NYS Music 20​13

Category: Woodstock

  • The History of Comedy in the Catskills Highlighted in “When Comedy Went to School”

    Sullivan and Ulster Counties are home to the famed ‘Borscht Belt’ of Jewish comedy that rose to cultural prominence in the early and middle part of the 20th Century. Drive down Interstate 86 and Route 17 and you will see hotels that once stood in summer grandeur as thousands of tourists flocked to the mountains for respite from the heat of the inner cities and found themselves a part of the birth of American comedy. This brand of Catskills comedy originated as a result of the cultural influences of Jewish immigrants and who made up the early entertainers in New York City, the Catskills and eventually, on television and in film. Today, New York is home to more music festivals than any other and looking back at our history through the new documentary When Comedy Went to School, we can see that Upstate is also the birthplace of the Golden Age of Comedy in America.

    when comedy went to schoolComedic legends such as Sid Caesar, Mickey Freeman, Dick Gregory, Sandy Hackett, Larry King, Robert Klein, Jerry Lewis, Jackie Mason, Mort Sahl and Jerry Stiller are interviewed in this 83 minute documentary, including archival footage of Henny Youngman, Buddy Hackett, Joan Rivers, Lenny Bruce, Alan King, Woody Allen, Rodney Dangerfield and many more. Robert Klein hosts and narrates the film, for he is a product of the Catskills comedians who came a generation before him. The birth, rise and fall of the Catskills is exhibited and argued to be the home of comedy in America as we know it today. What grew from the Eastern European immigrants of the late 1800s became the post-vaudevillian comedy of the 1920s, seen in the Depression-era theaters like The Palace in New York City and eventually, the vacation getaways for the post World War Two tri-state area. This gave rise to comedians such as Sarah Silverman, Jerry Seinfeld and even Chris Rock, who shaped comedy and pop culture through today and will continue to do so posthumously well into this century.

    The rise is documented quite well in When Comedy Went to School, starting in the packed inner cities of Brooklyn and The Bronx, where European traditions led into vaudeville and theater. In the summers, young waiters and staff were trained to socialize with the patrons, which invariably led to comedic routines for the likes of Jerry Lewis, Alan King and Larry King, among others. Summers in the Catskills had a thriving Gentile population that made the region a Dirty Dancing-esque retreat for more than two decades. Things thrived until the decline in the 1960s began, partly attributed to the rise of the middle class and affordability of amenities not previously available to all, including a shift to the suburbs, houses with pools, membership at country clubs, air conditioning for those hot summer days, and summer camps for kids that kept families from going to the Catskills in growing numbers. Plus, the comedians once seen in the Catskills were now seen on television and in movies, so a 90 minute drive to see them was not needed. The counterculture shift of the 1960s was a final straw for the region, one that has struggled to recover from the end of a half century of success as a summer destination for millions of New Yorkers.

    Ron Frank and Mevlut Akkaya’s film is a documentary but more of a loose oral history of how comedy rose and fell in the Catskills. While it is disjointed at times, the audience at Spectrum 8 on September 30th roared with laughter and reflected on an era left behind, finding the film nostalgic and a method of preserving this era as the major players, especially Sid Caesar, Jackie Mason and Mickey Freeman, who shared a wealth of information found no where else but in the memories of those who lived them. For those who want to find evidence of the roots of American comedy that followed the eras of Mark Twain and Will Rogers, laughs and nostalgia combine as When Comedy Went to School covers all the bases.

    It should be noted that while many resorts from the region are no longer open, a couple of these locations in the Catskills thrive and one is the reason for Woodstock finding its way to Sullivan County. In that case, Eli Tiber was the son of the El Monaco Motel owners who lived in White Lake. Throwing small arts festivals each summer, he learned that Michael Lang was looking for a place to throw his Woodstock festival after they were summarily asked to leave Wallkill in Orange County. After the motel’s property was deemed too small for the festival, Max Yasgur’s farm was offered up as a potential location, and history was made. Today, Rock n Roll Resort at Hudson Valley Resort and Spa in Kerhonksen and The 16th NY Harvest Festival and Freedom Fair at Kutcher’s in Monticello are well received music festivals that provide a spark for the economically distressed region and offer a glimmer of hope for a new reason to make the Catskills a destination for those throughout the Northeast.

    When Comedy Went to School is playing in limited release in the following Upstate-area cities. Find more information on playing time and ticket prices here.

    Hamilton, NY 10/2-10/4
    Fredonia, NY 10/5 & 10/8
    Rosendale, NY 10/7 & 10/10
    Great Neck, NY 10/21-10/17
    Danbury, CT 11/2

  • The Felice County Fair at Opus 40 in Saugerties

    The storied history of the Woodstock community is as rich as the lush green mountains that cradle the artistry of the region. Radio Woodstock, a staple of the community, is just such an example of the past greeting the present.  The radio station was once the video studio of Todd Rudgren on the property that was the brainchild of Albert Grossman – manager to many of the great folk stars of the late 60’s and early 70’s.  The creative flow has been carried through, nurtured and passed on to the next generations. On the weekend of August 31, however, a new tradition was born – The Felice County Fair.

    Opus 40
    Opus 40

    The Catskill region encourages artistic endeavors through a grow-your-own mindset.  The organic atmosphere culminates in a booming fervor in a world of the arts. Radio Woodstock hosts a number of events around the area, most notably Mountain Jam.  The Felice Brothers had a vision and with the help of Radio Woodstock, a fair of the arts came to fruition.  True to form of the local natives, they don’t host the usual agricultural event; their idea of a fair is music and art and culinary divinity. “Location, location, location” is generally the mantra when purchasing a home, but in this case, prime realty for just such an event came in the form of a sculpture park.

    Festival Fun
    Festival Fun

    The grandeur of Opus 40 is nothing short of a miraculous feat of sweat, tears, and sadly, blood.  Its massive display of stonewalls, secret passages, and deep pools provided an ideal location for an unadulterated marriage of music and art. The daylong event began with Paul Green’s Rock Academy.  The students performed various cover songs of their favorite rock stars, adding a touch of their own improvisations.  The Academy is located in Woodstock and serves as a shining example of the mindset: the idea of developing artistic abilities to foster the creation of beautiful music.  Academy staff member and guitar player Conor Kennedy took the stage shortly after.  Aside from his on stage performance, his youth and exuberance are impressive.  Conor Kennedy played a set well versed in various genres showcasing his musical agility.  Kennedy is Woodstock’s next generation cream-of-the-crop ripe for the picking.

    Connor Kennedy
    Connor Kennedy

    The Felice County Fair also encouraged the family feeling.  The event hosted bouncy bounces, make your own tee shirts and a play area for the kids.  It was only fitting that Marco Benevento’s two young daughters helped warm up the piano keys during their load in – future musicians perhaps. Shortly after 3 pm, Marco, Dave Dreiwitz (bass) and Andy Borger (drums) took stage.  The crowd counted: one, two, three, four and the threesome started on cue. Marco Benevento promoted his latest disc, playing the set with songs from TigerFace. Almost entirely wordless music, the trio waned back and forth between heavy rock and psychedelic. A tiger head prop was used for the last song, “Limbs of Pine.” Each of the threesome took turns wearing the head while dancing and playing to an electro-pop dance beat.

    Marco Benevento
    Marco Benevento

    There are many adaptations of Amy Helm whether she is the Amy Helm Band, The Dirt Farmer Band, or the Midnight Ramble Band.  However, her vocals are unmistakable and distinctly her own in each of her performances. She often travels with Daniel Littleton on guitar, Byron Isaacs on bass and Justin Guip on drums. However, they did not need to travel far as Opus 40 is practically their backyard. As veterans of the Woodstock music scene, the Amy Helm Band invited many to the stage encouraging collaborative creative flow and maintaining that family like tradition.

    Amy Helm Band
    Amy Helm Band

    An ironic and historic fact regarding Opus 40 is that its sole creator, Harvey Fite, was killed after he fell into his own massive stonework sculpture.  He is now buried in the hillside of his own property, just behind the stage location.  Hauntingly beautiful and chilling, Amy Helm gave new meaning to “she walks these hills over my bones” in “Long Black Veil” with husband and wife duo, Mike + Ruthy joining in on the old time favorite.  Another classic, “It Makes No Difference”, would be enough to bring anyone to their knees or at least tears to their eyes.  Amy’s soft and sultry vocals harmonized with Elizabeth Mitchell, Daniel Littleton, and Mike + Ruthy seemingly channeled her late father giving his soul life making his presence strong.  The Amy Helm Band ended on a positive note with Sam Cooke’s “Good News.” Conor Kennedy joined the already packed stage and a folk-rock revival exploded on the hillside.

    The Felice Brothers
    The Felice Brothers

    Ending their set in this manor served as a perfect primer for the closing band, The Felice Brothers. The high energy Felice Brothers got right down to business as the rain started to fall with a melodic rock violin intro.  In an instant the fellas jumped around, stood on chairs and engaged the crowd.  The soggy but jubilant crowd belted out “I put some whiskey in my whiskey”, as the brothers led the sing-a-long ballad.  However, the band resigned to the weather, as there was lightning in the area.  After a short postponement, the band resumed as if they bottled up the electricity from the storm and shot bolts from their fingers.  The onstage shenanigans were a site to behold and the music was to be experienced. In its inaugural year, The Felice County Fair successfully captured the essence of Woodstock.  From veteran players to newcomers, the stage performances shined.  The musicians continue to harvest the artistic mentality as their songs fell upon welcoming and equally nurturing ears.

  • Woodstock Sessions with Alan Evans Trio: Taking the Concert to the Studio

    The opportunity of a lifetime. “No overdubs, no second chances – just a moment captured in time”, says guitarist Danny Mayer. History was made in just 85 minutes of creative passion. The Alan Evans Trio caught lightning in a bottle with what looked like relative ease as the band embarked on the first ever Woodstock Sessions last weekend, where they got the chance to record a live album with thirty exclusive guests at Applehead Recording Studios.

    AE3_6688_1
    photos by Chris Daniele and Barry Bellamy

    Anticipation ran high as something special was surely going to be made that Saturday night. The scenic drive up offered only brief distractions. This was more than just a concert, and overwhelmingly felt that way. There aren’t many things on the same level as your wedding day or the day your child is born, but this was approaching that intensity. You could feel how special this truly was from the second you drove up the dirt access road. It was both making history and laying the groundwork for future sessions at the same time. We weren’t on the actual grounds in Bethel, but maybe there was a reason they were calling this the Woodstock Sessions.

    The atmosphere as you arrived felt intimate and inviting, which would set the tone for the evening. The studio itself sat hidden in what appeared to be an old barn, set quite a ways back from the road. Drummer Alan Evans said, “The Woodstock Sessions had a little bit of everything. It felt like a small festival, it felt like a family get together, it felt like a gig. It was really unique.” Thirty guests from all over the country descended upon the property and slowly trickled in one by one. The band, relaxed and easily blending in, greeted everyone as they arrived and began settling in. As the food was cooked and setup, Alan, Danny, and Beau were just hanging out, drinking beer, and shooting the breeze. There might not have been any true family relation, but there was definitely a shared appreciation for creative expression, musical intelligence, and one class-act band that brought everyone together. Studio owner Michael Birnbaum noted, “We wanted to accommodate the intimacy of the relationship between an artist and their fans and have the people be an energetic accelerant for the entire process.”

    As dinner wrapped up and the sun slowly began to set, everyone knew that it was time. We slowly funneled into the studio for what was going to be the experience of a lifetime. The inside was in striking contrast to the exterior and drew everyone’s eyes up and down as they stepped through the doors. The wood that covered the interior was warm and rich in color, a winding staircase gave a birds-eye view, and there was nothing but equipment that separated you from the band. As you sat in anticipation, you realized how real this was becoming. Guitarist Danny Mayer, says, “The vibe in the room when we played was almost the same as the barbecue, but with a significant amount of excitement in the air.” It was like an MTV Unplugged session, but imagine sitting on the stage. There were no barriers. The instruction was to just have a good time, nothing else. The band looked around at each other to make sure all were ready to begin. The time was finally here.

    DSC_0765
    photos by Chris Daniele and Barry Bellamy

    And just like that, the band exploded into the set with the relentless attack of “They Call Me Velvet”. At any normal show, the guys would just be getting their feet under them, but they hit the ground running on this night. As the set evolved, the band had such command over the feel and sound. At times, they sent you blasting off into the atmosphere with their forceful play and other times they would reel you back down to Earth. The dynamics were simply beautiful. The band was firing on all cylinders, churning out a mix of the tightest funk, the most emotional of blues, and expressed to the jazz degree. They were more locked in and focused than most had ever seen them. Bandleader Alan Evans commanded the tempo like few drummers have the ability to do. His poise and power behind the kit delivered a beat that grabbed your foot and tapped it for you. Ears and souls were satisfied to the fullest. Michael Birnbaum, says, “It was shocking how powerful the recording sounded when we played it back.” At the end of the final song, there was an apex and one last sendoff as Alan used his kick drum in a manner that sounded like fireworks to appropriately close the session.

    The expression of “What just hit me?” was plastered over everyone’s face around the room. Music fans of the world, take note, this band and this studio just made a profound discovery that everyone needs to know: this is the way music is supposed to be recorded and the quintessential way for music to be listened to. Music is supposed to have human error and flaws; it’s what keeps things real. There was no auto tuning applied, fixing of solos or patching anywhere. This was raw and done in just one take, as they achieved something as close to flawless as real music is supposed to go. It truly achieved perfection though through the deep expression of the band and the energy that the guests gave right back.

    To steal a line from Ralphie, this was “electric sex”. Instead of light glowing through a window though, this was a penetrating sound that was experienced within feet. It hinged on feeling like a religious experience as your soul felt enlightened after experiencing music in a way it had never been experienced before as a fan. The humbleness and appreciation the band expressed was second to none as well. Al might have moved away from his hometown of Buffalo, but The City of Good Neighbors has clearly left a resonating impression that he carries with him today. Seconds after the closing note, each of the guys jumped into deep conversations with the fans who attended on topics ranging from their gear to how the experience felt. This was family now as this group shared something that will bond them together forever.

    As some camped out that night and others went back to their hotels, there was a collective high and feeling of privileged unity as we all bore witness to a performance that had never been captured quite like that. The drive home felt as though you were awaking from one of those dreams you clench your eyes to get back into. The reflective solitude of silence after something like that is powerful. Thankfully for everyone that didn’t get the opportunity to share in this, the studio plans on making live attended recording sessions a regular occurrence. And while other bands will surely share something intimate with their fans in future iterations, there’s just something about the first time.

  • Radio Woodstock Presents the Felice County Fair, August 31st

    Felice-County-Fair-PosterA six and a half-acre labyrinth, hand crafted from millions of pieces of bluestone known as Opus 40 is an attraction on its own. However, on Saturday, August 31, Radio Woodstock Presents the Felice County Fair, an event drawing upon the finest Hudson Valley musicians and food vendors.

    According to the Felice Brothers website, they have “always wanted to put on a festival in [their] backyard.” They will close out the day with a set ending just before dusk. The Felice Brothers are a folk rock outfit that began their career playing New York City Subways with roots in Upstate NY. Amy Helm’s soulful vocals are a breathtaking match for the artistry of the landscape for a late afternoon set. Jazz pianist extraordinaire, Marco Benevento will transcend the physical and create a soundscape that flows through his fingertips. Connor Kennedy has laid out the groundwork for his songwriting ability and is set to perform mid afternoon. His first disc, Nothing Lasts: Nothing’s Over, was released this summer. The daylong event will begin with Paul Green’s Rock Academy All-stars – the performance based interactive music school provides students with genuine opportunities to study and perform music.

    The Felice County Fair not only offers food vending and libations by Keegan Ales, but patrons of the event will be giving back to the community as partial proceeds benefit Catskill Mountain Keeper. The not-for-profit organization promotes sustainable growth and protects natural resources essential to healthy communities: an advocate preserving the beauty of the Catskill Mountains.

    The music will pause at dusk and resume Sunday, September 1.  The married Bela Fleck and Abigail Washburn will perform together showcasing their clawhammer style banjo playing aptitudes. Another husband-wife duo, Mike + Ruthy will bring their grit to the Opus property weaving storytelling and acoustic music through the stone and trees.  Elijah and the Moon will kick off the day, greeting the sunshine (hopefully) with their intrinsic blend of roots music.

    Directions to Opus 40.

    Tickets to the Felice County Fair and Bela Fleck.

  • First Annual Woodstock Comedy Festival, Comedy for a Cause

    The first annual Woodstock Comedy Festival will open Friday night September 20th at the Woodstock Playhouse in Woodstock, NY. The festival will help to raise money for several charitable organizations. Ticket prices range from $10-$50 depending on the show, check out their website for full ticketing options. The festival will run September 20-22nd.

    Friday night’s lineup will feature improv and standup with, comedians Rick Overton and Eddie Brill.

    Saturday night’s benefits for Family of Woodstock and Polaris Project are a double feature. First, Stand Up and Sit Down: Comedy and Conversation from Dick Cavett and Bobcat Goldthwait, together on stage for the very first time. Hosted by Eddie Brill, show time is 7 pm at the Bearsville Theater.

    Closing out the weekend Sunday night is an all-star comedy lineup at the Colony Café featuring, Laughingstock: A Night of Local Stand-up Comedy, starring Verna Gillis, James Judd, Adam Mamawala and Audrey Rapoport, hosted by Rich Shultis.

    The first annual Woodstock Comedy Festival is a 501©(3) not-for-profit corporation with a mission: Comedy for a Cause. A weekend of laughter to benefit two charities that are no laughing matter: Family of Woodstock, for domestic violence and Polaris Project, for human trafficking. “All our net profits will be given to Polaris and Family,” said festival founder and executive director Chris Collins. . For tickets and more information, go to www.woodstockcomedyfestival.org

  • Keller Williams Comes to Upstate New York With Fall Tour Dates

    One-man-band Keller Williams hits the road this Fall performing his signature solo sets with stops in Upstate New York. Accompanied on stage only by a slew of instruments and musical gadgets. In his seemingly insatiable quest for constant musical evolution, Keller will also make very special select live appearances with any one of his creative collaborations.

    Keller_Kevin Burke

    Since he first appeared on the scene in the early ’90s, Keller Williams has defined the term independent artist. And his 16 recordings tell only half the story. Keller built his reputation initially on his engaging live performances, no two of which are ever alike. Williams’ solo live shows—and his ability to improvise to his determinedly quirky tunes despite the absence of an actual band—quickly became the stuff of legend, and his audience grew exponentially when word spread about this exciting, unpredictable performer.

    Keller will play 4 shows in Upstate NY on this tour, the first show will be held at Rochester’s historical, German House on September 12th. Doors open at 7:00PM The show starts at 8:00PM, tickets are $25 and all ages are welcome. To purchase tickets please visit KellerWilliams.net and for more information you can call 585-442-6880 or visit www.upallnightpresents.com.

    The following night, September 13th, Keller will play the Wescott Theater in Syracuse, NY. Doors open at 8:00PM and the show starts at 9:00PM. Tickests are $25 and all ages are welcome. Tickets can be purchased online at KellerWilliams.net or the venue box office. For more information please call 315-478-8634 or visit www.thewestcotttheater.com.

    September 14th Keller will play Bearsville Theater in Woodstock, NY. Doors open at 8:00PM, the show starts at 9:00PM and this is an all ages show. Ticket prices range between $35-$55 and can be purchased online at KellerWilliams.net.

    The last appearance in Upstate NY will be a special treat as Keller will be joined by special guests and New York natives, Floodwood, for the October 10th show at Putnam Den in Saratoga Springs, NY. Doors open at 8:00PM and show begins at 9:00PM, this is an all ages show. Tickets are $22 and can be purchased online or at the venue box office.

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  • Mountain Jam 2013: A Photographer’s Perspective

    While Thursday at Mountain Jam 2013 was rainy and cold, the music kept things warm.  People braved the weather to enjoy incredible sets from Rubblebucket and Primus.  Along the hillside were even some fire dancers and fire eaters.  The ceremonies started with a smudging to purify the air and good vibes for the weekend.  Mountain Jam was about to begin and Thursday was full of energy and excitement.  How better to end the night than a late night set from the powerful duo known as Big Gigantic.

    When the sun came up on Friday, it was sadly behind thevclouds.  Most campers slept in their cars as tents were blown over and rivers of mud passed through the grounds.  Braving the weather, coffee was my original quest.  After that first cup of Joe, it didn’t matter how much it rained, music was in the air and caffeine was in the blood.  Friday brought  incredible acts such as Nicki Bluhm, Deer Tick, The Avett Brothers and Widespread Panic.  Mud wasn’t going to stop Mountain Jam, it was just going to add character.

    Saturday finally came with a weather report that included No Rain! Yay!  And what a day on Hunter Mountain.  From Swear and Shake, Amy Helm and Gary Clark, Jr. on the side stage to Michael Franti, The Lumineers and Gov’t Mule on the main stage, Saturday was non-stop jams, non-stop dancing and well, still a little slippery in the mud, but at least it wasn’t raining.  The theme of the day was going into the audience, as Franti and the Lumineers got up close and personal with the crowd.

    Sunday fit it’s name perfectly – it was a sunny day and finally the mud started to dry up and spirits were truly soaring.  While some people left early for their Monday lives, the ones that were able to stay saw some great performances.  London Souls bassist passed out backstage Soulive bassist filled in.  ALO, Dispatch, Jackie Greene and of course Phil Lesh and Friends.  I even got a sneak peak of upcoming Spencer on the inside stage.  Remember that name, you will be hearing it often and soon on the radio.

  • Weathered but not Worn: A Recap of Mountain Jam 2013

    “Pri-mus sucks,” was the battle cry of die-hard fans waiting to see Thursday night’s headliner at Mountain Jam 2013.  By this point it was hard to know if the sky was black because darkness was falling or the rain clouds took over or if Primus was channeling the shadow Gods in preparation for their performance. Two giant inflatable astronauts flanked the stage and a large screen in the backdrop, “Pri-mus sucks,” was heard again and again.  Albeit an odd welcoming and kick off to the ninth installment of Mountain Jam, it’s hard to imagine a band like Primus filling a headlining spot at a festival (it’s not the first) given that they are not the stereotyped festival band, but it worked.  It would mark the beginning of a long and very strange trip.

    Primus is a master of the presentation of music, holding the patent on the craft.  The music is to be heard, and that is what we did, listened.  The band members were cloaked in darkness while the screen played reels of various fitting images in sync with the rhythm.  Appealing to a varied crowd, Primus played some widely known songs such as, “ Wynona’s Big Brown Beaver” and encored with “Tommy the Cat.” Appropriately, they included, “My Name is Mud.”   Spirits were soaring high and Primus was no match for the weather.  The dance party was just getting underway on the Healey Brothers Stage with Kung Fu hosting.  The funk-fusion electro-pop quintet was full of energy and simply fun.  The Kung Fu Band handed the baton over to Big Gigantic who kept the party going until the early morning hours.

    The second day of the festival was an unfortunate doozy as a result of terrible weather.  Sideways, torrential down pour for hours upon hours dampened spirits, made for a super-saturated ground and prevented many from re-entering the mountain site for more music, at least the majority of the day.  Some folks packed up their camping gear and went home, others stayed in their hotel rooms and streamed the festival and of course there were the purists who ventured out for their must-see-live band of choice.  There were a few positives to the wretched weather.  For one, Mountain Jam is located at a ski lodge which offered a warm place for people to dry off and socialize, complete with a full bar and a cafeteria type food fare.  Albeit, music was sparse except for periodic noodle-ers on a small, corner stage and muffled bass emanating from the attached Healey Brother’s Hall.  Another positive is that Healey Brother’s Hall was jam packed with people getting out of the rain.  Both David Wax Museum and Futurebirds had a large draw, mostly by default.  However, both performances were well received.  Many people started filing back in to the mountainous amphitheater in spite of the continued downpour to catch both Avett Brothers and Widespread Panic.   Mountain Jam organizers accommodated Jammers accordingly by providing towing services for vehicles that became stuck in the mud.  Organizers also laid hay and added stones to more worn pathways.  The stage equipment was protected as well.

    ilent Bujak was even moved into the ski lodge to avoid the mud at the Campgrounds Stage.Scott Avett’s energy on stage was exuberant and contagious, not unlike the catchy folk rock sounds of Avett Brothers songs.  The crowd consumed his rawness like they had been held captive and just given permission to release.  He cried out, “The rain/it fell/and we got down” making the old adage, “learn to dance in the rain” ring true as the brothers jumped around dancing, playing, singing and stomping.  The revival was underway.  The Avett Brothers moved through a set of mostly fast tempo songs.  Highlights are the extraordinary vocal harmonization as exemplified in David Childer’s, “The Prettiest Thing.” After a power paced set, the brothers closed out with two slower songs, “I and Love and You” and “Head Full of Doubt/Road Full of Promise.”

    Widespread Panic was highly anticipated as they rarely venture to the northeast.  The sonic sounds emanating from the stage were smooth and mellow and subtly hinting that these fellas were southern rock.  The first set comprised mostly of original songs and the second set consisted of a batch of covers with a few sit-ins.  Both Bill Evans of Soulgrass and Gov’t Mule, and saxaphonist Danny Louis joined Widespread for a rendition of Traffic’s, “Low Spark of High Heeled Boys,” a popular song choice played multiple times throughout the weekend. Evans stuck around for a “Surprise Valley” sandwich that included a drums segment before moving into Talking Heads’ “Papa Legba” before returning to end “Surprise Valley.”

    By the time Saturday rolled around, Jammers were calling upon the sun Goddess, and she answered, finally! Ponchos and boots were traded in for sun-kissed shoulders, pretty little dresses and a jubilant vibration of absolute appreciation.  Saturday meant a full day of music, no exceptions and no excuses.  Swear and Shake, shook the West Stage in a relatively early slot.  Looking dapper in their suits of blue, while the lady of the band, Kari Spieler, sang folk songs in her checkered blue skirt.  It would seem that folks took notice, in a big way, of The Revivalists, a soulful band all the way from New Orleans.  A jam-packed Healey Brother’s Hall for round two was a testament to their music and perhaps gaining a few more fans.

    Mountain Jam has always been a festival that includes the Woodstock, NY family of musicians and it was only fitting that the Amy Helm Band performs.  Miss Helm invited the cream of the crop to join her on stage with Marco Benevento on keys for the entire set.  Mike and Ruthy, and Connor Kennedy sat in for “Long Black Veil.”  Amy Helm dedicated a song to her daddy as well as others that had passed in The Band with a heartfelt, “It Makes No Difference.”

    With Mountain Jam under full swing, the decent weather allowed for all activities to resume.  Vendors were happy people were shopping, food was selling like hot cakes, beer was pouring from the taps and the sky ride was now open.  Riding up the mountain to take in the scenery is always a big hit.  For five dollars, Jammers can relax comfortably on the chair lift, breath in the mountain air and hear their favorite artists’ songs as the sound waves ascend the lush green incline.

    Gary Clark Jr. has been at his craft for a while but he is just now breaking through on scene.  His set was full of fire and brimstone but without judgment and eternal damnation.  He is rock and roll and he made sure we knew it.  The Lumineers have expanded their song catalog to include snippets of Creedence Clearwater Revival and Bob Dylan’s, “Subterranean Homesick Blues,” paying homage to their roots in folk music.

    Festival host Warren Haynes and his band, Gov’t Mule took the stage as Saturday’s headliner for two sets.  One of the most enjoyable aspects of a festival is the ability of a band to include collaborations and Gov’t Mule was no exception.  Bill Evans played for moe.’s “Opium.”  Gov’t Mule played Creedence Clearwater Revival’s, “Effigy”, adding a “Folsom Prison Blues” jam.  Including an all-star cast of musicians: Bill Evans, Eric Bloom, Neil Evans, Ryan Zoidis, Hook Herrera and Eric Krasno, Gov’t Mule encored with Tom Waits, “Get Behind the Mule.”

    As Sunday rolled around, sleepy campers emerged from their tents and shuttle buses dropped off hotel guests ready for another full day of music under the blue skies.  A lively and fun set from both Dispatch and Jackie Greene primed the crowd for the much anticipated closer, Phil Lesh and Friends.  The Friends included: John Scofield on guitar, Joe Russo on drums, Jeff Chementi on keys and of course, Warren Haynes on vocals and guitar.  As always, the last day of a festival is bittersweet.  But, to quote The Grateful Dead, “What a long strange trip its been.”

  • Ninth Annual Mountain Jam Kicks Off June 6th

    The Ninth Annual Mountain Jam festival kicks off June 6th and runs through June 9th at Hunter Mountain in Hunter, NY.  Mountain Jam is a four-day, multi-stage festival hosted by Radio Woodstock 100.1 and guitarist, Warren Haynes (Gov’t Mule, Allman Brothers, The Warren Haynes Band, The Dead).  In one of the most pristine locations in the Northeast and natural amphitheater, more than 50 bands will perform on three stages.

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    Mountain Jam welcomes legendary bassist, Phil Lesh bringing his all star side project Phil Lesh & Friends for a two-set performance.  Friends for this year’s Mountain Jam are Warren Haynes and John Scofield on guitar, Joe Russo (Furthur) on drums, and Jeff Chimenti (Furthur, RatDog, The Dead, Les Claypool) on keys. Widespread Panic will make 2013 it’s first (and only northeast) appearance at Mountain Jam.  Festival resident Gov’t Mule will also headline a two-set performance. Primus will headline the expanded Thursday night program.  Staple guest artist, Michael Franti will perform on Saturday, June 8th.

    In addition to headlining bands, Mountain Jam continues it’s all-star line-up with many others including: Dispatch, a groove rock outfit of fun; Gary Clark Jr., Austin based artist fuzzing soul, rock and R & B; Jackie Greene, a versatile singer-songwriter armed with a catalogue of Americana and roots songs; Amy Helm whose vocals evoke a nostalgia of an old soul; and ALO, a pop-funk danceable groove band hailing from California.  Mountain Jam also welcomes The Lumineers, The Avett Brothers, Soulive, Deer Tick, Rubblebucket, Nicki Bluhm & The Gramblers, The Revivalists, David Wax Museum, SIMO, Swear and Shake and many more.

    Jammers will have a variety of activities and attractions while on the mountain. Some attractions include: sky rides, a scenic view of the Catskill Mountains; yoga, offered on Saturday and Sunday; a beer (and wine) garden for exclusive craft brews; psychic readings, Hammock Groove, Frisbee golf tournament, and artist signings.  Mountain Jam is offering a wide selection of cuisines to satisfy even the pickiest of eaters as well as an on-site Farmer’s Market.

    Mountain Jam has always done its part to reduce its carbon footprint.  The festival guide will not be available in paper form – saving over 2000 lbs. of paper ink.  The iPhone and Android supported App includes all the bells and whistles. The app provides a festival map, alerts, user created schedule and more.

    Tickets are still available, however VIP passes are sold out.  For more information, rules and regulations please visit www.mountainjam.com

    ’s must see picks: Nicki Bluhm & The Gamblers, Amy Helm, Gary Clark Jr.

    ’s must do picks: Sky Ride, Rainbow’s B-Rushless Karma Wash, Awareness Village

  • Former Members of ‘The Band’ to Play The Egg: Jim Weider and Garth Hudson in Project Percolator May 18th

    Woodstock native Jim Weider heads up the Thruway to present Project Percolator featuring Garth Hudson at The Egg on Saturday, May 18th. Jim Weider talked with about his project, growing up in Woodstock and fondly recalls his time spent as a member of The Band.  His resume is long, his music is well crafted and he aptly presents something that is uniquely him.

    JW

    Tabitha (TC): Let’s start off by talking about Project Percolator.  Describe what people can expect from a live show.

    Jim (JW):  It’s all groove instrumental with my Telecaster Guitar. It’s rock style and blues over the top.  We have several albums out and it is structured songs. I like to write instrumentals that are structured just like vocal tunes.  There will be verses, bridges and everything.  Then we have sections in the songs where we stretch it out. We play them differently each time. We might go into a Led Zeppelin line so it’s as exciting for the audience as it is for the band.  All the musicians are so great behind me; depending who takes off, we follow the other.  We try and jam out on certain songs.  We’ll do “The Weight” by The Band, with a reggae feel and then in the middle we’ll jam it out then go into double time. If Garth Hudson (The Band) takes off on the keyboard, we’ll all follow him.  So we do everything differently each night.  It’s kind of exciting for both of us – the audience and us.  I always have a blast playing with these guys.  Rodney Holmes is just an amazing drummer to be seen. Avi Bortnick (John Scofield Band) is on guitar and he plays much different than me. Of course having Garth is a true dream. We’ve been together for many, many years. Garth comes up with amazing sounds. You’ll hear Garth Hudson like nobody’s ever heard him before because the way this band opens it up and lets us play. Everybody has a blast.

    TC: How did you determine with whom you would work with for Project Percolator?

    JW: It started about seven years ago with Percolator. I wanted to branch out from my blues – rock records into something different. I just felt like I was cornering myself. I wanted to get into groove music. I started writing and came up with drum loops. I was lucky enough to get Rodney Holmes. He played with Santana and Brecker Brothers. He freed up and joined me. Once I got Rodney, we toured Europe and United States. Rodney’s been with me the whole time. The bass player, Steve Lucas (Bruce Cockburn) joined up on the Pulse record. We’ve been together for quite a while now. We’re going to play some new tunes, and we’ll bring in some Dylan stuff and some Band tunes also, which we do our own versions.

    TC:  You have worked with Garth Hudson for a number of years, most notably with The Band.  How is working with Garth similar or different in Project Percolator than prior commitments?

    JW:  Garth does some shows with us.  He just fits in because Garth always made all the great atmospheric sounds for The Band.  He was always into effects and sounds so putting him in the midst of Project Percolator works out perfect.  He goes with the flow.  He uses his ears and comes up with some great stuff and then we’ll break it down, then it’ll just be Garth by himself.  He just fits right in with this kind of music because it’s wide open and flowing.  It’s like a glove and very entertaining.  I get a kick out of it and so does the band.  I think the audience will too.

    GH

    TC:  What sparked the idea for Project Percolator?

    JW:  I had done a couple of blues-rock records.  There were a million blues bands and I had done the roots rock thing with The Band.  I just wanted to stretch out more.  Get more down to the R & B feel where it’s about the groove.  So I started with loops. I started recording by myself.   On the first record the drums were over-dubbed.  We’ll do some songs with some loops still.  I just wanted to get out of that corner write something totally unique that’s not your standard blues shuffle.  I really felt like I needed to come up with something fresh and I just stayed with it.  Of course I still played with Levon up until his time of passing.

    TC:  We just past the one-year anniversary of Levon Helm’s passing.  Having worked closely with him for many years, how has his passing impacted you both professionally and personally?

    JW:  Well, you can’t put a finger on when you lose someone you’ve been with that long of a time.  We played a lot of shows.  It’s deep rooted and it’s a huge loss – as a friend and a musician.  About four years ago, Jimmy Vivino went back to Conan on the left coast.  When he did, I joined up.  I still kept Percolator going but it was great to be back playing with Levon.  We did a lot of shows.  I never saw him happier.  He was on top of his game.  He was just very happy and it was great to be with him.  He really inspired me.  He had my back and looked over my shoulder since we started to work together.

    TC:  Do you have a favorite pastime or memory of Levon?

    JW:  Laughing across the country in the back of the bus at three or four in the morning.  That’s what keeps coming up.

    TC:  How has being born and raised in Woodstock contributed becoming a musician?

    JW:  Everybody was playing music.  One after another a new group would come out. Then The Band, from our hometown, came out and that was a huge inspiration.  It was just one thing at a time that led to the fire burning to be a musician.  All these great players were playing around town.  I never went too far.  I went down and saw Paul Butterfield playing at the local café.  All these great musicians playing live and then I saw Sound Outs (impromptu concerts) before there was the Woodstock Festival.  It was a big inspiration living around this area.  It was a fantastic time to be alive for music.  All the sounds were inspirational.

    TC:  When did you first begin to play for an audience?

    JW:  Early on we would play high school dances.  We practiced in my grandmother’s garage.  We had cookies and coffee and just practiced for a high school dance or a hippy party in some older person’s backyard barn until I was old enough to play in bars.

    TC:  What was your first band?

    JW:  It’s hard to remember.  I think I came up with a brilliant idea smoking something other than cigarettes looking up at a bunch of trees laying in the woods going, “hey, I got a great idea for the band, Leaves of Green!”

    TC:  Your resume of musical endeavors is jam packed with various projects.  You’ve done everything from session work, to production, touring, and even large telecast concerts.  Is there and event or a project that stands out for you?

    JW:  Well I guess playing at Dylan’s 60th Anniversary at Madison Square Garden.  We were doing all Dylan tunes with The Band.  Playing the Berlin Wall with Roger Waters when that went down.  Just being able to play Carnegie Hall was fantastic.

    TC:  What was your most surprising, yet satisfying collaboration?

    JW:  Being able to produce tracks on a Mavis Staples disc and playing with her was fantastic.  I also recorded with Scotty Moore, so that was full circle.  I also got to lead The Band at South-by-Southwest in Austin.

    TC:  Is there a collaboration you have yet to do that you would like?

    JW:  I’m not quite sure.  I have to think about that.  People ask me that a lot.  I am starting to write a new album and I have a new live CD that I’ll have at the show.  I had Blues great, James Montgomery play with us.

    TC:  What do you believe was a defining moment in your career?

    JW:  I’d say when I joined The Band in 1985 changed everything.  Levon getting me in the band was pretty amazing.

    TC:  Besides music, do you have another passion, hobby or activity that you enjoy?

    JW:  Yes!  I like to be outside.  I like to go fishing and talk a walk in the woods in stuff.  There is a reservoir not far from me, which is where I like to relax.

    TC:  What is your secret to longevity in the music business?

    JW:  Keep listening, keep the glass half full and just stay at it, don’t give up.  It’s harder now than it’s ever been, but you just have to keep an open mind.  Play for the love of music because if you do it for any other reason, you should get out.

    Preview the sounds in this video:

    Squirrels in Paris