What once was a bunch of friends jamming cover songs to an elite few in a living room while their listeners munched on hummus and drank the wine has now molded into closed session rehearsals and a slew of new songs. Those originals skipped a trial run. Instead, the five bones tossed their project out into the world for a live recording in front of a live audience at the Rustic Barn in Troy, NY.
The Bear Bones Project has drawn a following of old time hippies hanging onto Grateful Dead era songs and young followers trying to capture the essence of an era just out of their reach. The winter covered streets, the flakes in the frosted beards and ice under foot didn’t stop their dedicated following for the trek into the hills just beyond Troy. Inside the dimly lit pub, the wooden beams and stone fire place set the ambiance for a toasty evening of good grub, hearty brew and jam friendly music which will soon find it’s way to a polished disc.
Each set was a blend of originals speckled in between obscure cover songs. However, they started with a fun warm up tune familiar to most. The Bear Bones Project had a little fun with The Beatles original, “I’ll Follow the Sun.” They create a neat little arrangement of two part harmonies breaking away to the only female of the group, Sandy Decker, during the chorus. They were warmed up, the crowd was primed and they kicked it up a notch breaking into some brand new songs written by lead vocalist and guitarist, Carey Ahner. The Bear Bones Project arranged each song for an overall sound of bluesy, classy jams interjected with a playful flute. Bill Decker laid the bass lines down and drummer Eric Johnson moved the songs along as guitarist and vocalist Pete O’Hearn added just enough depth to keep this project firmly rooted in it’s inspirations of whimsy and jazzy tunes.
Each new song is rich in lyrics, and musically accomplished. There is a certain kind of sway to their songs and it is certain to get folks out of their seats. The Bear Bones Project can be seen at various clubs around the Capital District.
What do you get when you take the mandolin from Woodenspoon, mix in the drums and guitar from moe., and add the fiddle/banjo and upright bass,? A knee-slappin’, foot stompin’, head bobbin’, skirts-a-twirlin’ good time.
Floodwood is Al Schnier & Vinnie Amico of moe., Jason Barady (mandolin) of Woodenspoon, plus Nick Piccininni (fiddle and banjo) and Zachary Fleitz (bass). This isn’t the first side project for Al and Vinnie. They have been playing together in Al & The Transamericans for over a decade.
This quintet came together about a year and a half ago, but on stage they gelled like they’ve been doing it much longer. The fun interactions between bandmates added to the warm vibe in the room as they pulled out a unique mix of bluegrass, Americana, and progressive string – or as the band would call it “Madgrass”.
While the snow may have kept some people home on Friday night, the ones who showed up got a pleasant treat. There was even one person who drove all the way in from Boston to see the show and was heading to Oneonta the next night for a double-dose of Floodwood.
The band mingled with the crowd during opening act Rebel Darling, a trio featuring two guitars and a harmonica. There were a lot of familiar fans (some of whom were family and friends) there to see the local musicians. Floodwood seemed to be right at home at The Putnam Den. In fact, during the second set, Nick Piccininni jumped down off the stage to play fiddle and dance with the many smiling faces on the dance floor.
It was a great time for those who braved the slippery conditions. If you are one of those who stayed safely at home Friday night, you will be able to catch Floodwood as they play theFiddler’s Picnic festival this year with other local favorites like the Rumpke Mountain Boys, The Blind Owl Band, Eastbound Jesus, Jatoba, and many others. But those courageous souls who made it — they got to be a part of Floodwood’s intimate, and successful, Saratoga debut.
When most people think of Saratoga Springs it’s visions of horse racing in August. Tiffany and Jonathon Albert, Bob Millis and Jarrett Hartstone and the staff at the Putnam Den are working hard to make Saratoga known as a place to catch great ORIGINAL music, year-round! Based on the crowd at the Putnam Den on a bitter cold Thursday in January, they may be succeeding. Over 150 people braved the negative temperatures to feel the face melting heat of two talented bands, Barika and John Brown’s Body.
Barika (pronounced body-kah) started off the night with a unique blend of psychedelic charm and West African-inspired beats thrown in, crossing gracefully into the realm of dub. When Craig Myers stood center stage with a large gourd that had a long neck and bright yellow strings, heads turned. The opening act of most shows is noticed for a moment and then conversations continue throughout the room. However, when Craig started to play his Kamel N’goni – a wave of silence washed over the crowd. The Kamel N’goni sounded like two dueling banjos fighting it out to see who could please the eardrums more. Both hands plucked and strummed away at the neon strings, setting off a magnetic vibe through the Den. As Barika played, the crowd started to creep toward the stage to find out what foreign magic these strangers from Burlington, Vermont brought to Upstate New York. Craig wasn’t alone in playing the funky groove. Barika has six other talented musicians: Caleb Bronze (Drums), Rob Morse (Bass), Andric Severence (Keyboards) and on horns are Dave Purcell (Trumpet), Gordon Clark (Trombone) and Deva Racusin (Tenor Sax). Deva didn’t make it out to the Putnam Den, but you can hear everyone on Barika’s new CD, Remember, available on iTunes and other outlets.
Just as things were getting warmed up nice and toasty, John Brown’s Body came on stage and turned the heat way up. John Brown’s Body has Upstate roots in Ithaca and have been playing their future roots take on reggae for nearly 10 years. With tours around the world, it is always nice to catch them back in the area with new songs and a new EP, JBB IN DUB. JBB started the show with a song off their new release, “The General’s Ambush.” A nice steady beat and smooth horns come into play in this melodic instrumental number. Bandleader Elliott Martin got to flex his chops with the second song, “Invitation” that had more of a ska sound with the brass section sharing the spotlight with Elliott’s smooth yet strong vocal stylings. The crowd took the “Invitation”, and those fortunate enough to be at the Putnam Den had a hard time not approaching the dance floor. More dub, more funk, more dancing ensued as JBB played another track off the new album, “The Grass.” “The Grass” was reminiscent of the reggae of Marley in that it carried a strong message. The band ended up playing three songs off the new EP.
John Brown’s Body is also planning a new full length album in the next few months and played “Plantation” off that upcoming release. They also played old favorites like “The Gold”, “Resonate”, and “Push Some Air”. Look for them around the festival circuit this summer and keep an eye out for the new album. John Brown’s Body is a treasure that Upstate New Yorkers can call their own and it was a nice surprise to see them at the Putnam Den. Be sure to check out the Den’s upcoming shows and give them the support they need to keep bringing these great line-ups to the region.
Setlist: General’s Ambush*, Invitation, The Grass*, Plantation, Wellington*, Shine Bright, The Gold, Follow Into Shadow, Peace in the Valley, The Cup Dub, Empty Hands, Make It Easy, Zion Triad
By the third day of Jam Cruise 11, everything seems so fluid. Moving from stage to stage, each with it’s own sound and vibe and seeing who’s sitting in with who, you never know what you’re going to see. Or miss. Al’s solo set turning into an acoustic moe. set, Galactic coming out to play moe.’s setbreak (Kashmir!), Karl Denson’s Tiny Universe playing some Beastie Boys (which I missed in December in Manhattan), ALO having fun with the Spinal Tap theme, Tea Leaf Green covering Europe’s “The Final Countdown”… The island stops were nice too, a small reminder of what it’s like to stand on something that’s not moving. See Part 1 here
Wednesday
Thursday
Friday
Jam Cruise 11 Playlist: [youtube http://www.youtube.com/watch?v=videoseries?list=PLxxJxvJ3pYYiJkDMnoOVjtsU3FlEjd8_t]
Having gone to bed at 8 am, Wednesday would have normally been a sleep in day, but as the boat was arriving at Grand Turk, Turks and Caicos, as I called it a night, I wanted to get out and see some island culture and life. So I struggled to get out of bed at noon, showered, dressed, ate a quick meal and got myself off the boat with Chris and Jason. You’d think that after 50 festivals, I would have learned not to overdo it one night and expect to be up and functional the next day, but this is Jam Cruise and you have five, count em FIVE days to spend on the boat, so pacing yourself and getting rest is wise in the longrun. A rookie mistake for me on my first Jam Cruise, but I wasn’t the only one, as evidenced by the late risers in the cafeteria. But still, Tuesday was fully worth it. You can’t do it at all at a fest, but it can be a lot of fun trying!
Walking off the ship and entering the port area, we were welcomed by giant letters that read WELCOME TO GRAND TURK. A nice touch, along with the Duty Free being the entrance to the island, as well as a Ron Jon Surf Shop and sadly, Jimmy Buffett’s Margaritaville. We promptly walked through the eyesore to get to the local establishments for Turkshead Beer and fresh Conch Fritters. Hanging out near the beach, we were left with two options – stay here and drink and get a little sun on this overcast day, or venture out into the 7 mile island and get some culture. We opted for the latter because where we were was so touristy, we didn’t feel like we had gone anywhere. Plus, staring at the ship for 4 more hours wasn’t at all thrilling.
A downside to waking up late: all the bikes, mopeds, and scooters you can rent to roam the island were all rented for the day. So we got a $5 cab ride a couple miles into the island and stopped in an area with shops, food and people. Island life on Grand Turk was pretty chill and looking for souvenirs didn’t have haggle or hassle attached – it was nice and low stress while we meandered about the town. Tourism is on everyone’s mind here, and they promote positive attitudes to help with their image, as tourism is so central to everyone’s livelihood. There is even a philatelic shop where you can mail postcards and buy stamps in the port area, all for the benefit of the island life.
While on the island, I chatted for a bit with Seth Weiner, the Activities Director for Jam Cruise 11, who has been on all 11 Jam Cruises. Working activities, we discussed the different options that were available to the cruisers and how they continue to come up with enjoyable events for everyone to take part in outside from the music. Events this year included repeats such as the Jam Cruise wedding, Autograph sessions, Rockstar Karaoke, plus they took it up a notch with Gong Show, Musical Bingo, Jamily Feud and Air Guitar, which tied into the theme of the last night, Spinal Tap. They also brought in the Moog Foundation, which honors the legacy and impact of Dr. Bob Moog, creator of the well known Moog Synthesizer. There were workshops, discussions, sound therapy sessions and other gatherings that highlighted the like and work of Dr. Moog.We boarded the boat with time to spare and got a little rest after the half day on the island.
Dinner, we quickly noticed, was becoming an affair, with tables full of dressed up cruisers enjoying the hell out of their meals. There felt like a slight sense of urgency was in the air – we only had two days and three nights left! Jam Cruise was half over! It was time to step it up. Between the 3-5 courses served that night, we got going and prepared for a great Soul Train night. Donning Adidas Track Suits like a large contingent on the boat, I popped down to the Theater to see Greensky Bluegrass end their set with a cover of Prince’s “When Doves Cry”, a truly awesome rendition by a jamgrass band with unique prowess and skilled vocals. I wish I caught more of Greensky, but headed up to the Pool Deck to catch up with Chris and Jason to see Karl Denson’s Tiny Universe for a funk filled set with some of the best horns on the boat. Karl stands about 5’7” but is ripped from what may as well be a 50 pound sax. He tears up every song he plays on, as noticed during “Rich Man’s Welfare” with The Motet horns and a broke out his flute for a cover of “7 Nation Army”, with the flute singing the lyrics.
Lettuce followed with a killer set, as did moe. in the Theater – this one people were talking about for the rest of the cruise, especially The Pit > Water > Recreational Chemistry and Billy Goat > Tailspin. Even though I turned in around 2 am, I didn’t consider it an early night for me, it was just a chill night. Tuesday and the day on the island were exhausting, so I made sure to rest up and get my fill on Thursday and Friday, and that is exactly what I did.
Thursday, January 10th
Unlike other music festivals which are two, three or sometimes 4 days long, Jam Cruise is a five day affair and nothing can prepare you for that. You’ll think it’s easy, that the extra day or two won’t matter, but they do. There’s no coasting through on the boat – that’s why this is for veteran festivarians, which I consider myself to be, especially after this festival. Next Jam Cruise, there will be no such early nights, but rather a paced experience to carry me through the entirety of the festival.
I started the day off in the Theater for a screening of the documentary Basically Frightened, profiling the life of mystic musician Col. Bruce Hampton. If you saw H.O.R.D.E. in the early 1990s, caught Widespread Panic down south, Phish at The Palace in Albany or with any number of bands in his nearly 50 year musical career, you were in the presence of greatness. Col. Bruce is a psychedelic, phophetic, poetic musician who has mentored musicians, had roles in films and otherwise been an enigma to bring out the best in those he plays music with. The trailer below was evidence enough for me and when it comes out in full release, be sure to watch it. I admire this man every time I see him play and still found myself more confused about him than ever once the film was over. When I approached him to tell him that, he said ‘good!’, and he meant it, a truly surreal moment.
I headed back to the autographs signing again, got the other half of the musicians on the boat to sign my prints and chatted with Kyle Hollingsworth from String Cheese Incident, Matt Butler of Everyone Orchestra, Natalie Cressman and Jennifer Hartswick, the Disco Angels of Wyllys’ New York Hustler Ensemble, plus half a dozen members of March Fourth Marching Band (there are around 20 of them)
On paper at the Magic Hat Wind Stage was set to be an Al Schnier solo set, but members of moe. slowly filed in to make it an impromptu full moe. acoustic set while many on the boat hung out in the pool. The set included She, Nebraska, Harder they Come, Shoot First and Haze, setting the tone for a day of big surprises all around the boat.
I won’t lie — I went into Umphrey’s McGee’s show at the Landmark Theater in Syracuse on January 17, 2013, with almost no high expectations. I had seen them nine times and not once was I blown away. It always seemed stale, like the music was a moldy piece of bread. Just guitar solos and crazy lights, which always made for a fun show, but UM never made the cut to my iPod. That has since changed.
So it came as a huge surprise to me when I walked out of the venue with a smile on my face, slapping hands and chatting about how great of a show it was. And it was! Not being familiar with a band’s full catalog can have serious consequences if you are reviewing a show. Luckily for me, I knew every song and had just enough UM experience to understand what was going on.
First, let’s talk lights. Jeff Waful, the band’s lighting director, is insane. Not the committed-to-asylum insane, but lights-in-your-face crazy. I am so used to Chris Kuroda of Phish that I never really thought lights for any music could be as powerful as they are for Trey and Co. Waful puts on more of a psychedelic feeling show, with lasers and rotating bulbs. The Landmark is a small theater and to fit a rig in there has to be difficult and cannot compare to playing a large festival or outdoor arena. Waful manages to weave in perfect diversions from Jake Cinninger and Brendan Bayliss’ wicked guitar mania. Those two guys, who just so happen to put on a real guitar clinic every summer, are two of the most talented players going today. My only gripe is that the lights were so blinding that I couldn’t hone in on watching their fingers. As a guitarist, I try to take something from every guitarist I see play. I need to see them again, standing on the stage again, listening to them shred again.
“Cummins Lies” bled ever so thrashingly into “Miss Tinkle’s Overture” before a brief breath. “Walletsworth”, “Der Bluten Kat” segued into an instrumental of Springsteen’s “I’m On Fire” back into “Der Bluten Kat”, “Through the Cracks”, “Smell the Mitten” and “The Floor” made for a rocking set. The second set was where I got “it”, as in understanding the band. “Prowler” > “In The Kitchen” > “Deeper” > “#5” > “In The Kitchen” was a full-on dance-a-thon, It just kept heating up with “Let’s Dance”, “Utopian Fir” > “Cemetery Walk” lit the rafters ablaze with fiery soloing. An encore of “Miami Virtue” > “Glory” sent the almost-full theater home with a happy ending.
Setlist
Set 1: Cummins Lies > Miss Tinkle’s Overture, Walletsworth, Der Bluten Kat > I’m On Fire > Der Bluten Kat, Through the Cracks, Smell the Mitten, The Floor
Set 2: Prowler > In The Kitchen > Deeper > #5 > In The Kitchen, Let’s Dance, Utopian Fir > Cemetery Walk
It’s hard for me to put into words just how awesome an experience Jam Cruise 11 is. The music is non-stop and you’re sharing the ship with the artists, so when they’re not performing, they’re likely right there with you enjoying the music. Outside on the Pool Deck there is plenty of room to get down in front of the most conventional festival stage on the ship, but the indoor stages are much more intimate – it’s like being at your favorite small club back home.
I have known about Jam Cruisesince the first two set sail in January of 2004, and always hoped I would be able to go on one. Just one, that’s all I wanted, because when I’m not seeing live music, I’m a teacher, and taking a week off at the start of January is next to impossible, as any teacher will tell you. Even without a teaching job, I wouldn’t be able to afford Jam Cruise 11, so I was in a perpetual Catch-22, the elusive floating festival always out of grasp.
That was, until last year when the teaching market looked bleak and I said “Screw it. I’ll put the deposit down and see what happens job-wise.” With my friends Jason and Chris, we planned to book a cabin for three and all enjoy our first Jam Cruise together. Deposit is required early in the year for a better choice of room, plus installments needed to be paid on time in July and September, making this far from a last minute ‘”WooHoo! I got off work!” festival’ – you invest time and effort into Jam Cruise and plan well in advance. People are already planning their Jam Cruise 12 experience for next January, and that is far from an exaggeration. Having paid for Jam Cruise 11 and looking forward to it with every lineup announcement, activities announcement and details about theme nights coming in every few weeks, I was set on going and looked forward to this festival daily.
I had heard stories from past Jam Cruises – the musical acts, the musical collaboration, the all night music, the costumes, the tracksuits, the Pool Deck sets, the Jam Room, the Disco, the off shore excursions… and frankly, I was tired of hearing about it. I needed to live this. So when I got hired as a special education teacher in November, it was bittersweet. Would I have to sell my spot to someone? Would I ever wind up on the boat? Fortunately, I had understanding new employers who knew that paying for a (non-descript) trip in January well in advance meant I needed those 5 days off, and it was worked into my contract. Sigh, meet relief. I wasn’t sweating it too much, for the stars will align when you go on Jam Cruise. This isn’t your average two or three day festival – this is the mother of all festival, the pinnacle festival experience.
The plan all came together over the months leading up to the cruise. Theme nights were announced. Tuesday was ‘Blue Lagoon’, Thursday was ‘Cirque du Funk’ and Friday was ‘Spinal Tap Night’, because this Jam Cruise went to 11. There were of course some other theme nights that were unofficial – Monday’s theme was ‘Zebra’ and Wednesday was ‘Soul Train’, so after some consultation with friends who went on past Jam Cruises, I learned that these nights, while optional, well, they weren’t. We could ignore them and just wear shirts and shorts and enjoy ourselves, but the level of enjoyment wound up increasing tenfold as a result of taking part in the theme nights. Chris and I hit off The Costumer in Albany and did our shopping for each night. More on what we wound up wearing later, but rest assured that costumes and enjoying the theme nights make the Jam Cruise experience that much better, for you accentuate who you are: an expressive, unique and awesome person ready to share this rare musical experience with others.
The holidays rolled around and it was time for Phish at MSG, so five days in the city were needed to hit off all four shows, plus a couple late night shows, The Pinstripe Bowl (Go Cuse!) and pre-show meetups. Phish’s NYE run is always exhausting, but this time, it wasn’t. Even though 2012’s NYE run was better by miles than 2011, I was still feeling good after four nights of dancing. That darn post-Phish w00k flu always rears its head, but it was kept at bay, because nothing could keep me from enjoying Jam Cruise, especially since I had a couple days in between to teach and then head south to Florida. In a 21-day span, there was Christmas, Phish in NYC, a drive to Florida, Jam Cruise and the journey home. I’m no Roger Murtaugh but I was concerned that yes, I was getting too old for this shit.
Heading out January 4th, Chris and I drove from Albany to Orlando in a flat 20 hours. Many asked ‘Why would you drive?’, and the answer was simple – it was cheaper (less than $300 for the two of us on gas and tolls) and far easier to travel by car to get there. Plus, we had to pick up Jason as he flew in from Kentucky to Orlando, and some rest was needed before we embarked on the trip. Saturday and Sunday were filled with anticipation while we watched football and tied up loose ends, packing all the needed clothes and supplies, costumes and disco balls, so rather than rush from Ft. Lauderdale airport to the terminal, we got to take our time. Plus, its winter up in New York! Why not enjoy a little sun for an extra couple days?
Day 1: Monday, January 7th
We left Orlando for Ft.Lauderdale in the early afternoon, arriving with 3 hours to spare before the first act, The Soul Rebels, took the stage. We dropped the car in the ship’s adjacent parking garage, dropped off our bags with the porters and headed in for embarkation. This wound up being one of two times all week we had to wait in line. For about an hour, we waited to go through scanners (similar to the airport but no TSA fondling involved) and then waited in line to get our room keys and sign our final paperwork before boarding. We took the picture that everyone who has ever been on a cruise takes before boarding, and lo and behold, we were on a boat! The MSC Poesia to be exact.
I knew a handful of friends who were going on the boat, and hoped to catch up with them, but even on a boat of 3,000 Jam Cruisers and another 1,000 staff, plus stage and band crew, I still didn’t run into some friends until Friday afternoon. It’s a bigger boat than I imagined, and the friends I made on the boat made up for it. Jam Cruise is just like a festival – everyone is there for the music first and foremost, and to have a good time. If everyone is there for the same purpose, then it becomes a collective community celebration of epic proportions.
Arriving to our cabin, there is the mandatory emergency drill, so we donned our life vests and headed to our meeting spot, hung around for 10 minutes, then went back to the cabin so we could go catch the start of the free Happy Hour sponsored by Magic Hat, one of the Brews at Sea on the boat, including Sweetwater, Lagunitas, Breckenridge and NOLA. (There was Bud Light and the rest, but why drink swill on a cruise?). Beers in hand, we watched The Soul Rebels tear it up for the Sail Away Party on the Pool Deck. This might have been the only time everyone on the boat was in one place at the same time, as no venue could hold 3,000 people at once, and this was the only musical option for an hour. Annabel, the emcee for acts on the Pool Stage and all around ‘Julie’, ala The Love Boat, got things off on the right foot by saying “Are you ready to have the best week of your life?”, and she was far from overamplifying the event, as the crowd let out a thunderous cheer no other cruise ship could muster. The New Orleans sound of The Soul Rebels kicked the boat off with a cover of “Sweet Dreams (are made of this)” by Eurythmics, “Touch the Sky” by Kanye, “Do you Remember the Time” by Michael Jackson and set the tone for the cruise as we slowly sailed out of harbor and into open waters.
Taking the recommendation of veteran cruisers, I left during the last half hour of the kickoff set to head to the Merchandise area of the boat. Getting the posters and any merch I desired was a necessity early on, as I was advised that the good stuff sells out early. I picked up both posters, done spectacularly by Jeff Wood, and shirts and stickers and the usual. Not having to deal with this later on was a big plus, and even more so – we could get drinks while we waited in line! Drink ticket booklets were the way to go: 13 tickets for the price of 12, and different booklets for Brews at Sea, regular beer, wine, soda and mixed drinks. One Brews at Sea and one mixed/frozen drinks booklet for me wound up getting me through Thursday.
Getting a little downtime in cabin was needed, as sea legs are not something everyone has. The sway of the boat wasn’t much, but it did demand an adjustment on my part. A quick break in the cabin is always a good thing to help you relax and reload, but you don’t want to plan to spend much time in there, especially since some cabins, like our triple, are a bit cramped. You do have the benefit of a small TV in your room that shows on three channels scenes from the week – audio, photo and full video of sets. I might have seen the Big Gigantic Monday show on the TV about five times in the span of the cruise, yet only caught a little of their set first hand. It served as both a reminder of what you missed and what you enjoyed. We also needed a chance to change for the nights ‘Zebra’ theme, which led to me donning a robe, habit and mini disco ball and heading out for the night. (This is totally normal)
Heading back out to the Pool Deck, Medeski Martin Wood were joined by guitar virtuoso John Scofield, for one of the sickest shows of the cruise. All four were fully in sync but Scofield played leader to the quartet, who took their time with fast and paced pieces, but didn’t rush a single note. MMW fans were in for a treat on the boat and will enjoy recordings as they surface.
The Motet, a Colorado based nine-piece funk band, was one of the acts I was most excited to see, mainly because they just don’t get to the East Coast very often, although they did let me know they will be playing in New York City in April, a must see show. I’ve followed The Motet for years, loved their albums, especially Dig Deep and their funkified covered of Grateful Dead songs, so getting to see them on the boat as a group and spread out among the random collaborations was one of the highlights before I even got on board the MSC Poesia. Playing in the Zebra Lounge at 11:30pm, the crowd was up and tight for the set as the large band spread out around the stage, with Jans Ingber leading the way on vocals with Stevie Wonder-esque soul and interaction with the crowd that warranted a packed house. While enjoying the show, I discovered the signature drink of Jam Cruise, the BBC – Baileys, Bacardi, Coconut Puree and a banana, finely blended with ice for a rich concoction that you can’t top. It was the perfect drink for the cruise.
The night ended with Big Gigantic on the Pool Deck, a duo from Boulder, with Dominic Lalli on Sax and mixing beats on his laptop, while Jeremy Salken played drums with fervency throughout, dropping into snyc with Lalli and establishing a powerful performance that was accentuated with Sax riffs that were reminiscent of The Motet, of which he was a former member. I made it through only part of the set before calling it a night. The first eight hours of music on the boat were incredible, but I needed to rest up for Day 2. If there were four more days of this left, I was going to need all the energy I could muster.
Day 2: Tuesday, January 8th
Waking up on Tuesday and heading to get food at the 24 hour buffet, I realized that this cruise, much like the one I had been on when I was in high school, was a vacation. Naturally, cruises are vacations, but I had always looked at Jam Cruise as a festival at sea, but not a vacation. Finding an all you can eat buffet with a wide selection around the clock, turn down service and quick cleaning of cabins, as well as some of the best staff one could ask for, I was finding two experiences – a festival and a vacation – combining into one: a festivacation. There was little to set the two apart from each other, and thus, set the festival apart from other music experiences and festivals. Jam Cruise caters to the professional festivarian. Casual and energetic all at once, you are able to relax, enjoy music, party, check out special sets, find a second and third wind, and uniquely, find that there is no wall between fans and artists; artists are in cabins just like you, roaming the boat, eating meals in the restaurant and buffet, ordering drinks and catching some sun. There were few fan boy/girl moments throughout the cruise, but rather handshakes, thanks given for sets, casual interactions and elevator rides with musicians. Ever ridden in an elevator with Bernie Worrell? Had dinner next to Skerik? Well, it’s cool, but not that big of a deal on Jam Cruise, because that kind of stuff happens all the time!
Wandering around and still trying to get my bearings on where everything was, I found myself in the Pigalle Lounge, otherwise known as the Jam Room. Here, during the day, and not closed off to Jam Cruisers, you can find random practice sessions and soundchecks taking place. I popped in for 10 minutes when I discovered the room during the light hours, to find Natalie Cressman (Secret Garden, Trey Anastasio Band) Joey Porter (The Motet) Ryan Zoidis (Rustic Overtones, Lettuce), Eric Krasno (Lettuce, Soulive, Chapter 2) and The Motet horns, among many more, warming up and practicing a for a set to be played later. The sets and jam sessions are semi-planned with a lineup, but the jams are always unscripted. Watching the warm-ups meant that I had to get down to the Jam Room later that night, or randomly on the boat where these musicians would assemble that night or over the course of the cruise.
Autograph signings take place twice on the boat, and with luck, you can get nearly every musician to autograph whatever you want, in my case, posters for myself and one for a later auction for The Mockingbird Foundation (stay tuned to PhanArt for details). Musicians were gracious to sign posters, guitars, whatever you brought with you, as well as chat for a moment if you so desired. Half the boat’s musicians were here in the Disco, leading to interactions with Lettuce, MMW, Karl Denson’s Tiny Universe, The Funky Meters, Col. Bruce Hampton and many more. It was worth sacrificing an hour of music to meet some of the legends on the boat, including Art Neville and John Scofield.
JJ Grey and Mofro played the Pool Deck to quite a packed crowd. Hailing from Jacksonville, JJ Grey brings a gritty voice and strutting stage presence to the show, while Mofro’s horns and band stay in step with JJ and lead the way to a fantastic afternoon set, perfect for this time of day. Notable tunes included “Everything Good is Bad” and “Lochloosa”, as well as a great statement from JJ Grey regarding the preparation needed for Jam Cruise, the enjoyment of the week on the boat, and then the next week needed for recovery. He wasn’t far off base on this assessment.
One of the most welcome aspects of any festival is how Green the festival can be, keeping sustainability on the radar of both the producers and the festival-goers. Jam Cruise is no different, and goes to a higher level with ALL cups on the boat being compostable, as well as Positive Legacy holding auctions and raising money through carbon offsetting that goes to plant trees in the locations Jam Cruise visits in the Caribbean. For Jam Cruise 10, 10,000 trees were planted in Haiti, as well as 12,200 shoes were donated in partnership with Soles4Souls. Jam Cruise 11 advocated for carbon offsetting, which was between $10-25, depending where you flew/drove from, which would be used to donate school supplies in Grand Turk, Turks and Caicos. Additionally, there was the Magic Hat Wind Stage, a stage that ran on wind power, and this day, there was plenty of wind to be found, as the boat was sailing quickly to make the trek to Grand Turk. In 2012 the stage was powered by the sun, and on this year’s cruise, there was more wind to be found than sun.
A Space Disco set, with Wyllys featuring Joel Cummins (Umphrey’s McGee) played the Pool Deck at 5:30 pm for a unique set – Wyllys spins tracks and Joel added in keys to build up froth for those who swam in the pool and enjoyed the sunset. Dancing in the gusting wind while enjoying drinks and taking random pictures for people as they wandered past the setting sun made for a hilarious and wild start to the night.
Attending the HeadCount volunteer dinner with Chris and Jason, we made friends with table mates Ben and Ryan, chatting about our HeadCount experiences in the past year, while enjoying some of the best food on the boat. Three courses filled us up for the night, plus some delicious wine and beverages were a solid cap to an already enjoyable day. Krasno, Ivan Neville (Dumpstaphunk), Jeff Coffin (Dave Matthew Band, Flecktones) Joel Cummins and numerous volunteers, bloggers and musicians all enjoyed a great dinner in Il Palladio Dining Room.
Note: By this point of the cruise, I would have been looking down at my phone, tweeting these updates to my followers and not living in the now. Thankfully, I left my phone in my backpack from Monday at 5 pm until Saturday around 10 am, undeterred by the Wifi available on the boat. As Laura Nulman said, “I think the best part about Jam Cruise is the lack of cell service. No one live tweeting and such. It lives in our memories only.” And that was one of the non-musical highlights of the cruise, saving the experience for my memories and reviews of the boat. There were some computers on the boat where you could buy time on the Internet for a small fee per minute, but a few minutes checking email vs. constantly checking your phone would take away the vacation aspect of Jam Cruise. Besides, I was there for the music! If Disney is the happiest place on earth for kids, Jam Cruise is the happiest place on earth for live music fans.
After the HeadCount dinner, we walked toward the Atrium to catch Nigel Hall’s piano session amid the three-levels of the boat converging for great acoustics. Playing a selection of songs on the piano, Nigel was later joined by Ivan Neville for a song, while the rails and stairs were lined with music fans smiling and focusing on the spontaneous music that was created in front of them.
The plan for Tuesday night was simple: see The Motet ‘Funk is Dead’ set, Boombox, Funky Meters, Big Gigantic, catch some Medeski Skerik Deitch and cap the night in the Disco with Wyllys. Could it all be done? Probably not, but that’s part of the fun. The entire time you are roaming the boat, you are going on a new adventure, and sometimes you wind up forgoing one musical experience for something else. With most acts playing twice on the boat, you always had a backup option. Still, with all this on tap, you have to pace yourself! There is never a need to rush when you are at a festival, but here’s a Pro Tip: if you find yourself a bit tired or feeling sluggish, grab a cup of coffee, dump it into a cup of ice, stir, pound it, and you’re back in the game. It worked like a charm on more than once this cruise.
We missed the ‘Funk in Dead’ set during the Headcount dinner, but knowing it will come to NYC in the Spring, I felt better enjoying a meal instead. While relaxing on a couch in the Zebra Lounge and sipping a fine Malbec, our growing group of friends were awaiting Boombox to come on stage. Jason was talking about them from the moment we boarded the boat and his recommendation was good enough for me. Pairing Russ Randolph as DJ with Zio Rock Godchaux on guitar (Former Grateful Dead members Keith and Donna’s son) was not only a legitimate dance party infuser, but incredibly inspired and unique. For 90 minutes, we had a dance party in the Zebra Lounge, hanging with those who stopped by what felt like our own exclusive booth for viewing, but was really just an open window to the party. There was a great song that felt like they would drop a techno-enhanced version of “2001” on us, accelerating the night into overdrive.
Tuesday was also ‘Blue Lagoon Boogaloo’, which meant that nearly everyone was dressed in some shade of blue or a costume that was blue. For me, it was simple – Disco/Disney shirt, blue Hawaiian shirt and blue pajama bottoms. My final Smurf count was 12, while there were only 2 Na’vi (from Avatar) to be found. Unobtanium indeed…
True story: for nearly all of 2012 after I paid for Jam Cruise, I proudly and without a hint of irony, said that this would be my only one. I meant it seriously and remorsefully. The former because it didn’t seem like I would be able to go again since I had to wait 10 years from the first cruise, and the latter being that I am a teacher and as I mentioned, I can rarely get this time off of work. But I had done my homework and found the experience to be second to none, and was already trying to figure out how to put down a deposit for Jam Cruise 12. And it was only the second day of Jam Cruise 11.
After Boombox and a little hydration, we went to see the most classic of New Orleans bands, The Funky Meters. Art Neville – 75 years old and still able to tickle the ivories with panache, was seated stage right, while George Porter Jr. took center stage on bass and vocals with Brian Stoltz on guitar to his left and Russell Batiste Jr. holding down the drums. You couldn’t ask for a more incredible act to be on the boat. This is the original New Orleans funk band, and as someone said on stage, if you were a musician in New Orleans, you probably played in a band founded by Art Neville. It was a real treat from the moment they took the stage. The quartet played everything you could ask for: “Just Kissed My Baby”, “Africa”, “Hey Pocky Way”, “Look a Py Py”, “Fire on the Bayou”, “Cissy Strut” and a personal highlight, “Ain’t No Use”. After many years of hearing Widespread Panic versions of “Ain’t No Use”, seeing the original version was simply incredible. The set went on until 1:45 am, but it felt more like 3 am with the way the songs stretched into the night.
Moving down to the Teatro Carlo Felice (The Theater), Big Gigantic played a powerful 90 minute set, including a truly amazing version of “I Need a Dollar”, before bringing out members of The Motet, Lettuce and many more, to jam out to some Herbie Hancock tunes until 4am. From where I was sitting, you could see a line of horn players waiting to take the stage to sit in with Big Gigantic for this special set. When the guy next to me heard the name ‘Herbie Hancock’, he jumped up, asked me if I needed anything, ran to get a drink for himself and water for me, and was back within five minutes. I was thankful not to miss this special treat of a set, especially having missed much of the set the night before.
Late night after the music is scheduled to end is a casual, ‘eat whatever you want and roll into the next day’ kind of affair. Catching up with Chris, we popped into the buffet to get a bite to eat en route to the next adventure, Wyllys featuring Rob Soup, in the Disco. For the rest of the night, how little was left of it, we danced with friends to great house music mixed by Wyllys, and looked back on an incredible day. Once you make it to this late in the night, and have little intention of going to sleep, you have to see the sun rise. So heading out to the top of the Pool Deck while staff cleaned and scrubbed the level below us, we watched the sunrise, looked back on the night and still found the energy to dance, evidenced by the video below.
It took a little over 500 years to go from Columbus setting foot in the Caribbean, when it was a risk to sail on the unexplored, open seas, to having a five-day cruise with non-stop music that created a new and positive West Indies footprint. And Jam Cruise 11 wasn’t at it’s halfway point yet.
Stay tuned this week for more reports from Jam Cruise 11. Wednesday features Christopher DeCotis’ photo gallery from Day 1 and 2, Thursday will have Pete Mason’s full recap of Day 3, 4 and 5, and Friday will have Christopher DeCotis’ photos from the final 3 days of Jam Cruise.
When Matt McWatters came up with the idea of doing a benefit concert he did the right thing by enlisting the help of area promoter Greg Bell. Within a week, the Who’s Who of the Capital Region music scene were signing up to donate their time and talents to the cause. More bands wanted to play then there was stage time, so the list had to be narrowed down to twelve acts. Those twelve were recognizable names, even to the casual local live music aficionado, for Rock for Recovery in Newtown.
Friday night’s show included Way Down, Skunk Hostage, Funky Jukebox Brigade, Conehead Buddha, Dr. Jah & the Love Prophets and Timbre Coup. Saturday night’s show was no less impressive with The Hearing Aides, Sean Rowe,Matt and the Bad Ideas,Super 400,Erin Harkes andBlack Mountain Symphony w/special guests from the Ameros and 7th Squeeze. was there Friday night to hear the amazing line up.
Way Down, with a little help from Dirty Paris, had the hard job of going first, but their musical talents and jazz and rock influences shone through during there set that ended with a dynamic interpretation of Jimi Hendrix’s “Manic Depression” that had everyone moving. Skunk Hostage played second and were met by a growing crowd that was eager for their fresh blend of progressive, punk and rock. Tony Califano (bass/vocals) and Justin Fuld (vocals/guitar) mixed it up a bit and in addition to looking like brothers (according to at least one person) they played off each others musical strengths well.The next band, The Lucky Jukebox Brigade, took the stage with it’s eclectic blend of guitars, drums, trumpets, a tuba, a wash board, violin and then hidden away in the corner the multi-facated Kristoph DiMaria (with a broken nose) playing percussion, guitar, organ and offering entertaining backing vocals. LJB does an incredible job of managing a really big sound with the help of their powerful vocalist, Deanna Deluke, and her ukulele.
Longtime local favorites, Conehead Buddha, played to the peak crowd of around 200 people, filling the upstairs of Valentine’s with dance and good vibes. The ska band that has been rocking the Capital District since the mid 1990’s didn’t miss a beat and got the crowd revved up for the final two bands of the night.
Dr. Jah and the Love Prophets brilliantly fused together reggae and ska then rolled it in a jam band blunt. Old favorites like “Come Down From the Mountain” and “Freedom Rising” had everyone singing along. Dave even inducted everyone in attendance into the Jah Army. When the lively set was done the “bright smiles” of the dancing “Jah Army” at Valentine’s was yearning for more. And luckily the music lovers got more.
The long evening of great music ended with the Prog Rock styling of Timbre Coup who played to almost 2 am and still had time to squeeze in an encore. Timbre Coup was able to stretch themselves out with the jam band crowd allowing everyone to get lost in the music. They were sure to bring them back with an incredible solo from Andrew Chamberlaine’s seemingly magical 7-string guitar.
When the dust settled after both nights of incredible music $4193.00 was raised for EverRibbon: My Sandy Hook Family Fund and Newtown Youth & Family Services. Kudos to the promoters, the venue, the bands and especially the fans that came out to support a great event and the incredible home-grown music scene.
If you would like to donate to Newtown Youth and Family Services, you can visit their website, or donate by mail at: 15 Berkshire Road; Sandy Hook , CT 06482
On a damp January evening, AEG brought their sweaty, passionate, live performance to the Bayou Café in Albany, NY. Playing to a room full of appreciative fans, the band did not disappoint. The Adam Ezra Group (AEG) hails from Boston, MA and was playing in support of their recent album Ragtop Angel, which took the 2012 New England Music Awards honors for ‘Album of the Year’, as well as ‘Song of the Year’ for “Takin’ Off”.
Those that know the AEG know they are not only about the music but are also activists and community leaders committed to changing the world through their music. This is very in the song entitled “Miss Hallelujah” which Ezra performed with compassion, soul and power to kick off the show. The early part of the show also included the bands version of “Cripple Creek”, dedicated to the late Levon Helm and “The Devil Came Up to Boston”, a variation of Charlie Daniels’ “The Devil Went Down to Georgia”
The remainder of the show was a nice blend of AEG favorites including “On My Own”, “Home Again Soon”, “What Did I Say”, “We’re Going Out Tonight” and “Steal Your Daughter” from both previous albums View From the Root (2010), Chain (2005), Tumble Down Slow (2004) and their latest album Daniel The Brave (2012).
There’s something to be said about getting back to basics. The Adam Ezra group is all about down-to-Earth, grassroots music. The bands vast talent and old fashion work ethic combined with their commitment to making the world a better place through their music is certainly a breath of fresh air.
While on the island, I chatted for a bit with Seth Weiner, the Activities Director for Jam Cruise 11, who has been on all 11 Jam Cruises. Working activities, we discussed the different options that were available to the cruisers and how they continue to come up with enjoyable events for everyone to take part in outside from the music. Events this year included repeats such as the Jam Cruise wedding, Autograph sessions, Rockstar Karaoke, plus they took it up a notch with Gong Show, Musical Bingo, Jamily Feud and Air Guitar, which tied into the theme of the last night, Spinal Tap. They also brought in the Moog Foundation, which honors the legacy and impact of Dr. Bob Moog, creator of the well known Moog Synthesizer. There were workshops, discussions, sound therapy sessions and other gatherings that highlighted the like and work of Dr. Moog.We boarded the boat with time to spare and got a little rest after the half day on the island.
