Category: Features

The New Mastersounds and Orgone Meet in the Middle

One band from Leeds, England and the other from Los Angeles.

Meeting in Buffalo last Wednesday, Orgone and The New Mastersounds packed The Tralf for a soulful throwback with a good helping of funk thrown in for good measure. With one making the far trip east across the U.S. and the other coming west across the pond, Buffalo was treated to a perfect pairing of solid musicianship all on one stage.

Frontwoman Adryon De Leon

Orgone kicked things off, and while they may have opened the show, this is FAR from your typical opening act. The band came onstage Wednesday night and laid it right out for the Queen City, jumping into a tight melody that rode along the rhythm and combined to pull at people’s feet and sway their hips. The band blends funk and soul in a very classic, yet powerful way, emitting a surplus of energy that immediately powered the crowd. The Wednesday night audience was sparse at the release of the first note, but had the floor covered by the time the song wrapped up.

Singer Adryon De Leon joined the band onstage after the start, gracefully stepping up to deliver her powerful voice. She didn’t let the crowd have it right out of the gate, opting to ease in with a soulful, yet jazzy hook. Her full capabilities were quickly realized by the city’s funky fans. The diva commanded the stage with her presence and elevated the already incredible musicians who backed her.

The band was able to walk around the venue before the show started without many noticing, but that is sure to change after the performance they put on. The sitters were soon standers and standers quickly became dancers. Their sound was the catalyst to a shift in energy in the room. Other music websites must not have caught an Orgone show yet, because this band is without a doubt worthy of a mention when talking about the Top 10 Current Funk Acts if you’ve seen them live.

The enthusiastic crowd that filled the place on Wednesday let the band know how they were feeling during any lull in the action, screaming and encouraging the band to keep it up. Orgone’s throwback sound was refreshing and deeply intoxicating. The way the instruments played off of De Leon’s voice left many with eyes closed, fully embracing the sound. In retrospect, the West Coasters damn near stole the show.

De Leon sat out for a few songs, allowing the rest of the talented group to share in some of the spotlight. All around, this is a special mix of people, from guitarist Sergio Rios to percussionist Chuck Prada who ripped a solo all his own earlier in the night. As De Leon stepped back out though, her quickly developed fan group cheered her back on. Her multifaceted approach was showcased through her ability to groove through low-end melodies and belt out highs that sent the crowd reeling.

Keyboardist Dan Hastie

Before finishing their set, guitarist Sergio Rios said, “That’s what it feels like to love.” Surely it was a setup though as the blistering solo he saved for the final song completely blindsided the crowd. He just let us have it, throwing everything he had through the six strings of his guitar. With how powerful of a set overall, and especially in closing, this band put on, it wouldn’t surprise me if Orgone packed the same room on their own next time they come back.

The New Mastersounds were up next and did not have an easy act to follow. Guitarist Eddie Roberts’ suave and dapper attitude was quickly exuded though as he setup, letting everyone know that they were up for the challenge.

Kicking the night off, the band immediately showed the crowd their stripped down and organic approach, while simultaneously filling the room and proving the old adage of “less is more” to be true. With little to no introduction, the band went from the first song into “Dusty Groove”, leaving only a rhythmic reset in-between. This may have been the first date of their U.S. tour, and also the first time they had played together in over two months, but the crowd would have been oblivious if the band hadn’t told them. The four-piece from across the pond settled in rather quickly with no visible rust.

Drummer Simon Allen and bassist Pete Shand were tightly synced from the start, becoming even more intertwined as the show wore on. Their direction provided a moving treadmill that the other two members had to jump on with their melodies. While the lengthy break might be a detriment to some bands, The New Mastersounds seemed to be actually using the reunion to their advantage with an excitement you could feel through their music.

In true testament to how rhythmically tight this band is, Eddie Roberts played a tambourine with his foot as he started the opening line of “Morning Fly” through his ’65 Gibson hollow body guitar. As Eddie ripped through jazz scales, Simon built the beat while the remaining members would join for support. The undeniable swell captivated the whole room and pushed everyone to dance harder into the night. It was as though the band just picked up their musical conversation right where they left off. And just like a renewed friendship has those exciting moments, so too did this night with the entire band sharing smiles with the crowd when they would particularly nail a segment.

As individuals and collectively as a band, their simplistic approach utilized spacing as tension that fought an incessant rhythm. By laying back, the band drew your ear in and allowed the music to breath before taking off again. As they launched into the opening track “Old Man Noises” from their latest album Therapy, the band brought an unmatched ferocity to whatever song they damn well chose. Organist Joe Tatton threw his heavy Hammond overtones out into space while Eddie took that same foot he used for the tambourine and turned it loose on his wah pedal, creating a tremelo effect on an incredible rendition of that song’s solo.

Many people were caught deeply entrenched in the music throughout the night. The positive and soul-quenching material was absorbed by everyone who happened to venture out and written across their faces even after it came to a close. It may have been a trip for both bands, but the crowd was thankful for the night of music and everything the bands put forth on stage. As for the battle of who had the better set, well, it would be a tie in this writer’s eyes, but you can decide for yourself…

Thanks to our friends at WNYmedia Network, we have audio of both band’s full sets:

[soundcloud url=”https://api.soundcloud.com/tracks/166163605″ params=”color=ff5500&auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false” width=”100%” height=”166″ iframe=”true” /]

[soundcloud url=”https://api.soundcloud.com/tracks/166162903″ params=”color=ff5500&auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false” width=”100%” height=”166″ iframe=”true” /]

All Photos by Thomas Sgroi

September 10, 2014
Brooklyn and Albany combine as The End Men kick off their tour at The Low Beat

Thursday, September 11th, the rock will invade Albany at The Low Beat. From the ashes of Valentines, this new venue over on Central Avenue has risen, and has already brought some great live acts to the area. This night aims to be no different, as some locals and some out of town bands will help send off The End Men on their two week tour of america.

Photo by The End Men

Henry’s Rifle, straight out of Albany, will bring his one man, dirty rocking banjo music to the stage. Fresh of of the Muddy Roots festival in Tennessee, and poised to drop his brand new album, “Barroom Weather” very soon, his rackus, infectious sounds will surely brighten your day and get you ready for the night.

Sun Voyager, out of Orange County New York, will be slinging psychedelic garage rock licks at the audience in full helpings. Usually hitting the Brooklyn scene, it will be a treat to see them in Albany, alongside such luminaries of local rock and roll. They are part of King Pizza Records, and definitely check out their Bandcamp if you haven’t already.

Charmboy, another Albany based band, are a product of the no nonsense rock and roll of the 70’s and they are proud to produce guitar laden rock without gimmick or pretense. Tight riffs and tasty jams will feed the hole in your soul where rock and roll lives. They will be sure to do what they do best; melt faces and hearts alike with their pure inspiring music.

The End Men Fall Tour

The End Men, from Brooklyn New York, definitely call Albany their home away from home at this point. Joining up with the fine collective of musical folks at Built4BBQ, they have made the pilgrimage upstate a number of times to great crowd response. The two piece, though rumoured to be rounded out by a mysterious saxaphone player for this tour, bring an incredibly huge sound with them wherever they set up shop. They have been tearing up stages in America as well as Europe for over four years now, and they show no signs of taking a break. Each time they come to this area they try out new material, engage the crowd on and off the stage, and make for an immersive experience full of their own brand of psycho dirty blues laden rock and roll.

Show starts at 8PM at The Low Beat, for only 5 dollars. Check out the Facebook event.

September 10, 2014
First Listen: Ocupanther ‘III e III’

is happy to share the first listen of Ocupanther’s new single “III e III”. Ocupanther hails from Rochester and first came onto the scene in 2011. Three of the four members of this quartet played together for years as regional touring band Pia Mater.

A change in direction for that band and the addition of long time friend and shred wizard Mike Pantano birthed Ocupanther. Data Stretching will mark the third studio release for the band after 2012’s Troncoso and 2013’s Progressor. Keep an eye on for a full review of the new release and enjoy “III e III” while you wait.

Upcoming Ocupanther dates:

Sept 13th – Night Lights Music Festival – Sherman, NY

September 26th – Temple Bar & Grill – CD Release Celebration – Rochester, NY

Oct 2nd – Tralf Music Hall w/ Giant Panda Guerilla Dub Squad – Buffalo, NY

Oct 7th – Montage Music Hall- w/ New Mastersounds – Rochester, NY

Oct 18th – Westcott Theater w/ Electron – Syracuse, NY

Nov 1st – Lovin’ Cup’s Hallo-Palooza – Henrietta, NY

Nov 21st – Flour City Station – Rochester, NY

September 10, 2014
Hearing Aide: Black 47 ‘Last Call’
One last musical statement. One more dance on the New York City skyline. One last call for Black 47. New York’s Black 47 released Last Call on March 4, 2014 and it is just that: their last call.

After 25 years the band made a decision to stand down while they are still going strong and to reinforce that fact made a final musical statement with a solid 13-track album.

For the loyal Black 47 fan and new listeners alike, Last Call beckons the ears into a fire of music still burning strong 25 years after the band’s first recording. It’s fresh, relevant, and not repetitive while keeping strong roots in Irish heritage. By no means does it sound like the band has plans of standing down following this album; however it does bring things full circle by incorporating a little bit of everything from the styles the band has composed with over their career – rock, punk, reggae, and even a splash of Latin music for something new. In line with the band’s Irish Republican sympathies, the lyrics on some songs are not shy on political and social commentary.

A strength of the album in its composition is a tightness that can be heard in the rhythm section. This is an element that hasn’t been much of a focal point of a Black 47 album since Home of the Brave 20 years ago. Frontman Larry Kirwan encouraged Joe Burcaw to be more upfront with his bass lines on the recording, something that’s particularly noticeable on “Let the People In” featuring a short slap-bass breakdown in the middle of the song. “Just go for it Bearclaw!” was Kirwan’s attitude on it. On each song, it is hard to miss how much this element adds to the overall experience of listening to the album, filling out a rich and robust sound. In fact, it makes listening to the album with the volume dial turned up one more notch rather fun.

It is worth mentioning one of the key elements that has defined Black 47’s sound over the years. On Last Call, the trombone, sax, uilleann pipes, and flute lines are not shy in defining their role in the arrangements. Whether fast-paced technical licks that weave in and out of each other or subtle harmonies that compliment the core of the band, this section is plays a vital role in the sound of the album.

Black 47 has always been open about their music, encouraging recording and photography without restriction. Furthermore, they share their lyric and chord sheets online along with other notes and commentary on their own music. Kirwan has written a few of his own remarks and stories on each track of Last Call which can be found here. While you can check out the song stories, here are a few of our thoughts on the tracks here at :
1. Salsa O’Keefe: A Latin-inspired tune that gives a fun tale of a Puerto Rican/Irish woman living in the Bronx who “steams up the neighborhood” with her Irish half. Nice and smooth it’s a great song to break the Last Call ice on a first listen.
2. Culchie Prince: From Burcaw’s punching groove bass intro, we’re quickly lead into a jig with Joe Mulvanerty’s pipes that sets the scene for the story of a chap from the outskirts of Dublin (a “culchie”) and a working class girl from Dublin.
3. Dublin Days: A fairly simple straight-ahead rock tune, “Dublin Days” plays along the lighthearted theme as a follow-up to “Culchie Prince” by talking about the nighttime college scene there. It makes you want to spend some time hanging out in Dublin.
4. US of A 2014: What’s not to want about the American Dream? A longer-than-typical day of work at a desk job fresh out of grad school? Black 47 makes their political/social statement about the younger generation entering the workforce and state of affairs surrounding it with the lyrics presented mostly in a spoken word/rap style.
5. The Night The Showbands Died: The most profound song on the album, it tells of the Irish Showband scene in the 1970’s before diving into the tragic events of the Miami Showband Massacre on July 31, 1975. The arrangement of the song, musically and lyrically, makes it ring far. The ascending guitar riffs accented with trombone, sax, and pipes create a solemn tone overlain with lyrics about the innocence of the showband music scene. A faster break in the song gives a feeling of chaos as we hear a frantic exchange between the Miami showband and UVF members before returning to the chorus from earlier in the song.
6. Johnny Comes A Courtin’: How about some Irish reggae? Taking a stab back at Cromwell’s dealings with Ireland in the 1600’s, Black 47 gives us a story of a young Irish woman sold off as a slave to harvest sugar cane in Jamaica, only to find love with an African slave and unable to consult her father back home for advice. This is a clear nod to the early days of reggae/ska.
7. Let The People In: Let’s call this one flute-funk, driven by a funky bass line and featuring a breakdown of slap-bass and a flute solo.
8. Lament for John Kuhlman: This one is a short instrumental, but a curious mind would question the meaning behind it. A pretty little tune introduced by a music box, this one is short tribute to a collaborator and friend of Fred Parcells (trombone). Its placement before “St. Patrick’s Day” makes it feel like an introduction to that song.
9. St. Patrick’s Day: This one drives fast with half-time feel choruses that will make you want to get up and dance like it’s St. Patty’s Day in the Bronx.
10. Queen of Coney Island: This is one of the musically easier listening tracks on the album featuring some jazz-rock overtones, melodies driven by the horns, and a brief soprano sax solo from Geoff Blythe at the peak of the song. It fits well in telling the story of the “queen.”
11. Shanty Irish Baby: Syncopated rhythms and a simple bass line give a dash of slow/relaxed rockabilly that fits well with the lyrics that express the love for a simpler woman than the uptown champagne-sippers.
12. Ballad of Brendan Behan: Black 47’s final recorded tribute to a notable Irish figure, this time writer, poet, and Irish Republican Brendan Behan. You’ll want to raise a pint in Brendan’s honor as you listen to this one.
13. Hard Times: A song that has stood the test of time since first written for the middle class by Stephen Foster in 1854 and recorded by many, Black 47 leaves us with “Hard Times” as their last ever recorded studio track. Perhaps a phrase Black 47 wants to ring on their legacy, hard times come again no more. Black 47’s take on this tune makes it rank amongst the many great versions out there.
Last Call is an album with its heart as much in New York as it is in Ireland – a testament to a pond-spanning musical bridge Black 47 has created in the rock genre between Ireland and the States. It is an album Black 47 fans are thankful for – one more genuine collection of new songs before they part ways. Black 47 may soon be a thing of the past, but Last Call is a bastion of music and prose that will help carry on their legacy.

Key Tracks: The Night the Showbands Died, Culchie Prince, Johnny Comes A Courtin’

Black 47 wraps everything up on November 15^th at the B.B. King Blues Club in Manhattan with less than two dozen scheduled shows before then, including one at the Irish 2000 Festival in Ballston Spa, NY this Saturday September 13, one at Connolly’s 45th Street location in Manhattan on September 27 and at the Towne Crier in Beacon on October 26.
September 10, 2014
The Garcia Project will make you Smile, Smile, Smile

Upstate NY band The Garcia Project has been on the move lately and wowing audiences from the East Coast to the West with their recreation of Jerry Garcia Band shows for the ’70s, ’80s and ’90s. The Garcia Project has come from playing little festivals in Upstate like The Strawberry Jam to Fiddlers Picnic and has gained a strong following in their home state. There’s just something about seeing this band live, you can’t help but close your eyes and kick off your shoes to spin barefoot in the grass wherever they are playing the sweet music of Jerry Garcia.

The band recently spent some time on the West Coast [home to the Grateful Dead] where they celebrated Jerry’s 72nd birthday at the Jerry Garcia Birthday Celebration in Santa Cruz, C.A. where they opened for and sat in with Los Angeles Grateful Dead legends, Cubensis. While in California the band was also invited to be VIP guests of the Jerry Day celebration in San Francisco – a huge honor to any GD family member.

This year’s Jerry Jam in Bath, N.H. was another milestone for the Garcia Project, not only were they the Friday night headliners but they had none other than JGB’s Melvin Seals sitting in on the keys for that event. The show can be heard on the Live Music Archive – https://archive.org/details/TheGarciaProject2014-07-25

With such success this past summer the band will be looking forward into the Fall season with a main stage appearance at this year’s Wormtown Music Festival in Greenfield, M.A. Sept. 12-14, where they will be opening up for Dopapod and Max Creek. Making their way from the side stage to the main stage is an accomplishment bands strive for when first starting out and the Garcia Project has made the leap and audiences are welcoming them with open arms.

If you haven’t seen this band yet and you are a fan of JGB or the Grateful Dead, you must get out to see them – and run, don’t walk to their next appearance. You can catch them on Sept. 20 where they will be opening for New Riders of The Purple Sage at the Autumn Equinox Festival at Page Farm in Croydon, N.H. They will return to the Capital District to play the Rustic Barn in Troy, N.Y. on Sept. 27 with special guests Knot Dead. The band will then head to Glens Falls on Oct. 24 for a special evening at the Wood Theater where they will recreate a classic JGB show for fans. This band is on the move and a must see for any Dead Head. For more show dates please visit the Garcia Project online.

NYS Music recently had the opportunity to speak with Mik and Kat from the Garcia Project about why they were drawn to Jerry’s music and where they find their inspiration.

What was it about Jerry’s music that drew you to it, specifically?

Kat: I think the thing that initially drew me into his music was the affect it had on people. I kept meeting these folks that seemed to be living life with a different perspective. They were seemingly positive, carefree, and excited about life. It was like the old saying goes, when you see someone having a good time, “I’ll have whatever they are having.” I had to look into this music and community and see what it was all about.

Mik: I found the Jerry Garcia Band in 1988 and fell in love with the song choices that the band played and the incredible, beautiful guitar tone that Jerry had. Jerry had a way of showing emotion through his guitar playing and singing that I just never heard from anyone else. Also, the warmth of the fans at a Jerry Garcia Band show was infectious. It was a place where you could go and relax, let your hair down, talk to other like-minded folks and enjoy the music. There has not been anything else quite like those experiences.

When were you introduced to Jerry Garcia’s music – his or the Dead’s, what circumstances surrounded it?

Kat: Before I was a Deadhead, I met someone who mistook me for one. I had no idea what a Deadhead was and not very familiar with The Grateful Dead’s music. So, of course, this made me curious. I inquired and they brought me to a show soon after. I felt at home right away and started dancing immediately. This is not only unusual when a person doesn’t know the music, but i had not really danced in public before to any music. It was a freeing experience. I was in awe at people’s kindness, openness, and concern for each other as strangers. A very eye-opening night, seeing for the first time that society could be different from I knew it to be.

Mik: I listened to The Grateful Dead, Pink Floyd, Led Zepplin, The Rolling Stones and The Beatles throughout High School in the late eighties. In 1987, right after I graduated, I went to see The Grateful Dead with my HS friends in Rochester, NY. It was at Silver Stadium and the ride there was filled with anticipation! When we hit Rochester, I saw a sea of people dressed every kind of way, in every kind of color. We parked and walked around and talked with everyone that we could and eventually went into the show. I saw a huge speaker system with scaffolding on the end of the field and a huge american flag tarp was laid on the field (to cover the wires, etc?) They were pumping Sgt. Peppers on the pa system and everyone inside was just having a blast! I made my way up to the front of the stage, past the flying marshmallows and frisbees. I really thought to myself that “The Grateful Dead” were not a band that performed, it was much more than that….we were all part of the show. Then the band came out and opened the show rocking. I was hooked.

Along with Jerry, who would you say are your most significant influences?

Kat: It’s hard for me to narrow that list down to any reasonable degree. I take my inspiration from all singers with soul, past and present, from all genres of music. When I am studying a new song, I listen to every version of that song I can find. I search for every person singing it on YouTube and Archive.org. I look for the current really good bands and singers out there and see what they’ve done with it. I always find and listen to the original version, if it’s something Jerry covered. Then, I take that inspiration and knowledge and figure out what my take on it is.

Mik: Hmmmmm. Let me think about that.

Why did you decide to focus on JG instead of the GD as a whole?

Kat: The Jerry Garcia Band music always felt special. It touches hearts, soothes souls, and eases minds. Manifesting love and good vibes together is so important. People come in weary and leave rejuvenated by gathering together and helping create the community, and the music. I feel so grateful that i got to experience these shows, the community, and the consciousness while Jerry was still around. If we can create an atmosphere and play this music so that people can still gather and hear it, and be even a little bit as happy and inspired as we were with Jerry’s band, then it’s a mission worth pursuing.

Thanks for asking 🙂 <3

Mik: I had been playing Grateful Dead music for years. I never really tried putting together a band that played Jerry Garcia Band stuff…It was kind of like a holy grail to me. Once we started down this path it became apparent I needed to perform this music and people needed to be a part of it as well. There are new fans that never got to see The Jerry Garcia Band and older fans who miss it as much as I do. If we all get together and make a show happen, it is an amazing experience. Currently, we are performing actual classic set lists (shows) from the ’70s, ’80s and ’90s. We do the same songs and perform with the inspiration from listening to the old shows. It’s not a note for note thing, but more of a feeling and vibe.

September 10, 2014
Leading up to Night Lights: An Interview with Michelangelo Carubba of Turkuaz

Anyone who lives in the Upstate region knows that summer is not something to be wished away. The short season of nice weather is always packed full of barbecues, weddings, family get-togethers, and weekends enjoying the outdoors. That being said, if there was one reason to look past the shorts and tank tops this year to hoodies and jeans, it would be Night Lights Music Festival. The festival is held in Sherman, NY (directions here) and has continued to get better with each proceeding year. The team who puts it together always does a great job, but this year they have set the bar quite high for western New York festivals with an incredible lineup that had most ready to smell the pumpkin spice back in the spring when the bands were announced.

Some of whom you will see include such acts as Snarky Puppy, Dopapod, Consider the Source, Turkuaz, The Mike Dillon Band, Jimkata, Big Mean Sound Machine, The Manhattan Project, and Aqueous. If that lineup in and of itself isn’t reason enough to come out, there are also a whole host of great up and coming local acts that you’ll want to see. Speaking of locals, one of the headliners, Turkuaz, has a tie back to the area that most don’t know about.

Drummer Michelangelo Carubba of Turkuaz is actually a Buffalo native who grew up in the area and still has family who lives there. I was able to catch up with the man who keeps each member of the funk army marching to the same beat. Below, we talk about his hometown roots in Buffalo, his band, and Dave Brandwein’s trip to SkyNet, among other things.

You’ve lived on both ends of New York State now and have experienced many cities on tour. What are your top three favorite places and why?
This country is so vast and varied. I’ve toured 49 of 50 states (still waiting on that call to go to Alaska). New Orleans has always been one of my favorites. There’s something in the DNA of that town. It vibes harder than most cities. The food, the music, the people, everything. It’s great. Denver has been really good to us. The fact that you can buy herb with a credit card is pretty mind-blowing. But my favorite place is New York City. There’s nothing like it on earth. There’s everything for everyone and it’s always ready to go. It can be peaceful if you want, or it can rage harder than anywhere else. You can live at an ever-changing pace and it’s always right there with you. And I’m a native New York, East Coaster, and you just can’t get better Italian food than in New York.

How did you end up in NYC with Turkuaz after growing up in Buffalo?
I moved to Boston in 2006 when I was 21, after touring for 3 years in various bands. I moved there to attend Berklee College of Music. There, I met a lot of the people I still make music with today. When everyone was graduating, almost my entire crew was making the move to NY, en masse, so it was the logical next step. If you’re going to make a run for it with a band, New York is the place to do it.

Who are some of your biggest influences and why?
Muhammad Ali. He was the first hip hop poet. He could knock a man out like no one’s business. And he knew it. Queens of the Stone Age, musically, have been fueling me for the last ten months. I saw them at Barclay’s Center in Brooklyn, and I’ve never been rocked so hard. Great songwriting, and an aesthetic that’s dripping with sex and pain. I love them. Snarky Puppy has been inspiring me as well. I won’t try to articulate why. Go and listen.

Tell your fans something they might not know about you or the band.
We’re insane.How did Jaguar start and what’s the current state of that band? Will you guys eventually record an album and tour?
Alan Evans’ PlayonBrother and Turkuaz were on the road together for six weeks. I had known Danny Mayer and Beau Sasser for a long time. Beau had always been a mentor when we lived together in Boston. I think the band was actually born out of a few rounds of whiskey shots. Musicians are always looking for outlets, or ways to say what you want to say. We all thought it would be great to play together. Jaguar hits are all improvised at this point. We all have pretty open ears, and we’re all close friends, and that translates into the music. Everyone is very busy at the moment with main projects, but Jaguar is looking to hit again in the fall in the Northeast. I’m sure an album and touring will happen at some point.

How did Turkuaz grow to include so many musicians? Was that by design?
Unintentionally, yes. The bands sound was created by Dave Brandwein and Taylor Shell, our guitarist and bassist. They were making demos together in the Berklee days, and someone passed a demo off to Berklee’s record label, Heavy Rotation Records. The label asked Dave and Taylor to perform at the record release show at the Berklee Performance Center for 1,000 people. The demos were so musically dense, that to recreate the sound live, they needed to call eight or nine people. And it always stayed like that. It works.

The band has springboarded pretty quickly in terms of popularity. What do you think that is attributed to?
A relentless touring schedule over the last two and a half years has had a lot to do with our growth. We’re very lucky. People are coming out to shows and having a blast. We are too. When you’re in front of that many people, day in and day out, all over the US, you hope that something sticks in people’s minds. Our music and vibe seem to be sticking. We also just have fun. I think people read that. I think they realize that we’re up there giving our all every night because we want others to be happy.

How is Dave Brandwein’s hand? Has he made a full recovery from the injury?
We sent Dave off to SkyNet and he now has a fully bionic set up from the elbow down. It’s indestructible and it’s always set to rock.

What influences do you bring to the table outside of funk?
This is a hard question to answer. It would be a waste to say, “well I like rock and jazz and blues, etc.” The influences I bring, to make the music that I’m playing come alive, are things like my love for boxing, stand-up comedy, faith, sex, cinema, and animals. The playing is gonna be there, I can play these tunes with a blindfold on and one arm tied up. What makes it happen, what really gets me and the band and the crowd off, is when we bring real life into the music. How ever I’m feeling, I’m putting that into the music. Life is my influence.

What are some of your favorite things about the city of Buffalo?
The people. They’re kind, empathetic, and real. The food. I mean, come on. I just love what Buffalo means to me. I have such a connection to the city. I was born and raised there. My father owns Carubba Collision, and anyone that’s a Bills, Sabres, Bandits, or Bisons fan recognizes that name. “The Carubba Collision of the Game” has been a great part of Buffalo sports for the last 35 years. When I think of Buffalo, I think of the times spent at the Aud, at First Niagara Center, or at the baseball field, (whatever it’s called now). Buffalo will always hold a very special place in my heart.

Alan Evans is another big drummer from Buffalo and it seems, on social media, that he has become a friend. What experiences has he shared with you as an up and coming drummer?
Al has become a close friend. Al is a great musician. Not just a drummer, but a guitarist, bassist, singer, and producer. We share a similar sense of humor, and a similar understanding of things. Al is a true Buffalonian, and I think I am too. I feel like we subconsciously relate to each other along that plane. He’s taught me about humility, hard work, and ambition. Al’s kind, generous, loyal, and most of all, real. There’s a lot of people on his level that are fake. Al is not fake. Al is the shit.

Who are some of the bands you still haven’t played with, but would like to?
Well, Snarky Puppy for sure. I’m going to kick that off the bucket list on September 13th, at Night Lights Music Festival. That’s going to be incredible. I get to play a show, walk off stage, and watch one of my favorite bands in the world play right after. You can’t ask for much more than that.

What is up next for Turkuaz?
Finishing up festival season now, with the exception of a few late in the year (Bear Creek Festival in November in FL). For September, we’re locking ourselves away for the month and recording our next album. We have a few shows during the month that we’re thrilled about. On the 19th we’re direct support for Bootsy Collins in Baltimore. That is a dream come true. He wrote the book on a lot of what we’re trying to do, so to get to share it with him and a huge audience, is amazing. Aside from that, we’re touring. We’re always touring. It never ends. And we love it.

Are you a Bills and Sabres fan? What do you think about the state of both teams?
I love all Buffalo sports, like I said earlier, but the Sabres are the closest to my heart. Growing up, a lot of the old Buffalo Sabres were around my house and at family parties. John Tucker and Paul Cyr (throwback) used to come and cut their Christmas trees down on my families land. John Tucker gave me my first Labatt Blue when I was five years old. Rob Ray taught me how to swear when I was seven. I remember watching Dominic Hasek play horrible golf, yell in his native tongue, and throw golf clubs. The Sabres organization will always be very close to me. As for the state of the team, I think the entire city, and everything and everyone involved, is on the rise. Companies are investing in Buffalo. Neighborhoods are being revitalized. Restaurants, shops, homes. Everything is coming back. I think the Sabres and the Bills are headed in the same direction. I think by 2020, Buffalo is going to have a new identity. It’s not going to be “that places where it snows”. Its going to be a Championship city where people go for music, food, and living life. I love Buffalo.

If the lineup somehow doesn’t convince you, there’s also this little side element that not a lot of people realize, even with it being in the festival name: THE LIGHTS! Night Lights Music Festival is one part music festival and one part light display. This isn’t just stage lighting though as the Night Lights HQ sets up an enormous and truly stunning display throughout the woods. I can leave this description brief as words simply don’t do it justice. Check out the pictures from Arthur Kogutowski below and we hope to see you dancing under the lights next weekend.

If you’re now looking for tickets to Night Lights Music Festival, you can grab them here. They’re $75 presale and include camping and parking.

September 9, 2014
Exit The Haggis, Enter Jubilee Riots

When faced with change, most individuals tend to shy away from it. Uncertainty of what will occur, especially when you are in a situation where you are comfortable and safe, tends to deter us from making that leap of faith. Today, those that follow Enter The Haggis learned that their beloved band is making a leap of faith into a new direction. Immediately following the announcement of the band’s name change and new direction those fans, aka Haggis Heads, began to react. Some with glee and support, some with sadness and fear that what they love will no more be, and some have yet to respond.

I cannot say I find this a surprise though as this band has been cutting edge and pushing the limits and evolving for several years now. This is a critical step for musicians to make, one that is considered risky at best to switch what appears to be genres, hoping that fans will follow. If you look at history of those bands with longevity, you will see evolution in their music and pushing the boundaries. Sometimes the risk pays off, especially when they have as much talent as these lads do. The band will still play all their fans favorites, they still will be the amazing guys they always have been, they just are growing, they are just becoming better. It’s commendable.

Jubilee Riots

This new direction, including their new name, now known as Jubilee Riots, allows this amazing band to continue to grow and bring their music to a wider base of fans worldwide. As they completed their latest album, The Penny Black Project, it’s apparent that they love their fans. In fact, the entire album is written by stories submitted to them of personal life stories from fans worldwide. Their highly anticipated album will soon be released and a local private listening party will occur Oct. 12 at the Saranac Brewery. Stay tuned as NYS Music brings you a preview of the album and highlights of the party.

The band will have one final show as Enter The Haggis at The Wescott in Syracuse on Oct. 11 and tickets will go fast, so please purchase yours now for their final celebration as Enter The Haggis and to show your support for their new adventure.

No matter what their name is, they love their fans, they love central New York, and they just plain ole’ rock. NYS Music wishes Enter The Haggis farewell and welcomes Jubilee Riots with open arms.

For the full statement from the band please visit http://www.enterthehaggis.com/exitthehaggis

September 9, 2014
Hearing Aide: Interpol Return With ‘El Pintor’

Interpol have made a triumphant return with El Pintor, their first album since 2010’s Interpol. With the departure of original bassist Carlos Dengler shortly after the completion of that release, the band went on a hiatus right after supporting the album with a tour. Lead singer and guitarist Paul Banks reconvened with lead guitarist Daniel Kessler and drummer Sam Fogarino wanting to make some more music. Banks picked up the bass and El Pintor soon fell into place with the new band configuration. Touring band member Brandon Curtis contributed keys on nine of the ten tracks as well. The band toured minimally this summer and were a major highlight on the third day of The Governors Ball and are now touring the United States this fall with a two night stand taking place at Terminal 5 in November.

The album starts off with rocker “All The Rage Back Home.” The band announces right away that they are back and ready to be back playing live in front of crowds. The entire album sees the band happy to be back and re-taking their position as a top rock band from New York. “My Desire” has Banks’s voice soaring over beautiful guitar solos by Kessler. The back to back placement of these songs to start off the album give Interpol fans exactly what they want from this band, great rock songs that you can dance to and get lost in.

“Same Town, New Story” keeps the driving beats by Fogarino going with slick guitar parts added by Kessler. Banks’s and Kessler’s voices, for the first time on the album, meld together beautifully throughout the song. The lyrics may not be the most subtle of El Pintor, but the band makes them work flawlessly. “My Blue Supreme” and “Everything Is Wrong” are not up to par with the rest of the album. The band hits its stride and doesn’t push itself in the middle of the album. When the album gets to “Tidal Wave” they break back through and bring the album home. The dense layering of instruments and vocals is easily one of the highlights of the album. The song is unlike anything else on the album and hopefully is a direction the band will continue to explore.

El Pintor is a great return to form for the band that had to show the world they were back to being the band everyone remembers from the early 2000s. The personnel may have changed a bit, but the band still has its unique sound ready for the masses to eat up. Interpol fans should rejoice as the band is back and is ready to take on the world again.

Key Tracks: All The Rage Back Home, Same Town, New Story, Tidal Wave

September 8, 2014
Steely Dan Closes the SPAC Season with Absolute Mastery

Steely Dan is known for high-quality composition, intellectual lyrics, and songs that contain multiple layers of meaning. Yet, while on SPAC’s stage on Sunday, Aug. 31 their performance was quite simple. No fancy props, no flashy clothes, no crazy antics. The complexity of their music compared to the simple performance on stage was ironic.

The irony of Steely Dan seems to be a common theme. Even their name is ironic. Those who don’t know the band might assume it is named for one person whom perhaps either has a “steely voice” or who makes the guitar screech like grinding steel. But Steely Dan is not named for one person – they are named for an adult toy that was the subject of the novel, The Naked Lunch and the band’s name definitely does not describe how they operate on stage.

Their performance does not focus on one person; in fact, it’s not even really focused on the two men (Donald Fagen and Walter Becker) who founded the band in the 1960s while attending Bard College. All 13 musicians on stage had an opportunity to show off their incredible talent. The keyboardist, guitarists, and backup singers were all given ample time to display their gifts. All four horn players had solos, and even had a chance to step to the front of the stage to highlight their life’s work. The drummer had multiple times to shine, and in fact, lights were arranged behind and underneath him to further emphasize his explosive talent.

Fagen and Becker, who are of course, the glue that holds Steely Dan together, were the guys who drew thousands of fans to Saratoga Springs. Both are brilliant musicians. Fagen was working with malfunctioning equipment; the G above middle C on his keyboard was not working, but, as he told the crowd, he worked around it. Becker’s stories, which started out in a conversational tone, but following tangent after tangent, ended up fitting into the music that the band was building up behind him.

Fans who came to hear their Steely Dan favorites were not disappointed. The 1970s hits, such as “Rikki Don’t Lose that Number,” “My Old School,” and “Reelin’ In the Years” were performed with absolute mastery.

Steely Dan’s Jamalot 2014 Tour will end with a three-day run Sept. 19-21 at The Capitol Theatre in Port Chester,N.Y. with several other scheduled performances in the Northeast.

Set List:
Cubano Chant (orchestra) , Black Cow, Aja, Hey Nineteen, Black Friday, Show Biz Kids, Time Out of Mind, Two Against Nature, Dirty Work, Bodhisattva, I Want To (Do Everything for You), Daddy Don’t Live in That New York City No More, Babylon Sisters, Reelin’ In The Years, Josie, Peg, My Old School, Rikki Don’t Lose That Number

Encore:
Kid Charlemagne, The Untouchables

September 8, 2014
Tedeschi Trucks Band Rolls Into Rochester on September 25

Rochester, NY will be the landing spot for the celebratory roots and blues explorations of the Tedeschi Trucks Band on Sept. 25. The eleven piece group combines Derek Trucks world-renowned guitar prowess as well as his wife Susan Tedeschi’s gritty vocals and equally potent guitar talents. Poly rhythmic undercurrents, golden horn exclamations and soulful renditions of classic covers and original compositions are on the docket for the evenings musical proceedings. The band will visit Rochester in support of their recent release, 2013’s Made Up Mind.

The concert will feature the band’s diverse blend of swampy blues, jazz, funk and raga neatly decorated with the virtuosic slide guitar of bandleader and instrumentalist extraordinaire Derek Trucks. Unable to be categorized by genre, the Tedeschi Trucks band is music for the body and mind, developed by some of the finest musicians in the world, each member a shining star illuminating a detailed musical landscape.

Tickets for the 7:30 performance are available through Ticketmaster for $39.00-89.00 or by contacting the Rochester Auditorium Theatre.

September 8, 2014