Recorded in one magical evening with a small studio audience and comprised of a straight take with no overdubs, the Alan Evans Trio‘s Woodstock Sessions Volume I is a timeless document of a musical moment of creation. Developed over the course of an intimate evening at Applehead Recording Studios, the recording retains the freshness of an improvised performance as well as the crispness of a studio recording. The magic is to be found in the communication between the players, who were unfazed by the recording machinery and luminescent red recording light. The trio successfully captured the live vibe and thick atmosphere of the concert experience.
Drummer and band leader Alan Evans immediately conducts the band through the 80+ minute set, beginning with a funktified and extended run through of the fuzzy and smooth, ‘They Call Me Velvet’. The power of the trio is on full display immediately as Beau Sasser’s organ saturates the air with the sound of multiple instruments. The thick, creamy funk of the band is their specialty. As they slide into ‘If You Want My Love’, guitarist Danny Mayer strikes out with classic James Brown chord structures, meeting with Evans’ emotive beats to equal a hip street walking ass shake.
The track ‘Thor,’ the subject of which is a guitar amp, fittingly features some nimble-fingered riffing by Mayer, touching on some of the fringes of acid jazz. The joy here is that the band is playing fully orchestrated and arranged pieces that contain uniquely original improvisational passages brimming with joyful attitude. ‘Have You Seen Him,’ contains themes that elicit memories of the grooviest ‘Shakedown Street’ with an envelope filtered guitar that works in conjunction with the drums while Sasser’s organ paints in long broad strokes.
‘Crooooz’ is a highlight of the set with a luscious groove that sets the perfect backdrop for more atmospheric organ excursions reminiscent of some earthy Jimmy Smith. The band keeps the marathon live recording moving forward breathlessly, changing tempos, keys, and vibes at the drop of a dime. The diversity of the band gets an airing with the ‘spoken word’ and classically jazzy, ‘What Happens In the Woods.’ Scattered and spacey drumming in conjunction with a star-dust guitar dressing provides the framework for Evans’ humorous story telling.
The evening concludes with another highlight, the aggressive and powerful ‘Cosmic Hazeldust’, containing all of the impressive elements that make up the band and the recording. Slick keyboard exclamations, wildly on point guitar work, and the knockout punch of Evans thunderous drum kit.
Taken as a whole, the entire Woodstock Sessions Volume I plays out like a created storyboard, each musical excursion a beautifully created scene. Organically developed, yet tight and practiced, the album reaches numerous peaks and euphoric highs. The organ lines intertwine with the guitar melodies, playing off of the multiple rhythmic ideas of the drums. The recording captures music during its genesis as it’s developed by the minds and fingers of the players and disseminated to the hearts and ears of the listeners.
Key Tracks: They Call Me Velvet, Thor, Cosmic Hazeldust
Perfect Pussy’s full length debut Say Yes to Love is the core definition of hardcore punk. An album that is very loud, fast, noisy, and with a much-needed raw attitude that most punk bands are lacking nowadays.
My initial reaction when I start playing the album was “WTF?” because I didn’t see it coming. Once the opening track “Driver” started, I knew I was in for a punch in the nose. My favorite track is easily “Work” because of the eerie opening guitar riff from Ray McAndrew mixed with the quick trippy bass line from Greg Ambler. Vocalist Meredith Graves spits out punk-like poetry throughout the entire album over muffled noise that adds a very unorthodox flavor to their sound.
Another fun track is “Advance Upon the Real,” which is very muffled and very fast. The drums from Garrett Koloski really stand out on this one. Keyboardist Shaun Sutkus’ talent is on full display with the closing track “VII” which seems to be slightly subliminal.
Overall, Say Yes to Love is a very fast-paced and trippy punk record that can be played from front to back in less than a half hour. It’s definitely a fun listen and a breath of fresh air, but, most important, the element that stands out the most is the attitude. Perfect Pussy has a bright future and Say Yes to Love is a must own for any hardcore punk fan. The albumcan be purchased here.
Central New Yorkers have ushered out the cold winter weather for the past three years with the help of Mohawk Valley Community College and Kiss FM 97.9/105.5 as they host their annual Spring Meltdown each April. This April’s event was even hotter than the previous years with the headlining British sensation, Cher Lloyd, and her special guest, David Correy.
Cher Lloyd
David Correy is more than just an amazing performer, he’s an inspiration to all of his fans world wide. Looking back on his life to date, David ‘s course of history appears to be predestined. Born in Brazil to a family in extreme poverty, his mother made the difficult decision to give David up for adoption to afford him more opportunities in life. This selfless act gave a couple in Annapolis, MD the opportunity to be a part of David’s life and love him as their own. Throughout his childhood David was always drawn to music and performing whether it was in school productions or singing and writing music where ever he could. David’s love for music was recognized and awarded with a full scholarship to the prestigious Berklee School of Music in Boston, MA. Off to refine his craft in Boston, David was dealt a horrendous blow in his sophomore year when he became ill and completely lost his voice. Having to give up school, David returned home to recuperate.
This, however, didn’t deter David though as he pushed through the roadblock to only bounce back with more determination to succeed. But shortly after that, fate once again had alternative plans for David when he was in a near fatal car accident. Once again David proved what he was made of and how much of a fighter he was, as he recovered and pushed back once again with even more perseverance. In 2012 David was a contender on the second season of the US version of the reality show, X-Factor, being a member of LA Reid’s team. Even thought he was eliminated, the appearance on the show lent a hand to fate once again and brought David and his birth mother back together as she recognized his baby photos on the show. Chronicling the reunion with all of his Facebook and Twitter fans as it unfolded, we all became part of his heart warming reunion with his mother and family in Brazil. Since the reunion, David’s talents have extended past the shores of America to incorporate fans world wide. He has had opportunities to work with greats such as Ne-Yo, Bow Wow, Omarion, and the likes over the last few years. This world wide acclaim has widened to now incorporate sports fans as David joins forces with Aloe Blacc on David’s new song “The World Is Ours”, the Coca- Cola 2014 FIFA World Cup Anthem.
In March of 2014, David once again was dealt with one of life’s unfairnesses with the passing of his adoptive mother. As he grieved, he picked himself up and pushed through the pain yet again. Joining us at MVCC for the 2014 Spring Meltdown only a few short weeks after his loss, he dedicated the show to his late mother and his Central NY family, the family that first embraced him at his first big show in 2012 at MVCC’s first Spring Meltdown, and the crowd welcomed him home with open arms.
Cher Lloyd
With the amazing talents of David Correy opening, Cher Lloyd could feel the love within the Jorgenson Complex as the crowd chanted and went wild in anticipation of the superstar to emerge. Cher Lloyd, at a young age of 20, hails from the UK and is best known for her appearance in the seventh series of the X Factor in the UK. Finishing fourth however didn’t deter her as she was signed immediately to Syco Music, Simon Cowell’s label. Releasing her first single “Swagger Jagger” the single went immediately to number one on the UK charts and five on the charts in Ireland. With a second release of her collaboration with Mike Posner on “With Ur Love”, her success was apparent as the single went top ten again. In October of 2011 Cher signed with Logan Entertainment and we saw the release of her premier album, Sticks & Stones here in the US shortly thereafter. The single “Want You Back” immediately went top ten and she was a household name in no time. In addition to her amazing musical talents, she’s a beauty. Signed as a model with the prestigious Select Agency, she began to appear on magazine covers as well.
Cher Lloyd
As Cher took the stage at MVCC, it was an amazing site to see how this petit firecracker took control of the stage and wrapped her audience around her little finger. Her stage presence spewed of passion, strength, and life on her own terms. As she sang many fan favorites from her first album Sticks & Stones interspersed with songs from the upcoming new album, Sorry I’m Late, (to be released by end of May 2014) it was apparent that her musical talents were unique and genuine to her vision. As she performed acoustic numbers such as “Goodnight” a ballad writen about her father, and “Sirens” you gathered an insight into this multi-talented artist as she is much more than a pop, rap, hip hop, contemporary R&B. She is a truly gifted songwriter and an amazing performer. When categorizing Cher Lloyd to any one genre, one would be pressed to select. She credits artists such as Nicki Minaj in trailblazing the unique sound she has created as well as legendary country artist Dolly Parton. With such a diverse inspirational background, it’s only inevitable that Cher would create an unique sound of her own.
Touring since 2011 with the XFactor tour, and then accompanying Hot Chelle Rae in 2012 and Taylor Switft in 2013 on her Red Tour validates her upward climb to success in the US. For those interested in catching her on tour this year, she will be out on the road with Demi Lovato on her 2014 Neon Lights Tour.
Cher Lloyd
Although Cher is only 20, her amazing talent and drive to the top signifies what a superstar this young lady is and will be in the future. Many artists rise to the top with a few hits, but it’s her diversity in music and the ability to stay true to her craft that will maintain Cher on the top for many years to come. It is the uniqueness of what she creates that makes her stand out above others. It is her honestly in her songwriting and performing. She’s definitely one that marches to the beat of her own drum, wearing her heart on her sleeve literally, proudly displaying her ink featuring her love of her father. Cher develops an aura at her show. By sharing details of her personal life with her audience she draws them in as friends and not just fans in an audience. If we were to make predictions on future stars to watch for that will stay true to their music, true to their personal beliefs, and true to their creativity, I would definitely place Cher on that list. If I were to choose one word to describe Cher, it would be honest. Cher is honest to herself and her fans, and that is why they love her.
Ithaca’s The Haunt was the place to be on Friday April 11th as Jimkata and Turkuaz broke it down for the locals. Ithaca locals Jimkata has just returned from a countrywide tour that included 18 states and over 35 shows, with a few more still to go as they prepare for festival season. The band has been exponentially growing in popularity in the past few years, as they have made appearances at some of the nation’s largest festivals and venues. From the Rockies to the East Coast, Jimkata has been featured at Gathering of the Vibes, Summercamp, Catskill Chill, and most recently, opening Colorado’s SnowBall.
Since Jimkata’s formation in 2006, the band’s style and overall sound has changed immensely. The band started as a jam/rock group with meaty guitar solos and psychedelic undertones, but since then has morphed into more of an electro/indie rock band. Jimkata’s influences can easily be detected in their music, with hints of MGMT, Talking Heads, and LCD Sound System. The unique electro-rock music that the band makes has somewhat forged a new frontier for this ever-expanding genre and is constantly evolving all the time.
Opening for Jimkata was the notoriously funky band Turkuaz. For those who have never seen or heard of the group before, your ears will be pleasantly surprised. The Haunt seemed almost too small for the energy and huge sound that Turkuaz produced. The band consists of nine members, including two saxophonists, both tenor and baritone, two guitarists, bass, trumpet/keys, two vocalists, and of course a rock solid drummer to keep all that funk together.
Starting off the set was an unreleased track titled “Typa-Lika,” exemplifying the power that the group has harnessed. The distorted guitar, groovy bass line, and driving rhythm are comparable only to funk music masters such as Lettuce. Their set continued with all original songs from their three studio albums and even a few more unreleased tracks. Besides giving the crowd outstanding dancing music, Turkuaz also had a soulful side that allowed the audience to feel the music on a whole new level. Lead guitarist and vocalist Dave Brandwein, in combination with the two female vocalist/dancers sang the blues like no other, ending their set with all instrumental jam, “20 Dollar Bill.”
With the crowd sufficiently sweaty and riled up, Jimkata wasted no time making their way to the stage. In contrast to the big-bad-funk of Turkuaz, Jimkata started off with a more laid back tune, “American Cars,” combining psychedelic bass and synthesizer. Their popular songs “Lighter” and “Nightshade” followed, featuring big choruses and breakdowns, as what seemed like the entire audience bellow the lyrics “You can let it go!” The band maintained the high energy set with more songs from their two most recent studio albums, Die Digital and Feel In Light. Winding down the show, Jimkata pulled out some of its older fan favorites, going back to their roots with a couple tracks off their self-titled debut album. These songs allowed one to see the transformation the group has made from the harder rock and heavy guitar solos that Jimkata started off their career with. As to be expected, the Ithaca natives drew a huge crowd, filling The Haunt nearly to capacity with a party that will not soon be forgotten.
Turkuaz Setlist: Typa-Like, Bubba > Coast, Chatte > Lookin Tough, Rules > M’Lady > Tiptoe Thru Crypto, Murder Face > Pickin Up, 20 Dollar Bill
Jimkata Setlist: American Cars, Lighter, Nightshade > Beat the Curse, Die Digital > Legoland, Electronic Stone, Feel in Light, Feed > Daytime Fiction, Low Low, Chainstore
Several weeks ago I had the chance to review six songs off Amanda Rogers’ newest album WILD. The EP was a solid set that previewed the direction Rogers is taking with the album, which dips its toes in all sorts of musical genres. Rogers draws on some widespread influences from country to pop to piano ballads, all of which help keep her work undefined in any broader musical classification. The first half features singles that stand well on their own, while the second half really settles in, flowing agreeably between tunes.
One of the best songs off the album is a piano pop gem “Welcome To The Show.” With a really distinct and pleasing tone, the piano plays an upbeat rhythm that will have you hooked—a great way to start off. The drums pick the song up into a groove when they come in on the chorus and the carefree piano solo following after creates an open and unencumbered space of some feel-good music. Free and easy whistling throughout brings you back to an outdoor summertime atmosphere, something almost all of us in the New York area are longing for right about now when spring hits. With “Welcome To The Show” leading off, Amanda Rogers anticipates a sort of driving in your car with the windows down/living in America vibe to the rest of the album.
“The American Dream” presents this American feel throughout Rogers’ music, however not in an idealized or glorified way as she addresses some national issues with lines like, “We’re overworked and we’re underpaid” and “This American dream right in front of your TV screen,” as a possible call out to those who forgot about their dreams, contented by TV. “More, More, More” adds to Rogers’ exposing of the United States corporate structure by putting down certain CEOs who make an unnecessary amount of money at the expense of others.
“Sweet Sleep” is a soft lullaby tune that’s definitely meant to be listened to under the covers at night. There’s an airy freshness in songs like “Someone Waits” and “Genes I’m Always Wearing,” both of which have a similar feel to what’s heard in “Welcome To The Show.” With “10 Years Closer” Rogers offers a gloomy side to the album with some darker style singing. Altogether WILD is a long 19-song album with Amanda Rogers’ unique voice and piano style traveling through various styles of music.
Rock N Roll Resort v4 was a dream come true for those looking to start the festival season of 2014 on the right note. Wicked Cool Productions and Magic Hat presented the fourth annual music and arts festival hosted at the Hudson Valley Resort & Spa in the heart of the Catskills in Kerhonkson, NY on April 4th-6th. Given the history of the resort, it was the ideal location to host such a grand weekend party after the long winter and cabin fever that Upstate had endured. With over 60 musical acts, 4 stages, an indoor shakedown scene, the Overlook Art Gallery, themed costume nights, plus all the extra activities, dreams came true for guests at Rock N Roll Resort v4: The Dream Machine.
Friday night’s festivities began with a set from Scooter Dude in one of the more ornate and lavish rooms that Hudson Valley Hotel and Spa offered, the Grand Ballroom. Located right off the main lobby and in the heart of all the action, so to speak, this carpeted dance room saw luxurious couches lining the outside of it for comfort and an incredible chandelier that aided everyone’s visual enjoyment. Every band and/or lighting director took turns all weekend using this crystal centerpiece to their benefit by bouncing and reflecting lights off of it, much to the delight of all in attendance. This was definitely one of the more aesthetically pleasing constants of the weekend which never failed to disappoint. Space Carnival took over the Grand Ballroom for a set filled with their spacey disco jams that included a killer Talking Heads’ “Cities” that sent the crowd shooting through the room almost as fast as the laser beams. The Oneonta quartet took their performance with serious precision as they lopped melodies and held a fast consistent dance tempo that was hard to orbit out of.
Guitar phenom Bobby Paltauf was joined by Jen Durkin on the Acoustic Stage which was located literally right in the center of the lobby, so it was by far the most accessible of all the stages. Their hour long set gave the young guitarist a chance to make his name known and featured a fun take on the Keller Williams classic hit “Best Feeling”. This was a pleasant intro for one of the more pure rock n roll acts of the weekend, The Broadcast. The played in one of the two larger rooms of the weekend, the Empire Lounge, which had all the look and feel of a swank cocktail lounge from the 70s. While the room may have been a little sparse due to late arriving festival goers, the Asheville, North Carolina rock outfit delighted those who had checked in already with their energetic set of primal rock. The icing on the cake was a phenomenal version of Led Zeppelin’s “Rock and Roll” which could have easily served as the motto for what this group delivered all weekend. With a lot of electronica and funk outfits on the bill, their brand of pure rock, with an impressive female lead singer named Caitlin Krisko, was quite the breath of fresh air.
It was a short walk from the Empire Lounge to the adjacent Manhattan Theater that housed many of the larger acts of the weekend. The first of these was Upstate New York’s own Conehead Buddha. The resurgent rock, funk, reggae and ska act delivered a little bit of all of this and then some to the patrons that were in attendance early. With a nice mix of uptempo originals and cover songs, Conehead Buddha did a fantastic job of turning a fairly empty and lifeless room into one full of energy and anticipation for the rest of the weekend. The Alchemystics turned the Empire Lounge into a tropical storm of smooth reggae and hip hop that preached fierce words of spreading love and hope. The soulful groove was contagious as the simple and exotic percussion kept bodies moving with lyrics that inspired a revolution on the dance floor. The vocal harmonies were uplifting with echoes of a timeless message but with a modern day aura.
BRYAC Funk Allstars is a collaboration of all things funk from Connecticut with members from Kung Fu and Deep Banana Blackout. A classic big band sound like an Earth, Wind and Fire funk, but with way more edgy rock. The band’s everlasting notes and chords kept the peaks high as the brass section kept in triumphant unison. One of the highlights of the set was the head banging, thrash about jam of “Red Hot Mama” with Jen Durkin wailing on vocals and tambourine. Peter Prince & the Trama Unit was a five-piece, pure rock show mixed with funk and a great female sit in from Shannon Lynch of Conehead Buddha on Saxophone for “Friends” for an added jazzy blast. Peter Prince wailed bluesy vocals as Johnny Trama joined him for continuous guitar shredded. DJ Honeycomb sweetened the night in the Grand Ballroom with sit-ins by Friendship from The Hornitz and fellow beat boxer, Frido Lays, putting a fresh spin on the night with their fast spitting beats.
Dumpstaphunk then took over the reigns of the Manhattan Theater which was now much more full of revelers. This act has become a staple on the festival circuit and their vibrant, energetic blend of rock and funk always seems to draw a crowd. Friday night was no different as the energy and mood of the venue continued to soar with each new number played by this supergroup of sorts. Drummer Nikki Glaspie really stood out in this performance (a feat unto itself) which was punctuated with a spellbinding “Drum solo -> Scat solo -> Immigrant Song” cover. Tauk was the set of the night with their face melting rock jams that took everyone by surprise in the Empire Lounge. The quartet from Brooklyn has a consistent rhythm in their live performances as they fuse progressive rock with experimental improvisation creating a unique genre of their own. Tauk’s instrumental rendition of The Beatle’s “I Want You (She’s so Heavy)” is one for the ages as they break it down to hypnotize audiences with pauses and driving climaxes.
Saturday
Saturday was a fresh start for festival goers to wake up to a catered breakfast, enjoy the spa amenities and partake in the numerous activities being hosted such as the Disc Golf Tournament, The Great American Pin off and the Magnificent Mini-Golf Tournament. The afternoon saw bands like Eggy, a galactic rock band, and The Hornitz, a beatboxing funky dance duo, kicking things off to start the day before 7 Below, an up and coming Phish cover band, did their thing in the first set in the Manhattan Theater of the day. The energy really kicked up with SOLARiS and their set in the Grand Ballroom. Taking full advantage of all the sights and sounds this room had to offer, this rising act that was formed in Binghamton, NY was really one of the jewels of the weekend. Producing way more energy and sound than any normal three piece band, this group has the look and feel of established electronica acts like The New Deal and Conspirator. They had everyone bouncing around the room to their infectious sound, including one guy who was compelled to do multiple back flips on the dance floor. This is truly an Upstate band that should not be missed.
Their set flowed quite nicely into that of another Upstate New York act, Roots of Creation. These guys have been delivering their brand of ska-infused rock for many years now and it was nice to see them get a respectable time slot for their performance which featured a nice take on the Grateful Dead classic “Row Jimmy” among other songs. Following them in the Empire Lounge was another great New York band that’s fairly new to the scene as a band, but with musicians who have been around the block a little. Mister F is composed of members of the now defunct Timbre Coup and Capital Zen and they recently released their first album entitled The F Stands Four. Rock and Roll Resort was an ideal venue for this band to start having their sound heard by the masses. They play a truly infectious brand of electronic-based rock that had the entire room dancing in unison. With stellar performances of songs like “Vocoder” and “This One Goes to 11”, there is no doubt this performance turned some heads and garnered the group a few new fans.
One of the other weekend headliners, Everyone Orchestra, then took center stage for the night. Featuring prominent names like Steve Kimock, Reed Mathis, Natalie Cressman and Jennifer Hartswick, this traveling ensemble delighted everyone with a special blend of jams, improv and soaring vocals courtesy of Hartswick and Jen Durkin who resurfaced during their set. EO delivered the soaring jams and quirky improv along with the audience participation for which they’ve become so well known.
Business Casual Disco kept the party going in the Ballroom with their DJ remixes of classic and today’s hits with danceable beats and breakdowns. The crowd pleasers were The Jackson 5’s “ABC ” and Daft Punk’s “Doin it Right.” But for a completely different direction, Cabinet provided a Bluegrass Americana groove that is a classic staple to the historic Catskills and the rest of Upstate New York. The Empire Lounge was filled with string plucking and picking, as bows glided with rising vocal harmonies. Jordan Simms had quite the rowdy crowd singalong in the Acoustic Stage area as he played a late night set with Nephrok, Bobby Paltauf and Jen Durkin for the Rolling Stones “You Can’t Always Get What You Want” and Joe Cocker’s “Feelin Alright.”
The last major act of the evening was a break from all the other groups that did such an exemplary job of representing both New York and the East Coast. The Motet flew out from Colorado and delivered a true dance party. This most recent incarnation of the band has been touring nationally the last few years and includes elements of funk, afrobeat and disco among others that had the entire Manhattan Theater eating it up. This represented perhaps the peak of the weekend in terms of intensity and crowd population. Seemingly everyone in the hotel was present for both of the band’s sets this evening. The highly anticipated act delivered a rousing performance that surely had some folks hoping they’ll be on other bills later this summer.
Sunday
With the Sunday theme being “Pajama Party”, everyone was dressed with bathrobes and slippers, ready to relax and enjoy the last day of Rock n Roll Resort. The Akashic Record, the five-piece funk machine from Boston woke up the crowd with jazzy, free flowing tunes with solid Hammond organ jams thanks to Beau Sasser and soul charging trombone from Brian Thomas. Sasser stayed on to take the reins for the later set of Beau Sasser Trio who had members of Turkuaz join in for a cover of Frank Zappa’s “Stinkfoot.” The Grand Ballroom was filled with sweet salvation pouring from the vintage organ all day long and out into the glorious sunshine for festival goers to enjoy the fresh air. The Kingsof Belmont returned to the Empire Lounge in the morning after having their raging first set of the weekend at 4:30am on Saturday. Keeping with the easy flow of Sunday, they covered Pink Floyd’s “Time” and “Breath” for a psychedelic groove.
One of the great things about festivals, no matter the type, is a band that’s somewhat off the radar beforehand and then blows the house down and makes one of the biggest impressions of the weekend. Turkuaz filled the role of pleasant surprise this weekend and did it in a most impressive manner. This nine-piece band featured a blaring horn section, two guitarists, backup female singers, along with a sterling rhythm section that all worked in perfect harmony with each other from start to finish. It was loud, it was energetic, and it was in your face rock music that blew the roof off of the Hudson Valley Resort and Spa. A first set cover of Peter Gabriel’s “Sledgehammer” was played with precision and was very well received by the crowd, which had dissipated a lot from yesterday as many festival goers chose to leave early on Sunday. Although the numbers may have been fewer, the energy of those still remaining and dancing was palpable. This is all thanks to Turkuaz, a must see act that’s surely coming to festival near you in the future.
To cap off a fun and full weekend of music, the Rock n Roll Resort Superjam featured a constant revolving door of talented artists. From Beau Sasser to Nephrok himself, the Superjam was a fun and spirited way to cap off the festival. The couches in the Grand Ballroom may have gotten a little more use at this part of the weekend due to tired legs and bodies, but there was still a lot of good music to experience before calling it quits. The crowd did eventually thin out even more and as traces of sunlight began to make themselves visible, it was clear to all that this massively successful festival was at its end point and the time to start planning for next year’s bash was now underway.
Staff Photographer Bryan Lasky gives us a look at Rock n Roll Resort v4: The Dream Machine in his extensive photo gallery of the weekend. Stay tuned for a full review on Wednesday and Chris DeCotis’ photo gallery on Thursday.
Formula 5 is one of those hidden gems hidden within our borders of Upstate New York. The band generally calls Albany, and the surrounding area, home and has been lighting up that scene for a couple of years now. The band’s latest offering, Edging on Catastrophe, is the follow-up to their self-titled debut album that was released last year. From their debut to their sophomore release, the band has grown tremendously in their cohesiveness and general song writing capabilities. The new album as a whole spans many genres, yet keeps a tight flow between songs as they sonically weave their way in and out of each style. Throughout this album, you can hear the guys touch on funk, bluegrass, jam, electronica, blues, reggae, and many others, all while keeping a general theme throughout. The four-piece has developed their identity and this album really shows their comfort within that while still stretching into untouched areas.
The first song that grabbed my attention was “Pedro,” which really showcases guitarist Joe Davis’ skills as he leads the band melodically through this piece. This song illustrates another thing the band does well, which is understanding how far to push a jam. The guys have a great feel for how much is just right and your ears are continuously treated to that balance on this song and throughout the album. The band lays down a solid backing through the first few minutes of the song with a catchy little guitar riff and a chorus that opens up and allows the band to stretch out. As the song progresses, it continually picks up steam until around four minutes in when the band takes it over for some exploratory jamming. Their choices for both the effects on their instruments and overall ambient sound is spot on, providing a perfect and slow-rolling current for keyboardist Mike McDonald to show his skills while trading off with Joe Davis’ riffing. The closing minute of the song swells before relaxing and jumping back into the chorus, bringing it back full-circle and resolving the built-up tension.
My favorite song on the album immediately follows “Pedro” and is appropriately titled “Ride.” The song starts with some ominous keyboard chords before the bass and drums jump in, giving it an STS9-like feel right from the get go. The vocals and instrumentation on this song are layered perfectly and combine for a haunting and transfixing composition. The verses of this song remind me of Neil Young’s “Rockin’ In The Free World” and has the same internal pull that evokes raw emotion. The second guitar solo that starts around the four-and-a-half-minute mark comes out of nowhere as, leading up to this point, the song was still mellow and relaxed. The driving nature of the band combined with Davis’ playing launches you from the ground and into the outer atmosphere. He makes beautiful lines through the chord progressions and really adds color to the overall song before it slows down again, tucking away into this beautiful environment of ambient tones that’s both driving and relaxing at the same time. At around the eight-minute mark, you can hear a little Paul Simon “You Can Call Me Al” flavor from the keys before the band begins the haunting swell that closes the song. As the pace climbs, notes are blurred together and the beat continues to escalate before they drop you on your face, leaving you wondering where the ride left off.
Throughout the rest of the album, the band does a tremendous job of really engaging the listener with a wide array of music styles, terrific lyrics, and overall top-notch musicianship. If you want a snippet of how talented these guys truly are, take a listen to “Timmy’s Dream,” as the minute-long jam really shows how polished their sound has become in their short existence. I will be the first to admit that I haven’t had the time to check these guys out up until now and I now fully regret that decision. It’s baffling to me how such a young band could put out an album of this caliber; whatever the formula is, it’s dialed in right with these guys and other bands need to take note. Edging on Catastrophe is edging on being the catalyst to a very successful future.
On May 7th the road leads full circle for Ben Mauro, Syracuse native and world-class musician, as he takes the stage at Shifty’s Bar & Grill on 1401 Burnett Avenue to launch his new EP, Take Your Time. The year was 19-something when those at Shifty’s Bar & Grill first saw Ben take the stage for open mic night.
Since that time, he’s gone full steam ahead to have one of the most successful careers a musician could hope for, traveling the world, meeting and playing alongside the most amazing musicians, mentors, and fans along the way. However, after only two seconds I knew he was something special as we chatted about his upcoming event. The success that Ben has achieved has not changed his priorities, and this is apparent as he comes home to share this special release. Giving back to the community that embraced him originally was Ben’s goal, and for this we embrace our home town star and say thank you.
As I reviewed the new EP Take Your Time, I came away with a sense of who Ben is and what he wanted to achieve in his new release. His versatility is amazing to me and after speaking with him, I can see how all of the influences over the years lend to what we hear on Take Your Time. A positive vibe comes across in his sound as the lyrics tell a story of love, happiness, and living life uncomplicated as it should be. With a mix of pop, country, southern rock, jazz, and Latin flavor the audience is treated to many genres, sounds, and instruments along the way. In “She’s Beautiful”, the jazzy tune is upbeat and happy with an interjection of a sax solo that is reminiscent of songs during the Motown era. In “Complicated” Ben’s songwriting skills inherently shine through. While on the track “Down By The River” you have this urge to grab a cooler, bathing suit, and fishing pole to play hooky all day like Huck Finn and Tom Sawyer. On the title track “Take Your Time” Ben’s guitar solo rocks this number to the point where that’s the one thing that stands out..WOW…this man can play a guitar. Here’s a small taste of “Take Your Time.”
Lately I’ve been on a kick for ethnic sounds and find myself drawn to songs of this nature so on the final track “Burn It To the Ground” I was immediately drawn in to the sultry song with the Latin flair to it. Not only does it showcase the songwriting talents of Ben, it also showcases the amazing talent of Ben’s backup musicians with the percussion and keyboards, while his guitar solo evoked a feeling of being in a small cantina listening to the mariachi band serenade me. Only thing missing was my cerveza. Over all, once I listened to the Take Your Time EP, I couldn’t help feeling happy, upbeat, with an admiration for Ben. I was curious to see who and what had influenced him over time to bring us to the point where this mix of music originated from within. So as Ben toured the world with Lionel Richie through Australia, Asia, and many countries, he so graciously took the time to answer a few questions for me and the audience to get to know him better.
Kathy Stockbridge: So let’s begin this journey and share with me some insight to how it all began. When did you know that music was your destiny? You share how you began as a young adult jamming in the basement to Led Zeppelin tunes, but did you also participate in music through grade/high school also? Garage bands? Marching Bands? Was a formal education in music helpful to your understanding of the craft?
Ben Mauro: I played French Horn in middle school, and was All-County Band and Orchestra. Then I took a break from music for a while, until my dad brought home an electric guitar he had trash-picked while out running one day. That’s where it started, and I’ve been playing since I was 16. I had a garage band in high school ,and we played in the school talent show and at a couple of parties. That was really it.
My formal education was mostly with Rick Balestra, a private jazz instructor, that still teaches and performs around Syracuse. I studied with Rick for two or three years – he really opened my eyes to a lot of different types of music and it made a huge difference. I was mostly playing Southern Rock up until that point. Plus going to OCC for classical guitar really helped a lot – learning technique and how to read music. My instructor there was Joe Jewel. He left Syracuse to go to Los Angeles and now plays on “Dancing With The Stars.”
KS: As a parent I support my children in anything they wish to do, no matter how risky it may be as I feel when you love what you do, it’s not even a job, it’s a lifestyle. Did your family support you like this as well? Do you come from a musical family?
BM: The short answer is no, I don’t come from a musical family. A couple of my cousins were kind of musical – one played guitar and one had long hair. But the rest of my family are all teachers. My dad started the rugby team in Syracuse, so I was surrounded by rugby players growing up. I was always hanging around athletes, not musicians. They still know how to party, though! Really, I’m very lucky because nobody in the family knew much about music. My dad said if I could make it my job and make a living doing it, we support you. And they did – still do.
KS: You share how you took off for NYC to for a “street musical education”. As a starving artist, do share some experiences that defined in which direction you ventured. We know you gravitated towards the music scene in Greenwich Village at Café Wha? Were there other venues you played that held special meaning? Types of music that helped you learn the business more so than had you just hit the tour scene?
BM: What I tell up and coming artists all the time is that they have to work – hard. Before I got the Lionel Richie gig, I was a freelance musician playing around the circuit in NYC for years. I paid my dues and at the time that I got the Lionel audition I was playing in ten different bands. I used to say “Yes” to every call I got. It was a badge of honor in our circle of friends to see who could play the most nights in a row without taking a night off. It would usually be about 35-40 nights straight of playing before I would take one night off and then go back at it. Sometimes that was two gigs a night –three sets in two different bars! We would play one gig then drive into NYC to start our second gig at 1am and then play sometimes until 4am. But that is really what helped me keep my name out there – just keep going and going. And playing in all different kinds of bands. I got the experience in Jazz, Funk, Rock, Latin. Even if I wasn’t sure I could do it when the call came in, I would say yes and then make sure to learn. You can’t just play one style of music, even if it is your favorite. Learn as much as you can and play as much as you can.
KS: We all are inspired by other greats along the way. Share with us some of these influences that shaped your musical style and steered you towards the craft you do today? Teachers, mentors, bands, sounds…who and what has shaped the sound we hear today on “Take Your Time”?
BM: My favorite band growing up was the Allman Brothers Band – that kind of Southern Rock type band. Learning all the different styles helped me figure it out along the way, but my all time favorite is a guitar player named Warren Haynes.
KS: On this timeline, please share with us some of your musical moments beginning at Shifty’s and carrying on through to your world-wide tours with artists such as Lionel Richie, Don Felder, John Fogerty, Kelly Clarkson, and so many other great musicians along the way.
BM: The thing with Shifty’s is, that is where I first met Delmar Breland. He was playing bass and I went up and started talking to him. My first band was with Delmar, Ricky Chisholm, and my good friend Paulie Cerra. And that all happened because of Shifty’s. Ricky loves the Commodores and we played all kinds of those songs. Which really helped out a lot when it came to my current job. Delmar was also a big help to me because he and this other dude named Sugarfoot are the ones who really taught me how to play that kind of funky rhythm guitar. Here I was, this long-haired white kid from the country and these two big guys took me under their wing and taught me how to really play. That is why I am working today – that funky R & B guitar skill has served me well.
It kind of goes with a story about Lionel, too. After I had played a couple of gigs just filling in for his main guitar player he made some changes and he fired everyone in his band except the drummer and sax player. I had to try out again too, and at first the new musical director didn’t want to hire me. He told me later he was thinking who is this surfer looking dude in here, but it was Lionel who said to him, “Naah, give him a chance – he’s funky.” So if I hadn’t hung out with Delmar and Sugarfoot, or learned all those Commodores songs with Ricky…
KS: In between, what are some “a ha” moments that you have had?
BM: Probably watching the first season of American Idol and then getting a call to play in the band for the tour and backing up Kelly Clarkson. She was really great to work with – and then doing TV shows with her. Getting a call from Don Felder from the Eagles asking me to be his guitar player in his solo band and then playing the Hotel California harmony guitar solo on stage with him. That was a WOW moment. Auditioning in John Fogerty’s garage and getting the job as his guitar player and background singer. That was pretty surreal. He asked me if I knew any country! And pretty much every time I get onstage with Lionel and he looks me in the eye while he is singing his ass off!
KS: As I previewed the new songs on Take Your Time EP, one thing definitely jumped out at me, and that is that you are very versatile in your styles. Many times you will listen to an album and get a flavor of similarity in all the songs, however on this album, you get a wonderful variety of genres, musical instruments, and moods.
BM: I think this goes back to my days in NYC where I had to play all those different styles of music. Now that I’m an artist and write my own stuff, that is all coming out. It just feels comfortable and comes naturally to go from one style to the next. I don’t set out to write in a specific style – it just comes out.
KS: And I must add they go together extremely well. They have a common theme to them and a positivity.
BM: I’m happy to make music that makes people feel good instead of all down and dark.
KS: Talk with me about the making of this album and the songs on it. What do you want the listener to take away from this album?
BM: Uplifting. I want people to feel good and positive.
KS: What was the creative process, the inspiration, and share some of the moments in the making of the album cuts. Do you come up with lyrics and immediately reach for the closest paper? Were there melodies in your mind you came up with and then put the lyrics to them?
BM: The music usually comes first and then I write the lyrics as I play the tune. I don’t write it down very often – just start playing. Sometimes I will record things on my phone so I don’t forget an idea. Some of the new songs were written in the area. “Down By The River” was inspired by something my dad said when we were all on a family vacation. He just said one thing and it clicked – the song came from that. And I wrote “Take Your Time” sitting at my parents kitchen table.
KS: Do you collaborate on any of the songs? Share with us the band and how you chose the instruments to accompany the music.
BM: I do most of the writing and then my producing partner Gary Davenport comes in to collaborate on some of them. He does some arranging and polishes the songs up. Makes them more focused – just better. The band is the 13 Curves Band, Oscar Seaton and Gary Davenport. 13 Curves was my rock band from a few years ago. We played together for a while and then it kind of morphed into me as a solo with them playing for me when I recorded. Gary is also from Syracuse and I played with him way back before I left for New York. I first met Oscar touring with Lionel – he has been Lionel’s drummer for 15 years. He also plays with jazz guitarist George Benson and a bunch of other great artists.
It’s also cool because Paulie Cerra, my old bandmate is still one of my best friends. He plays saxophone with me on “She’s Beautiful.” That’s another Syracuse connection.
KS: Do you play multiple instruments in the recordings?
BM: I play guitar, dobro and banjo on this one.
KS: As I mentioned above I have noticed that you are a very upbeat and positive individual and that shines through your music and your show Let’s Go! With Ben Mauro. How did you come up with the idea for Let’s Go! and share with us how long you have been documenting your adventures?
BM:Let’s Go! came from my dad telling me I had to go out and see things while I was on tour. I kept telling him I was too tired after having been on a 12 hour flight, but he would say things like, “The Tower of London is only 20 minutes from your hotel.” I finally went and took some pictures and posted a blog. I started to do it for my family – so they could know what I was doing while I was on tour and stuff. But people really liked it so it expanded. I got an HD camera and started to do the videos. The very first one I did officially was the Great Wall of China and it’s been almost 4 years.
KS: What are some of your most favorite places and you’ve been able to share with viewers along the way? I also want to commend you for featuring band mates and other musicians along the way as well. It’s great to not only see these amazing countries and places, but also to see behind the scenes of the rock and roll way of life with sound checks and traveling and all of the things that accompany this lifestyle.
BM: Some of my favorite places are Morocco, Brazil and the Great Wall of China. It is very important for me to show the life of working musicians. I say that in every episode. What we do is really so different from what most people think. It’s a great job and I’m very lucky to get to do a lot of really cool stuff, like seeing places I might never see. But it is not all rock and roll glamour. We are on planes. A lot. We are in hotels. A lot. It’s a job and we work hard.
KS: As a fun way of getting to know the musicians and give the readers an insight into their personalities…would love if you would play along in a “Social Speed Round” of questions, some very random questions for you to answer. And…”Let’s Go! With Ben Mauro!”
1. You’re flipping through the channels on TV and come across this movie or show that you always stop on!!! No matter how many times you’ve seen it!!! – Million Dollar Baby or Anchorman.
2. You come across a restaurant out-of-state that claims to have the best original NY food…you think THIS has to be on the menu to even be considered a NY restaurant? –
3. I meet a lot of great individuals in my line of work, some that have left me at a loss of words. This is the person that leaves you speechless and at a loss of words when you finally meet them? – Greg Allman.
4. Time to get away for the touring for a while. Where is your “Happy Place”? – Zuma Beach, Malibu, California.
5. You’re at Disneyland/World…you only have time for one ride because you have to do a sound check and perform immediately after…you choose Roller Coaster/Bumper Cars/Sky Ride or Ferris Wheel? – Roller Coaster.
6. You get an offer to be a featured star on a cable television show but you can only do one..you choose Dancing with the Stars/ Man vs. Food/ Off Limits? – Man vs. Food
7. Dream collaboration – Greg Allman again.
8. Favorite board game? – Yahtzee.
9. If you weren’t a musician what was your plan B? – When I was a kid I wanted to be a professional athlete – soccer player, but never really had a plan B. Since I was 16, I always wanted to be a musician and I loved it so much that I never thought about doing anything else. Even when I was dirt poor in New York, I never thought I would do this for a few years and then get out.
10. Your guilty pleasure? – Spy and adventure novels. Like Lee Child or the James Bond books.
As you can see, Ben Mauro is a fun, positive, upbeat type of person. He works extremely hard to be the best he can be, and he is appreciative of his beginnings and those along the way. Syracuse is honored to have Ben Mauro return home to launch his new EP Take Your Time and we urge everyone to take the time to stop down to Shifty’s Bar & Grill on May 7th to welcome Ben home. Ben will be joined by SAMMY award-winning performers Phoenix Eleven and special guest Ricky Chisholm. Tickets are being sold ahead of time and can be purchased at http://bpt.me/622514 There are limited tickets available so I urge you to not wait, but buy in advance to guarantee to be part of this event.
Mike Gordon kicked off the final weekend of his tour this past weekend, which has been getting some buzz in the Phish community, with a show at the historic Tarrytown Music Hall. Along with bandmates Scott Murawski, Craig Myers, Tom Cleary and Todd Isler, Gordon has been touring in support of his latest studio album Overstep, performing it extensively on this tour with all but three tracks performed at the Music Hall. With the absence of a parking lot and decent weather to hang outside in before the show, a slight delay in the start (possibly due to some last-minute rehearsals with a special guest) seemed to be welcomed by the crowd who quickly settled down and enjoyed conversations with each other in the theater.
Eager for the show to start, the audience cheered as the stage was dimmed to a purple and the band made their way out with Gordon’s glowing scarf hard to miss. The first set kicked off with the first track off Overstep, “Ether,” an extended noise/sound effect intro recreated live by Gordon playing around with a speed drill near his bass’ pickup. “Yarmouth Road,” one of the two songs on the album with a reggae feel, was played in its studio fashion with the crowd digging the added 90’s ska interlude toward the end. “Yarmouth Road,” by the way, was first debuted with Phish at SPAC July 5, 2013.
There were some hushed mutterings before the show that Trey was backstage and would be sitting in for some portion of the show. This wouldn’t have seemed too far-fetched either as Trey resides somewhat locally in nearby Manhattan. It was obvious though that this was to the crowd at large a big surprise as the theater erupted when Trey was introduced and took his spot between Scott Murawski and Gordon. Murawski started off the Talking Heads tune “Cities” with Trey joining in quite forcefully after resolving a guitar glitch. This one got jammy with Trey and Scott trading solos in a call-and-response and dueling fashion. Trey stuck around to take the lead in the jam section of one of Gordon’s new tracks, “Tiny Little World,” to close out the first set. While some people were chatting during the intermission about what Phish song they’d like to hear if Trey were to come back out in the second set, they would soon find out they would have to wait until July to hear live Phish from the source.
Not only was the music a focal point of the show, but both sets also flaunted a high-tech display of lights and projections that took advantage of the smaller stage setup, different that what would be practical at a large-venue Phish concert. Gordon and Murawski both sported custom-made guitars that would light up with LEDs at times during the show while the stage was dark giving a vague effect that they were being played by ghosts or while cast in front of psychedelic patterns. Gordon also debuted a crowd interactive instrument, the “EEL” as he called it. A MIDI controller that spanned the width of the stage, this strip resembled an oversized keyboard that the lucky front row could tap on when Gordon’s band triggered it on. Its sound sets (i.e., piano or Hammond Keys) were controlled by the band’s audio engineer and changed periodically while the audience was tapping away. One of the times the EEL was active was during “Peel” in the first set and again at the open of the second set – we have a short video excerpt of this in “Peel” later on. Gordon also incorporates something else a little different for a jam band type show: MIDI triggers on his and Murawski’s mic stands which allowed them to play a sound or an effect tapping it with their hand. All of this combined added an interesting twist to the experience of the show.
Gordon’s stop in Tarrytown, and his whole tour for that matter, was a pleasant bridge in the gap between Phish’s NYE show and the start of their summer tour, July 1 at the Xfinity Center and their three night run at SPAC July 3-5. It gave fans a chance to see another side of Phish: one free of large crowds, potentially questionable weather, and ultimately the creativity of Gordon separate from his role in his native band.
Set I: Ether; Cruel World, Yarmouth Road, Different World, Pretty Boy Floyd, Spock’s Brain, Face; Peel, Cities^, Tiny Little World^ Set II: Long Black Line, Crumblin’ Bones, Barton Hollow, Angatta, Spiral, Jumping, Traveled Too Far; She Said She Said>Tomorrow Never Knows>Are You a Hypnotist?>Tomorrow Never Knows>She Said She Said>Traveled Too Far, Say Something Encore: Soulfood Man>Alphabet Street
