Kanye West & Kendrick Lamar Dicount Tickets Auburn Hills, MI On Sunday - November 10, 2013 - 7:00 PM in Ann Arbor, Michigan For Sale

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Kanye West & Kendrick Lamar Discount Tickets Auburn Hills, MI
Event
Venue
Date/Time
 
Kanye West & Kendrick Lamar
Key Arena
Seattle, WA
Saturday
10/19/xxxx
8:00 PM
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tickets
Kanye West & Kendrick Lamar
Rogers Arena
Vancouver, Canada
Sunday
10/20/xxxx
7:00 PM
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tickets
Kanye West & Kendrick Lamar
SAP Center (formerly HP Pavilion)
San Jose, CA
Tuesday
10/22/xxxx
7:30 PM
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tickets
Kanye West & Kendrick Lamar
Oracle Arena
Oakland, CA
Wednesday
10/23/xxxx
7:30 PM
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tickets
Kanye West & Kendrick Lamar
Staples Center
Los Angeles, CA
Saturday
10/26/xxxx
8:00 PM
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tickets
Kanye West & Kendrick Lamar
Staples Center
Los Angeles, CA
Monday
10/28/xxxx
8:00 PM
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tickets
Kanye West & Kendrick Lamar
Honda Center (formerly Arrowhead Pond)
Anaheim, CA
Friday
11/1/xxxx
8:00 PM
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tickets
Kanye West & Kendrick Lamar
Pepsi Center - Denver
Denver, CO
Sunday
11/3/xxxx
7:00 PM
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tickets
Kanye West & Kendrick Lamar
Target Center
Minneapolis, MN
Tuesday
11/5/xxxx
7:30 PM
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tickets
Kanye West & Kendrick Lamar
United Center
Chicago, IL
Thursday
11/7/xxxx
7:30 PM
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tickets
Kanye West & Kendrick Lamar
Nationwide Arena
Columbus, OH
Friday
11/8/xxxx
8:00 PM
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tickets
Kanye West & Kendrick Lamar
United Center
Chicago, IL
Saturday
11/9/xxxx
8:00 PM
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tickets
Kanye West & Kendrick Lamar
Palace Of Auburn Hills
Auburn Hills, MI
Sunday
11/10/xxxx
7:00 PM
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tickets
Kanye West & Kendrick Lamar
Air Canada Centre
Toronto, Canada
Tuesday
11/12/xxxx
7:30 PM
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tickets
Kanye West & Kendrick Lamar
Air Canada Centre
Toronto, Canada
Wednesday
11/13/xxxx
8:00 PM
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tickets
Kanye West & Kendrick Lamar
Centre Bell
Montreal, Canada
Thursday
11/14/xxxx
7:30 PM
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tickets
Kanye West & Kendrick Lamar
TD Garden (Fleet Center)
Boston, MA
Sunday
11/17/xxxx
7:00 PM
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tickets
Kanye West & Kendrick Lamar
Verizon Center - DC
Washington, DC
Thursday
11/21/xxxx
8:00 PM
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tickets
Kanye West & Kendrick Lamar
American Airlines Arena
Miami, FL
Friday
11/29/xxxx
8:00 PM
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tickets
Kanye West & Kendrick Lamar
Philips Arena
Atlanta, GA
Sunday
12/1/xxxx
8:00 PM
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tickets
Kanye West & Kendrick Lamar
American Airlines Center
Dallas, TX
Friday
12/6/xxxx
8:00 PM
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tickets
Kanye West & Kendrick Lamar
Toyota Center - TX
Houston, TX
Saturday
12/7/xxxx
TBD
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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.