decade together, as wide open as ever

March 15, 2011 (Gulf Shores, AL) -- The Hangout Music Festival has added twelve more acts to its May 20-22, 2011 lineup. The newest artist additions include The Avett Brothers, STS9, Grace Potter and the Nocturnals, Brandi Carlile, JJ Grey and Mofro, Karl Denson’s Tiny Universe, Big Gigantic, Soja, Railroad Earth, Greensky Bluegrass, Rival Sons and Honey Island Swamp Band. Last month the 2nd annual Hangout Music Festival announced national headliners Paul Simon, Foo Fighters, Widespread Panic, The Black Keys, My Morning Jacket, Flaming Lips, Cee Lo Green plus dozens more. For a complete artist listing, see below.

Hangout Music Festival is in close proximity to a wide assortment of lodging options including fully equipped and affordable vacation rental condominiums, beach houses and traditional hotel rooms. Hangout attendees are encouraged to use the Hangout shuttle system with convenient pick-up and drop-off locations throughout Gulf Shores and Orange Beach. The shuttle runs until 4 am Friday and Saturday and until Midnight on Sunday. Advance all-you-can-ride passes go on-sale this Wednesday, March 16th at 10 am for $20. Patrons can also purchase $5 one-way trip passes. Visit the Hangout website for a shuttle map and more information.

Tickets to the Hangout Music Festival are available online at www.hangoutmusicfest.com and at The Hangout Restaurant in Gulf Shores, Al. Three-day passes are $174. VIP ticket packages start at $525 and are also available online or by phone at 1-888-512-SHOW.

WHEN: FRIDAY MAY 20th - SUNDAY MAY 22nd, 2011

WHERE: 101 EAST BEACH BLVD, GULF SHORES, ALABAMA (JUST 15 MINUTES FROM FLORIDA/ 1 HOUR FROM THE PENSACOLA, FL AND MOBILE, AL AIRPORTS)

PRICES: $174 3-DAY PASS /VIP TICKET AND TRAVEL PACKAGES AVAILABLE

TICKETS AVAILABLE: HANGOUT WEBSITE AND FRONT GATE TICKETS/ THE HANGOUT RESTAURANT

FESTIVAL WEBSITE: http://www.hangoutmusicfest.com

CONFIRMED ARTISTS INCLUDE: Paul Simon + Foo Fighters + Widespread Panic + The Black Keys + My Morning Jacket + Flaming Lips + The Avett Brothers + Cee Lo Green + Primus + STS9 + Michael Franti & Spearhead + Pretty Lights + Bassnectar + Girl Talk + Ween + Matisyahu + Warren Haynes Band + Grace Potter and the Nocturnals + Umphrey’s McGee + Slightly Stoopid + Drive-By Truckers + Amos Lee + Brandi Carlile + JJ Grey and Mofro + Medeski, Martin & Wood + Old Crow Medicine Show + Keller Williams + Galactic + Xavier Rudd + Karl Denson’s Tiny Universe + Big Gigantic + Soja + Railroad Earth + Minus the Bear + Trombone Shorty & Orleans Avenue + Portugal.the Man + Beats Antique + Dead Confederate + Jonathan Tyler & Northern Lights + Easy Star All-Stars + Mariachi El Bronx + Truth & Salvage Co + Greensky Bluegrass + Kristy Lee + Civil Twilight + Rich Aucoin + A Thousand Horses + Jon Black + Cas Haley + Kris Royal and Dark Matter + Roman Street + Rival Sons + Honey Island Swamp Band