NYS Music 20​12

Author: Sophia Strange

  • Interview with Sim Redmond Band

    Ithaca based Sim Redmond Band is something to behold. Formed in 1999, the 6-piece have traveled many miles to bring their distinctive sound and positive energy to eager fans. The group’s unique blend of Roots/Afro-Caribbean/Reggae is a strong statement of how lively and diverse our local music scene really is. Offering strong rhythm, wonderful melody, and rich three-part harmonies, the group truly reaches their crowd with intent.

    With 9 albums to their credit, Sim Redmond Band is constantly working to expand their collective output, and minds of their listeners. Garnering new fans globally takes constant dedication and lots of legwork, but the group’s talent, ambition, and desire give them a full musical skill set to see their goals to fruition.

    I wanted to get in contact with Sim himself prior to their May 18th performance to discuss the band’s musical influences, their writing process, future plans, and a cross-cultural comparison of their performances. Here ya go!

    Interview:

    G- Hi Sim! Thanks for taking the time to speak with Upstate LIVE! If you could, please introduce the members in the group… Who is everyone and what do they play?

    S- My brother Asa Redmond plays the drums.  Dan Merwin plays bass and djembe.  Jordan Aceto plays guitar (and builds many of our instruments and pedals!).  Nate Silas Richardson plays rhodes, guitar, and sings.  Jen Middaugh sings.  And I sing and play guitar, and occasionally pick up my mbira, a Zimbabwean thumb piano.

    G- You formed this band in 1999… How did everyone meet up and when did you perform for the first time?

    S- I had begun writing songs in the late 90’s and we started out playing as the Sim Redmond Quartet: Asa, Dan, Jordan, and myself.  Our first gigs in this incarnation were at coffee houses and such late in 1998 and early 1999.  Soon after that, Uniit (our original female vocalist) began singing with us and we became the Sim Redmond Band.

    G- Your group is known for having a very diverse musical influence…. You blend several different styles together to form your unique sound. How would you classify yourselves as a group, and who in particular influences your style?

    S- Yeah, we all have a wide variety of influences that we bring to the table.  When forced to classify the music, I try to sneak around it by saying SRB is “all original feel-good music”.  But as far as genre, I guess it’s a blend of roots-rock, African, and Jamaican music, but even that is a limited description… There’s a lot more than that in it.  A lot of that diversity I credit to growing up around the Fingerlakes Grassroots Festival.  They bring in world class bands from all over the world.  Year after year, seeing groups like Burning Spear, Thomas Mapfumo, Super Rail Band, Lucinda Williams, and countless other greats, have all had a big impact on us.

    G- Dig that! So, what is your writing process like when you begin creating new songs? Who in the band typically comes up new music? Is there a primary songwriter, or is the process more organic and jam based?

    S- Our process in the past has been that anyone with a song (usually me, but not always) brings it to the band and the band then shapes and molds it until it’s ready for the stage or to be recorded.

    G- Cool… It’s great when artists all have a strong sense of collaborative effort. Speaking of which, SRB has a host of releases… 9 in total! Can you discuss your recording process? Do you have any new releases in the works?

    S- We’ve always really enjoyed recording new releases.  It’s a chance for us to explore all the potential of each song; to add that horn or string section we’ve always imagined, and the fill out that vocal part, or throw in a big drum jam.  We allow ourselves the freedom to do things that we might not be able to recreate on stage.  Then later, we figure out how to transform it back into something we can play live.  Sometimes that means Nate and/or Jordan have to cover a horn line on guitar or keys, or that we have to split up the vocal parts differently, but there’s usually a way to make it work.  Sometimes a song never makes it to the stage though, and we’re okay with that too!

    We haven’t written much over the past couple of years, so it may be time to take another approach.  Maybe this organic, jam based process you speak of….

    G- Right on hahaha! Now, Sim Redmond Band has a strong following overseas, particularly in Japan… Could you tell us about some of the musical and cultural differences between performances in the U.S. and overseas?

    S- Yeah, we’ve traveled to Japan several times… It was a blast!  It’s a whole other world over there, but we felt very much at home.  They treat us like rock stars, people constantly asking for pictures and autographs.  At performances, during songs, they are very quiet and respectful.  But in between songs they are quite appreciative.  And we did play in some more relaxed environments (beach parties, festivals, etc) where they showed us they certainly know how to party!

    G- Yea I’m told it’s tough to get around a healthy dose of alcohol in Japan if they want to warm up to people! Tell us a bit about what you hope the future holds for Sim Redmond Band… Do you have any touring coming up, new areas of the world you are striving/looking to perform in, or projects that you are working on with other artists?

    S- There’s nothing too different on the horizon.  We’ve never been a conventional touring band.  Our family ties keep us close to home for the most part.  But we’ve been playing at the newer Grassroots festivals (Shakori Hills Grassroots, Virginia Keys Miami Grassroots) that they have been developing.  They’ve got a festival for each season now.  Grassroots festivals have such a special vibe, and we’re really happy to be a part of that community.  Hopefully, we’ll continue to be involved with them and develop a more complete and consistent presence up and down the East Coast.  We’ve also been talking more and more about getting out to the West Coast.  So hopefully there will be some fun trips in our future.

    G- Do you have any particular bands that you would like to share a bill with in the future or events you would like to perform at?

    S- Wow, there are so many amazing bands and musicians it would be impossible to start naming them, and I’m sure some of the most amazing musicians are ones we’ve never even heard of.  As far as events we would love to be a part of:  New Orleans Jazz Fest would be very cool, Fuji Rock in Japan, maybe Bumbershoot out in Seattle, I could go on and on.  The world is a big and beautiful place…

    G- What is your personal favorite Sim Redmond Band performance to date? What was it like?

    S- I’ll admit it, I’m a homebody.  I like being around the Ithaca area.  One of my absolute favorite venues is the Taughannock State Park Summer Concert series just outside of Ithaca in Trumansburg, NY.  It is an evening event, there are lots of families and children.  We’ve been lucky and the weather has always been beautiful.  We’ve played there at least 5 times and it’s always like a dream come true.  We’re playing there on August 18th this year.  And of course it’s hard to beat the Fingerlakes Grassroots Festival, the biggest party I’ve ever been to.  That’s July 19-22 this year.  Those are some of my favorites, but we love them all!

    G- Lastly, can you give some of the young, up and coming bands who want to make it in music, on the road, and as a professional musicians a bit of your knowledge and expertise as a professional musician? Any words of wisdom or helpful tips you can offer from your experience?

    S- My advice would be to keep it simple and just have fun playing music.  If you’re doing that, then the rest should fall in line.  If you enjoy it, and play music that is true to you, people will respond to that.  Music is such a simple and beautiful thing, just let it be that.

    And there you have it. We would like to thank Sim and SRB very much for their time, and let everyone know that they’ll be rocking the crowd in Syracuse on May 18, so make sure to grab yourself a ticket and see some live music!

    http://www.simredmondband.com/

  • STICK MEN – THE INTERVIEW

    MALCOLM MOORE: Pat, you are quite possibly the most advanced electronic drummer on the planet! Your gargantuan cadre of rhythmic devices is unmatched in the physical world. What is the latest gadget that you have added to your drum set that includes acoustic drums and cymbals, samplers, computers, drum machines, and electronic pads, which one is your favorite?

    PAT MASTELLOTO: Newest used:  – a few days ago someone lent me these wooden bongos and I immediately used them on a Stick Men ‘improv’ track – we are tinkering with making our own walk in (pre post show music). Newest techie thing:  – is Iphone/Ipad apps, like Samplewiz. A favorite?  Well they’re tools, ya know- my favorite hammer is not my favorite screw driver- so I like whatever gets the job done.

    MM: You were a King Crimson fan way before playing with them or Stick Men. What is your personal favorite Crimson song, and is it possible that Stick Men could cover it in the future?

    PM: I have lots of favorite King Crimson songs — For several years I’ve been asking theStick Men dudes to learn The Great Deceiver. I think that song would kick ass live and  play fantastic on interlocking sticks.

    MM: Is it difficult organizing and keeping track of your complex behemoth of a drum set, especially as you trapse across vast foreign landscapes such as Russia, Europe, Japan, and South America?

    PM: Your thinking more of Mr. Mister 80’s when one pad played one sound 🙁   Or the Y2K Crim when Robert wanted all electric drums- –  Vdrums, Ddrums, phrase samplers and all sorts of things that didn’t really interface directly. And then after a few years the kit grew as we added acoustic drumming back into the band, but all that was actually pretty clean and packable. These days, for the international -traveling you’re talking about, I can’t bring ANY drums or hardware- that all comes from local backline rentals and  I seldom get exactly what I ask for so its all drum set dejour. . mystery heads and pedals. . sometimes a seat that wont adjust, maybe the bottom snare head or wires are broken. . I do my best in the short amount of time we have to build the best kit I can.  Due to airline restrictions what I bring with me is usually two suitcases, a wheelie and a back pack – – so the pack is laptop/cables/drives in the backpack,  heavy cables/cymbals up to 14″, and a small audio mixer in the wheelie, one suitcase is my handsonic & spds w/ power supplies and stick bag,  the other is my percussion, motu box and about 10lbs of clothes and I actually keep track of it pretty well.

    MM: What is the most unique and memorable venue that you have played at with Stick Men so far?

    PM: There have been a few like the candy shop in south Italy, that gig was a twist! But I’ll pick Chile. That was a powerful and humbling experience a few years ago, just days after the earthquake.  We worked very hard to get flights- everything was cancelled but Tony said, “No, we have to go!”  fans there had been writing and posting even before the earthquake and we’re really excited..  So we really wanted to keep that commitment, like I said it was crazy, very hard to get flights . We flew from Mexico City into Peru (we slept on the floor of that airport to catch the only 6:00 AM flight).  It was a very appreciative audience and that’s saying something because in South America there is always very strong communication from the audience anyway.

    MM: Have you ever played a show with anyone in Rochester, New York?

    PM: Yes!!   I must have because I know I was in House of Guitars, love that place, loved the basement. I bought two drums there, Radio Kings, a 13” tom and 28” Kick, I use the kick a LOT, it’s fantastic! I think it was a Crimson gig in the 90’s, I and I seem to remember a good dinner in a silver diner.

    MM: Tony, how did you originally progress from your 2007 solo album Stick Man to what is now a live band called Stick Men? Was this your intention all along?

    TONY LEVIN: It wasn’t my intention at all for the CD project to lead to a live situation, let alone a new band that would have a life of it’s own over the years. Somewhere in the middle of recording the Stick Man album, the focus seemed to be leaning more to my playing of the Stick (the Chapman Stick is the real name of the instrument) than of the various basses I also played on it. That’s when I decided on the title of Stick Man for that release. Then, I really became fond of some of the pieces on that cd, and wanted to play them live — but they required two Stick players, because I’d overdubbed important parts that I couldn’t cover myself live. So… keeping Pat Mastelotto, the excellent drummer on the CD as well as being my King Crimson band mate, we simply added a Stick player (Michael Bernier), to make it a very unusual band – only three players, but two of us covering multiple parts, and Pat himself playing electronic percussion, loops and samples, as well as an acoustic drum kit.

    MM: When you travel with Stick Men all over the world, who in which city/country makes the best espresso?

    TL: Funny question and you KNOW the answer, it’s in Italy, all over Italy, that you get the best espresso. In fact the techniques there change from region to region, even the material of the cups it’s poured into (which many Italians think has a lot to do with the taste!) But whatever the region is, the espresso there is always super.

    MM: What do you see in the near future for Stick Men compositionally? Where are you trying to take the music. Are you headed for more polyrhythmic, dissonant, odd meter material like Relentless and Hands, or more melodic, song-based tunes like Soup and Slow Glide?

    TL: We’re mostly done with our new recording, so I do have a good sense of where we’re headed (though that won’t be ready for release until Fall and we have no title yet.) With Markus Reuter, our third member, having himself a unique composition background, we’re introducing some new types of compositions that he instigates. Also, as usual, my leanings are toward hard-edged progressive rock and when there’s a chance to throw in Classical influence, I’m happy to do it. (i.e. our version of 5 movements from Stravinsky’s Firebird Suite, which we’ll be playing at the Rochester show.) Coming up on the new album, but not ready to try live yet, is a tone poem I wrote, about the experience of the “Whale Watch” from Boston and Cape Cod, where you go out into the ocean for a day, and locate whales up close and personal!

    MM: With Stick Men, you often cover King Crimson songs such as Elephant Talk and Indiscipline. Would you ever consider covering a Peter Gabriel song?

    TL: We have indeed considered that and one of these days we’ll have time, midst the rehearsing of our new material and of King Crimson pieces we haven’t played on previous tours, to tackle one of Peter’s songs.

    MM: You went to college at The Eastman School of Music. What do you like most about returning to Rochester, New York to play a show?

    TL: I have great memories of my six years living in Rochester, but I’ve also been back a lot in the years since I left. I have good friendships with great people in town, and enduring musical connections with many of them. If there’s a free hour or so after sound check, I always find myself wandering the Eastman halls, getting a coffee next door (though a it is a tad more up-market than when it was called “the Coffee Break” with Fred jabbing you with his finger through a small opening into the kitchen!) A couple of years ago, I visited to see and perform in the newly renovated Eastman Theater and yet again was reminded how special it is, what a great cultural atmosphere Rochester has, and overall what a great music city it’s always been.

    MALCOLM MOORE: Markus, please tell us a little bit about the unique instrument you play in Stick Men, called the Warr Guitar. How did you originally learn about it and did you play guitar, bass, or Chapman stick before that?

    MARKUS REUTER: I started playing Chapman Stick in 1993, then switched over to playing a Warr Guitar in 1997 and developed my own instruments, the Touch Guitars(R) U8 and U10 in 2008, which I play exclusively with Stick Men.

    MM: How does your experience playing in Robert Fripp’s Guitar Craft effect your work with Stick Men?

    MR: It was Robert Fripp who suggested I check out the Chapman Stick. Robert’s guitar instruction became the main building block for my tapping technique. There no proven tradition when it comes to playing a touch style instrument, so I had to make up my own system which took the Guitar Craft principles as a starting point. Having been actively involved with Robert Fripp and King Crimson’s music for 21 years is effecting all my musical work greatly, I think, incl. my work with Tony and Pat in Stick Men.

    MM: You played with Pat Mastelloto before joining Stick Men. What projects did you two work on together?

    MR: We have released 4 albums as TUNER (with a 5th in the making) and worked on several productions for other artists, most notably Moonbound’ Peak of Eternal Light and Tovah’s Escapologist.

    MM: What do you miss the most about Germany when you are on tour with Stick Men?

    MR: My wife! But I do miss hearing and speaking my language, too. I frequently have the feeling that I’m loosing my fluency in German.

    MM: What type of looping devices do you use with Stick Men?

    MR: I use my laptop, because it’s not purely looping that I’m using it for. I’ve set up a feedback circuit in the computer that basically works as an improv partner for me rather than a predictable looper.

    Apr 28 Rochester NY Water Street
    http://www.waterstreetmusic.com/
    Apr 29 Woodstock NY Bearsville Theater
    http://bearsvilletheater.com/

  • Raekwon 4/15/12 The Haunt – Ithaca

    I’ll go out on a limb and say that Sunday Night Hip Hop in Upstate, NY should be mandatory. Whether for purely selfish reasons or not, nothing sets off the beginning of a workweek like a solid dose of skull crushing bass and urban poetry. So when Dan Smalls brought Raekwon and the Victory Mix tape H2O Tour to The Haunt in Ithaca, NY on April 15th, there was no passing it up.

    As a founding member of Wu-Tang Clan, Raekwon’s reputation precedes him wherever he goes. The Wu entered the game with zero competition… None. This isn’t to say that there weren’t MC’s who threw it down and made their money in a difficult hustle, but Wu-Tang was unstoppable. They came onto the Rap scene as a mob, literally. And even after all these years, the group’s legacy and influence remains as strong as ever. And Raekwon is, to this day, one of the most prolific performers in Hip Hop. His shows are always tight, typically offering a dense mix of group and solo output.

    His Ithaca performance was no exception…The set included several tracks from Raekwon’s personal arsenal, including “Ice Cream” and gems off arguably the best follow up LP to share a name, “Only Built For Cuban Linx II.” But the classics were the highlight of the performance, and cuts like “Protect Ya Neck,” “Wu-Tang Clan Ain’t Nuthin’ Ta Fuck Wit,” and other 36 Chamber hits kept the crowd rowdy!

    Shockingly on time (if you’ve seen Wu-Tang or affiliates before, you know they’re notorious for tardiness), Rae opened with “C.R.E.A.M.”, a surefire guarantee to get ANY crowd ready to party. While one can always expect Wu members to rock the group’s back catalogue, it really doesn’t matter… We are all glad to hear the hits. Many times, it’s why we still attend. The rhymes were right and the energy stayed live, peeking during a rambunctious rendition of “Shimmy Shimmy Ya,” honoring the late, great Ol’ Dirty Bastard.

    A businessman through and through, Raekwon also shared his stage and debuted some new talent at The Haunt. He brought up Toronto based MC JD Era for his Ithaca debut. Rocking “Payday,” his new joint, Hip Hop appears alive and well in Toronto! Dropping the music out of the mix, he also graced us with one of the best live freestyles I’ve seen in a long time… Just sick! He stayed onstage for a jam after that. His “No Handouts” mix tape is out right now, and is definitely worth picking up.

    26-year-old R&B singer Kofi Black, another Staten Island artist, also made an appearance onstage. Obviously schooled in Gospel chops, he offered a wide range and some good vocal runs during his brief time at the mic.

    The fun mix of artists onstage kept it diverse and exciting… Ice H2O seems to be turning into a business, for sure. Ending his set with “Triumph,” Raekwon shows no signs of slowing down anytime soon. “It ain’t where you from, it’s where you at.” Damn right.

    Brooklyn’s own Maino provided direct support, and he hit the stage like a bomb, quickly filling the floor right up. Solid beats and nonstop rhyme spitting whipped the crowd into a small frenzy, and he and his hype man kept it going strong throughout his set.

    Currently pumping his new album, “Day After Tomorrow,” Maino proved he can drop some dope rhymes and is doing whatever he can to stay current in the perplexing world of Rap. Though I could not his most popular song, “Hi Hater,” when it dropped, it translates very well in the live forum. The guy can spit. Egocentric as you’d expect, tracks like “Bigger than Niño Brown,” as hype-fluff as they are, will definitely get the attention of suburban teenagers trying to act hard.

    Recent Ice H2O records signees Reason and Caezar brought a harder sound to the stage. Wasting no time on the mic, the duo had great presence on their opening track and excellent interplay between them. Street styled NYC Hip Hop will never go out of style, and the Brooklyn and Staten Island boys repped downstate well. Caezar, just about to release a new mix tape, produced by DJ Whoo Kid, kept the “Real Hip Hop” message a running theme throughout their solid 5-song set. Make it a point to check Datpiff.com to see when the mix drops.

    Second opener Sammus threw down some good stage energy and a positive vibe during her short set. Though a little bit tame on stage during her opening tracks, the girl clearly has skills and a passion for Hip Hop, keeping true to her art form. Sammus offered a positive, forward thinking set of jams.

    Highlight of her set was the closer, “Mayhem.” Changing up the style and flow of her performance, albeit a bit late, the track’s thumping bass line was an excellent backdrop as Sammus cut loose a bit. The crowd dug it!

    And while her banter between songs needs some work, Sammus and her DJ had solid back and forth going on, and it kept the set interesting. It’s always cool to see an solid partnership between performers.

    Local Hip Hop upstart The Rapper H opened up the show. His flow is alright, not what you may expect from a small white guy in Ithaca. His beat selection and rhymes were solid, but the lack of choruses and inability to get the early crowd amped took away from the set. But hey, it was his 3rd show… Dynamics will come with time if he keeps it up. Word of advice, though… Find a new Hype Man, and don’t bring preppy friends onstage with you, bro.

  • Trampled By Turtles “Stars and Satellites” Album Review.

    I am really beginning to dive into bluegrass music these days. Something about its sound and flow is so pure and honest. Even the saddest of tracks can take you to a far away place where things are going to wind up ok in the end. Trampled By Turtles, a 5 piece from Minnesota, formed in 2003, and have been making some excellent headway for themselves in the music game. In addition to a stellar performance in Austin during SXSW that drew rave reviews, the group has played a host of huge festivals in the past. This year, they are slated to perform at Bonnaroo, All Good, and Sasquatch, in addition to their headlining dates coming our way in a few weeks.

    It’s no wonder… After listening to their new album, “Starts and Satellites,” I literally had to stop myself from applauding in public at the end of my first listen. The band’s sixth album since 2004, “Stars and Satellites” offers 11 super solid tracks, all recorded in a log home in Duluth. Some of the tracks are very rhythmic and pulsing, others are quite easygoing and subtle. All are fantastic!

    Opening with “Midnight on the Interstate” and closing with “The Calm and the Crying Wind,” both mellower tracks, Tracks like “Sorry” and “Walt Whitman” are quick and bouncy. “Risk” has a fun, almost comical delivery, with a dark edge to it. The album is laid out very well, and will captivate any listener who pays attention.

    The banjo player picks like a wild man during many of the tracks, and the mandolin and fiddle provide excellent rhythmic and melodic contrast. The bass lines flow easily throughout the songs, and the vocal harmonies are right on, complimenting Dave Simonett’s leads and acoustic strumming beautifully.

    If you are looking for a great album of Bluegrassy Folk tunes, look no further than Trampled By Turtles. And if you can’t get enough of the record, make sure to catch them in Syracuse when they play The Westcott Theatre on April 19th. I’ll be there!

    The entire album is currently available for streaming at their website. Check it out!!!

    http://trampledbyturtles.com/

  • Trampled By Turtles Interview

    Still wildly hot after their highly praised SXSW performances, Trampled By Turtles is making their way to our city in just over a week! With a (spectacular) new album fresh off the presses, I have a feeling this band is going to exponentially increase their fan base this year … Bluegrass lovers take heed.

    Trampled By Turtles are a fantastic band. If any of you are looking to check out some honest, high caliber bluegrass talent, the group will be performing at Westcott Theater on April 19th, and I implore you to go see this show. After hearing their latest album, “Stars and Satellites,” I envision a very lengthy career for the 5-piece from Duluth, Minnesota.

    I recently spoke with guitar player and vocalist Dave Simonett over the telephone to discuss the group’s new release, creative vision, and travel plans for 2012. It looks like it’s going to be a busy year for these guys!

    Interview:

    Greg- Hi Dave and thank you for taking the time to speak with Upstate LIVE! If you would, please introduce the members in the group… Who is everyone and what do they play?

    Dave- Well, I’m Dave (Simonett) and I play guitar, sing and am a songwriter for Trampled By Turtles. Ryan Young plays the fiddle, Dave Caroll plays the banjo, Eric Berry plays the mandolin and Tim Saxhaug plays the bass.

    Greg- Trampled By Turtles has been a band since 2003. How did everyone meet and when did you all decide to start the group?

    Dave- Well Eric Barry, Dave Caroll and I started the group as kind of a side project. We were all playing in rock bands at the time in the town of Duluth, Mn. We wanted to do something acoustic because none of us had ever been in an acoustic project before, so it started as a very informal thing. We kind of learned some old string music… It wasn’t random, but there wasn’t much though behind it. We just had these bluegrass instruments and we wanted to play some acoustic shows.

    Eventually, our bass player joined up and, pretty much around the time he joined, the other bands that we were in broke up, all within a few months of each other. So we were left with this band and, instead of keeping it a side project… We were having a good time, so we just decided to roll with it.

    Greg- So, tell me a bit about Duluth, Minnesota… How is the Bluegrass scene in your hometown? When did you first start listening to Bluegrass music and who are some of your favorites?

    Dave- As far as the bluegrass scene in Duluth goes, there really isn’t much of one. There are a couple of groups, but it’s not like… As great as the music scene is in Dultuh, it’s fairly small, because it’s a smaller city, but I think there is pretty much one of everybody there. There are several rock bands, but none sound like the other. There isn’t really much of a focused bluegrass scene there.

    When we started, we knew of one other bluegrass, old time music band, and it was like a weekly jam in a small restaurant. So, we started doing it because we’d never really listened to it before, and found a whole world of stuff that we loved and I still listen to today.

    If I had to pick a favorite blue grass musician, Bill Monroe is my guy. I kinda stayed with the old generation… I usually tend to go back to that era. They were forging such new territory in kind of a conservative, country music scene.

    Greg- Can you tell me about how you came up with the name for the group?

    Dave- Our mandolin player Eric made it up. When we were starting out, we had a couple of shows booked locally and we didn’t have a name. Eric threw the name out there and it was the one that we all didn’t hate (laughter). It was something that wasn’t taken very seriously.

    Greg- Your new album, “Stars and Satellites” is incredible! Who is releasing the album and where did you record and produce the record?

    Dave- Banjodad (Records) is our own little label and we have released all of our albums on our own. This time around, we went through a little bit of time where we were looking at record labels, but it’s better in the end to just put it out ourselves. It’s a liberating and free kind of way to work, you know?

    We recorded it in a log home just north of Duluth last September.  Eric and his wife had had their second child, and it was the only time we had to work on the record, so we needed to find a space to record that was close to them in that area. So we found this place that was a vacation home that anybody can rent out, and blocked it off for a few days. We moved the studio in and stayed there for a week and recorded it like that. It was an amazing time!

    Greg- Can you tell us a bit about the creative process and who writes the tunes? Is it a joint effort, or do individual members bring ideas to the table to flesh out while jamming?

    Dave- All of the songs that have lyrics were written by me. A couple of instrumentals that are on the record were either written by Eric or Dave on the banjo. As far as the ones I write, I come up with the chords, melodies, and lyrics and bring it to the guys. As far as the band’s arrangement of the song, we work at it as a group and everybody comes up with their own parts for the songs.

    With this record, most of the songs… I think there were two or three that we had played before… The great bulk I had been working on on my own, and we kind of fleshed them out in the studio. There were a couple of times where the first take of the song was the first time the band had played it all the way through, so it was really a fresh kind of feeling. I think what you lose in arrangement, we kind of gain in vibe when we record like that.

    Greg- Nice! How long do you usually take to write a new song/album and was this experience different from your previous records?

    Dave- It’s pretty much the same. We’ve always recorded records pretty fast, and the bulk of this one was recorded in about 5 days in the cabin. We did a couple of overdubs in Minneapolis, but it took us about a week for the record.

    Our last record was a little bit different. We recorded it on weekends, throughout a wider span of time and we did it in a few different studios. But for this one, it was kind of straight through. I don’t think we’ve spent a total of 2 weeks on a record, whether that’s good or not! (laughter) For this band, we’ve always got our best material in the beginning.

    Greg- Whatever you guys did, it worked out really well, so I implore you to keep with that style! You recently astounded your audiences at SXSW and have a very busy tour schedule coming up. Where will you be playing?

    Dave- Well, we start pretty much at our release show here in Minneapolis. Then, we do an East Coast and  South East coast run this month. We come home for a week and a half, and then we go out to the West coast and the mountains next month, and Summertime is filled with festivals that we are really excited about! Come Fall, we’re probably just gonna keep on the road. We do have a lot of busy times coming up, but we are really looking forward to it!

    Greg- Any particular shows you are most excited about or bands that you hope to share a bill with in the future?

    Dave- Well, it’s a hard question to answer. When we go on tour, we don’t go out for a long period of time. I have a 1-year old daughter, Eric has 2 kids… We try to keep it within a couple of weeks so we can come home. So when we pick a tour, everywhere we pick is very much on purpose because we really want to go there, you know? We’re really looking forward to every show. Syracuse is new, so that makes it exciting! It’s just a blessing to be excited about every night.

    Greg- Well, hopefully you get a nice response up here in Syracuse… I’m gonna be there! Lastly, what advice can you give some of the young, up and coming bands out here in Syracuse, in NYS, and everywhere that listens to Trampled By Turtles who want to make it in music, on the road, and as a professional musician?

    Dave- I think the most important thing is to just stay true to yourself. It might sound like a cliché, but it is very applicable in this business. There are a lot of people that are going to try to change what you do in the interest of commercial success, should you get tothat point. But I think what is most important is making the music you want to make, how you want to make it, and when you want to make it. Everything else is a bit out of your control… It’s “Right place, Right time.” But no matter what, you can look back and say ‘Hey at least I did it the way I wanted to do it!’

    http://trampledbyturtles.com/

  • An Interview with Nerve featuring Jojo Mayer

    Far too often, opening acts on highly popular bills fall by the wayside. You know it’s true… Your favorite band is set to take the stage at 10pm and, instead of checking out the 8 o’clock performers, you go to the bar next door because they have $3 drink specials, no line at the bar, and a cute waitress. Though this interview will probably hit the stands after the 3/31/12 DJ Shadow show at Westcott Theater, those in the know, or simply in early enough, will undoubtedly be raving about opening act Nerve as well as Jojo Mayer.

    Founded by Swiss drumming legend Jojo Mayer in 1997, the group has included some of the most astonishing players in our generation’s history.  The 4-piece, consisting of Jojo, Takuya Nakamura on Keyboards, John Davis on Bass, and Sound Guy Daniel Schlett (original sound guy Roli Musimann is in Poland), perform “Reverse Engineered Electronic Music in REALTIME!”

    From a musical standpoint, and in my humble opinion, Nerve is the best instrumental interpretation of electronic music out there. I caught up with Jojo, John, and Takuya prior to their set to discuss musical inspiration, the state of electro-acoustic performance, and the Dubstep Phenomenon. Musicians, Drum and Bass Heads, Junglists, and non-fratboy Dubstep aficionados… Pay attention, and take notes.

    G- Good afternoon and thank you for taking the time to speak for ! You are opening for DJ Shadow tonight… How did this booking come about and how many shows are you playing on this run?

    John- Well, about a week ago I got an email from Samantha at William Morris (Endeavor) randomly, out of the blue, saying that they were seeking support for Shadow’s upcoming tour, and they thought that we’d be a great fit. It turns out someone in the office is a fan of the band, so it was just sort of a last minute flail.

    G- Fell into your lap?

    John- Yea totally!

    G- That’s awesome! It’s a great break and you deserve it! (I’ll state right now that I am a huge fan of Nerve.)…..Nerve has been active since 1997. How did the group come together? Was your formation a direct result of the “Prohibited Beatz” parties in NYC?

    Jojo- That’s 2 questions!

    G- That’s true… oops.

    John- We can’t work like this!

    (Laughter)

    Jojo- Well, the first question is Nerve came together… Nerve has had different band members, and there were different vocalists, different percussionists, different keyboard players. Eventually, it became some sort of filters… those weekly events… where I discovered people. I did not find the people in Nerve… They found us. Takuya came in very early. Jon came around early 2003.

    Prohibited Beatz was an ulterior motive for me because I had the vision of doing this type of music, but I couldn’t find the musicians in my circle. Not a lot of people that I was dealing with had heard of Drum and Bass in, like, 1997… Which is kind of ridiculous because it had already passed its peak! So, it was a very small and selective club of people and when I started Prohibited Beatz, it was to create a pool of people who had interest in this type of culture. Eventually, Prohibited Beatz became the birthplace of Nerve. We didn’t have a name until the NY Times came down to do an interview… I just made it up on the spot and said ‘It’s called Nerve’ (laughs) and it just stuck.

    G- Do you have any intention on bringing “Prohibited Beatz” back?

    Jojo- I feel the itch of bringing it back just because I like to play in my own city once a week, and I can go home and sleep in my own bed… That’s a lot of fun and it’s good for the music. However, it’s very difficult to find the right logistics… Club promoters, owners… That can share the vision with you about doing something that is not commercially oriented, but culturally oriented. I feel the itch to do it, but the odds are against it… If given the opportunity, I’d do it again.

    G- And I would go! In your opinion, what is the current state of Electro-Acoustic music? Have you seen growth and interest from the younger generation looking to further bridge the gap between the two styles?

    Tak- After we started, the last 10 years.

    John- Yea Roli in Europe and myself in Brooklyn, we both end up working with and producing records for a lot of young bands who are doing something similar to what we’re doing. And it’s interesting because a lot of them are coming up with… the concept of playing this stuff live has already been established… They don’t have to create it, it’s already a genre… Which is kind of weird. It’s a generation that has grown up with electronic music.

    Jojo- It’s also, somehow, like… You’re taking it back to the late 90’s when we started. Culturally, things just go in mysterious ways. People are reaching out and grabbing for something that seems to be legitimate, you know?

    G- How do you feel about the recent explosion of Dubstep music into the commercial marketplace? How has this influenced your writing and approach towards new material?

    John- Yea it’s cool. It’s like any music… Some of it’s great and some of it’s terrible. But it’s good. Of course it’s influenced us because we try and listen to whatever is coming out. It’d be kind of stupid to ignore a huge revolution… A new genre taking over. Like if people dismissed Drum and Bass and Jungle when it came out. In that way, it definitely influences us because we listen to it, we check it out, we take what we like from it, and we filter it through what we do.

    Jojo- In general, I welcome ANYONE that creates an opportunity for people to turn off into a different direction. Skrillex definitely did that. It’s not like he did anything that people haven’t been doing in the UK for the past 5 years, but he’s very good at what he does.

    Any person that changes the perception of the general audience… To make them more open… Is positive. It influences us because, you know, it empowers us to go for what we feel, and not what we should do so people will like us.

    G- Since you play a style of music most commonly performed using turntables and otherwise non-acoustic instruments, do you feel Nerve will ever be fully appreciated by the commercial music industry? Is that even your goal?

    Jojo- I don’t care. The commercial music industry is not what it used to be. The commercial music industry is Toys R Us. I don’t have a problem if I don’t have a part in that.

    If I needed to drive a gold plated Bentley, I’d make different decisions than sitting on this couch having this interview with you. I’d be busy doing something else. I’m here because I made a decision to do this, and I’m oriented towards things I think I have to do.

    G- Can you speak a bit about the evolution of Nerve’s recorded output and your approach to writing “Prohibited Beatz, EP1, EP2, and EP3?

    Tak- Everybody has their idea, or sometimes we do a show and improvise a lot, and we check out what we did. And the 3 of us work together sometimes. It’s always different, but sometimes it depends upon the person’s idea.

    It’s not easy, because we are all very strong (headed) sometimes.

    Jojo- What has to be said about the musical content… That usually occurs out of negotiation from jamming. It’s just something that happens and we capture them into something recordable.

    They way we record is we lock out one week, four times a year. In that one week, we just start on Monday and, no matter what we do, we have to be finished and mix ready the next Monday. It might be just one epic jam, or it might be five little pieces of 3 minutes. It turned out that, more or less, we usually came up with 3 songs, and most of those songs are those EP’s. It’s basically back to the way records were done in the 1950’s.

    G-  So, you are all successful independently… Can you tell me about some of the other things you are working on? Any other recordings, performances or anything else interesting in the wing for Nerve as a whole?

    Tak- I play dub reggae stuff. I play keyboards for Lee “Scratch” Perry and last year I started playing acoustic piano… Super quiet, totally opposite but very powerful. I also produce different people and own a club in NY called BPM. And I just released my album called “Mystery of the Cosmos.”

    G- And I have a feeling this is going to be an interesting one, so Jojo… Go ahead!

    Jojo- Well, I always have, like, a menu of work I have to do for other people. Some recordings when I’m in NY. I also interact within my industry as a product designer… I design product for companies like Sabian. I just designed a bass drum pedal for Sonor which is being released. And I have been doing quite a bit of educational work in drum culture. I did a drum dvd which is like a tutorial, and I am working on a sequel for that.

    I’ve been seeking out a lot of collaborations outside of the music industry. Anything that gives me the ability to work with creative people outside the music industry. I have a project with an architect which is very interesting. I might be doing something with a symphony orchestra… He’s writing music around my things, something that I’ve never done. When this tour is finished, I’m going to Europe to work with tap dancers.

    But really, the central focus right now is Nerve… It’s been my pet project for the past, almost 15 years. If you ask me a year from now, hopefully I will tell you that I don’t do anything else.

    Jon- I’ve been working on a bunch of records. I just tracked and mixed a record for this band called The London Souls, and mixed the new Lettuce record. Rootscollider, an Upstate band… I’ve done all their EP’s. Umm… Yea just lots of records.

    Jojo- John is also an engineer and he runs his own studio called Bunker Studios which is incredible… You have to check it out.

    G- Lastly, what advice can you give some of the young, up and coming bands out here in Syracuse, in NYS, and everywhere that listens to Nerve who want to make it in music, on the road, and as a professional musician?

    Tak- Quit your day job!

    Jon- Be nice to people when you can, and be stern when necessary. I’ve met so many talented assholes who haven’t gone anywhere because they can’t get along with people. There opinionated or stuck up, and there are some amazing players stuck playing $50 gigs in NYC because they’ve turned everyone off.  Being positive to be around is hugely important in the music industry.

    Jojo- Yea I think attitude is a big one. In the end, talent will buy you a lottery ticket, but if you want to win it… There’s some lucky motherfuckers out there, but usually it’s just hard work. And it is a “People Business”… You play for people and you work for people.

    One other thing is be persistant. Don’t be discouraged by failures because there might be an opportunity, or it might be a blessing in disguise. And it’s ok to be different and it’s important… Don’t position yourself too closely to people you idolize. At the end of the day, if you want to be #1, you have to be yourself.

    Tak- Keep going and don’t look back!

    http://www.jojomayer.com/

    http://www.facebook.com/NerveOfficial

    [youtube http://www.youtube.com/watch?v=zn63PrEkKT8?rel=0&w=560&h=315]

  • Greg’s 10 with Hot Day At The Zoo

    New England is a hotbed for upcoming talent. It is always a pleasure visiting Massachusetts, Vermont, New Hampshire, and Maine because I know there will be some sort of live music event occurring. Large or small, the musical environment in these states is always impressive, impassioned, and energetic.

    Hot Day At The Zoo has made a name for themselves nationwide with their high energy genre blends, incorporating Folk, Blues, Jazz, Rock, and Americana into flowing, technical jams that draw the listener right in. The name of their most recent release, “Zoograss,” recorded live at The Waterhole in Saranac Lake, should give you an idea about what kind of energy and feel they are going for in their performances.

    Therefore, when given the opportunity to witness Hot Day At The Zoo at Westcott Theatre on March 30th, I wasn’t about to say “No!” Cool guys they are, I was able to sit down with Michael, JT, Jon, and Jed to get to know the guys a bit better, discuss their live shows, talk about their writing process and approach, and gauge their excitement about being one of the main acts on this year’s Fiddler’s Picnic happening in June.

    G- Hi guys and thank you for taking the time to speak with me for ! So, where do you all come from?

    Michael – I come from Lowell, Mass where the band is based out of, and a couple of these guys are all southern New Hampshire cats, but we consider ourselves based in Lowell Mass.

    Jon- Well, he does! (Laughter)

    G- So it’s a struggle on the New England states right now!

    JT- You know, it’s 3 against 1!

    G- Hahahaha! How long has HDATZ been a group? How did everyone meet and when did you first get started?

    Michael- I’ll take part A. We’ve been a group for 9 years. (To Jon) You can take part B.

    Jon – I used to do an open mic thing and I met Mike. I started picking with them and then they picked me up there. And so basically the local music scene, in the Lowell area, we just kinda found a place there.

    Michael- Jon was our dobro player for 3 years. He’s the dobro player on our first album.

    G- How did you guys come up with the name of the group?

    Michael- It was actually born the first day we ever played together at my dad’s house. Playing for hours on end, finally we took a break to go have a smoke and have some drinks. We went back into the room after playing and it fuckin’ reeked… It was just overwhelmingly putrid, and it was us. So somebody just said ‘It smells like a hot day at the zoo in here.’ And the funny thing is it was the middle of January… Freezing outside! So the name just stuck… we never let it go.

    G- You are known for your energetic performances and your ability to draw influences from many different styles of music. By incorporating Bluegrass, Folk, Jazz, Americana, Rock and Roll, and many styles into your music, you have a fantastic overall reach… There is something for everyone! Was your goal to be limitless, or did the sound come about organically?

    Jon – Organically.

    Michael- Yea definitely organically. For the first few years there was almost no practice… It was all stage time. Until JT showed up, and he made us practice. (Laughter throughout).

    G- Atta boy! Any particular bands that influence your style?

    Michael- Well, Jed is a huge Village people fan!

    At this point, Jed breaks out into an acoustic rendition of Y.M.C.A. Let it be known that HDATZ are very friendly, good time guys.

    G- This is going on the bootleg, right here! Anyways… Your most recent release is titled “Zoograss,” on your own record label, INTA Records. The album was recorded live in Saranac Lake, NY at The Waterhole… Can you discuss why did you decided to record a live record? Tell me a bit about the experience.

    Michael- I’d say the best thing about that experience is that we didn’t actually plan on it. It wasn’t like we went in and said ‘We’re going to record an album tonight.’ It just got recorded.

    3 or 4 months later, the next time we were playing up there again, the house engineer said ‘I got this old recording last time you were here’ and he gave it to us. It was just a stereo recording, but he said he did it all multi-tracked. When we listened to it on the van ride home, it was pretty powerful, so we asked him if he still had the multi-tracked mixable version, and he said yes. So we bought it off of

    him, and mixed it ourselves.

    Jon- The whole show was a surprise!

    G- Your website states that Jon (Cummings) and Michael (Dion) are the primary songwriters for HDATZ. Can you tell us a bit about what your writing process is like?

    Jon- I think Mike and I probably write the same way. We come up with a basic format for a song… Hook, words, and chords… and we bring it to the band. Then JT and Jed start getting their hands on it, and we mould it as a group from there. Mike and I draw the lines, and those guys color it in.

    G- FUCKIN’ TRACERS!

    Room busts out in laughter again!

    G- So, what does HDATZ have in the works for 2012? Are you currently working on any new recordings or trying to break into any new markets?

    Michael- (Laughing) New bass player, new banjo.

    Jon- We’ve been going down to Virginia and Washington D.C., so we are trying to hit down South, and then West. We are trying to do a 15-hour radius with the new markets we are trying to hit.

    Michael- Michigan, Ohio…

    G- Nice… Day trip! So, You are one of the main attractions at this year 1st ever Fiddler’s Picnic happening in June, and there are several incredible acts sharing the bill with you! What can you tell us about the difference between festival performances and your own club shows? Which do you prefer?

    Michael- I think, generally speaking, festivals are just too much fun! You’re put in front of a huge audience that you typically wouldn’t get a chance to play in front of. When you headline your own show, you have people coming out to see just you, for the most part. So there is a connection between opening sets and festival slots where you’re in front of a lot of people who’ve never heard you before. They’re all cool, though. I don’t really differentiate… We just do our show!

    G- Right on. I’m not sure if there is any consensus, but what is the most memorable show HDATZ has played to date? Can you tell us about the experience?

    Michael- (Laughing) That one show where Jed took his clothes off… It happens all the time!

    JT- “Zoograss” was great!

    Jon- For me, one show that stands out is opening for David “Dawg” Grisman (Grateful Dead collaborator) in Portsmouth, NH at the Music Hall. We were firing on all cylinders and had a great time! The sound was incredible and we were received very well. We actually got a standing ovation from a “Dawg Crowd” which, to me, is pretty cool! Afterwards, we hung out with David for a little bit. The whole experience was pretty amazing!

    G- Nice! Lastly, what advice could you give some of the young, up and coming bands in Upstate NY who are looking to become successful, professional musicians?

    Michael- Don’t do what we do!

    Room explodes in laughter.

    Michael- No, just stay true to yourself. Don’t bend to anyone else’s will. Art should be limitless and unhindered. Don’t let anyone fuck with your shit.

    JT- Quote him on that!

    G- Michael Dion. Hot Day At The Zoo. Gangsta Rapper!

    Michael- “Rolling down the street in my ‘64”

    G- That’s awesome guys! Thank you very much!

    Clearly, we all had good time! Check out a full review of the show in the upcoming Music Guide, and be on the lookout for these guys when they come to Fiddler’s Picnic… It’s going to be a wild one!

    http://hotdayatthezoo.com/

  • The Electric Company in Utica to close its doors

    The Electric Company in Utica to close its doors

    The following report was posted on the Electric Company Varick St Facebook page this afternoon.

    “In 2002 Anthony Donaldson, Matt Mercer and Laura Ruberto opened The Electric Company for one reason: to bring independent, live music to the area. The scene was exploding, but there were no local bars to attract the acts. We and our friends lived for live music and were traveling to Syracuse, Albany, New York – hundreds of miles – for shows.

    electric companyOpening The Electric Company seemed like a logical business decision; it was pretty clear there was a demand that needed to be filled. But the personal appeal was just as strong – the prospect that we and our friends could enjoy all our favorite bands and be exposed to great new music in the comfort of our own venue seemed like a dream come true.

    electric company

    It proved to be a rewarding move. We have showcased some of the best national acts as well as provided a venue for local musicians to gain exposure. We enjoyed the shows, our friends enjoyed the shows and we made a lot of new friends along the way. Ten years later, it is with a heavy heart we announce our decision to close The Electric Company.

    electric company

    The secret to success in this business depends largely on timing. The timing was right when we opened our doors in 2002, and we feel strongly that the timing is right in 2012 to close. A lot has changed in the live music scene. The economy has changed. Our audience has changed. And we have changed. Perhaps if the opportunity presents itself in the future and the timing is right again we will return, but for now this chapter is ending.

    But we don’t plan on going out quietly. In the coming weeks look for a wide variety of bands from our early days to recent favorites, including Mecca Bodega, Conehead Buddha, Rhubarb, Belikos, Floodwood, 3 Inch Fury, Woodenspoon and Sassafrass Jenkins to name a few. We will wind it all up with an all-day customer appreciation party on Saturday, May 12 to thank our EC family for the love and support over the years. We couldn’t have done this without you.”

  • Galactic with The Soul Rebels at The Westcott Theater – 2/28/12

    Galactic with The Soul Rebels at The Westcott Theater – 2/28/12

    With 10 releases, a host of tours under their belt, and Stanton Moore hitting for them, you better believe Galactic are the real thing. The New Orleans Funk/Rock/Soul/Hip Hop extraordinaire have been getting crowds pumped up and bodies moving for close to 20 years! Their recent stop at Westcott Theatre was certainly no exception to the rule… These guys wail in concert!

    In between sips of The Westcott Theater’s fine ale, I scoped out the elaborate stage set up in anticipation of my first complete performance by the group. A full but comfortable crowd flooded the bar to stock up on drinks prior to show time… Ritual for any concert event. At 9:32 pm, the bass started thumping, the drums kicked in, and we were off!

    For those of you unaware… Let it be known that Galactic wastes no time getting to business. The sextet laid it down from the moment they hit the stage, and the crowd ate up every bit of it! Their set was chock full of rhythmic high and lows… Super thick, soulful, and heavy on the backbeat. The bass could be felt within the listener’s chest, and the richness of the melodies and pulse of the groove could make even the most obstinate of wallflowers bob their head along to the beat. This was 30 seconds into their first song.

    © Matthew Balch

    Then, to my gleeful amazement, they introduce Corey Glover to the stage on song 2! Though he was clearly listed as a guest performer, I had no idea they’d bring the legend onstage so quickly. Arguably one of the best front men ever, the Living Colour vocalist tore through the next 3 songs with the group, his distinctive high range vocals cutting through the music like a hot knife through soft butter. He would reappear often.

    © Matthew Balch

    The band kept it groovy throughout the entirety of their set. Each member was given ample time to showcase their well-honed style, yet always kept it in the context of the song. Robert Mercurio’s fat bass lines filled the venue with enough bottom end to keep Sir Mix-A-Lot drooling, Jeff Raines’ guitar and Richard Vogel’s keys adding the textural layers and catchy hooks, and Ben Ellman’s saxophone providing the sharpness to keep the groove edgy, completing the sound.

    © Matthew Balch

    But it is clearly drummer Stanton Moore’s show when Galactic performs. A well-known and highly respected guru behind the kit, Stanton proves, without a doubt, that white boys can groove. At center stage, his elaborate drum kit setup is the first thing you witness, with the exception of the large silver-glitter “G” directly behind it. And let’s face it, it’s a funk band… There ain’t no funk without a funky drummer. Stanton, living up to the name, undoubtedly has all the goods necessary to bring a smile to Clyde Stubblefield’s face.

    Opening act The Soul Rebels also made an appearance on stage with Galactic, adding to the already dense tone coming from the band. With a total of 13 players on stage, Syracuse caught a glimpse of New Orleans musical brotherhood at its finest. The group, who also call New Orleans home, were an excellent opening choice for this touring cycle. Playing a solid 45-minute set, the 8-piece (consisting of 2 trumpets, 2 trombones, 2 drummers, 1 saxophone, and 1 sousaphone) played a funky, soulful batch of jams that were thick with groove. There sound was full and lush, offering excellent texture, harmony, and some solid solos by the horns.

    The crowd was mellow for the octet, but got into it when prompted from the stage. The punctuated call/response from horn players-turned-MC’s livened the atmosphere, and there was even a touch of rhyme at times.

    Towards the end of their set, 8 members turned into 11 when Stanton, Ben, and Corey from Galactic joined the party on stage for “I’m So Confused,” a cut from the Rebels’ latest album. Finishing up with a funked out Eurythmics medley to end their time on stage was a nice touch.

    © Matthew Balch

    Highlight of the show… A 13-man jam of “Cult of Personality,” Living Colour’s biggest hit, all funked up! With every member of Galactic and The Soul Rebels present on stage (Corey singing, of course), it will definitely stand out as my most memorable moment of the show… Just nasty! Though the cover lacked the angst of the original, the mob on stage owned the track and pulled it off well!

    If you did not make it to the show, I can’t help but think you missed out. If you ever need to cut loose, let off some steam, and shake your butt for an evening, Galactic is the act to see. And props to the venue, too… Westcott Theater is a great spot to see them perform. I am sure they will be having them back to the venue at some point after a turnout like this, so keep an eye out and a night free when they do!

    www.galacticfunk.com

    CHECK OUT THE COMPLETE PHOTO ALBUM
    FROM MATTHEW BLACH ON FLICKR

  • The First Niagara Rochester Fringe Festival will make its debut in Downtown Rochester’s East End on September 20-23, 2012

    In the tradition of most fringe fests, the First Niagara Rochester Fringe Festival will act as a facilitator, with venues themselves choosing and producing their own shows based on applications from artists, groups and producers.  Applications will be accepted until April 14 at www.rochesterfringe.com for shows at these official venues: Bernunzio’s Uptown Music, Blackfriars Theatre, George Eastman House, Geva Nextstage, Hatch Recital Hall (at Eastman School of Music), Kilbourn Hall (at Eastman School of Music), Java’s, Max of Eastman Place, Montage Music Hall, RAPA and Rochester Museum and Science Center (RMSC). More East End venues will be added, and seven others are already planning their own events.

    Festival producer and Rochester native Erica Fee made the official announcement Friday, first giving a brief history of the term “fringe festival” which was used to describe independent shows that sprang up around the Edinburgh International Festival in Scotland, now the largest arts festival in the world. “Rochesters four-day Fringe will have that fun, expect-the-unexpected feel, while showcasing everything from theatre and dance, to visual arts and music, to comedy and family entertainment. There will truly be something for everyone!” explained Fee. “Four days. Dozens of shows. All on display throughout Rochester. It’s a festival the likes of which Rochester has never seen before. A spectacular celebration of the performing and visual arts in the heart of Rochester’s East End, featuring world-renowned performers as well as up-and-comers.”

    For official Rochester Fringe Festival information visit www.rochesterfringe.com