“I still think the revolution is to make the world safe for poetry, meandering, for the frail and vulnerable, the rare and obscure, the impractical and local and small…” - Rebecca Solnit
In the waning days of summer in 2014, we purchased a wasted acre of land on an ambling road called Olive Branch in the rural township of Galien, Michigan. As we embarked on a multi-year project to restore this patch of land and see what we could make of a life out in the countryside, our minds drifted often to Solnit’s idea of tiny revolutions, and we came to consider the everyday as our site, medium, and muse. We knew from the outset that we wanted to create a multi-purpose space capable of accommodating a wide range of activities, so with this in mind as we designed our home we made half of the house a large open room that we call, The Storehouse.
The Storehouse is a platform that we began experimenting with on New Years Day 2017. The premise is simple: invite people over, ask them to bring a dish and a bottle to share and cash for the artists, and infuse the space with community, art, and a sense of ease. We find that house concerts are a perfect vehicle for these goals. Our gatherings have hosted performances by William Tyler, James Elkington. Sue Garner, 75 Dollar Bill, Mind Over Mirrors, Joshua Abrams Natural Information Society, Gunn-Truscinski Duo, In Tall Buildings, BItchin Bajas, Joan Shelley, Nathan Salsburg, and the Alan Lomax Archive.
The Storehouse is excited to present an intimate set by Steve Gunn – who will be joined by his band playing songs from his new album The Unseen In Between – a cookbook release party and conversation with chef Abra Berens from Granor Farm in Three Oaks, MI celebrating the release of Ruffage: A Practical Guide to Vegetables, and special guest legendary Japanese folk singer-songwriter Sachiko Kanenobu.
Please note that this is a SOLD OUT show. You can sign up to be on a waitlist here.
This is a BYOB & potluck event, and we will highlight recipes from Abra’s new cookbook in the potluck. If you’d like to make a dish from Ruffage, please drop us a line so that we can get a recipe to you in advance. If not, feel free to bring something else delicious to share. Weather permitting, we hope to have the grill fired up as well.
Potluck @ 5pm
Conversation with Abra Berens @ 6pm
Sachiko Kanenobu @ 6:30pm
Steve Gunn @ 7:30pm
All times are EST
You can also pre-order her cookbook at the bottom of the ticket check-out page in the “Additional Items” section and pick up your copy at the event.
All Sales Are Final. Sorry, No Refunds.
Due to the limited number of tickets, please make sure you can attend before you make your purchase. If you can no longer attend the show, you can give or sell the tickets to a friend. Contact us in advance to transfer the name on your tickets.
Steve Gunn is a New York-based guitarist and songwriter. With a career spanning nearly fifteen years, he has produced volumes of critically acclaimed solo, duo, and ensemble recordings. His albums represent milestones of contemporary guitar-driven material, and forward thinking songwriting.
Steve has steadily processed his inspirations into a singular, virtuosic stream. Close listening reveals the influence of blues, folk, ecstatic free jazz, and psych in his continually unfolding output. In 2016 he released Eyes On The Lines his first album for Matador Records which the Washington Post called, “so intimate and so mysteriously distant all at once”.
In January 2019 he is following it up with his breakthrough fourth album, The Unseen In Between, where he explores his own emotional landscapes with his most complex, fully realized songs to date. The lyrics evoke voyages, tempests (actual and emotional), and a rich cast of characters met along the way – the work of an artist finding a place of calm in the midst of a storm.
Produced by frequent collaborator James Elkington, featuring Bob Dylan’s bassist and music director Tony Garnier, and engineered by Daniel Schlett (Amen Dunes), the immaculately recorded Unseen forces a reassessment of Gunn’s standing in the pantheon of the era’s great songwriters.
Abra Berens is a chef, former farmer, and writer.
She believes that the meals we eat should change with the seasons and that their ingredients should come from nearby. She strives to make simple, delicious meals that champions the region.
She started cooking at the storied Zingerman’s Deli in Ann Arbor, MI. She then went on to train in the garden-focused kitchen at Ballymaloe Cookery School in Cork, Ireland. In 2009 she co-founded Bare Knuckle Farm in Northport, MI, where she farmed and cooked for 8 years. After years of farming, she returned to the kitchen full time, opening and helming the kitchen at Local Foods Chicago, IL.
In 2017, she left her Executive Chef position to return to the mitten state to join the team at Granor Farm in Three Oaks, MI, where she combines her love of farms and restaurants to create one-of-a-kind dinners on the farm celebrating the best of South West Michigan’s diverse agriculture.
Ruffage: A Practical Guide to Vegetables is her first cookbook and is rooted in her experiences as a chef, former-farmer, and everyday eater. It is a teaching cookbook that aims to help build reader’s confidence preparing vegetables by providing easy to follow recipes, detailed explanation of cooking techniques, and a myriad of variations for each recipe to inspire future dishes.
Ruffage will be available from Chronicle Books in April 2019.
Often regarded as Japan’s first female singer-songwriter, Sachiko Kanenobu created an enduring legacy with Misora, a timeless classic of intricate finger-picking, gently soaring melodies, and rustic Laurel Canyon vibes. Originally released in 1972 on URC (Underground Record Club), one of Japan’s first independent record labels, the Haruomi Hosono-produced album remains one of the most beloved works to come out of Japan’s folk and rock scenes centered around Tokyo and Kansai areas in the early 1970s.
Born and raised in Osaka in a large, music-loving family, Kanenobu picked up the guitar as a teen just as the “college folk” boom swept through university campuses in the Kansai area in the mid-60s. The Pete Seeger and American folk-leaning scene didn’t appeal much to her, however, and instead gravitated towards the British sounds of Donovan and Pentangle, teaching herself guitar techniques by listening to their music. Kanenobu made her songwriting and recording debut as part of Himitsu Kessha Marumaru Kyodan, whose sole single was released on URC in 1969. After years of being pushed aside by the label in favor of newer male artists who were more “folky” in a traditional sense, it was her friendship with the groundbreaking band and labelmate Happy End that ultimately helped her secure the opportunity to record a solo album. With Hosono on board as producer, Kanenobu spent seven days recording the songs that would become Misora, with most songs recorded in a single take.
By the time Misora released in September 1972, Kanenobu was gone. She had left for America, eager to start a new life with Paul Williams, a music writer who had founded Crawdaddy Magazine in 1966. Without the artist to promote it, “Misora was asleep for a long time,” she said. Meanwhile Kanenobu settled near Sonoma in Northern California, retiring from music and concentrating on raising her two children. It wasn’t until Philip K. Dick, the famed writer and family friend, heard Misora and encouraged her to get back into music, that Kanenobu felt the urge to pick up the guitar again. Soon new songs started flowing, and Dick helped finance a single for Kanenobu in 1981. He was committed to producing a full length when he died unexpectedly in 1982.
While she enjoyed success (especially in Germany) with her hard-hitting group Culture Shock in the 1980s, and continued to release albums in American and in Japan in the 1990s, it’s Misora that keeps coming back to her. Every few years a new generation of fans discover the album. Devendra Banhart, Jim O’Rourke, Steve Gunn, and many others continue to tout its greatness.
Kanenobu played a series of sold-out homecoming shows in Japan in 2018, playing Misora in its entirety. Surviving members of Happy End came out to support, some even playing in her backing band. Audience members included old and young, some young enough to be her grandchildren. “I love it,” she said. “They love Misora, they've heard it so many times. And here it rose from death…because for them, they can't believe it—she's still alive!”
008 - Bitchin Bajas / In Tall Buildings - January 1st, 2019
007 - Life As We Know It: A Storehouse Project at Millersville University - October 23rd to December 16th, 2018
006 - Joan Shelley / Nathan Salsburg / Footage from the Alan Lomax Archive - July 22nd, 2018
004 - Mind Over Mirrors / Treasures Of The Tocovava Live w/ curator Joe Puleo - January 1st, 2018
003 - 75 Dollar Bill / Sue Garner - April 9th, 2017
002 - Aram Han Sifuentes - February 18th, 2017
001 - William Tyler / James Elkington - January 1st, 2017