NYS Music 20​12

Category: Utica

  • Floodwood at Kirkland Arts Center, Clinton, December 14th

    Floodwood at Kirkland Arts Center, Clinton, December 14th

    For the second year in a row, Floodwood played a holiday show at the Kirkland Arts Center (KAC), in Clinton. I regrettably missed the show last year and was determined not to miss it again. The KAC is an intimate venue and ticketing was capped at 150 people, providing a truly unique experience to those lucky to be in attendance.

    floodwood kirklnd arts center
    Floodwood at MVCC

    Floodwood has been picking up steam since their founding in September of last year, with appearances both locally and throughout the northeast. Describing themselves as a “progressive string band”, they are a combination of talented musicians specifically from and dedicated to the CNY area.

    Tim Herron, a popular local musician famous for his energetic playing and original songs opened the show was the perfect choice to get the crowd ready for Floodwood. Having only ever heard of Tim by word of mouth, I was certainly impressed by the talent and level of musicianship that was brought to the table. As Tim closed his set, he brought up Jason Barady, a tremendous mandolin player, and together burst into an upbeat rendition of Pink Floyd’s “Hey You”. The KAC was full of a diverse mix of folks ready to see Floodwood. Family, friends, old and young, locals and those that made a special trip for the show; it felt much more like a party at someone’s awesome art filled home, than a concert.

    Some of Floodwood’s songs were familiar and some new to me. “Long Way to Virginia” is one of my favorites and I was pleased to hear it. They even busted out a Christmas tune!! As a long time moe. fan, I couldn’t help but hear some similarities, specifically with “Magnolia Road”- is this not “Tambourine”? – Ironically Al explained the following night to his audience in Buffalo how the song came about. He noted that it was originally used as an instrumental intro to “Tambourine”, which then morphed into another song called “Green”, and then he collaborated with another musician, forming “Magnolia Road”. Al explains it better, but you get the point.

    While the idea of a side project with Al Schnier and Vinnie Amico, both of the aforementioned jam band originally peaked my interest in Floodwood, Nick Piccininni, Zach Fleitz, and Jason Barady keep me coming back time and time again. This is not moe.; Floodwood stands on their own as a high energy and exploratory bluegrass band. Piccininni, with his superb skills on the fiddle, banjo, and on vocals, was my choice for MVP of the night, keeping the crowd young and old alike dancing.

    Closing with an explosive “Cumberland Blues”, Fleitz, and Barady had a wonderfully energetic duel. I overheard one of the youngest attendees clearly amazed by the performance, ask his mom, “What are they doing up there?” looking for explanation of the frenetic pace and heated musicianship, definitely a poignant moment.

    Coming back on for an encore, Floodwood was joined by Diane Schnier, Al’s wife, (who is also a talented musician in her own right) and Tim Herron, for a sweet and soulful rendition of the Neil Young classic, “Helpless”. This was a wonderful night full of great people and memorable music, and I hope that the KAC can continue the tradition for years to come.

  • Jimkata and Manhattan Project – Piers & Blake, November 30th

    Jimkata and Manhattan Project – Piers & Blake, November 30th

    After a truly raging Halloween show a month ago at The Westcott in Syracuse, I knew that I couldn’t miss Jimkata, along with The Manhattan Project, when they came to Utica.

    Both bands have been touring extensively for months, Jimkata specifically supporting their new album, Die Digital. Off to a late start, and with some time to kill before they went on, I chatted briefly with bassist Dave Rossi. After being on the road, he was glad to be back closer to home, although none too glad to be back in the chilly Upstate NY weather. We discussed the venue (really unique and the bathrooms are nice too!), the Upstate music scene (awesome!) as well as upcoming New Year’s plans. They’ll be at The Haunt in Ithaca for NYE, but I was excited to learn of their Phish aftershow on 12/28 @ Club 39!

    Jimkata Manhattan Project
    Jimkata

    Manhattan Project took the stage as the room started to fill. Many that I spoke with were excited to see what they’d bring to the table tonight. This Rochester duo has been touring extensively, with several festival appearances, including at Camp Bisco, and have been building their fan base at every stop.  Having seen them several times in the past, I knew I was guaranteed a good time. It consistently amazes me that this energetic and texturally complex sound comes from just two guys, Shawn Drogan and Charlie Linder.

    Their infectious mix of dub, house and techno, combined with a visually stimulating light show made their show highly danceable from start to finish. Their remixes and steady progression of songs kept the crowd engaged. “Knight Rider” remix was a true standout and had many folks in the audience looking around in awe, “Is this really happening? This is awesome!” As they closed their set, the crowd was certainly primed and ready for Jimkata.

    Their set started off strong cruising easily through much of the new album, Die Digital.  The new album, while still lyrically thoughtful, adds the right punches whether it be electronic beats, synth or a heavy bass line and intertwines everything so perfectly. Energy was high and the room turned quickly into a full on dance party, a crowd locked in and grooving to the sound. Their “5th member” if you will, a wall of lights in sync with the show provided an additional layer of intrigue to Jimkata’s already complex and captivating show.

    Standouts of the night included “Electronic Stone”, a crowd pleaser with an extremely catchy chorus, as well as one of my personal favorites “American Cars”. Having followed Jimkata for several years, I love their growth as musicians, and their evolution of sound. Their lyrics, combined with a new found electronic edge makes for an unforgettable experience.

    This was a thoroughly satisfying show,  and I cannot wait to see them again at the end of the month. GO SEE JIMKATA, and MANHATTAN PROJECT! You won’t regret it.

  • Jams for Tots – Give Back and Get Down

    With the Holiday Season under way, there is no better time to help those who are less fortunate. For the past few years, Luke Weiler, aka Positive Mental Trip, has been spreading holiday cheer as well as musical jams around NY. Going on its 7th year, Jams for Tots teams up with the Marine Corps Toys for Tots to raise money and donate toys at shows. “Every kid should feel that someone cares enough about them to get them a present. That’s the reason we do this” Luke Weiler, Jam for Tots Coordinator. Each event hosts different musical acts and talents that play for free to support the cause.

    Concert goers are asked to bring a new, unwrapped toy worth $5 or more retail value and they will get into the show for free. Those who don’t bring a toy will pay a cover fee, with all funds getting donated to purchasing toys for children this holiday season. All toys and cash donations go towards the Marine Corps Toys for Tots except for the Athens Jams for Tots where the donations go specifically towards the children in Greene County.

    The following are the 5 Jam for Tots scheduled events:

    December 1 at O’Tooles– 1814 Central Ave Albany, NY: Live Music from 6PM – 2AM Bands include Positive Mental Trip, Catalyst, Of the Mountains and many more.

    December 7 at Trexx Nightclub- 323 N. Clinton Street, Syracuse, NY Bands include Positive Mental Trip, Mikey Parkay, True Risen, The Blockheads and many more.

    December 8 at Upper Deck– 1 West Street, Gloversville, NY Bands include Positive Mental Trip, Weather Machine, Of the Mountains, Catalyst and many more.

    December 14 at Crossroads Brewing 10 2nd Street, Athens, NY Bands include Positive Mental Trip, Phil Massaro Symphony, John Pinder Band and Billy Lester.

    December 15 at The Finger Bullet 1692 Bennett Street, Utica, NY Bands include Positive Mental Trip, Sassafrass Jenkins, Joe Sweet, Catalyst and many more.

  • 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.

  • 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.

  • Dropkick Murphys, Saranac Brewery, September 20th

    Another chance arose last week for me to scratch a band off my ‘Must see before I croak’ list.  It’s always an extra treat when that happens in our own backyard and most especially with this show.  I absolutely love Dropkick Murphys but have some trepidation about plunging myself into a seething pit of jack booted ‘punk rawk’ fans lit up on whiskey, particularly in a place where I’m not familiar with the exits.  I was long overdue for some live Dropkick and not optimistic about my prospects.

    Then, a few weeks ago, I caught wind of some promotion about the fall line-up of shows at the Saranac Stage at the Brewery on Varick Street and lo and behold, score Utica some Dropkick Murphys!  Tickets were nabbed, a posse was assembled, and down to V Street we trekked on a lovely, temperate autumnal evening. I was a bit confused and unimpressed by the opening acts and from all I overheard, I wasn’t the only one.  They didn’t really make sense or fit cohesively with Dropkick’s style, and my friends and I stopped off at the Nailcreek first to wet our whistles and time our entry for the main event.  So worth the wait! Utica came out strong for this and with a perfect attitude!  High energy and joyful, and the band both fueled it and was fueled by it.

    Opening with a few well known favorites, including dropping “Boys On The Docks” into the early part of the set and taking a crowd request for “You’re a Rebel”, the band whipped the fans into a frenzy.  I saw huge smiling faces around me and my friends and I very quickly decided this was the opportunity to finally be up front at a Dropkick show.  Honestly, we sort of flanked up the side but if your elbows are on a speaker, that counts as up front to me!  Perfect vantage point to soak up the excitement rolling off everyone and to watch the most pleasant bunch of crowd surfers I’ve ever seen. I’d be remiss not to give a genuine kudos to the security from Westcott Events who did a fantastic job between the stage and the crowd barricades, gently but firmly plucking elevated bodies from simulated flight and placing them safely on the ground, their exits from stage front met with a gauntlet of high fives and fist pumps from their fellow fans.

    Everyone sang enthusiastically along, especially with “Forever” and Al Barr frequently jumped off the stage to interact with the throng, cumulative voices ringing out into the microphone he held to their faces. About half way in, the band announced they were about to play us some new songs whether we liked it or not, and delivered two new selections that will easily become new favorites.  The material on this most recent album is on par with or exceeds their current body of work!  I was feeling really grateful…and also a little full of Saranac Octoberfest so I dashed off to a bathroom that wasn’t freestanding in a parking lot, missing the closing number.  My timing sometimes is epic.  But I still heard it, even inside the bar bathroom!  The strong strains of “Kiss Me I’m Shitfaced” punched through the cool night air and the band invited fans to jump up on stage and help the song along, making everyone’s night.

    We rounded our evening out with another taste of Jameson and a Utica Club on the deck at the Nailcreek and were treated to an impromptu, pop up performance of some kilted bagpipers from the street.  Really.  Random bagpipes appeared out of seemingly nowhere.  Only in Utica!  Stellar times all the way around.

  • Mazza, Allanson and Lockwood at the Green Onion Pub

    Taking it back again to Thursday night of the Utica Music and Arts Festival for my final review of fest time;  a rundown of a local Utica, NY instrumental jazz jam fusion trio, Mazza, Allanson, and Lockwood at The Green Onion Pub.

    I like to round out my UMAF evenings at The Onion.  It’s cozy, close to my abode and the libations and service are always top notch.  I also am of the opinion that a lot of the acts that bust through this bar end up sinking deep into the psyche here.  Cozy also means small, and groups that can pump their energy out of a small space and command attention do well.  I seem to keep missing this particular act around town (formerly, Side Effect) and that problem had to go.  That night, the trio had wrapped up a set at The Radisson and dashed over to load in uptown.  Randy Niles, the infamous Pat the Cough, and myself extracted ourselves from O’Donnels and settled into a booth in the back in the middle of a kicking number.  The place was packed and lively and the band had no problem asserting themselves through the din.

    Anything to do with jazz styling is all about musicianship.  The free form structure and drift can seem deceptively magic, but while intuition does play a large role, if every player isn’t tight, the whole thing crumbles.  If blues is for the soul and reggae for the body, jazz is brain music.  Watching these three musicians in question throw down, it’s apparent that everyone is right on point and serious about what’s happening.

    Otto Allanson rides the kit with flair and style.  Heavy on the finesse, sharp snare stings and colorful cymbal splashes, he engages synapse connections, sometimes shuffling along as a steady spine for the meanderings of the tonal components beside him.  I like not knowing quite what to expect or where a percussive expert will set the down beat and accents, it keeps me on my toes while listening.  I also enjoy occasional departures from rock drumming’s bass pedal addiction and straight rhythms.  Allanson delivers.

    Gabe Lockwood’s bass is nice and present, well rounded and colorful.  When the group takes a turn into more proggy numbers, it’s the bass that drives them there, mixing elements of slap, injections of funk, and confident, heavy runs.  The syncopation is electric, rhythms and counter rhythms advancing and then stepping back to showcase the other elements of the music.  You can feel the rumble and pop deep in your core and I think you could get used to it.  He seems equally confident lending more subtle depth in the slower more laid back songs, illustrating complexity.

    Gary Mazza’s guitar style is very jazzy and he tickles melodies tactfully over the waves undulating from the bottom end.  Either hard or soft, the high end soars, showcases and compliments.  Clearly secure in his theory, Mazza exemplifies an intelligent nurture of obvious natural gifts.  Inside the structure of the songs, these musicians are weaving their individual expressions precisely without knocking the mix out of balance.  In this case, all the while crammed into a space about the size of a hall closet.  Right on!

    Fans of groups like Dopapod and Aqueous are sure to note some similarities between these bands and MA&L., but I think what sets them apart is a more solid commitment to the style of traditional jazz.  One could equally compare them to MMW in many ways as well.  I suggest it’s time for some larger venues and stages to work from, including the festival circuit!

    Already established on the scene here, I hope and expect to see the following of this trio continue to grow and expand as more people encounter them and catch the itch to have some again.  Walking away from a Mazza, Allanson and Lockwood performance, it is difficult not to feel impressed.  I’m looking very forward to the next time and hope you will also.

    Get out there and take in some music.  It’s everywhere in the Central New York!

  • Review: The Moho Collective at Utica Music and Arts Festival

    One thing I do not miss is an outdoor Moho Collective set.  I think it’s safe to say that nearly everyone I ran into all weekend knew this was one of my must see bands. I do a great deal of prattling on about Moho’s charms,  and I intended to see both their Greens Fest set as well as later in the evening at Piers & Blake.  Indoors, they are a delight, but something extra special happens when this band has a chance to do its thing in the sunshine and fresh air, and their first set this year was on the Utica Greens Festival Stage right on Varick Street on Saturday afternoon.

    I pried myself from the merch booth and ran up front to get a little much needed Rochester-style boogie on. The Moho Collective plays an innovative mix of instrumental jazz fusion with a strong world music representation.  There is a heavy taste of blues and even nods toward the grunge movement in their approach as they  truly use tones and styles as tools rather than definitive compartments.  Fans of funk and avant-garde,indie rock can also find many things to appreciate about the Moho and I really do encourage everyone who wasn’t drawn by the sound this weekend to go to the band’s website and check them out, pronto.

    From the opening strains of the first song, this band did indeed draw people.  My time in Rochester taught me well to run right up front and start grooving, however ridiculous I might look.  Some of the first souls to join me were the kids.  The tiny tot crowd, no older than 7, dug the hell out of this group, responding naturally to the evocative tonal arrangements and eternal rhythms and the sight of their innocent enjoyment heightened my experience for sure.   Some music sets the spirit free and Moho serves up a steady dose of just that sort.  May the youngest ones continue to remind us of this.  In no time at all, most of the people milling about the street had pushed up toward the stage to listen closer.

    Kurt G. Johnson wielded things with strings commandingly as usual, moving from his telecaster to a lap steel, tweaking knobs and adjusting tones all the while, including a small bit of sampling.  A slight feedback problem and a little unanticipated bleed over from the inside stage nearby proved challenging for the band’s on stage sound, but it’s safe to say the audience wasn’t phased.  Ryan Barclay is an  intuitive and intelligent percussionist.  The term ‘drummer’ just does not fit the bill here.  Shaking and rattling a wide array of noise making devices, Barclay layers brick by brick into the wall of sound.  Particularly worth noting, he taps out a great groove on a tambourine in Chikyu Hakken against the eastern tones of Johnson’s finger picking on the steel that adds a heady counterpoint and gets stuck, itself, in your head.  He frequently fuses percussion with tonality by employing gongs, what looks like brass meditation bowls, and chimes in choice moments of several numbers in addition to his work on his kit.  They are professionally trained, accomplished musicians and it plainly shows.  Justin Rister works both an upright and a Fender P Bass, switching as the situation calls for.  Also trained in percussion, Rister rounds out the trio’s sound both high and low and is constantly adding rhythm and color to each song.

    I’m intrigued and impressed by how often the band is able to weave spiritual sounds into their songs and notice that often the bass’ rumble is dancing close to or on top of chakra tones.  Like a puzzle, each member of this sonic team drops firmly into place and expresses to create the whole that is the collective. So, we smiled into the sunshine on a lovely Saturday afternoon, close friends and neighbors nearby, and we simply were joyful.  It was a beautiful thing.  A sign sat on the check in desk all weekend that sums up the experience of a Moho Collective show.  “The groove is here to lift you up.” Right on, right on.