NYS Music 20​12

Category: Central NY

  • Rubblebucket At The Westcott Theater, November 14th

    Rubblebucket At The Westcott Theater, November 14th

    Around the educated-listener music scene, there has been quite a buzz about the Boston-based band Rubblebucket. At the Westcott Theater November 14th, I finally got to check out what all the hipster hubbub was all about. The lead vocalist, Kalmia Traver, is one of those rock chicks every female music lover wishes she could be. Traver’s, and the rest of the band’s “I don’t-give-a- $&?!-I’m-a-dork” attitude got the entire house grooving hard. Other than easily noting their whimsical horn section, the band’s sound is hard to put a finger on. To give you a good idea of their musical spectrum, at one point in the show Kalmia asked the crowd if they were in the mood for one of the bands dark and stormy songs or one of their happy dorky songs. Both types were shouted equally from the loyal audience and the band settled on one of their new songs “(Focus) Oversaturated” off their 2012 EP Oversaturated. The track incorporates ghostly arpeggios and has a tempo which definitely puts the song in the dark and stormy category even though its hip-hop claps keep the song fun. You can download “(Focus) Oversaturated” for free on their website rubblebucket.com

    Rubblebucket eventually brought the mood back up to happy and dorky when they played their most popular new song off the Oversaturated EP, “Came Out Of  A Lady”. Kalmia and the boys in the horn section highlighted the song with random choreographed dance moves at different parts. The show became more of a celebration than a concert when giant tinfoil robots came dancing into the pit. The band’s fun interactive qualities are clearly a major driving force in their success. Their physical antics and showmanship were beyond captivating. Anyone who hadn’t previously seen them live knew they were in for something cool when the band played their first song wearing spotlight medallions around their necks, like Flava Flav at a rave. Twice in the show, Kalmia was helped over the metal gate in front of the stage by fans in the front and  proceeded to climb into the crowd for dance breaks with the audience. Band leader and trumpet player Alex Toth joined in the crowd as well playing his trumpet on the shoulders of a lucky fan. The band ended the show by jumping into the crowd one by one (giant robots included) and parading through the room to the back where they had a jam session in a circle while the audience danced and clapped around them. At this show, if you weren’t dancing, you stuck out like a sore thumb. Rubblebucket’s live performance exceeded my expectations. If they keep it up they can look forward to capturing many new fans and keeping their old ones coming back for more.

  • Cope brought the Hope to the State Theater in Ithaca on November 1st

    Driving the windy road to Ithaca in the misting night was a daunting task; the roads climb and drop and swerve all over. Finally reaching Ithaca and wishing they had a local brewed beer to offer, I settled into a seat towards the rear floor. The theater is about half full on the floor with a smattering of people in the upper deck. The State Theater is a large 1600-capacity gorgeous theater built in 1928 and the historic landmark in Ithaca with excellent sound and a very accommodating vibe.

    The lights dimmed and Cope and company graced the stage with no intro and got straight down to business. This led into “One Lovely Day”, which is gorgeous played live, giving an uplifting feeling from the endorphins released while the music started to wash over me. There was something stirring within the crowd and many were singing and swaying and with “Bullet and a Target”, a popular song from Cope. At this point the crowd, as if by telepathy, all decide to rise and crowd near the front of the stage and dance. The energy coming from the stage and the crowd mixing was intoxicating. (Maybe it was all of the pheromones in the air as the crowd was, in my estimatation, 65% women.) A heartfelt “Hurricane Waters” followed and the band was noticeably in full swing. They showed more energy and even Cope was smiling. A powerful pulsating version of “Penitentiary” followed with the blends and layers of music that Cope combined with  cathartic hopeful lyrics, the live experience is truly moving. A few more songs, including “Healing Hands”, “When Sun’s Gonna Rise Begins” and “Climax” kicked in, and the band was all smiling and feeling the crowd, singing an extended chorus into a jam by the band. While it felt like the end of the show, it was only the end of the first set.

    After a standing ovation and even the chanting of “Cope! Cope! Cope!”, he returned to center stage, solo this time with only an acoustic guitar.  Strumming through gems like “Picasso”, “Lifeline”, “D’Artagnan’s Theme”, “200000”  and finally, “Holding On”. This very personal second set found the band rejoining Cope on stage and after playing another number they pulled out crowd favorite “Sideways”. This number is oft requested via shout outs from the crowd, to which Cope responded “We’ll get there….we’ve gotta get through the foreplay.” This segued directly into a cover of “Karma Police” which was powerful and charged. Towards the end, a member of the audience threw his hat on stage which Cope donned and promptly gave out high fives to the crowd in front. He later returned the hat and handed the guy a t-shirt he had been teasing the crowd with.  It was a perfect ending to the show.

  • Hearing Aide: Last Train Out

    Central NY classic rockers Last Train Out have released their first CD. Built on a solid foundation of blues/rock tradition the tracks here sound immediately familiar, yet fresh and true to their roots. This traditional power-trio jumps over the pitfall of translating the strength of their live performances to the studio and onto their eponymous first release. Big guitars, pounding bass and thunderous drums blend under the smooth stories and real-life tales spun by bassist Lou Kaplan (formerly of Mad Jack and Savoy Brown). His band-mates Bob Bachta – guitar (Joe Whiting Band/Spider Murphy) and Al Macomber – drums (Savoy Brown/Mad Jack) join Kaplan on vocal duties stretching the abilities and overall sound to seem like much more than three guys rocking out.

    On first listen I distinctly heard Bad Company (not a bad start!), then with each subsequent listen the deeper nuances came out, hitting their target squarely. These cats know where they came from and hold firmly to the traditions they learned over decades on the road. The twelve tracks featured here reflect all of the band’s roots, rock, blues, southern rock and more. Each of the band members are strong in their position, giving free space for each to step-up and shine.

    There’s an instinctual groove happening here that’s reflected strongly in the opening cut, “Heart Of An Outlaw” right through the closer, “Last Train Out”. “You’re No Good For Me” is a straight up rocker with Bob’s guitar dancing over Lou and Al’s steady rhythm. Lou’s soulful vocals are consistently dead on, “Reachin’ For The Sky” tells yet another tale of the road, symptomatically. The words may form in his brain, but the song’s are straight from his life-experiences and hence, his heart. “Love Me In The Morning” is a solid homage to their signature sound with its “Can’t Get Enough Of Your Love” rhythm riff, then Bob takes off into a solo and it’s all LTO!

    “Too Complicated” is a classic “opposites attract” rocker that brings a little Skynyrd to the party, and a party it is. Another track that will likely see life on a live recording along with “Lonesome Hearted Stranger” with its ZZ Top, rave-up feel and relentless groove. Much like “Red Eye Sauce”, this song could pop-up in a Texas roadhouse and fit right in. Just enough twang in the vocal and plenty of attitude in the lyrics, it’s as if Lou is writing while sitting in that sketchy place. Completely comfortable, but with his head on a swivel for a thrown punch or bottle.

    “Standin’ In Your Shadow” flat out rocks, Bob’s bluesy riffs bring it home once again, defining the sound of the band. It’s a great mix by Rob Hunter too, the guitars just slightly over the rhythm and below the vocals. “Sweet Addiction” is a great example of the producing team of LTO with Andrew “Duck” MacDonald and Rob Hunter and Dave Conway’s engineering. Deft touches by all on the sliders!

    “I Don’t Want To Leave You” is like a Robin Trower rocker with swagger, a “I didn’t want to do it baby, but you made me” kind flip off. It expresses attitude in the same way “Burn One Down” expresses defiance, no apologies, no rules, it’s a lifestyle, like it or not. These guys have the balls and the chops to back it up, no need to lean on frivolous extras here.

    The closer “Last Train Out” ends the disc with a fury that flows through the whole disc and a punch that’ll make you remember it. These guys have a long way to go on this trip and everything they need to take it much further. Check ‘em out on facebook and reverbnation. They have a new website in the works and are in the process of signing a management team to spring-board their careers. Stay tuned for much more from Last Train Out.

  • CD Review – The Rusty Doves Live

    I think it’s safe to say that at this point, anyone around the general CNY area has heard about the folk-Americana/ jazzy swinging newgrass duo, The Rusty Doves.  The pair has played countless types of shows around the Utica area from opening up for acts like Rusted Root to playing their lively music for children in the Utica City School District.  I was more excited than usual to take a hot off the press copy of The Rusty Doves’ newest effort, especially after learning it was a live recording.  As I’d hoped, this disc is nothing short of a pure delight and captures the style, energy, and extra special quality that The Doves embody.  I have to immediately and highly recommend that this become a part of your music arsenal, especially if you are already a fan of this project.  If you are new to the Doves’ music, this is an excellent chance for you to find out what all of the fuss is about.

    I had a chance to speak with Jerry D, the duo’s bassist, about how this CD came to be.  The recording is of a show they performed about a year ago with Strung Sideways, another great local group.  When Jerry and Alyssa (Stock, vocals and mandolin) heard the tracks back, they were very pleased with the quality and way their music was represented.  They’d become somewhat frustrated with attempting to get the same energetic sound out of their music in a studio setting and were happy to hear their true music selves reflected back at them from this set of songs.  They decided to run with it, and that brings us to this album, officially releasing on November 3, 2012 with a shindig at The Green Onion Pub on Genesee Street in Utica, NY.

    This effort is delightfully grassroots.  As I understand it, the recording was done by Strung Sideways themselves and the business as usual aura created a great scene for Jerry and Alyssa to simply be themselves and do what they do; make cheerful (though sometimes deliciously, deceptively dark in subject matter) and organic music.  Most of the songs represented here are covers reflected through The Doves’ unique prism, but “Shadow Blues” is an original composition.  Whether interpreting the songs of others or crafting their own creations, The Rusty Doves’ sets always are cohesive.  They have a distinct style that they are able, or perhaps more appropriately compelled, to carry from one song to the next regardless of the genre the original artist worked in.  They know who they are and this translates.  It is folk and it is Americana, but it also draws from a big band and swing sound which really sets the Doves apart from some of their brethren on the circuit.  Their modern selections come out sounding expertly antiqued.  There is no denying Jerry and Alyssa’s musicianship either.  The way each dances through keys on their respective instruments shows a mastery of craft.  They leave no room for laziness, stock structures, or the easy way out of a song as they chromatically build one chord upon another; the chugging rhythm of the mandolin to the perfect counterpoint of bass.

    I expect your journey into this live compilation to be a pleasant one.  Once you fall in love, please share this great music with a friend and help the network grow for these dedicated independent musicians.

  • Preview of The NY Banjo – A Five-String Summit

    Dan Smalls Presents brings a wonderful night of music to The State Theatre in Ithaca on November 2, 2012 with NY Banjo -A Five-String Summit featuring Bela Fleck, with Tony Trischka, Eric Weissberg (Dueling Banjos), Richie Stearns, Peter Wernick (Hot Rize), and Mac Benford (Backwoods Band).  Doors to this show open at 7:00 p.m. and music begins at 8:00 p.m.  Tickets are available online through the theater’s website and via the box office and range from $29.50 to $36.50.  Gold Circle tickets (preferred seating) available for $42.50.

    The NY Banjo – A Five-String Summit has a very rich tradition.  So rich, in fact, it reaches beyond its own ten year history and into the history of the banjo’s story.  Actually an instrument with African heritage, the banjo began to assume its place in the culture of americana music around the 1930s.  Pete Seeger was at the apex of that effort, and his time touring with Woodie Guthrie helped catapult him along with, and perhaps through, the burgeoning folk scene of the time.  Audiences began to embrace the banjo as a lead instrument, and as the lead instrument in many cases.  Largely because Seeger was not only an expert technician but also so adept at fusing politics and social issues with song, he and his banjo filled a much needed niche in the country given the political and social climate of the changing times.  New York City began to flourish with the sounds of flying fingers and a wave of young musicians emerged hungry to lend their thumb picks to the cause.  Among those musicians was Eric Weissberg, ultimate member of the NY Banjo Summit, who studied for a time at the nimble hands of Pete.

    Bluegrass groups began to take shape and New York City was a hotspot in the early 50s, at the cutting edge of the wave.  Through the rise of Mike Seeger and The New Lost City Ramblers, The New York Ramblers and The Down State Rebels and many others, banjo players were evolving and developing their own styles.  Naturally, they cooperated, work-shopped, and listened to each other, drawing out the best innovative ideas each had to offer and strengthening the overall community.  Mac Benford and his 5 string were upstate, and so entered Ithaca’s part of this tale with Benford’s The Highwoods Stringband.  Other notable bluegrass musicians included in his I-town contemporaries include Walt Koken, Howie Bursen, and Ken Perlman and as they are wont to do, these musicians all began to collectively establish a community supportive of their genre in the Southern Tier, a healthy extension of downstate’s scene.  Communities easily blossomed into networks and it is from that The NY Banjo Summit was planned in 2002.

    In the 1970s, Bela Fleck was living among the downstate limb of the body of New York bluegrass and is a part the next wave of appreciation for the banjo.  He studied under Tony Trischka and whittled his craft to precision.  He has unique techniques of interacting with his instrument and he is both traditional and progressive.

    That’s quite a history and quite a root stock running through New York!  This history was recognized in 2002 when the  Empire State Plaza Performing Arts Center in Albany, NY, assembled an all star group of banjo aficionados for the first New York Banjo concert.  This marks the 10 year reunion of that effort and a 10-city New York Banjo Summit tour arose in honor of the accomplishment.

    For additional information regarding this show, please reference the State Theater and Dan Smalls Presents websites.  Gold Circle Seats refer to the first 10 rows in the center section of the theater and also the first 2 rows of the balcony section.

  • Rawson and The Rick Short Band, Live at The Kirkland Art Center in Clinton, November 3rd

    Attention music fans!  This is not a test of the Emergency Broadcast System.  This is the real deal coming at you.  Saturday, November 3rd at 8:00 p.m., a rolling wave of powerhouse party rock is scheduled to hit the Kirkland Art Center Roadhouse with Rawson and The Rick Short Band.  You do not want to be left out of this one!

    The story goes, a wild eyed Rick Short, blissed out on his first UMAF experience several years ago, walked in on a Rawson set at The Electric Company.  Rick took in part of a number and looked around him noting the lack of other bodies for him to excitedly exclaim to.  He was overcome.  He ran outside and literally grabbed hold of the first person he saw. I’ll closely paraphrase: “You gotta get in there!  This band!  It’s like Prince on Acid!”

    If you know Rick, you know you can picture this actually happening.  Cue your dream sequence moment.  As luck would have it, the hapless victim of this guerrilla promotion was none other than Bernie Freytag of the KAC (among other projects and community contributions).  Bernie was intrigued and followed Rick inside.  The rest, as they say, was history.

    It was love at first listen for Rick and he and the clan from Rawson became fast friends; a friendship that has stood the test of time over the last several years.  And over that period of time, as many of you CNY-ers know well, Rick has put together quite a band himself!  The Rick Short Band debuted UMAF weekend at The Tramontane Café two years ago and then again this year at The Boilermaker Road Race with a change in the line up making things fresh again.  With thoughtfully crafted songs, catchy hooks and melodies, familiar tones, expert musicianship and varied and pertinent lyrical subject matter, The Rick Short Band has done nothing but gain fans and support since this summer.  Their run of UMAF shows this year impressed the fans and promoters and all the hard work is coming to an exciting and endearing fruition with this coming show.

    And so it goes that under a Utica Greens Festival sunny sky, Rick, Jimi Short from Rawson, and Bernie Freytag struck up a discussion.  Playfully remembering the connection between them all from years ago, a plan took shape.  Now the Mohawk Valley gets to reap the benefits of this mega-networking when The Rick Short Band and Rawson rock and roll the Kirkland Art Center.

    That’s the backstory, but what can you expect to hear November 3rd?  Both of these bands understand and appreciate the roots of soul, R&B and Rock and Roll and how much music can ignite the masses.

    Rawson is indeed a powerhouse of an ensemble and their goal is to make you shake your thang.  Their original selections fuse R&B and good old fashioned Rock and Roll creating what they like to call the “Rawson Roll.”  Everyone is as slick as slick gets and they look every bit the part of members in one of downstate’s most epic party bands.  Jimi Sharp is infamous for coaxing his lead guitar to scream, moan, and wail while Sean Rawson works the microphone like the great frontmen of years gone by.  You certainly will think of Prince and you’ll also have some liberal Rolling Stones moments, particularly from their later years.  Sean and Jimi play off of each other well on stage, each giving, taking, and pushing the other and the fans and lifting things to the pinnacle of the next level.  G steadily gives up what everyone at a Rawson show wants- that rhythm!  Shuffling, rolling, splashing and crashing, he holds down the foundation together with Edwin Alvarado thumping on the bass.  They drive that Rawson Roll straight home.  This band does not let their talent and showmanship isolate them from their fans, either.  They are extremely down to earth and genuinely want to make you smile and get to know you.  This is a big reason why Rawson has built a strong following of quality fans in the Utica area.  It’s a rare Rawson show that doesn’t end with a stage full of gyrating audience members.

    Rawson’s stage show is going to go so well next to The Rick Short Band’s nostalgic and high energy performance.  Joining Rick in the act of creation are Kassandra Freetage on vocals, Rick DeJohn on the bass, Eddie Reilly on drums, and Joe Rizzuto on lead guitar.  Kassandra’s vocals are smokey and confident and she illustrates her range, sometimes singing in the lead role and frequently supporting Rick’s vocal, weaving in and out reminiscent of both bluesy bands you know and love and the more psychedelic fare of yore.  Rick DeJohn understands the importance of an active and present low end and dances inside the song structures expertly.  His work stands out and I enjoy it immensely.  Eddie is a supportive, spirited rhythm master, intuitively understanding when to push out to the forefront of a song and when to hang back and add texture and depth; such a valuable quality in the percussion section.  Joe is an incredible lead guitarist and I expect he will blow your socks off.  He plays with and off of Rick’s strong rhythm structures and intriguing progressions.  Prepare to stand slack-jawed.

    The bands are psyched, too.  In Rick’s own words, “This showcase is a pairing of two bands that, first, are great friends. Second, that met at The Utica Music Fest. And, third, who are going to ROCK the KAC like it’s never been rocked before. THAT is a promise! The tremendous setting and professional sound system will allow the guests to truly enjoy the musicianship and artistry.”  It’s true that the KAC is a very bright spot on the CNY music venue landscape.  Rick continued, “Both bands feed off of each other’s energy and passion. Friends for years, [we] encourage each other, support each other, respect each other, and truly enjoy each other. The audience will feel this respect and will be drawn into the family.”  Rick summed up the experience he is expecting nicely for me.  “The combination of being featured with Rawson and performing for the discerning audience of the KAC Roadhouse is truly a highlight in The Rick Short Band’s calendar. We’re taking this VERY seriously and bringing our “A” game.”

    I also spoke with Sean about his thoughts.  “It’s our first time playing together outside of UMAF.” He continued that he and Jimi, “have [our] musical wheels spinning in preparation for this show. Don’t be surprised to see bubbles, heels and Hershey kisses during the Rawson set!  I’m just saying you are not gonna want to miss this show. We can’t wait to share the stage with our friends. We are honored and anxious for this fun filled night of music which is sure to be an incredible time for people of all ages.”

    How’s that sound to ya?  Nice, right??  I think these are two of the best party bands I’ve had the pleasure of dancing around to and I hope you will too.  Tickets for this event are $10.00 for KAC members and $12.00 for non-members, pre sale.  Tickets at the door will be $12.00/members and $15.00 nonmembers.  They can be purchased by calling 853-8871 in advance.

  • moe. at Saranac Brewery, Saturday October 13th

    As we all know, time flies. Sometimes it is months before you and your favorite band cross paths again. For me that’s been the case as I’ve been going through withdrawal lately singin’ the mantra, “Gimme some moe.” Having only seen moe. once this past year,  my body and mind have been begging for some “Lazarus”, “Buster”, “Rebubula”… anything by the music-master-minds. One thing moe. is known for their annual shows at the Saranac Brewery in Utica, including one on Saturday, October 13. Their love for east coast fans, central New York venues and good beer makes the Saranac Brewery an essential stop on their seasonal tours.

    Saturday night’s show had the atmosphere of an autumn backyard party, complete with a decked out Jack-O-Lantern dressed as a viking, front and center on stage. There was a chill in the air and a forecast promising rain but the crowds came flooding in anyways. Everyone was bundled up and feelin’ fine; the weather quickly became a minor detail of the evening. The band opened with “Haze”, belting out the lyrics “I wanna do this with you… Hey! Let’s go! I don’t care as long as you are there!”. The crowd melted together at a rapid pace and the energy was high with the anticipation of yet another electrifying set. Anyone who has been to a moe. show knows that the crowd is made up of highly devoted fans and you can hear people’s debates from every direction about what song the band will bust out next.

    The first set had unique progression, as it certainly was not one of their jammier shows but flowed nicely. ”St. Augustine” was the highlight with it’s long gorgeous jam that is always so full of light. The first set had short renditions of a few favorites, “Wind It Up”->”Lost Along the Way” ->”Tambourine” and of course “Happy Hour Hero”, for tonight, a Saranac would do just fine! Some people around me seemed to be a little disappointed with the  “Happy Hour Hero”, practically the brewery’s anthem. Overall, it seemed as though the first set came and went, leaving us all thirsty for some heavier jams during the second part of the show.

    Sure enough they came back from break with a whole new attitude. The boys jammed “Billy Goat” into “Tailspin” and then pleased the crowd with an all-time favorite, “Kyle’s Song”.  Everyone was singing along with the lyrics and smiles were all around. The energy was taken to a whole new level, with even the light show changing into something spectacular and matching the more intense vibe of the second set jams.

    There was a lot of  love and light in this show; Cass, an eleven-year member of the crew took the stage and played heavy on the drums. He wanted to go out with a bang so drummer Vinnie Amico swapped seats with his beloved crew member and let him rock out. THIS is what sets moe. apart; a moe. show is never just about the music. The music is our common ground, and is what connects us and gives us collective roots.

    But moe. offers a whole other element to our shared reality. It is a wholesome, rich experience which earns them one of the most dedicated fan-bases around, not to mention the band’s political activism and the way in which they use their voice to spread messages. Towards the end of the show there were speeches given on hydro-fracking and information was offered in hopes of educating people on it’s negative impacts.  Bass player Rob Derhak took his usual cracks at guitarist Al Schnier as Chuck Garvey laughed on and the band’s freeing chemistry overflowed out into the audience. It felt just like home.

    Needless to say, the Saranac Show had a little bit of everything. As I made my way through the crowd bouncing around from “Chuck-side” to “Al-side” there was a common theme throughout. We’re all like old friends, supporting a band that supports us. So what could be a better encore then “Raise a Glass->Plane Crash”?! Might as well make a toast and say cheers to band that got us all tied up together inside this musical maze.

    Setlist:

    Set 1: Haze, St. Augustine, Wind It Up, Lost Along The Way, Tambourine, Happy Hour Hero > Seat Of My Pants

    Set 2: Billy Goat > Tailspin > Kyle’s Song > Kids > Down Boy > Skrunk > Brent Black

    Encore: Raise A Glass, Plane Crash

    Download the show here: http://archive.org/details/moe2012-10-13.oktava.flac16

  • moe. at Saranac Brewery, Friday October 12, 2012

    moe. brought much needed heat to their return to Utica on October 12, 2012. The night was seasonably cold, with a hard frost forecast and temperatures in the thirties, but that did not stop the bundled fans from welcoming moe. back to Saranac Brewery in true Utica form. The weekend featured an auction benefiting Hydro Relief Web, a local Anti-Fracking group. Up for grabs were autographed merch and one of Al Schnier’s guitars, truly reinforcing how invested this band is in the local community.

    The night opened up with a standard “Spaz Medicine”, however moved quickly into a jammed out 15+ minute “Dr.Graffenberg” that got the crowd moving.  Heavy on the xylophone, it shaped up to be an impressive version of an awesome tune, topped off by a tight and high energy “Waiting for the Punchline”. It was a first set full of jams, and excellent flow, evidenced by “The Pit”> “Wormwood”> “OkayAlright” stopping briefly to fire into “Deep this Time”, and closing out with a dark “Downward Facing Dog”. The Saranac was flowing as the traditional brewery toast was bestowed upon the crowd, “To Great Friends, Great Beer and Great Music”, and there was more to come.

    [youtube http://www.youtube.com/watch?v=18KT1An821Y]

    Second set opened up with “Captain America”  as moe. brought the song far beyond the normal “sing along” that it has potential to be, instead thoughtfully jammed it out and stretched it to the limits and then transitioned seamlessly into a slowly building “Akimbo”. The thoughtfulness continued throughout the set, with a well balanced, and timed “Water”, a relatively mellow “Head”, and funky “George”.

    “Spine of a Dog” had a rough start, with some apparent lyric issues that were quickly rectified as the crowd was more than happy to fill in the gaps. Spine’s most notable feature was the underlying drum current, with each band member building on the base until again, they seamlessly segued into “Buster”. The night closed with “Threw It All Away”, and the xylophone was busted out again for “Crab Eyes”, a personal favorite.

    This show stands out for its well planned song placement, seamless segues, and overall high energy. Despite the cold weather, it was a scorching show with an amazing setlist to prove it.

    Set 1: Spaz Medicine > Dr. Graffenberg > Waiting For The Punchline, Tubing The River Styx > The Pit > Okayalright, Deep This Time > Downward Facing Dog

    Set 2: Captain America > Akimbo, Water > Head, George, Spine Of A Dog > Buster

    Encore: Threw It All Away > Crab Eyes

    Download the show here

  • Joe Driscoll at Blu

    Occasionally the planets align in a favorable manner and bring some truly incredible show moments to Utica, NY.  Saturday, October 13th was a prime example of this effect.  The band moe. was in town on a two day run at the Saranac Brewery and this town always comes out big for them.  The bars that line Varick Street were bursting with quality pre and post moe. shows to keep the party going.  Among the pre-moe. festivities was a set at Blu by CNY alum Joe Driscoll.  Blu was holding it down for fans by keeping this a free show and also having some pretty solid drink specials.  You cannot let the chilly temperatures keep you inside under conditions like that.  Wrapped up in our winter finest, a few friends and I gathered and made our way.

    Joe was joined for this performance by James ‘Hollywood’ Moore on the saxophone and both of their wonderful attitudes.  Each looked genuinely pleased to be doing exactly what they’d come to do, play some music for some people and get some hips swinging.  No time at all was wasted and the music started before the outside bar was even open.

    The performance spanned Driscoll’s career from “Origin Myth” to tracks of the new album he has penned with Sekou Kouyate (check the history on this, it’s quite an interesting collaboration and the songs I have heard are epic).  Only getting better with time, Driscoll is well seasoned by his constant touring schedule and time overseas and the accompaniment from Moore added a lot of audible interest.  I loved that he often sang along and looked just about as pleased as most of us did.  Joe took a few requests and did plenty of interacting with the audience lending a real hometown feel to this show.  It was something to be grateful for, indeed.

    By including a few special cover selections including a request for Ani DiFranco’s “Untouchable Face” and an unexpected interpretation of “Soul to Squeeze” by The Red Hot Chili Peppers, Driscoll again proved his diversity as a performer.  He is willing to please his crowd and seems to take earnest interest in flexing his beat box and string tickling prowess on songs of others that he himself enjoys listening to.  He slowly and deliberately layered textures of sound over each other with effect and looping equipment, building the sound to a crescendo effortlessly.  You feel a bit like you’re hanging out in a garage somewhere with a few of your most talented friends, one of whom can’t put down his guitar and the other weaving beautiful and stirring sounds from his horn.  The likeability factor was off the charts.

    Then, there are the rhythms coming out of these performers, with nary a drummer in sight! Assuming both your legs work, I submit it is impossible not to use them at a show like this.  I was bouncing all over the place and eventually an expert hulahoop-er took over the ‘pit’ area with an impressive display.  When Joe mixes his beatboxing with a staccato beat banged out on his tambourine, it’s bliss for your dancing feet.  It’s more than a one man band effect.  It is something fresh, new and utterly intriguing.

    In case you can’t tell by now, I had an absolute blast and will continue to eagerly seek out opportunities to experience Joe Driscoll at Blu, or elsewhere, live again.  And, probably, again … and again. I’m totally hooked. Here is a brief taste of a new track of the aforementioned album with Sekou Kouyate.  Purely for your enjoyment.

  • Interview/Review: Ott and the All Seeing I go LIVE in Syracuse

    Interview/Review: Ott and the All Seeing I go LIVE in Syracuse

    There has been a recent trend of electronic DJs and producers recreating their music on stage with a live band. Thankfully, Ott, a UK based Master Engineer/Producer/DJ, is one of them. Ott & the All Seeing I are the result as he is joined by Naked Nick (Vocals, Guitar, Synths, and Percussion), Chris Barker (Bass), and Matt White (Drums).  I was privileged to catch two of their sets recently, in particular one on Sunday, October 7th at The Westcott Theater in Syracuse, NY.

    OTTUnimpressed by the “rave” music found in London clubs, Ott discovered a commonality with artists who shared his love of organic dub and pristine electronics such as The Orb and Dub Syndicate. These artists were not afraid to concoct music with one part heavy bass rhythms, one part spacey soundscape and one part gorgeous melody; shaken not stirred. Ott spent time honing his engineer skills working with such artists as The Orb, Sinead O’Connor, Brian Eno, Steve Hillage, and more recently Simon Posford of Hallucinogen/Shpongle fame. His first release on Simon Posford’s Twisted Records was Hallucinogen-In Dub (2002), where he remixed classic Hallucinogen songs. Since then he has released three of his own, Blumenkraft (2002), Skylon (2008) and Mir (2011)

    Having seen Ott a half dozen times or so in the last few years, I have felt a connection to his music ever stirring within me. His music can have an intoxicating effect on me and OH what a beautiful buzz! It is like his music breaks and enters my soul and commands my body to move in ways previously unimaginable. Heading to the Syracuse show I was eager to be a part of the energy he shares with his audience.

    Playing to a smaller crowd, the Westcott was less than half full of guests but Ott & the All Seeing I were not to be daunted. Playing through giant speaker stacks that easily withstood Ott’s powerful sound, the band got down to work. Having as much space as I needed, I danced away the set, oblivious to any perceived problems in my life. The show highlights for me included “Splitting An Atom”, “Owl Stretching Time” and of course always a crowd favorite, “The Queen of all Everything”. The live performance gives Ott’s music a raw and powerful energy, full of life.

    Traveling with me to this show was Kelly, a precious gems and mineral merchant of Kali’ka Crystals and Creations. Kelly had “gridded” Ott’s stages with crystals at two previous shows, a process in where she places crystals in an array that is meant to help harness energies. Her grid this night included Smoky Quartz for meditation, Amethyst and Selenite for intuition and divinity, Lepidolite for stability and communication, Lemurians (and Pink Lemurians) for love and spiritual awareness,  and Herkimer Diamonds for attunement and connection. Post show the band joked about how she should jump on the tour bus with them as they enjoyed her crystal work and company so much.

    Any chance I am afforded to see Ott & the All Seeing I again will be taken with utmost seriousness. It is truly a spiritually enlightening experience.

    I had the privilege of asking Ott & the All Seeing I a few questions as they broke down post show:

    Chris McMullen: Do you have a favorite venue in upstate NY?

    Ott: Oh thats hard. It depends who turns up,…it depends who’s there.

    Chris: How much time had Ott & the All Seeing I gotten to practice live?

    Ott: Not much actually, we were fairly unprepared when we got here.

    Naked Nick: It’s just life’s logistics. We did everything we could and we were all practicing individually. Some of us are in the east of England and some of us the west, so the amount of times we can actually come together in one place is quite limited.

    Ott: The first time we were able to come together and all play in the same space was our first gig in Baltimore.

    Nick: We never all played in the same room together!

    Chris: Oh wow, I was at the NYC show at Club 39 and thought you guys sounded pretty good.

    Ott: Yeah our sound guy had to totally rewire everything there. Our crew really pulled it out of the bag. I quite enjoyed it in the end.

    Chris: It was a tight space.

    Ott: I love the hot sweaty basements….that doesn’t sound quite right, does it?

    Nick: I think there is going to come a time when I can use that piece of information against you. Not sure yet when it will be.

    Chris: Have you found yourselves engaging in any pre or post show rituals?

    Ott: I can see patterns forming. Kelly and her crystal garden are the closest thing to a ritual we have. But she’s abandoning us! She has driven miles to see us. We will miss you Kelly.

    Nick: It’s really nice to see some familiar faces coming to more than one gig, it’s meant a lot.

    Chris: Are there any musicians you’ve been listening to lately?

    Ott: I generally don’t listen to anything made after 1982 really, actually no, to be honest, 1978 at the moment.

    Nick: Bird Of Prey, Sun Monks

    Ott: Nick’s your man. If you want to hear somebody reel of loads of really contemporary artists that no one’s ever heard of. He’s your man. I actually don’t like music very much. I try and avoid it.