NYS Music 20​12

Category: Reviews

  • Trey Anastasio: Traveler

    Trey Anastasio: Traveler

    I was surprised when I learned that the latest Trey Anastasio album Traveler, released October 16th via Rubber Jungle Records/ATO Records, marked his ninth solo album outside of Phish. The various arrangements of Trey Anastasio Band have yielded some amazing songs over the years with Trey able to pick and choose his playing partners, collaborators, instruments and musical styles. Traveler sees Trey taking the contemporary big band formation and mixing it with other modern day influences and musical stylings.

    Along with some heavy production work, especially on some of the vocals, the album takes on an almost indie-pop feel at times but also features familiar song structures and lyrical styles associated with any album that has Anastasio and Tom Marshall collaborations on it. As a result, the album bounces in different directions from track to track and never seems to really settle on an overall theme.

    “Corona” opens the album and serves as a fun opener of sorts with driving guitar work and vocals from Trey early on. The song then goes on to feature some interesting xylophone arrangements and harmonized vocals before ending abruptly.“Let Me Lie” provides a new interpretation of the song that’s also played in the live setting by both Phish and Trey Anastasio Band. This introspective song gets a pop makeover here and features a much faster and harder drum beat courtesy of Bryan Devendorf of The National. This band, a favorite of Trey’s, has their influence all over this album as it also has Matt Berringer lending a hand on vocals and was co-produced by Peter Katis who also helped produce some The National’s more acclaimed albums like Alligator and Boxer.

    “Land of Nod” is one of the tracks that steers the album in a relatively unknown and fun new direction. It features precise horn charts meshed with an almost drum and bass-like opening few minutes that sounds like nothing I have ever heard on a Trey or Phish release. The song features more of the aforementioned heavily produced vocals as well as harmonized theremins to give the ending a spacey feel. It is one of the true musical treats on this album.

    Traveler contains some more material that may be familiar to those who attend shows regularly. “Pigtail”, a song played by Phish once before in the fall of 2010 adds to the heavy pop influence on the album with more harmonized vocals and a signature Anastasio guitar solo. “Clint Eastwood” is a song heard regularly on TAB tour these days and this version doesn’t stray much as the swank vocals provided by Jennifer Hartswick and hip hop style production provide a more than respectable cover of this Gorillaz hit. Another song that’s a regular in the TAB rotation, “Valentine”, also appears later on in the album. This track is really well produced and mixes the full horn sound with the driving rhythms behind this song beautifully. While all of these songs make for easy listens, I found it curious that Trey decided to devote three tracks of his solo album to songs like these instead of other original material.

    One of the more interesting tracks on the album is “Scabbard” which brings the Frank Zappa influence to the surface with its elaborate musical orchestration and synth sounds that surround another vocal section full of pop flavor. Intricate acoustic guitar work and more blissful string accompaniment at the end make this one of the more complete tracks on the album. The ending has an almost Radiohead-feel to it before gently fading out.

    The album’s title track doesn’t really have to much offer and other parts of this album seem to meander with no known direction at times. Overall, the album seems to be the result of Trey taking his renowned style of rock and improv and blending it with elements of pop and indie rock. There are a few choice cuts and certainly moments of brilliance, but don’t expect Anasatasio’s Traveler to go down as his signature album by any means.

  • Soul Risin’ produces a powerful third album in ‘Rise & Fall’

    Soul Risin’ produces a powerful third album in ‘Rise & Fall’

    I was introduced to Soul Risin’ in 2009 by my friend Greg who noted that Jon Fishman himself called himself a fan of the group. When Phish played the War Memorial in the fall of 2009, an indoor lot scene was created with vendors of food, beer and clothing, as well as a few bands, most notably, Soul Risin’. Their first two albums were in regular rotation on road trips and the third album will find a home in the mix very shortly.

    Soul Risin'The album kicks off with “Don Negativo (Fool Like You)”, a country/rock foot-tapper, including a Blues Traveler vibe in the vocals that push right to the edge of each peak, building up again to the refrain. Title track “Rise & Fall” has a “You Can Call Me Al” rhythm, very calypso in composition with evenly balanced horns in the back. This is a definite crowd pleaser of a tune. “Heavens Done” has funk and blaring horns from the start, scat style singing and large builds with the horns, giving the band it’s first rock anthem of the album. “Tidal Waves” has a rockabilly, hip shaker beat to it while “Leaving Train” is the first softer track on the album, growing to nearly a full band ballad.

    The next few tracks (“Worcester”->”Baby”) carry the theme of the passing of lead singer Bryan Weinsztok’s father last year through the birth of his child this spring. 

    The island jamming music of “Worcester” is a little Strangefolk-sounding mixed into the progressive jams and guitar work. This track opens up nicely with keywork from Mike D’Ambrosio before returning to the composition and Weinsztok’s impassioned lyrics. “The Door” gets started on a slow and steady path, but halfway through diverges and gets abruptly louder, with notable accents from Adam Fisher’s bass.  Another album highlight, “Part Two/Open the Door” showcases John Capozzolo’s drum work and Jim Dunham’s Percussion, providing the framework for the band to create a song with even greater depth; one cannot help but recall Dave Matthews efforts from a decade ago when hearing “Open the Door”, a compliment to this grand track.

    “The Greatest Advice” moves by at a breakneck pace but the lyrics chillingly stick out, notably the repeated “Love means more than madness, when we’re tossed off to life’s great abyss. Ours is the flame that burns in this insane world over.” A lullaby sung from father to child, “Baby” is the softest moment on the album. “Punk” takes the album out on a high note, with Weinsztok’s guitar tearing through the song.

    Key Tracks – Rise and Fall, Worcester, Part Two/Open the Door, The Greatest Advice

    Soul Risin’ plays Saturday at The Westcott Theater for the official album release party. You can win tickets via at the bottom of this page.

    Soul Risin’ on Facebook 

  • One World Concert at The Carrier Dome

    It’s hard to imagine a reason why thirty musicians from all corners of the world and all genres of music would be performing on a stage in Syracuse.  But if you can imagine the Dalai Lama being the combining force that brought them all to The Carrier Dome on Tuesday, October 9 for The One World Concert.

    Labeled as “a historic celebration of peace, music, and common ground,” was a fast paced variety show, exhibiting some of the world’s best musicians, in order to share the message of peace with the world.  As Whoopi Goldberg the emcee put it, we were all there for a “piece of the peace.”  And while that may have been true for a fair amount of the audience, the great majority was there for the star-studded line-up meant to perform after the Dalai Lama’s speech.

    Aside from a few technical issues, the speech given by His Holiness the 14th Dalai Lama was both inspiring and entertaining.  Who would have expected one of the great spiritual leaders of the word to have such a great sense of humor and be taken seriously while wearing a Syracuse University visor?  He spoke of peace, tolerance, and leaving the past centuries of war and conflict behind us for a new one filled with peace and happiness.

    When Dave Matthews came on stage, everyone was filled with happiness to spare.  The renowned artist graced the crowd with a three-song set, a rarity for the evening and a privilege only granted to four of the thirty acts at the concert.  Without a doubt, Matthews was the headliner.  After his performance of “Mercy,” the crowd was ready for the rest of the concert to get underway.

    Natasha Bedingfield sang “Unwritten,” Nelly Furtado “Spirit Indestructible,” and Cyndi Lauper and Angelique Kidjo did a duet of “True Colors,” as everyone seemed to be having a great time, really paying attention to and enjoying the music.  That is, until Roberta Flack came on.  The audience seemed more interested in trying to keep a wave going, than actually listening to her perform.  Needless to say, the artist was upset and ended up leaving the stage without so much as a goodbye.

    The world music artists were expectedly unknown to most of the audience members, with the exception of AR Rahman.  However, Rahman didn’t even sing the song that made him famous by him and The Pussycat Dolls for SlumDog Millionaire, so most people were truly hearing his music for the first time.  There were also artists from Afghanistan, Iran, and Israel.  In fact, this concert marked the first time in history an Israeli artist and Iranian artist shared the stage.  The Israeli pop singer, Liel Kolet, was one of the few artists who got a three song set, and she seemed to impress the crowd.

    By the end of the show, the stadium had emptied out significantly.  Being a college campus on a week night right before mid-terms, it was to be expected.  The closing act was Counting Crows, and they had a straight-up jam session lasting several songs that was great to watch and a fantastic way to end the show.

    Review by Morgan Craig

    Previously known for his traditional Hasidic beard and fedora, reggae star Matisyahu proved the old cliché “you are your hair” to be true when he stepped out on stage at the One World concert freshly shaven and quaffed. New album, New man, and a handsome new man at that. During his performance a few rows behind me, someone shouted “You’re Hot!”, a phrase I have never heard used to describe Matisyahu before. On stage he seemed right at home, as Matisyahu grew up in Westchester County, New York about four hours away from Syracuse, where he attended White Plains High School.

    When the lyrics to the hit “One Day” off his 2010 album Light echoed throughout the dome it was clear why he chose to perform the older song.  “Sometimes I lay under the moon. I thank god I’m breathing.” The perfect compliment to the messages about cherishing life from the Dalai Lama. The words: “We don’t wanna fight no more, there’ll be no more wars and our children will play” gave me chills. I looked around the bleachers to find that the rest of the audience was just as moved, bobbing and swaying to the relaxed vibe. Inspired voices in the crowd sang along to the chorus repeating the words “One Day” and in that moment the possibility of one day having world peace really hindered in the air.

    After reading the names David Sanbourn, Cyndi Lauper, and Angelique Kidjo on the set-list for the One World Concert at Syracuse University last Wednesday. I had never imagined the three would collaborate so melodically. Nor should I have been surprised by anything at that point in the concert considering Whoopie Goldberg had  introduced the Dalai Lama (who later gave up the stage to Dave Matthews). Like an iPod on shuffle you never knew what would play at the One World Concert.

    The child in me gawked at the stage as the great Cyndi Lauper emerged in an edgy black and white suit jacket and loud pattern leggings. “We’re gonna do a song.” From the floor audience someone yelled “Girls Just Want To Have Fun!” to which Lauper replied with a smirk, “Not that one. I do wish you a lot of fun though.” She proceeded to pick the strings of a steel pedal guitar. David Sanbourn added to the sound with an aged-to-perfection-saxophone and then Angelique Kidjo let out her stunning vocals and the three produced a rendition of “True Colors” that left every soul rejuvenated.

    A tranquil sense of peace and oneness fell over the dome until Angelique Kidjo to an energetic bound back to center stage for a solo performance of “Afrika” off her sophomore album Spirit Rising. There was not a single booty in the arena that wasn’t shaking to the bongos. I’d be surprised if the Dalai Lama himself wasn’t moving his peace-maker backstage. In a shimmering blue suit jacket, Kidjo single-handedly turned the previously calm One World Concert into one big peace-party. My peers and I, as college students, saw Kidjo as just another obscure world-music artist on the set-list whose performance we would use as a chance to run to the bathroom before acts like Matisyahu or Swizz Beats. However, the instant we heard her booming, divalicious voice we were hooked. Her energy was contagious. From 30-year old men to high schoolers everyone in the Dome had caught the afro-fusion fever. Angelique Kidjo was the perfect example of how music can bring people together.

  • Widespread Panic produces classic ‘Wood’ album

    Widespread Panic produces classic ‘Wood’ album

    Earlier this year, southern jam rockers Widespread Panic embarked on a four city, 11 date tour that relied on acoustic performances of originals and a nice array of covers that took the band a step away from their arena-rocking sound towards subdued but fantastically creative performances. The product of this tour is Wood, which includes a wide array of selections from the Washington D.C., Denver, Aspen and Atlanta shows from January and February this year. The band gave fans a unique experience before taking off the rest of 2012 to relax and refresh.

    widespread panic woodThe full band’s acoustic sound is spectacularly mixed by John Keane at John Keane Studios and mastered by Ken Love at MasterMix, giving each song a crisp sound that allows the listener to hear the subtle instrumentation applied to songs like “St. Louis” and “Good Morning Little School Girl”. The tracklisting features a broad selection of Panic songs from over the years, as well as new covers that hopefully will make an appearance in regular rotation when they return to the road in 2013. The album plays like a regular live, acoustic show with two disks for two sets, or 1 long one depending on how you look at it.

    “The Ballad of John and Yoko”, one of the many covers debuted this tour, breaks the ice on this acoustic album; an acoustic album is far from a way to say ‘quieter music’ – this is a full and at times, a heavy album, thanks to great sound and recording. Straight up rocker  “Imitation Leather Shoes” has a different sound in this format, and fans of Panic will find this tune a unique twist on the original. A swing version of “Tall Boy” makes this gospel-friendly song a Dixieland tune while “Many Rivers to Cross” is soft and soulful, with JB singing the Jimmy Cliff tune perfectly.

    Dave Schools’ bass resonates in the softest thumping manner on “St. Louis”, Alan Price’s “Sell Sell” is a unique song from the British film O’ Lucky Man and Howlin Wolf’s “Tail Dragger”, a nasty blues number that is perfect for Widespread Panic in this format. “Tickle the Truth” is gritty and nasty and it seems that acoustic is a preferable way to perform the song. “Fixin’ to Die” features Col. Bruce Hampton on vocals in a traditional Panic sit-in on the upbeat number.

    “C. Brown”, the story of a boy and his dog, is softer than live versions and has percussion that sounds like Sonny Ortiz playing a small child’s xylophone. “Blight”, the Vic Chesnutt classic is as dark as ever without amplification while Bloodkin’s “End of the Show” gives John Bell’s mandolin a go through impassioned vocals, a perfect ending to this album.

    Not since the Sit n Ski tour of 1996 were audiences treated to intimate shows like these. Pick this one up and enjoy some classic Panic.

    Key Tracks: Ballad of John and Yoko, Tall Boy, St. Louis, Tickle the Truth, C. Brown, End of the Show

    Pick up the album at Widespreadpanic.com

  • Dum Dum Girls at Schine Underground, October 11th

    The Dum Dum Girls are a band whose genre cannot be defined in a simple manner. When describing the group, fans of the Dum Dum Girls often use phrases like “dream pop,” “noise pop,” or “chill wave.” They use phrases that aren’t necessarily found on the iTunes “Music Categories” tab.

    This precise characterization associated with the Dum Dum Girls is a result of the band’s effort to create a musical style of their own, one that strays in the opposite direction of today’s exclusively female pop groups. In doing so, Dee Dee, Jules, Sandy, and Malia have pinpointed exactly how they want to present themselves, and on Thursday, October 11, this presentation was put on display at Syracuse University’s Schine Underground.

    Introducing themselves in lace tops and skirts significantly shorter form a proportional perspective than their complimentary tights, the Dum Dum Girls spoke first with “Mine Tonight,’” the opening track of their recently released EP, End of Daze.

    As their set progressed, the Girls continued to emphasize End of Daze, playing four of the EP’s five songs that earned the band “Best New Music” recognition from Pitchfork and a spot on this year’s CMJ lineup in New York City.

    Tracks from their two full-length albums, “I Will Be” and “Only in Dreams”, appeared in the eclectically put together set as well, along with the title track from 2011’s He Gets Me High.

    Throughout the show, the Dum Dum Girls also committed to communicating primarily through their music, deviating from any pre-song banter with the crowd. While many musicians take some type of conversational approach in an effort to connect with their audience, The Dum Dum Girls exhibited no such strategy. This lack of dialogue, however, by no means correlated with a disconnected audience. The venue’s guests found themselves dancing with the set’s more upbeat songs, driven by a snare drum that created a rhythmic version of sounds not unlike those of gunfire.

    The band’s mellower songs reflected lead-singer Kristen Gundred’s (A.K.A. Dee Dee) angelic stage presence. Standing out as the lone “Dum” blond, Gundred exemplified both a seraphic appearance and vocal ability. Her ethereal nature, however, fittingly contrasted with her punk-rock attitude.

    The Dum Dum Girls’ commitment to epitomizing rock lasted their entire set and peaked as they transitioned into their final song, covering the Smiths’ “There is a Light that Never Goes Out.” The Girls showed no fear in presenting one of Morrissey’s most popular songs to a surely Smiths-savvy crowd.

    This type of audacious behavior has resulted in burgeoning success for the Dum Dum Girls, putting Dee Dee and company exactly where they want to be.

  • Medeski, Martin and Wood: An Acoustic evening at the Massry Center for the Arts

    This past Saturday evening, I had the pleasure of enjoying Medeski, Martin and Wood, or MMW for short, perform an acoustic show for a sold out audience of 400 fans at the Massry Center of the Arts at The College of Saint Rose. Having never before been to the Massy Center, I had only heard that it had possibly the best sounding room in Albany. I was excited  for MMW to let their brand of beautiful noise loose in this room. Oh and how they let it loose!! More on that however, first some history on the center itself.

    A subtle grace is bestowed upon Massry Center. It isn’t apparent how graceful it is until you dig deeper. Some 450 feet deeper to be exact, as it is heated and cooled by a geothermal system originating from 40 wells dug beneath the building and its adjacent parking lot. It gets greener yet with 35% of its electricity supplied by wind and water. Using no fossil fuels, it also is made of 78% recycled steel and 15% recycled concrete. Gorgeous American and Patagonian Cherry wood is used on the doors and floors in accordance with standards set by the Forest Stewardship Council. All of these attributes makes it almost 50% more efficient than a comparable building built conventionally.

    Arriving close to the 7:30 starting time, I met up with photographer Chris DeCotis. We assumed our seats on the top landing facing down the stairs for a great view of the stage. Due to the show being sold out we were relegated to chairs, but being a rather lanky fellow I was pleased to not be crammed into a theater seat. Most of the seats were filled and just after 7:35 MMW began.

    As DeCotis assumed his position near the floor, I sat back and prepared for the inevitable onslaught. Having seen MMW around 25 times previously, I knew how unpredictable and how completely mind blowing they can be. These Berkelee College of Music trained musicians began their career in 1991 playing acoustic together and can read each others every syncopated move like Jedi knights. I had not seen them perform acoustic before so I was in for a very special treat.

    They began with a short intro then blasted into “Piano/Bass Chase” a free wheeling number that had everyone’s attention; no easing into things tonight. Very smoothly sliding into a improvised jam, the trio was clearly at ease, when they decided to shake it up a bit. They moved into a “Melodiccordian Shuffle” where Medeski plays a melodica/accordian hybrid, both rollicking and funky, to the point where I’m having a hard time sitting still. The crowd is bobbing heads and tapping toes in time. It’s the third song before they take a short breather. After playing a bold “Truth or Suffering” and very tight “Down On Me” things get weird. Playing an instrument that looks like someone tried to make an Oboe out of a Didgeridoo, Medeski showed his versatility, while Chris Wood opted for the electric bass and Billy Martin played all manner of random percussion in his repertoire before settling on two handfuls of orange plastic clothes hangers.  To close the first set they play a chopped up and regurgitated “Suspicious Minds” which I recognized but could not place the original artist…thinking it was a Tom Jones song, I realized later it was originally Elvis.

    After taking a short stretch break, the theater filled back up and is ready for round two. A quick intro leads right into “Nostalgia in Times Square”, segueing into “Angel Race (I’ll Wait for You)”. Wood’s upright bass solo in the middle on an extended “Illmoan” is a moment of focus in a tribal fertility space funk. Following the completion of “Illmoan” was another jam with John Medeski on the Slovakian Bassoon (or in my mind the Obidgeridoe). Never compromising, they round out the second set with a more straight forward “Pocket Knife” followed by a Drum Solo from Billy. Finishing the set with “Olde Wyne”, the boys were really feeling it and swerved around the song with ease.

    They were lavished upon with a standing ovation from most of the crowd, cheering, whistling, hooting and screeching for more. The crowd loved it and wanted more. They take the stage and the usual mouthpiece, Billy, gives their collective appreciation for being able to play acoustic for us. They finish the night out by encoring with “Fall River Blues”. Again, I find it hard to sit down, and know that I’m not the only one.

    Download Andy Murray’s recording of Medeski, Martin and Wood Acoustic

  • A Taste of The Bloodroots Barter, Ausable Forks, October 5th

    There is a certain feeling that a ‘traveling-through-town’ kind of band like The Bloodroots Barter gives you. They wander around, spreading their music; the kind of music that makes you stop and listen. You just can’t help but get entangled in their woodsy, worn, roots, southern vibe.

    I experienced the casting of their spell this past summer and have made my way to meet them at their stops around the North Country ever since. I find myself, among other mountain-towners doing whatever it takes to make it back for more, much like they find themselves called to come back up north. We’re all craving good string music up here and they’re craving good people to play for.

    The four-piece band traveled all the way up from Kentucky and hits every small-town with rusty whiskey drinkers on the way. They’d rather travel the back roads to get where they’re goin’ and their music tells that story. With a banjo, stand-up bass, accordion, guitar, fiddle, washboard, finger cymbals and a kazoo, these guys and gal bring a dusty old sound to your ears. They give out of the attic sights to your eyes and a one of a kind chemistry to the space you find yourself in. Their lyrics combined with their heavy southern accents take you to a place in the deep south and fill your ears with raspy verse. Who wouldn’t want that?

    One might be tempted to call them bluegrass but they are certainly in a category of their own. They are Old Crow Whiskey fueled Kentucky bloodgrass. They strive to be more then a band, they put on a show. Lead vocalist Casey Papendieck says they “want to get into all the senses of their fans”. They’ve got costumes to match the music, props that play on their sound and home-made goods they bust out of an old trunk and lay across an antique table covered in lace.

    I caught them in a little bar in the Adirondack Mountains on an eerie autumn night just this past week. The fiery season didn’t even prepare me for what was to come. Jack-o-lanterns were lit, whiskey was flowing and the wooden walls of the place were holding an array of characters with enough color to trick you into thinking you were in a dream. I felt like I stepped into a different time period as I watched them. I could not help but move in my boots; their creativity and madness inspires me to revel in my own. The company I brought along got their first taste of The Bloodroots Barter and did not stop dancing until too much drinkin’ happened upon them, even then there was toe-tappin’. But there is a balance in what they do. Just when you feel lost somewhere in the backwoods, they cover a song like “Freight Train” to get you feelin’ at home again.

    The band travels with other merry music makers in which they seem to make appear on stage as if they pulled them out of their back pockets. When they all share that space together they make so much sound come off the stage, if there was a stage, for they do not require one, instead they share the floor with the crowd they create and we all blend as one big piece of constantly changing, colorful, moving art. We are all creating, we’re all a part of the show.

    Then there is curiosity, and we wonder… where does such a name come from? What is it that they barter? I ask one of the music makers and find that it happens to be an herb, Bloodroot, a magical little herb of the south that blooms into a white flower and is traded for its healing powers much like music traded among musicians. And I realize, barters they are.

    Learn more about this intriguing band at Bloodrootsbarter.com

  • New Riders of the Purple Sage – Live at The Westcott

    By Gauraa Shekhar

    Buddy Cage, the pedal steel guitarist, shoots an amused look in my direction. Standing in the front row, I can almost feel him say, “What are you doing here, kiddo?” I suppress the urge to stereotype as I scan the crowd—sixty-somethings men and women dressed in overalls, hippie dancing to “Where I Come From”. The old man in pigtails standing next to me flashes a huge grin and offers me a whiff of an aromatic something passing hands. “No, thanks!” I assure him I am good. I feel out of place. I am the only one with black XX’s stamped across the back of hand—evidently, the only seventeen year old in the room.

    photo by Frances Huang

    The New Riders of the Purple Sage chime into chorus. And I am pulled out of the background, zapped into the song. The group of seventy-year-olds with their twangy opening burst out more energy than the two young acts before them did—combined. Tonight, there is reason to celebrate. “It’s the 7th year anniversary of our renaissance!” screams David Nelson before cranking the intro to “Panama Red”. “We’ve been together for 45 years!” adds Falzarano. The crowd went berserk.

    As The New Riders of the Purple Sage jams to oldies like “Glendale Train”, “Last Lonely Eagle” and “Louisiana Lady” from their eponymous record, nostalgia billows over the crowd, overwhelms it. Lovers lock eyes, friends hold hands and you can almost feel the music transcending time. The band is playing “Down for the Ride”, when I witness a man jump out of his wheelchair. He holds onto the railing in the front row for support, sways along with the music as he lands on his feet. He catches me looking at him in awe. “Kid, do you know what music is?” he asks. “It’s knowledge. It’s how stories are shared from campfire to campfire and eventually brought to us today.” I nod, soaking in this bizarre experience before me.

    The show rollicks towards an end and as Nelson mentions a closer, the crowd begins to chant, “Dirty Business! Dirty Business!” And there you have it. The band plays the eight minute long hit single from their debut album and the crowd simply loses itself in it.

    I don’t quite know what I was doing there but I felt that no EDM show could measure up to this weirdly wonderful night. Tonight, this was a community: all as one. As they say, it’s always a freak show when the riders come to town.

    Download Steven Weld’s recording of the show

  • North Mississippi Allstars, Missing Cats and Eastbound Jesus, Upstate Concert Hall, September 29th

    North Mississippi Allstars, Missing Cats and Eastbound Jesus, Upstate Concert Hall, September 29th

    With the arrival of southern rockers North Mississippi Allstars and Missing Cats heading up Upstate New York, I leaped at the chance to check out two bands that I was first enthralled by at the first Bonnaroo. While not exactly the same band lineup, with North Mississippi missing the recovering Chris Chew, and Missing Cats featuring Widespread Panic keyboardist JoJo Hermann, this was a pure treat, to see the musicians playing together for two sets, one Missing Cats and one North Mississippi. In a room like Upstate Concert Hall (formerly Northern Lights), the potential for an intimate and classic show was high.

    north mississippi allstarsThirty minutes of Eastbound Jesus got the crowd warmed up for the evening, and added some local flair to an otherwise southern lineup. Missing Cats took the stage with Sherman Ewing on acoustic guitar and JoJo on keyboard. Singing original songs with a rockabilly/Dixieland ring, the duo opened up with “Lazy Bones” and a few songs later were joined by Luther (guitar) and Cody Dickinson (drums) for the rest of the set. JoJo told stories in between some songs, including “Over Lovett”, which was written while flying over Buddy Holly’s hometown.”Follow me Down” had a Warren Zevon aspect to it, between both the lyrics and JoJo’s melody on the keys (see video below). This song stuck in my head for a day or two after, particularly because JoJo and I had discussed Zevon in our interview earlier that week, and lo and behold, the influence of the hairy-handed gent was present on stage. Some New Orleans infused tunes followed, along with “Halfway to the Top”, which JoJo mentioned was inspired by driving on a mountain highway through the Catskills during the change in foliage; the tune had a Jackson Browne/Early 80s feel, and was a perfect end to a great first set.

    Six song playlist – Missing Cats: “My Hideaway”, “Burn This Mission Down”, “Follow me Down”; North Mississippi Allstars: “Sugartown”, “Daisy Mae”, “All Night Long”

    North Mississippi Allstars brought the jukejoint blues of the land south of Memphis to the stage with Lightnin’ Malcolm on bass and JoJo on keys, the sound of generations past were updated as fluid jams developed from blues compositions into jazzy outlays of pure gold.

    Following the opener “Someday Baby”, after 10 years, I finally got to see “Sugartown” for the second time (first at Bonnaroo) and it was a pure treat, although the absense of Chris Chew’s thumping bass could be heard. “Never in all my Days” and “Mean old Wind Died Down” were foot stomping, head bobbing, thigh slapping numbers that roused a focused crowd. “Mississippi Boll Weevil”, “Shake ’em on Down” and “Shake What your Mama Gave You” provided a steady arc of upbeat, evenly paced songs that never let the momentum drop. “Moonshine” was more of a bridge, being somewhat more ballad-esque, and showcased Luther’s slight drawl-tinted voice. JoJo joined the band for “Bang Bang Lulu”, a machine-gun of a number, with Cody knocking each verse and refrain out of the park.

    The echo-laden blues guitar sound of “Po Black Maddie” was oddly complimented by a Dukes of Hazzard video on the screen behind the band. Cody took a moment to solo with his electric washboard, a classic aspect to any NoMiss set. Luther then took out a two string guitar made with an old microphone as the (limited) body, but still played strong on “Ho Down” and “Psychedelic Sex Machine”  The set ended shortly after midnight, and an encore of the Smiling Assassins tune “Daisy Mae” was sung by JoJo and received a warm reception from the Panic fans in the crowd who have heard this number played once or twice in the past. Being that is was Lightnin’ Malcolm’s birthday, he elected to play Junior Kimbrough’s “All Night Long”, which kept the audience dancing for an extended jam that drained every bit of energy from the band and fans alike.

    Post show, Luther and JoJo stopped into the crowd to talk to fans, remarking about the intimacy of the show and the tour as it was slowing creeping to a close. Later that week they played in Ithaca at The Haunt and brought the same high energy, southern rock show to a gathering of ardent fans of the blues.

    Download the North Mississippi Allstars show recorded by tapers John and Ed.

  • Funk at The Palace: A Review of Live Phish 12/6/97

    Funk at The Palace: A Review of Live Phish 12/6/97

    On September 25, Phish introduced a new member to its Live Phish Archive collection with one of their more memorable shows from one of the most impressive eras of their history. Their 1997 Fall Tour (a.k.a Phish Destroys America) is one of their most engaging and influential tours and also serves as an ideal picking ground for any live release. Their performance at The Palace of Auburn Hills on 12/6/97 is a show that’s already been established amongst devoted fans as one of the best ever. Now, the soundboard mix gets the Fred Kevorkian re-mastering technique applied and allows everyone to hear and understand what the hype behind this show is all about.

    Phish 12/6/97The album opens with the sounds of a raucous Palace crowd, a common occurrence on this tour that many regard as one of the best and certainly funkiest in the band’s history to this point. Trey utters a short count off and the show opens with “Golgi Apparatus”, a Phish tune almost as old as the band itself. This number, which served as a show opener for numerous shows in the 80’s, would surprisingly never be serve as a show opener again until Burgettstown in 2009. The band rolls through the opening verses with ease while slowly creating a high energy environment that comes across beautifully in this recording from start to finish. By the end of this standard yet powerful version, an already lively crowd has now been shifted into high gear.

    Accordingly, Trey Anastasio immediately begins the opening guitar chords to “Run Like An Antelope” to complete a memorable 1-2 opening punch to the show. The band again displays an ultra-sharp precision while rolling through the opening sections with ease before giving way to a digital delay loop type jam initiated by Trey at the 3:14 mark. Keyboardist Page McConnell then adds a layer of ambience on top of this and instantly the band is off and running on an incredible jam. Featuring the thick funk and steady grooves this era of Phish is so well known for, this Antelope becomes an animal of a whole different sort with Trey’s ‘wah’ peddle and Mike’s steady bass line prominently involved. The jam slowly devolves from the typical Antelope progression to a full on funk jam for several minutes before Trey begins to steer it back around 7:00 minutes into the track. Before long, the typical raging Antelope ending sequence is back in place as the song continues to slowly build in energy and anticipation. The “release” at 13:44 is met with a loud roar of appreciation befit of a version of this quality. Page adds a couple of simple licks on the clavichord before the band rolls through the ending section of this Antelope that clocks in at a very enjoyable 16:29 of music. With no warning, Phish delivers a monster opening two numbers that could just as easily appear towards the end of a show instead given their reputation and the high energy they induced.

    Recognizing the need for a breather of sorts, “Train Song” appears next in the opening set. Mike Gordon takes the lead on vocals and the short almost acoustic song gives the crowd (and the listener) a chance to relax a little before giving way to the true highlight of the first set. This “Bathtub Gin -> Foam” sequence is a must listen for any fan or anyone who wants to know what this band is all about. Gin begins with Page pounding on his piano like he’s mad at it and goes through the standard opening procedure. At the 4:44 mark, the band, led by Trey and Page intertwining melodic riffs, slowly begins to build the jam. The next eight minutes is a steady climb in tempo and energy done masterfully by everyone, especially the synchronized rhythm section led by Mike Gordon and Jon Fishman. As the song approaches 11:00 minutes, Trey again steers the jam back towards something resembling a typical Bathtub Gin ending.

    However, instead of just ending the song. Trey begins chording ferociously, Page joins in on the clavinet and the aforementioned rhythm section begins the opening patterns of “Foam” while McConnell and Anastasio continue to play wildly. Gordon then delivers the iconic bass line intro and as the seamless segues concludes the crowd lets out yet another very audible roar of approval. The band nails the composed parts of another one of their classic songs before giving way to a truly beautiful McConnell piano solo, a staple of any good “Foam”. The baton is then passed to Trey who also delivers a stirring solo that continuously builds in both volume and tone. The rest of the band soon joins in as the jam builds to a stirring peak before breaking down into the vocal outro. This 23:00 minute overall sequence gives the casual listener a great audio example of the essence of Phish: a seamless musical segue, tight knit orchestration, offbeat lyrics, rousing piano and guitar solos and four individuals effortlessly working as one musical unit.

    Perhaps sensing another appropriate spot for a breather of sorts, Trey begins the opening chords to “Sample in a Jar” and a standard version clocking in at 5:03 follows. Trey’s guitar solo is executed flawlessly and complimented perfectly by the drum play of Jon Fishman. The song achieves its goal of slowing things down a little while keeping the collective energy high in The Palace.

    https://www.youtube.com/watch?v=p9OmP4fGhvQ

    Following this, the opening drum beat of “Fee” begins and Phish is off and running with yet another one of the classic songs in their canon. Trey, sans megaphone, delivers the lyrical part of the song with ease and Page delivers beautiful piano fills throughout. As the song concludes and the typical outro jam eases to a stop, the high hat cymbal sound signaling the beginning of “Maze” is initiated by Fishman. Phish then takes the audience on a fifteen minute journey of pure psychedelic rock goodness. Starting with more digital delay loop play from Trey in the opening, this rendition is truly memorable and harkens back to another classic Phish 1-2 song pairing. “Fee -> Maze” was a common sight on set lists from shows in the early 90’s and this version sees the band on top of its musical game. Electrifying organ and guitar solos take the already high energy to another level and the ending is performed with a true precision seen right from the start of this set. “Cavern” then puts the finishing touches on an incredible first set.

    A few small vocal flubs from Trey in this song are the only things keeping this from being a truly perfect first set. Phish delivered an opening act that saw them run through some of their more legendary songs and jam vehicles at the time. This set just kept in line with the growing expectations for every show played in this legendary span of Phish history. Trey promised the crowd a return in 15 minutes with ‘a whole lot more’ and the second half of this promise was kept ten times over in the form of a second set for the ages.

    Sensing the opportunity to immediately elevate this show to an epic status, Phish opens up the second set with the jam monster of “Tweezer” which sends an already ravenous crowd into a frenzy. From the outset, this appears to be anything but a straightforward “Tweezer”. After the opening chords from Trey, the intro spaces out for a minute or two as the band playfully toys around with the beginning. After a short, fun and almost plinko-esqe sequence, the song begins its standard opening at 2:06 and never looks back. The signature pounding of Gordon’s bass has an extremely crisp sound on this track as well as throughout this impeccable recording.

    At the 6:36 mark, the jam starts up and Trey immediately introduces the funk theme that was so prevalent in 1997. Page then replies with more play on the clavinet and a slow and steady groove is established over the next several minutes. Around 10:30 into the track, Trey once again layers the digtal loop on top of an already stellar groove that soon has a much spacier sound to it. This proceeds in the customary fashion until 13:54, when Trey shifts the guitar into a totally different type of tone usually designated for soloing. What follows is an incredible few minutes of musicianship highlighted by said guitar play and the corresponding drum work from Jon Fishman who shows both a phenomenal ear and mastery of tempo throughout this show. Soon, a shuffle-type beat is established behind massive piano and guitar fills with everything held together by the sound bass playing of Mike Gordon. The jam slowly and surely builds in intensity as each band member plays perfectly of off one another. As this monster jam approaches the 18:28 mark, it slows down slightly with the band seemingly catching their breath this time before a final stretch run.

    Trey soon establishes his signature reverb sound as Page chimes in with ferocious piano play. Now over twenty minutes long, the jam continues in this fashion as Trey and Page continue to trade rock riffs between one another. The beat slows down slightly as the band seems to be seeking a new direction in which to take this jam. Trey and Fishman oblige and soon establish some interplay which instantly morphs into the Jimi Hendrix classic, “Izabella”. Phish then proceeds to tear through this cover song which was debuted earlier this year and the energy pulsating throughout The Palace is nearly tangible at this point. As the song approaches 4:20, “Izabella” subsides and another incredible funk jam develops replete with at least one band member shouting out yells of approval. Highlighted by phenomenal precision and more clavinet solos from Page, the jam that follows just adds to an already exceptional open to the second set.

    Eventually, it breaks down into a drum and bass only jam with Fishman playing something similar to the “Foam” drum beat at one point. This gives the rhythm section a much deserved chance to take the musical reigns and be front and center for a little. Trey then joins in with some more funk licks before steering the group into the opening of “Twist”. The beginning vocal section of this song plays much slower than the modern day variety as this song was still in its infancy stages at this point; its debut was not even 6 months prior. However, the song’s musical gears soon get lubricated a little and a fun rock jam with the customary loud “woo!’s” thrown in by the band ensues.

    Instead of a jam, the band slowly brings the song to a halt with some blissful interplay between Page and Trey. The latter takes this opportunity to begin the opening chords to “Piper” and the band executes another flawless segue into another one of their dominant jam vehicles. “Piper” is another song featured on the album Farmhouse which was also pretty new to the Phish repertoire in 1997. For those who prefer the slowly drawn out openings, this version is a must hear. The band takes its time with the intro before Page slowly builds up intensity and the rest of the band then follows suit. Vocals don’t appear until well after three minutes in and the song then continues to grow in tempo and energy. Another few audible roars of approval from someone in the band shows just how much fun they’re having and what kind of show this is. “Piper” continues to grow in fury as ‘machine-gun’ Trey makes another appearance at the 7:07 mark as the set continues to cement itself in Phish lore.

    This marks only the halfway point of the track as Trey continues to lead the band through a raging display of psychedelic rock for another seven minutes. The crisp drum work and steady bass groove really holds this jam together as “Piper” makes it known early on in its existence that it is a force to be reckoned with. The tempo slows down a little bit before picking up once again and the song gets the true rock ending it deserves and also serves as a most impressive bookend to this four song sequence that epitomizes the overall excellence of this show.

    With all four songs almost seamlessly flowing into one another, there was no chance for any slow down or ‘breather’ song. Phish decides to deliver one before ending the set in the form of the lighthearted crowd favorite “Sleeping Monkey”. More impeccable guitar play from Trey soon gives way to the familiar opening sounds of “Tweezer Reprise”, giving everyone in The Palace one last display of pure arena rock before ending the set. A “Rocky Top” encore serves as another chance for Page to display his piano mastery and serves as the footnote to one of the more seminal shows in this band’s history.

    This show displays all of the elements that endear Phish to its dedicated audience: well executed originals, fun covers, exquisite improvisation and deep, pulsating funk. The powers that be picked a live show to release that was already well established as one the epic performances in this band’s rich history. Whether it’s a truly dedicated fan or just the casual listener, this show offers a little something for everyone and is truly a must hear.

    Pick up the album at livephish.com

    Setlist via Phish.net

    Phish – The Palace at Auburn Hills, Auburn, MI, 12/6/97

    Soundcheck: Dog Log, AC/DC Bag, Ginseng Sullivan, Black-Eyed Katy

    SET 1: Golgi Apparatus, Run Like an Antelope, Train Song > Bathtub Gin -> Foam, Sample in a Jar, Fee > Maze, Cavern

    SET 2: Tweezer -> Izabella -> Twist -> Piper, Sleeping Monkey > Tweezer Reprise

    ENCORE: Rocky Top