NYS Music 20​13

Blog

  • Bella Terra Brings Beauty and the Beats to Upstate New York

    Driving through the winding back roads of Upstate New York, it was apparent that it would be a beautiful weekend for a festival. This would be Bella Terra’s fifth year, and fourth year at it’s current location on Gardner’s Farm in Stephentown, New York. The venue is home to people, plants and animals, and the name Bella Terra (beautiful earth) could not possibly embody a more perfect location for an upstate New York festival, and it definitely adds to the charm and allure of this late summer gathering.

    The music was spot on all weekend. The moment your campsite was set up you were drawn to the Red Bull MXT stage residing on the edge of the woods. One of the best sets of the weekend was the back to back performance of Mentally Ill and Leila Harrison. The moment they took the stage, drum and bass reverberated throughout the campgrounds, drawing people out of their sites to dance in the cool August evening. Throughout the weekend the Red Bull truck stage pumped out a variety of different music spanning from early morning dub to late night dubstep. It was an excellent addition and created a balance between the campgrounds and the main concert area.

    This year there were two main stages, much like most other quickly-growing festivals. It certainly makes it easier for the crew and it also eliminates the wait time in between sets. All of the headliners that played the festival absolutely blew the crowd away. The highlights of the weekend were definitely The Manhattan Project, Ghost Face Killah, and Robokop. The crowd did not seem to mind Ghostface Killah’s hour delay when he took stage and delivered an insanely high energy set. Ghostface Killah spoke in regards to the festival’s overall vibe saying, “It’s insane to be on stage and see the people singing your songs, knowing you, loving you, and you really can’t ask for anything else. I used to read about some of these places in text books and now I’m performing in front of them. It’s really a blessing.” That energy and that vibe permeated throughout the festival as each artist that took stage was met with so much love and admiration from the crowd. The overwhelming amount of appreciation and respect for music and art is very evident at Bella Terra. Robokop was especially an interesting act to bring to the Bella Terra stage; Clay Parnell of Brother’s Past and Allen Aucoin of The Disco Biscuits come together in an explosive collaboration creating something in the electronic music world that has not been seen before. Emancipator was another amazing and different act that stood out among the other talent. The smooth, ambient samples layered with live violin and down tempo beats made the crowd move in rhythmic waves within the hot tent packed with people.

    Datsik took the stage drawing a huge crowd, in part because there were no other artists playing during his time slot, but also due to his huge following in the Upstate region. Although it was a great performance, another act was definitely needed because variety is the key to success at a festival. On the other hand, it is apparent why they chose to exclude any other acts during Datsik with the huge turnout for main stage during his performance. His set introduced hard womping beats that pulsated through the crowd and made the main stage area come alive. Turkuaz delivered a mind-blowing funk-filled set at the late night tent that had everyone moving in throngs from their sites to witness this erratic display of sonic-explosions. The stage was packed with a wide array of instruments Turkuaz brings to their signature sounds. The most interesting site within the tent was a festival goer who had casually fallen asleep atop a table ten feet from the stage using a volley ball as his head support. Interesting things can always be seen in late night tents at a festival, but this was surely a first. How one could take a cat nap during such a loud, energetic and funktastic set is a feat unto itself.

    Cinder Block Hustle, true to fashion, had a large area near main stage filled with art installations. Scattered about were giant wooden cutouts of legendary figures that needless to say would tempt you to take some embarrassing pictures with that you would most likely find on your cellphone weeks later. Fantastic and vibrant displays of art were at every turn, adding even more beauty to the layout of the land. The installations also offered some shade and a place to rest during the hot afternoons. The festival also stayed true to nature with it’s eight foot Bella Terra Festival art installation created by some of the best graffiti artists in the game. Each year the amount of intricate detail only grows in this mind blowing centerpiece of the festival. Another spectacular aspect of the festival is the degree of effort put into making sure all of the children and families throughout the weekend are occupied. At one point a full troupe of larger than life puppets came strolling through the campsites riding on the tiny shoulders of the festival inhabiting children. It was certainly quite the sight to see.

    Throughout the festival you could catch live painting and live graffiti from some of the best artists in the game. Bella Terra does a phenomenal job fusing the two worlds of music and art and bringing them together to be appreciated and respected in a community that promotes a wide array of talents. It was not strange at all to wake up in the morning and pass a group of jugglers, or unicyclists or even puppeteer- and that is the beautiful essence of Bella Terra. Taking a casual and slow stroll through the festival was a giant tortoise who visited camp sites and brought vast amounts of entertainment to the weekend. Only at Bella Terra would it be common place to see a tortoise wander through the camp grounds. If that was not enough diversity for you, there was also a field of grazing cattle all but a stones throw from the camp’s showers. These are the kinds of things you can only see at a festival in Upstate New York. Overall, Bella Terra was another great success and it is evident that with the growth and popularity this festival has already achieved this festival has become a staple for the East Coast Festival and music scene.

  • Allman Brothers Band and Steve Winwood at SPAC, August 27th

    There was no better way to spend the end of August in Upstate New York than with The Allman Brothers Band and Steve Winwood at Saratoga Performing Arts Center. The American rock group lineup currently consists of original member keyboardist Gregg Allman , drummer Butch Trucks and Jaimoe, vocalist and lead guitarist Warren Haynes and Derek Trucks, bassist Oteil Burbridge and Marc Quinones on congas and percussion.

    The evening started with singer-songwriter Steve Winwood and guitarist Jose Neto, sax player Paul Booth, drummer Richard Bailey, and percussionist Café DeSailva. Winwood’s set consisted of a little bit of everything as he touched base on his solo work to the Spencer Davis Group to Traffic and to Blind Faith. “Light Up or Leave Me Alone” was one of the highlights as it provided everyone with solos and a chance to showcase their individual talents. “Dear Mr. Fantasy” brought the crowd to their feet as the band went straight into “Gimme Some Lovin” as Warren Haynes and Derek Trucks could be seen from off stage with huge smiles on their faces.

    Setlist:  Rainmaker, I’m a Man, Can’t Find My Way Home, Had to Cry Today, Low Spark of High Heeled Boys, Light Up or Leave Me Alone, Higher Love, Dear Mr. Fantasy, Gimme Some Lovin’

    Download link 

    The Allman Brothers Band started the evening with Haynes and Trucks blasting a few high noted classic American badass frets. The two guitarists made their own musical language consisting of string sliding and plucking throughout the night that everyone in the audience could understand. The ABB bring a special energy to their shows that you can always channel with an open heart and mind. It’s a timeless sound, southern comfort smooth. “Revival” did just that, bringing a light to the inside audience that glowed over the folks on the lawn and energized everyone with the lighthearted gospel soul with the repeating chorus line, “People, can you feel it? Love is everywhere.”

    There was a steady psychedelic kaleidoscope slideshow on the backdrop that suited the spacey jams and relaxed atmosphere. The stage was loaded with vintage amps and instruments that carried the familiar sounds the ABB has been known for. Their lyrics are honest and easily relatable to listeners of all ages as each song holds a story to be told. From far out cosmic jams, ABB went from hard rock to a bluesy jazz “Midnight Rider.” At one point during the night, Marc Quinones nearly broke his bongos delivering a solo full of flavor. “I Found a Love” featured fantastic harmonies as Steve Winwood joined the band onstage for the first time this tour, accompanied by Jay Collins and Rachel Turner during “The Weight”. The evening came to a close with the encore of “One Way Out”, as fans from every decade left filled with feelings of appreciation and admiration.

    SetList:  Don’t Want You No More > Not My Cross To Bear, You Don’t Love Me, I Walk on Guilded Splinters, Woman Across the River, Revival, Key to the Highway, Who’s Been Talking*, Midnight Rider, I Found a Love^, The Weight^^, Dreams, The Same Thing%, Black Hearted Woman

    Encore: One Way Out
    Notes *with Jose Neto, Edson “Café” da Silva & Richard Bailey
    ^with Steve Winwood
    ^^with Steve Winwood, Jay Collins and Rachel “Stixx” Turner
    %with Paul Booth, Richard Bailey and Ben Stiver

  • Tallahassee Soothes at the Bug Jar

    Tallahassee strummed their tunes to an intimate Sunday night crowd at the Bug Jar in Rochester.

    Under dark lights the four-man band revealed their soulful sounds playing folk rock songs with an Americana twist.   Their haunting sounds kept the audience in a trance-like state only to be broken by the applause after each songs end.  This is not a band that gets lost in light shows and on stage spectacles.  They felt like home on stage, keeping it real from beginning to end.

  • It’s Back to Labor Day Weekend for moe.down in 2014!

    For the first 10 years of moe.down, Snow Ridge Ski Resort in Turin was the home and Labor Day was the weekend – an end of summer tradition everyone in the Northeast that called themselves a moe.ron looked forward to experiencing. Then there was the ill-advised shift to Mohawk at Gelston Castle for moe.downs 11 and 12, but fortunately fans convinced the band to move back to Turin, with a shift to mid-August for moe.downs 13 and 14. Now, things have come full circle in the past 5 years and moe.down 15 will return to Snow Ridge Ski Resort for moe.down 15 on Labor Day weekend.

    labor day weekend moeA message from moe.: “We are excited to announce moe.down is moving back to Labor Day Weekend! A lot of thought has gone into this decision. It wasn’t easy: so many people liked the new weekend, but a number of people also missed the advantages of the holiday weekend. We hope all of you can still join us. Watch for updates, 15 will be moe.mentous! August 29,30&31 2014 Snow Ridge Ski Resort Turin, NY”

    Fans were asked to vote on the preferred date for moe.down, and while Mid-August was the fan favorite, Labor Day was the decision fans went with. Looks like Phish at Dick’s  may have some competition for fans of both bands. Or maybe not.

    Read Amy Fischer’s review of moe.down 14. moe. plays December 30th and 31st at The Palace Theater in Albany. Pick up tickets here.

  • 10 Years Later: In Memory of Warren Zevon

    I first learned of Warren Zevon sometime in the early 1990s, by way of the song “Werewolves of London,” which was playing on Dr. Demento, or perhaps it was just in the rotation on PYX 106 in Albany. Either way, I had those lyrics quickly memorized and thought the song was funny. But I paid no attention to the man behind the curtain for a long time.

    In 2000, I was introduced to Widespread Panic by my brother Chris and in the next couple years I saw the band a few times and collected bootlegs of shows along the way. In the process, I came across a great song, “Lawyers, Guns and Money”, which I would play and sing loudly during my travels. It took until later in 2002 to find out that the song was written by the same guy that wrote “Werewolves”, Warren Zevon. The adventure into learning more about this mysterious musician had begun and I was hooked on his music.

    Warren ZevonArt by RJ Matson

    But I was almost too late. I tuned into Letterman one night by pure happenstance, to watch what would be Warren’s final appearance on Late Show with David Letterman. He didn’t look sick, he looked like a Rock Star. I watched the conversation between two friends unfold, Letterman asking Zevon about what he had learned about life from the point of view of someone dying. Warren’s response was simple: “You’re reminded to enjoy every sandwich…”, a phrase that would become the title of his tribute album, released in 2004, featuring many of his friends, family and artists he influenced. Enjoy Every Sandwich is not only great advice but a proper tribute album, and one I highly recommend for even casual Warren fan unfamiliar with his catalog. Warren played a few songs that night, interacted with Paul Shaffer and Dave all the while in what became a classic night of Letterman.

    A year later, 10 years ago today, Warren Zevon died of inoperable peritoneal mesothelioma, but only after recording The Wind, which would win Two Grammy, including Song of the Year, and featured many of his friends and contemporaries – Bruce Springsteen, Dwight Yoakam, EmmyLou Harris, Joe Walsh, Jackson Browne and Tom Petty, among many others. Gone was a quietly influential, dark and twisted mind that crafted incredible ballads, classic rock tunes and sing-a-longs.

    Zevon is far more than the guy who wrote “Werewolves of London”. In fact, if that’s the only song you know of his, keep reading! Warren Zevon is an incredible singer-songwriter who took personal struggles and dark topics and turned them into hilarious, and at times depressing songs, which painted a picture of a troubled yet creative psyche.

    A couple examples of Warren’s lyrical stylings:

    “I called up my friend Leroy on the phone, I said buddy I’m afraid to be alone, cause I got some weird ideas in my head, about things to do in Denver when you’re dead” – “Things to Do in Denver When You’re Dead”

    “Michael Jackson in Disneyland, don’t have to share it with nobody else, lock the gates Goofy, take my hand, and lead me through the world of self” – “Splendid Isolation”

    “Well I’m going to Detox Mansion, way out on Last Breath Farm. I’ve been raking leaves with Liza, me and Liz clean up the yard” – “Detox Mansion”

    “Carmelita, hold me tighter. I think I’m sinking down. And I’m all strung out on heroin on the outskirts of town” – “Carmelita”

    Warren also on a classic episode of The Larry Sanders Show, provided “Even the Dog Can Shake Hands” as the theme song to the short-lived 1999 TV show Action, and Kevin Smith’s soon to air hockey film-turned-miniseries, Hit Somebody!, is based on the song of the same name by Zevon (featuring David Letterman’s vocals).

    You can find these and many other incredible songs in his collection on the Internet Archive, a wonderful resource for music and much, much more. Three shows from Upstate New York are featured on the Archive: Saratoga Performing Arts Center 1991, Saratoga Winners 1993 and Sideshow Music Hall in Lackawanna 1999. You can also listen to a full performance below from The Warehouse in Rochester in 1988 below.

    Warren Zevon was only 56 when he died, leaving behind his son Jordan, a singer-songwriter living in Los Angeles. A biography written by his ex-wife, Crystal Zevon, I’ll Sleep When I’m Dead: The Dirty Life and Times of Warren Zevon, received high praise when it was published in 2008 and is in the same league as Keith Richards’ rock and roll lifestyle detailed in his acclaimed memoirs. Warren is gone but not forgotten and his music lives on, as musicians like Widespread Panic and Bruce Springsteen, not to mention many Jerry Garcia Band recordings, continue to share his music and introduce future generations of fans to his music and songwriting genius.

    New York Times – Warren Zevon’s Last Waltz

    The Guardian – Warren Zevon: the man behind the demons

    UltimateClassicRock.com – Top 10 Warren Zevon Songs

    Warren Zevon Internet Forums – tons of music, links, discussion on all things Warren.

  • “User Correction” by Jeff Bujak is an Electronic Innovation

    User Correction by Jeff Bujak finds itself at the corner of fun and innovative. Like a well rounded student, his composing is intelligent and party worthy. On the album Jeff explores the world of electronica through the looking glass of a classical composer. His music makes the perfect argument to anyone who claims that electronica isn’t “real music”. As a five year old living in Syracuse, Jeff was already learning about real music through piano lessons which comes as no surprise after hearing his intricate work. Now all grown up and a resident of North Hampton, Massachusetts, he has a tour roster that would rival that of many successful musicians and quite the impressive online following.

    In addition to his talent on the piano, it is apparent that Bujak is a jack of all instruments and uses his widely versatile taste and skill sets to push the musical envelope. Bujak is the kind of musician with a great knack for keeping the listeners attention. There are no two tracks on this album that have the same feel. Each song has a different inspiration. The first track on the album titled “User” creatively samples snipits of “Everybody Rules the World” by Tears for Fears, but keeps you steady grooving without temptation to switch to the original song. The third track “Fiks” does this as well and almost takes you by surprise when you realize the cool vocals are from the song “Fix You” by Coldplay.

    Later in the album Jeff shows off his ability to challenge the electronic genre with the piano. I have never before heard an artist make classical piano so easy to rave to but Jeff seamlessly pulls this off multiple times in the album in the tracks “Cleen”, “Laylice” and “Abbeat”. He concludes the work with a hilarious electronic ode to hipster haters with a vibey drum pattern – ironically of course exactly the type of thing a hipster would jam to and finally ends it with a stunning stripped down piano showcase.

    Watch Bujak’s Live Performance at Mojo’s, Jamestown NY

    Check out Jeff’s tour dates HERE !

    To stay updated like Jeff Bujak on Facebook

  • Jahman Brahman at Fontana’s, August 15th

    The hustle and bustle of Chinatown subdues itself into the night as Cantonese-speaking shopkeepers wind up their little theaters along the street. If you didn’t notice the group of people flocking onto the corner of Grand and Eldridge, you’d think that this Manhattan borough was done for the day. Outside Fontana’s, people are taking their IDs out, waiting in line to get in. Past the pool people, they follow the shredding and flowing music to its source in the room below and find themselves in the presence of jam band Jahman Brahman.

    The place is dark and the only light comes from a bunch of girls’ light-up hula-hoops from across the room. A seemingly lost woman stumbles her way to the dance floor in her salmon colored dress and before you know it, the place is packed. There are couples holding hands, people sporting bizarre animal costumes…the works. And judging by the passionate crowd that has mustered, you would think that the band has played on this stage a hundred times before even though it’s their first time in the city.

    The Asheville-based band fuels the crowd with a burst of energy as they open and it isn’t long before guitarist Casey Chanatry shreds his Paul Reed Smith guitar with Santana swag. As Brown sings the words “So much bigger than you”, the whole crowd starts singing along. Between rim shots in the dark scene and the delirious expressions on drummer Keelor’s face, the crowd cheers in excitement. Josh Loffer programs spacey animal sounds into his keystrokes, creating an elusive special atmosphere with his histrionics.

    The groovy bass line pumps up the crowd as they close with “Cannonball”. Bearing traits from electronica to classic rock and jazz, the band’s unique style offers something for everyone. Whether it was the man in the suit trying to relax with his beer or the couple on a date, there is no doubt that everyone had a good time and left the venue content with what they heard.

  • 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.

  • JAMerica the Beautiful – A Book Review

    Peter Conners takes on a noble task in his recently published work, JAMerica: The History of the Jam Band and Festival Scene. He attempts to bring to light a clear definition of the term ‘jam band’ and everything it entails. By noting all the similarities and influences of the artists and bands that fall into this seemingly broad genre, Conners makes every effort to give the reader a better idea of how this term has made its way into popular culture and why it’s still there. He offers insight into the seminal moments and venues that have helped spur this counterculture movement into what it is today. And he does this in, perhaps, the most fitting way possible: by having the people who were directly involved in the origins of the scene as well as those who are still prominently involved in it tell their own story.

    jamerica

    The book is molded in the same fashion as another popular read that attempts to define and explain a different musical genre, Legs McNeil’s Please Kill Me: The Uncensored Oral History of Punk. Conners spent two years interviewing people who were prominently involved in the early days of the jam band scene and they share their memories and offer insight from everything to early gigs, to developing fan bases, to the rise of show tapers. Whether it’s John Popper rehashing old details from an early gig at Columbia University or Mickey Hart theorizing on the power of music, JAMerica gives the reader first hand tales with little to no filter on them that shine a light on both the jam band scene and the music industry as a whole.

    It tells the story of just how influential the now defunct New York City club Wetlands Preserve was for acts like The Spin Doctors and Blues Traveler. It highlights the truly unique and ground breaking origins of the H.O.R.D.E. Festival and how successful modern festivals like Bonnaroo can trace its roots back to this roving experiment of “hippy” bands. It offers an explanation as to how a band like Phish went from playing small club shows to arenas in a matter of years and serves as an excellent teaching tool for any current band looking to do the same. It shows the vast and seemingly universal influence that The Grateful Dead had on bands ranging from Dark Star Orchestra to Jane’s Addiction and everything in between. Along the way, JAMerica tries to take these stories and first hand personal encounters and use them to offer explanations on musical improvisation and paint a picture of the scene that relies on this so heavily. It even attempts to lock down the origins of the word “jam band”. Spoiler alert: esteemed Relix editor Dean Budnick is prominently involved.

    Like any good “jam” concert, the book does tend to be a little all over the map at points and shifts from one musical era to another in the blink of an eye. It would also be a little more helpful if the sources were better identified when first used or if there was an earlier written notice that a list of contributing sources and a short bio for each is found in the back of the book. Unless the reader is prominently involved in the music industry, there are bound to be some sources used in this that are not recognizable by name alone.

    By having these sources open up and tell their own stories, Peter Conners does an admirable job in giving this popular musical genre both a more tangible definition and the credit it so richly deserves in influencing a generation of bands and artists. Interestingly, it even shows how some acts were initially opposed to being associated with the ‘jam band’ label but have now fully embraced it. By all accounts, JAMerica is the most complete work out there that attempts to tell the story of the jam band scene and how it has reached its current state of popularity. However, it’s important to note that this is still a story being re-written and modified every day.

    Buy book on Amazon or at Pete’s website Jamerica.net.

     

  • The Waterhole ‘Upstairs Music Lounge’ in Saranac Lake, NY Celebrates 20 Years

    On Friday, August 30th, The Waterhole Upstairs Music Lounge in Saranac Lake, NY began what will be a two month celebration of their 20th year! National and regional bands will be a part of the party, including Hackensaw Boys, Max Creek, Conehead Buddha, Blind Owl and many more.

    Hackensaw Boys - Brian Gorby
    Hackensaw Boys – Brian Gorby

    A little more on the history of the venue – The Waterhole bar is a over 40 year old establishment. 20 years ago the upstairs apartments were renovated into one of the nicest midsized music venues in the North East. More importantly, the only consistent music venue in the Adirondack Mtns. during that time. Holding around 300 people and being located in a music market dead zone, in the center of one of the largest State Parks in the country, has attracted many national acts to the area.  Bands that have played the Waterhole include: Bela Fleck and the Flecktones, Leftover Salmon, Govt. Mule, The New Riders of the Purple Sage, Moe., Tens Years After, Soulive, Melvin Seals, Donna the Buffalo, Toubab Krewe, The Infamous Stringdusters, just to name a few.

    Advance tickets for The Waterhole Upstairs Music Lounge are available at the venue box-office for Man Man, Max Creek and The Hackensaw Boys – These next two months are gonna be a blast and everyone at the Waterhole wants you to come celebrate with them during this exciting time at the Waterhole Upstairs Music Lounge in Saranac Lake, NY.

    The Waterhole Upstairs Music Lounge 20 Year Celebration Schedule

    August 30 – Kick Off Party
    With Sophistafunk and Funkwagon

    August 31 –  Hobo-Fest Pre Party feat. The Vermont Joy Parade, Big Slyde and More
    Feat. The Vermont Joy Parade, The Lucky Jukebox Brigade , Big Slyde and Doom%$#%%

    Sept 5 – Funktapuss – Party on the Patio – FREE

    Sept 9 – Man Man – $12 Adv $15Door 9pm Show (MONDAY)

    Sept 11 – Vana Mazi – (feat. Members of Wino Vino) Special WEDNESDAY PATIO FREE 8pm

    Sept 12- Tim Herron Duo – Party on The Patio

    Sept 13 – The Big Mean Sound Machine – $5.00 10pm

    Sept 19 – The Blind Owl Band – Party on The Patio

    Sept 20 – Capital City ADK Getdown feat.: Formula 5, Timbre Coup, Mister F

    Sept 26 – Aqueous – Party on The Patio

    Oct 3 – The Birdseed Bandits— Free Music in Fall

    Oct 4 – A evening with Max Creek $16.00 Advance $20 Door 10pm

    Oct 10 – Cooter and the Crawlies— Free Music in The Fall

    Oct 17 – Henery’s Rifle – Free Music In The Fall

    Oct 19 – Conehead Buddha— $8.00 10pm

    Oct 24 – The Rusty Doves— Free Music in The Fall

    Oct 25 – Lucid with Opener TBA

    Nov 2 – All Souls Day Romp
    Hackensaw Boys and The Blind Owl Band $12.00 Advanced, $15.00 Door