Saxophone extraordinaire, Karl Denson is set to tour with the Rolling Stones for nine concerts this month and next in Australia and New Zealand on their 14 On Fire tour.
Densen had six shows planned with his funk-jazz band Karl Denson’s Tiny Universe but quickly cancelled the shows when he was asked to perform with the Rolling Stones. Karl Denson’s Tiny Universe has become a major hit in major festival and club attractions. He is also the co-founder and leader of the jazz band, The Greyboy Allstars – the band began in 1993 and they merged Latin music and jazz. The San Diego band became an international sensation.
Touring with the Rolling Stones will involve huge amphitheater performances but Denson is far from shy with huge crowds. The saxophonist has toured with his jam band Slightly Stoopid and has also worked with Lenny Kravitz, the Allman Brothers Band, Steve Winwood and guitarist John Scofield, bassist Dave Holland and drummer Jack DeJohnette. Kravitz is the one that mentioned Denson to the Stones when they were on the look out for a saxophonist. The band approved Denson’s work and Kravitz relayed the message of the once in a lifetime opportunity to Denson.
Denson will be included in the Stoner’s sax section that includes Bobby Keys and Tim Ries, who have been touring with the Stones since 1990s. He flies out Friday to begin rehearsal with the Stones. Denson’s first date with the band will be Oct. 25 in Adelaide, Australia.
Update: Bobby Keys will not be joining the Australia and New Zealand tour due to illness.
Unearth has remained present in the metal landscape for over fifteen years. This has everything to do with their work ethic, constant touring, and producing quality albums for that entire time. Their newest record, Watchers of Rule, is another incredible heavy masterpiece from this band that has consistently kept metalcore music heavy as ever.
The forty-second intro works as a bridge, dragging the listener to the top of the mountain to prepare them for the first single from the album, “The Swarm”. This track launches itself from high above the already lofty expectations from such a talented band. Incredible double guitar attacks revel in their technical prowess, but never get lost; the beautiful chaos bleeds seamlessly into crushing breakdowns with unwavering double bass drum beats. Metal at it’s best keeps the listener entertained, and Unearth does that to perfection on this record.
There are also more straightforward genre songs. “Lifetime in Ruins” is a great example of a well-worn groove with an unshakeable rhythm section, but it delivers exactly what it sets out to achieve. The nice thing about a record like this, is that you go into it believing you will get a specific type of heavy metal, and Unearth never deviates from that plan. They sing about the oncoming assault of Hell with dragons and demons laying waste to kings and their kingdoms, heavy with metaphors on life and personal experience. Their music reflects those sentiments as well, never falling away from the metalcore ethos they have carved out throughout their career. This record is a culmination of everything they have achieved thus far, and where they plan to go.
With Mark Lewis at the helm, producing and engineering this project, it has the polished feel of a well crafted record. He has worked with DevilDriver, Whitechapel, Deicide and many more, most recently producing Cannibal Corpse’s new record, A Skeletal Domain. (check out our review of that record here.) The vocals, done by up to three other members with Trevor Phipps taking lead, sit perfectly in the middle of the audio onslaught. Heavy music of this calibre is so vital in the metal scene because poorly produced metal albums lose so much of what was put into them. This record shines through and gives the listener a true representation of everything that happens between the five musicians. It will be interesting to see these songs performed live as the band prepares to embark on their next tour.
Tour starts October 13.
“Guards of Contagion” is a track that allows the whole band to bring all their tricks to the table, with unstoppable guitars blending into a heavy, sludge-riddled low-end, and vocals that eat at your core. The title track is the bookend to a record that doesn’t pull punches, and remains true to its core from the first song to the last. Just when you think you are sufficiently destroyed by all this record has to offer, “Watchers of Rule” brings everything even higher.
“They aim to save the world” the song explains, and Unearth just might achieve that with such a generous offering of brutally infectious metal. The intense precision permeates each song, but many tracks are rooted in heavy groove metal, making it impossible to keep still while listening. This record should come with a disclaimer: Listen at your own risk, for your body will not be able to stop moving. You will sing along, you will bang your head, and if you listen to this in your car, you will speed.
Key tracks: The Swarm, Guards of Contagion, Burial Lines, Never Cease
Watchers of Rule will be available from eOne Music on Oct. 27. You can pre-order the album and special merchandise here.
If you’re in the Upstate area and looking to catch these guys live, the band will be playing a show at Montage Music Hall in Rochester on Friday, Oct. 17. Opening the night will be Darkest Hour, Carnifex, Origin, I, The Breather, Black Crown Initiate, and local support from Order of the Dead. Tickets can be purchased here for $22 and the show starts at 7pm.
If you are headed to Las Vegas this Halloween, LIGHT Nightclub at Mandalay Bay Resort And Casino, has an impressive 1-2 punch of DJs for this Halloween celebration dubbed #LIGHTMARE The Sequel. On October 31, Nicky Romero spins explosive sets while on November 1, Krewella brings her electrofunk to the nightclub, the first developed by the creative minds behind Cirque du Soleil.
Nicky Romerowill treat the crowd to chart-topping tracks “Symphonica,” his #1 U.K. hit “I Could Be The One” with Avicii and “Legacy,” the highly sought-after collaboration with Krewella among others. Krewella, a Chicago-bred duo featuring sisters Yasmine and Jahan Yousaf have released their debut album GET WET last year which soared to the Top 10 on Billboard’s “Top 200 Albums” chart. Expect peaks upon peaks when the two sisters bring their breakout hits “Alive,” “Live for the Night,”“Killin’ It” and “Enjoy The Ride” among others.
Last year’s LIGHTMARE Halloween party featured terrifying visuals and video content, costumes and decor created by Cirque Du Soleil, and one-of-a-kind Halloween performances from world-class DJ talent including Alesso, Sebastian Ingrosso and Nicky Romero, among others. This year LIGHT’s wildly popular Halloween party returns bigger and better with even more surprises.
In addition to having two world-class DJs spin on Halloween weekend, LIGHT’s #EntertheLightmare contest (running through October 21) gives party-goers the chance to win VIP tickets and a weekend trip for two to Vegas by tagging themselves in Halloween themed photos on social media with the hashtag #EntertheLightmare. LIGHT will choose daily winners to be awarded two VIP tickets to the event and one winner to be awarded a trip for two to Vegas for the weekend. Using all the submissions, LIGHT is going to build a mosaic skull collage which will be hosted on their site.
Pick up tickets for Nicky Romero and Krewella to ensure access to this one of a kind event.
Worker, the new album from Jacob Fred Jazz Odyssey and the twenty-sixth in the band’s twentieth year features a return to a trio lineup that explores new material in the band’s original format. Guitarist Chris Combs reflects on the revised lineup, saying “Much of the first large-level success the band saw was as a trio, and for the 20th anniversary of the band, we worked up a set of older material to celebrate that anniversary – a lot of which was from that trio era.” On Worker, many tracks have one sub-layer keeping a beat – and to keep things fresh, it’s not always talented drummer Josh Raymer – that the other instruments build off of, giving a base-level for listeners to jump in at, rather than being overwhelmed by the not-for-amateurs deconstructed jazz that plays over the top of this layer.
Founding member Brian Haas shares that the music on Worker, “It’s influenced by jazz, but it’s not jazz”, a fitting description as identifying this album as jazz would be like nailing jello to a wall and expecting it to stick.
Opening with “New Bird”, video game blips appear inside a floating frame, a gentle easing into the album. “Appropriation Song” could serve as the soundtrack to a Contra video game, where as the song progresses you can picture a shift into the jungle, meeting the level boss and the hero dying in a hail of 8-bit bullets. “Betamax”, a highlight of the album, features a slow uphill climb with some underlying funk, followed by “Hey Hey NSA”, with an appropriately creepy intro that is at first trancey then gets weird.
Big Gigantic meets Marco Benevento in “Say Nothing”, a flair of acid jazz where the trio shines brightest, locked in step. “Bounce” could double as a horror-film score amid Combs’ superb guitar work. “Let Yourself Out” brings things down a notch with placid jazz for the first half of the song, then as Haas slowly turns things up on synth for a redirection of the composition, a curveball sends things into ludicrous speed, only brought back to earth by “Mesa”, a wind chimes interlude. “Better Living Through Competitive Spirituality” uniquely features a Schoenhut toy piano that takes center stage while Haas’ synth keeps a steady melody over Josh Raymer’s drumming.
JFJO has quite a gem with Worker, an accessible jazz-influenced album from the reformed trio. Just don’t call it a jazz album.
KeyTracks: Betamax, Say Nothing, Bounce
Upcoming shows in the Northeast include Nov. 13 at The Lily Pad in Cambridge, MA – tickets/info, Nov. 14 at The Zinc Bar in NYC (w/Jamie Saft’s New Zion Trio) – tickets/info, and Nov. 15 at Radio Bean in Burlington, VT – tickets/info.
Sometimes you just know you are in the presence of greatness. I recently experienced this moment watching Kenny Wayne Shepherd and his band perform September 4, 2014 at the Turning Stone Showroom in Verona, N.Y . It was one of those moments you just automatically realize you’re in the presence of a legend; a history maker; a significant part of a musical phenomenon. His ability to entrance his audiences by drawing them in to each and every note and keep them on the edge of their seats is mesmerizing. Now add to the mix a collection of the most talented musicians of the same caliber, and you have the perfect storm.
Kenny Wayne Shepherd – Turning Stone
I had an opportunity prior to the show to speak with Kenny and ask him a few questions. A little tongue-tied and star struck, I found him kind, patient, accommodating, a true professional, and one of nicest and most humble individuals I’ve met. He made me feel right at ease immediately as we spoke about his career, his family, and his passion for music and cars.
Kathy Stockbridge – NYS Music: Hi Kenny…thank you so much for agreeing to speak with NYS Music. We really appreciate it. We’re extremely excited about you coming to the Turning Stone, and doing the show for us here in Central NY. I have to say I’m kinda late to the party as I just discovered you one day when I was watching tv. I believe it was a documentary on Palladia or AXS, and I must say I was amazed. You blew me away. So I am really excited to be covering the show tonight, and bringing the review and interview to our readers at NYS Music. Thank you so much.
….after discovering you, I was super impressed to learn that you are completely self-taught. Talk to me a little about how that came about.
Kenny Wayne Shepherd: Well I just play by ear. I don’t read music. I learned to play songs by sounding songs out literally one note at a time, and piecing these songs together literally from the first note to the last note, which was a tedious process.
KS: Yes, I imagine it was. When I read about the process…you listened to the music, and then turned off the tape and learned the notes…getting that one down pat and then turning on the tape to listen and learn the next one.. it gives me hope I will be able to pick up an instrument and teach myself how to play one day, that it can be done. Very impressive.
So after teaching yourself to do that, at the age of 13 you were discovered and got your first record deal? Talk to me a little about that.
KWS: When I when I was thirteen a friend of ours Bill Fordam, he was a record producer, saw me play down in New Orleans when I was a kid. He asked my dad have you ever thought about taking this kid into the studio and making a record? So that was when I was thirteen. And when I was 14, I actually went in and did my first demo recording which Bill produced. Then when I was 15 I put my band together and started doing live shows. Then when I was 16 I actually signed my record deal.
KS: You grew up in Lousiana, which is the heart and soul of jazz and blues and R&B. How much of that influenced what you play today and what you like to play?
KWS: I think a lot of it. I mean, I was exposed to all kinds of music because my dad was in radio, so he played a lot music on the radio, and we went to a lot of concerts. And being that I’m from Shreevport, its like is a perfect location. Shreevport has a rich musical heritage itself, but we would make road trips all the time and drive down to New Orleans to see live music; or go to Dallas, Texas and see live music; or Austin, Texas; or Memphis, Tennessee. We’re surrounded by all these music cities, in addition to all the great music being generated in my hometown as well. I had a pretty rich childhood.
KS: Do you find yourself being drawn to that genre, that type of music, or do you like to mix in different genres to make your own sound?
KWS: Well, my first real love musically is blues and traditional blues music, and that’s always the foundation of everything I create. But sometimes we’ll push our music into different directions mixing in rock. Makes it a little bit more contemporary and opens up more possiblities.
KS: Now you’ve collaborated with some of the most influential blues and r&b musicians in the world, and had the opportunity to open for huge name bands such as Aerosmith, Bob Dylon, Rolling Stones, I mean HUGE acts. ..What makes them stand out…the ones you’ve collaborated with, the ones you want to collaborate with in the future..what are you looking for this point and time in your career?
KWS: Well I don’t know. I’ve really gotten to play with just about everybody I could think I think I ever could have wanted to play with. So at this point I’m not really sitting around with a pen and paper thinking, hmm… who else I can go play with..Really Im just focusing on my own music and challenging myself musically every time we make a record, and every time we walk out on stage and perform no matter who we are playing with.
KS: So what is your creative process like right now…do you like to sit down and jam with the band, or do you put something together in your head and then go and record it, or how do you..?
KWS: All of the above…when we go and do sound checks every day before the shows, we start jamming on something totally spontaneous and that always helps come up with ideas. But then other times, it’s just me sitting at home with a guitar and I usually when I pick up a guitar more than five minutes, then usually something starts coming out, something new. Then what’s great is having the technology we have today..with my phone I have the ability to record my ideas on the spot so I don’t forget them. Since I don’t’ read music, it’s not like I can write them down on paper. So it’s a big help. But usually it generally starts with music, then lyrics, then vocals and such and matter of things like that come after.
KS: Well I read that this new music you are touring with, the Going Home album, was recorded in between gigs on an eleven day stint at home..how is this different from some of your previous albums, and what were you trying to achieve with this new album?
KWS: Well this album is really us paying tribute and showing our respect and appreciation for artists in particular that have influenced me over the years and their music. So it’s us doing our versions of their songs, and its kinda like the soundtrack of my childhood. These are all songs that I grew up listening to as a kid, that I cut my teeth learing how to play guitar listening to these songs. So it was a lot of fun. We did this album all live in the studio. We recorded it the old-fashioned way on two-inch tape, and we didn’t use any modern trickery like auto tune or anything like that. It’s really an honest album, recorded in the studio..the original recordings, and I think the end result is a really fun record to listen to. And it’s certainly going over well in the live shows.
KS: I am really looking forward to hearing it live. Now you have a really great band behind you, just tons and tons of talent up on that stage. How did you guys all come together? Did you collect them as you went along? Did you just find each other? You’ve been together now for a while haven’t you?
KWS: Well every situation is unique you know. I had a different guy sing lead vocals on my first album, and on the second album is when Noah and I met and he’s been in the band now seventeen years. Chris I met when I was 15 or 16 the first time I played down in Austin, Texas at Antones. I opened for this man, Bill Carter, who wrote a couple Stevie Ray Vaughn songs, and Chris was playing with him that night. That was the first time I met Chris. We became friends, and he played on my first record with me, and has played on almost every record since. He’s been in the touring band for 7 or 8 years now full-time which is great. And Riley? Chris recommended Riley, so that’s how we met Riley. And Tony? I met Tony because Tony was actually working at Fender Musical Instruments. He was an artist representative over there. He decided he wanted to get back into playing music so he joined the band.
KS: You have been credited in bringing back a new generation into jazz and blues. As a child growing up in an area where it was abundant, what appealed to you about that genre? How do you bring the audiences now that appeals to them today?
KWS: I think for me as a kid I identified with music because music is about as real as it gets. Straight from the heart. And when people play music from the heart, it’s like the most organic place it can happen. Age doesn’t play a factor. As far as our music, I think we have a fresh take on the music just by the way we interpret it. I think that people dig it.
KS: I think so too. Personally I think this generation is more open to a variety of music. More so than previous generations. I have a son that is 16, and he and his friends listen to anything and everything from early Beatles to rap and hip hop. I find I appreciate their openness to listen to all types of music, especially blues and jazz.
Youre a family man as well How do you do with juggling the touring , the recording, the family and the kids. How have you worked this part out?
KWS: That’s the challenge for me now. Tying to find the right balance. I have a commitment to my fans, and I certainly have a commitment to my family; and trying to be able to fulfill my obligations to both and never leave one or the other neglected. Sometimes my family will come out and travel with me on the road when it’s possible. Some of my kids are in school, so some times that’s not possible. It’s really just trying to look ahead when we book the tours, and scheduling my work, and make sure there’s also consideration taken into account for the family so that I can be there for them. And trying to not be gone too much.
KS: Do your children show any signs of being musically inclined?
KWS: Oh yeah!
KS: Naturally talented huh?
KWS: It’s definitely in their blood. But it’s not anything I’m trying to push or really even encouraged that much as no one encouraged me to do it. I did it. I was drawn to it, and I did it because I wanted to. And I did it because I loved to do it. And I feel like if they want to, they’ll find their way.
KS: I have to say most musicians I have spoken to say it’s something they knew they would always do…there was never a back up plan. It was just something they always knew they wanted to do. And it just happened.
Is there anything new on the horizon we should be looking forward to here?
KWS: Yah, at the end of this year I’ll be going into the studio again with another band that I have, called The Rides. Stephen Stills and Barry Goldberg and I put a band together last year and put a record out under the name of The Rides. We’ll be going into the studio this winter, and doing a second album that will come out next year. So we’ll be on the road next year promoting that. And then soon after that, I will be back in the studio with my band making another record with my band.
KS: Oh my gosh..you are a really busy person! I really appreciate you agreeing to speak with us. I try to give my readers an insight into those I interview that is outside the realm of music and more on a personal level. If you don’t mind playing along I have a quick speed round of questions I ask…you don’t have to…but we would love it if you could.
KWS: We’ll see.
Social Speed Round
KS: Your on tour and have a day off to do anything in the area you are in ..do you ? 1. Catch up on sleep 2. Hit the road and sightsee 3. Or this..
KWS: For me on my day off I exercise then we try to find some place local to eat that has that “you only can find in that town atmosphere”. We like to find something unique that you only can experience in that area we are visiting.
KS: You have a chance to be on a reality tv show..you choose this show to show off your…
KWS: If I was on any reality tv show it would have to do with cars because I’m a huge car nut..so it would have to be something to do with cars.
KS: Go to food on the road?
KWS: Tripple expresso
KS: Go to food at home?
KWS: I actually just started using my vegetable juicer and I started buying all these organic vegetables and like throwing them in this juicer. I have a hard time eating vegetables. But I have a very easy time drinking them. I’ve realling got into juicing since going back home. The first thing I do is bust out the juicer and make my own vegetable juice. That way I don’t have to eat them.
KS: Dogs/cats/or snakes?
KWS: Dogs! I have a mix…half beagle and half terrier so he looks like a baby golden lab..He’s like 7 years old and full grown..but he looks like a puppy.
KS: A few names currently on your playlist?
KWS: Nothing too exciting.. the same stuff you know…like Muddy Waters and Jimmy Hendrics . There is a young rock band though that I’ve been listening to the other day on my phone called Rival Sons. They’re pretty good, straight head young rock band.
KS: Thank you so much for taking the time to speak with us. We are stoked for your performance tomorrow night, and look forward to bringing our readers the highlights.
Kenny Wayne Shepherd – Turning Stone
As I reflected upon our interview and sat there watching Kenny, Noah Hunt, Chris Layton, Tony Franklin, and Riley Osborne, I couldn’t help counting my blessings to be experiencing this moment. A lover of all types of music, there is something about Kenny and his band and their music that touches your soul. It reaches inside you and you truly experience the music. As he played covers of some of his favorite songs such as House is Rockin’ by Stevie Ray Vaugh and his BB Medley, as well as original favorites such as Deja Voodoo and Blue on Black the combination of Noah’s sultry sexy voice and Kenny’s ability to shred like no other, draws you in and definitely puts you under a spell. I definitely was transfixed.
Kenny Wayne Shepherd – Turning Stone
KWS Set List: Never Looking Back > Somehow > Everything is Broken > House is Rockin’ > Search and Destroy > Heat o the Sun > Talk To Me Baby > Can’t Judge A Book > Breaking Up Somebody’s Home > Looking Back > BB Medley > Shotgun > Encore – Blue On Black > King Bee > Oh Well > Voodoo
Music lovers from all walks of life packed Woodstock’s Bearsville Theater on Saturday, October 4 for the inaugural Woodstock Jazz Festival. The evening began with a highly entertaining piano set from GRAMMY nominee Uri Caine, which featured two sets including John Medeski on the organ; and concluded with an inspired cover of Bob Marley’s “No Woman No Cry” sang by Jack DeJohnette. The music rolled along for more than four hours and the man who dreamed up the festival, drummer Ben Perowsky, dedicated the festival to local legend Sonny Rollins.
Uri Caine
Uri Caine went on stage at 7:30PM and folks rushed to take their seats or claim standing room. Even the separate bar area was overflowing and, despite a chilly night outside, the cavernous, barn-like theater was warm with bodies packed tight. There were multiple drum sets, an organ and various other instruments on stage but the attention was focused on Caine seated behind a black baby grand piano. Caine’s vaunted resume includes a stint as the LA Chamber Orchestra composer in residence, more than two dozen recorded albums, and the aforementioned GRAMMY nomination for “The Othello Syndrome”; His modernization of Verdi’s Otello. While Caine paid homage to the classics Saturday night, a playful side twinkled through during his Bearsville set. Looking cool and tranquil behind the piano, it sounded like his left hand produced a number for a king’s chamber while the right played something more fitting for a Mississippi riverboat. His unique style had the audience tapping along on their legs or nodding emphatically. Caine’s enthusiasm was evident when he spoke between songs. He played until 8:30PM sharp and drew a huge standing ovation from the crowd.
After a short break, RedCred had their chance to show off. Consisting of tenor saxophonist/clarinetist Chris Speed, drummer Ben Perowsky, and organs/keys player John Medeski, the trio only took one brief break in the middle of a continuous hour-long set. At moments, the three played harmoniously with each other. Then, they would unceremoniously diverge down their own paths. Medeski oozed out thick, eerie notes while Perowsky utilized every surface of his kit— clicking on the snare rim, clinking a cymbal’s edge and blasting out rudiments on the high hat—and Speed belted out sensual sax licks. Just before they lost you in a dense jazzy jungle, they made eye contact and pulled it all back together seamlessly.
Perowsky on the drums with Medeski (L) and Speed (R) in background.Chris Speed
Perowsky, a NYC native whose talent and exuberance rivaled each other onstage, deserves all the acclaim he received for being the event organizer. Medeski, whose genius is instantly evident in his thoughtful eyes, wowed everyone with his organ-izing. The set concluded with a Weather Report favorite, “Face On The Barroom Floor” which allowed Speed to showcase his ability and versatility, beginning with a clarinet solo and concluding on the tenor saxophone.
Everyone was eager for the last act. Each seat was claimed and extras were brought in; those standing shuffled on tip-toes for a better look at the stage as Jack DeJohnette, John Scofield, and Larry Grenadier joined John Medeski. Inspired by the musicians’ lofty presences, a ubiquitous awe fell over the room before an impromptu shush-off lightened the mood—someone in the crowd “shhh’ed” the audience, then another “shh” followed and another, until it sounded more like a bunch of leaky inflatables filled the theater than jazz aficionados.
After a good laugh, DeJohnette, who has played with the likes of Miles Davis, Pat Metheny, Herbie Hancock and many others, led the show from behind his drum set as the group covered music made famous by Davis, John Coltrane, and Frank Sinatra. DeJohnette conveys emotion through the drums as well as anyone and does not lack in speed or creativity. He played complex fills and kept obscure time while playing “Inspired By Tony Williams”. He teased the crowd, slowly building up the solo before finally letting loose to everyone’s delight.
Throughout the set, Medeski mouthed each note as he alternated banging on his backless organ and the baby grand while his foot, dancing along frantically, seemed in danger of flying off its leg. Scofield, meanwhile, rocked his guitar into acquiescence, drawing emotional lines from it. During “I Fall In Love Too Easily” he decided it was shredding time. The band followed Scofield’s lead as he kicked in the wah pedal and belted out slick runs, launching them into the heaviest jam of the night.
Bassist Larry Grenadier attacked his upright, plucking its strings fervently and deftly. With DeJohnette backing him on the drums, Grenadier busted out a mind-boggling solo in the middle of “Promise.” The only time his hand strayed from bass strings was to push his glasses back onto his nose, but even that action seemed part of his time-keeping. Medeski and Scofield smiled on admiringly before joining back in to fill the theater with a full, rich sound. The whole set was electric and reached a climax when they concluded with DeJohnette singing “No Woman No Cry”. While the majority of the night was dedicated to instrumentals, the audience was ecstatic to hear the Bob Marley cover and nearly everyone sang along.
The inaugural Woodstock Jazz Festival proved to be a huge success. Woodstock’s Bearsville Theater provided a comfortable and intimate setting and the musicians did the rest, playing late into Saturday night. The event was run smoothly and one can imagine the night’s honoree, Sonny Rollins, would be proud to know so many people enjoyed an evening of jazz together in his honor.
On a night celebrating 20 years of a free South Africa, The Swyer Theater at The Egg played host to a once in a lifetime show – Hugh Masakela and Vusi Mahlasela performing South African selections in an intimate setting.
To start the night, Vusi Mahlasela took the stage alone, playing “Ubuhle”, a speedy bike ride after a slow climb on a guitar that sounded like a harpsichord with a hint of sitar. Joined after by Francis Fuster (percussion), Ian Herman (drums), Bakithi Kumalo (bass, who, along with Herman and Fuster kept a consistent beat throughout the night), Mongezi Ntaka (guitar) and finally, Hugh Masakela, the audience rose up to thunderous applause and welcomed the sound of South Africa to the stage.
Ubuntu, translated as ‘humanity towards others’, was mentioned for the first time this evening, prior to the song “Meadowlands”, featuring a jazz groove, Vusi’s vocals and Hugh’s trumpet. Hugh then spoke about how much of a privilege it was to play in Albany, and thanked Albany for their role in the anti-apartheid movement, likely referencing the 1981 protests against the South African rugby football team who came to Bleeker Stadium to play against a local club. Nods and rumbles of agreement echoed through the theater, as Hugh told us that tonight we would hear songs of love, protest, tradition, and revolution
The legendary Mama Africa, Miriam Makeba, had her name invoked prior to “Thanayi”, pointing out that some form of beauty was to be found within all of us. Hugh performed in Troy, NY in the mid-90s with Makeba, a memorable experience that more than a few audience members chatted happily about in the theater lobby before and after the show. The cowbell intro to “Grazing in the Grass”, the most easily recognizable of the night’s songs, highlighted the trumpet once again as Masakela performed double-duty between the two instruments. “Weeping”, containing the melody from “Nkosi Sikelel’ iAfrika” (the South African national anthem at a time when South Africans could not sing their own anthem under apartheid), was one of the more passionate and emotional songs of the evening. The lyrics reference moving past the anger over apartheid, rather than seek revenge after years of injustice:
It doesn’t matter now / It’s over anyhow / He tells the world that it’s sleeping / But as the night came round / I heard it’s lonely sound / It wasn’t roaring, it was weeping
As Masakela said early in the evening, “Forgiveness – all men should wear it like a crown.”
The show continued with “Say Africa”, an active crowd sing-along; Johnny Clegg’s ode to Nelson Mandela, “Asimbonanga”, clearly a more emotional and life affirming song for Hugh and Vusi, followed by “When You Come Back”, which told the story of the gold trains that traveled from countries in south and central Africa to Johannesburg, bringing miners to work 16 hour days. Hugh imitated the train whistle and screech eerily well, the tone of his voice and the threatening pace of the beat conveying the passions towards the exploitation of labor.
Naturally, the final songs of the evening would be more upbeat, and with Masakela saying to the crowd “Shake your bootie for all those old geezers” (a reference to Mandela and those he was sentenced to life in prison with), the crowd rose up and danced, waved their arms and sang “Bring him back home to Soweto”. For the final ten minutes, there was nonstop music, dancing and band introductions. An encore of “Pata Pata” was prefaced with an apology from Hugh, “Sorry, but you have to stand up and boogie harder”, the band singing “Dance, dance, dance, what a party!” and sending the crowd out with broad smiles and beaming with energy.
Professing the philosophy of Ubuntu throughout the night, Mahlasela and Masekela mentioned its many elements – love, helpfulness, neutrality, variety, and the redistribution of morals, knowledge and skills – throughout their music, a common theme that tied the night, audience and band together.
Hugh Masakela and Vusi MahlaselaSetlist: Ubuhle, Meadowlands, Thanayi, Miyela Afrika, Grazing in the Grass, Weeping, Say Africa, Asimbonanaga, When You Come Back, Stimela, Bring him back home, Unomeva
On a night celebrating 20 years of a free South Africa, The Swyer Theater at The Egg played host to a once in a lifetime show – Hugh Masakela and Vusi Mahlasela performing South African selections in an intimate setting. To start the night, Vusi Mahlasela took the stage alone, playing “Ubuhle”, a speedy bike ride after a slow climb on a guitar that sounded like a harpsichord with a hint of sitar. Joined after by Francis Fuster (percussion), Ian Herman (drums), Bakithi Kumalo (bass, who, along with Herman and Fuster kept a consistent beat throughout the night), Mongezi Ntaka (guitar) and finally, Hugh Masakela, the audience rose up to thunderous applause and welcomed the sound of South Africa to the stage.
Ubuntu, translated as ‘humanity towards others’, was mentioned for the first time this evening, prior to the song “Meadowlands”, featuring a jazz groove, Vusi’s vocals and Hugh’s trumpet. Hugh then spoke about how much of a privilege it was to play in Albany, and thanked Albany for their role in the anti-apartheid movement, likely referencing the 1981 protests against the South African rugby football team who came to Bleeker Stadium to play against a local club. Nods and rumbles of agreement echoed through the theater, as Hugh told us that tonight we would hear songs of love, protest, tradition, and revolution.
The legendary Mama Africa, Miriam Makeba, had her name invoked prior to “Thanayi”, pointing out that some form of beauty was to be found within all of us. Hugh performed in Troy, NY in the mid-90s with Makeba, a memorable experience that more than a few audience members chatted happily about in the theater lobby before and after the show. The cowbell intro to “Grazing in the Grass”, the most easily recognizable of the night’s songs, highlighted the trumpet once again as Masakela performed double-duty between the two instruments. “Weeping”, containing the melody from “Nkosi Sikelel’ iAfrika” (the South African national anthem at a time when South Africans could not sing their own anthem under apartheid), was one of the more passionate and emotional songs of the evening. The lyrics reference moving past the anger over apartheid, rather than seek revenge after years of injustice:
It doesn’t matter now / It’s over anyhow / He tells the world that it’s sleeping / But as the night came round / I heard it’s lonely sound / It wasn’t roaring, it was weeping
As Masakela said early in the evening, “Forgiveness – all men should wear it like a crown.”
The show continued with “Say Africa”, an active crowd sing-along; Johnny Clegg’s ode to Nelson Mandela, “Asimbonanga”, clearly a more emotional and life affirming song for Hugh and Vusi, followed by “When You Come Back”, which told the story of the gold trains that traveled from countries in south and central Africa to Johannesburg, bringing miners to work 16 hour days. Hugh imitated the train whistle and screech eerily well, the tone of his voice and the threatening pace of the beat conveying the passions towards the exploitation of labor.
Naturally, the final songs of the evening would be more upbeat, and with Masakela saying to the crowd “Shake your bootie for all those old geezers” (a reference to Mandela and those he was sentenced to life in prison with), the crowd rose up and danced, waved their arms and sang “Bring him back home to Soweto”. For the final ten minutes, there was nonstop music, dancing and band introductions. An encore of “Pata Pata” was prefaced with an apology from Hugh, “Sorry, but you have to stand up and boogie harder”, the band singing “Dance, dance, dance, what a party!” and sending the crowd out with broad smiles and beaming with energy.
Professing the philosophy of Ubuntu throughout the night, Mahlasela and Masekela mentioned its many elements – love, helpfulness, neutrality, variety, and the redistribution of morals, knowledge and skills – throughout their music, a common theme that tied the night, audience and band together.
Hugh Masakela and Vusi Mahlasela, The Egg, Albany, NY – October 7, 2014
Setlist: Ubuhle, Meadowlands, Thanayi, Miyela Afrika, Grazing in the Grass, Weeping, Say Africa, Asimbonanaga, When You Come Back, Stimela, Bring Him Back Home, Unomeva
Ahead of release, California death metal band Rings of Saturn are streaming their third full length album via YouTube, Lugal Ki En. Which translates in Ancient Sumerian Cuneiform to “King of the Earthlings, Lord of the Cosmic World,” according to guitarist and founding member Lucas Mann. The album does not sound much different from their last effort, Dingr, in most cases. However, this time around, there have been multiple claims surfacing of “unrealistic editing” — that is, the band, and mostly guitarist Lucas Mann have been accused of altering their parts in the studio if they cannot be played, such as speeding up tracks, over-triggering drums, and so forth.
Whether these claims are true or not is basically pointless. The most important aspects of this album are its writing and how it sounds, not whether it can be repeated live. Overall, it is at best a fun listen, but nothing about it is truly unique. The guitar work is fast, as are the drums, and the vocals are brutal. Fans of death metal band Thy Art is Murder or Suicide Silence (the last track on Lugal En Ki is a cover of Suicide Silence’s “No Pity for a Coward”) will enjoy the rhythm while Jeff Loomis fans may enjoy the style of leads that the band pulls: extremely fast runs with no holding back. Overall, Lugal Ki En is a semi-solid effort, but it’s nothing more than a rehashing of many other deathcore albums. It’s part of the modern trend, aside from a few unique moments.
Looking at the musical aspects alone, we see an album that is composed of the same thing every other deathcore band pulls: low, cutting triplets, with the same note played over and over. Guitar leads possibly reach a level of annoying. Guitarists Lucas Mann and Joel Omans have actually gone beyond the call of duty to play as many possible notes within one measure without giving any regard to what they are actually playing.
The two exceptions to this rule are the third track, “Lalassu Xul,” which features dissonance, unique chord changes, and new ideas on the face of deathcore. Rather than swarming the listener with “breakdowns” the band has elected to write a strange song which features multiple changes, acoustic guitars, and quite the ambiance. If more songs on the album contained this level of experimentation, Lugal Ki En would be more than just a shallow idea, and certainly listenable more than just three or four times.
Also fitting this profile, we see the eleventh track, “The Heavens Have Fallen”. The instrumental features the same level of experimentation and includes heavy use of piano, samples, and keeps the listener the whole way through.
Unfortunately, these are the high points of the album. Aside from the fact that Rings of Saturn’s lineup has changed twice almost every album, if not more, the current musicians display a lack of interest in their work. Most of it is simply mediocre. For more reference, we’ll look at the vocals of the album. Vocalist Ian Bearer sounds just like many other deathcore vocalists, especially Mitch Lucker (deceased vocalist of Suicide Silence). Further, his words are unintelligible and those which can be understood, or read from a lyric booklet, are written weakly and display a general lack of character. The vocals amount to sludge and the lyrics amount to cartoon violence.
Rings of Saturn would be wise to think about keeping the same lineup for more than one album, and try putting some effort in. If Rings of Saturn were trying to make a joke, they hit the nail on the head. If not, they’ve made another mediocre album with just enough catchy riffs to slide by with a C minus. Regardless, we give this one a failing grade.
Albany’s own Wild Adriatic will be playing two shows on Saturday October 11, one in Lake George and one in Albany. The two shows cap a week-long tour that saw the band go down to Texas for a few shows before making their way back home. To start off their day they will be on the bill alongside Rusted Root, Black Mountain Symphony, and AM Bodega at Lake George’s Oktoberfest taking place at Charles R. Wood Park, where The American Music Festival just took place. Following that show the band will pack up the van and head down the northway to Albany and make their way to The Hollow Bar for their show with locals’ Titanics and Party Boat. I got the chance to speak to Mateo Vosganian, drummer and beard extraordinaire of Wild Adriatic. It included interviewing Wild Adriatic about this past summer, playing multiple shows in a day, their upcoming European tour and more.
Bryan Lasky :How was the past week or so of tour in Texas?
Mateo Vosganian: The past week in TX was a crazy one! Every time we go back the shows get a little better and we keep making new friends along the way. This time we were fortunate enough to join our friends The Continuums from Austin on a little run of shows. It was our first time in Bryan and Houston but both cities were cool with smaller shows at sweet venues. The San Antonio, Fort Worth, and Austin shows were all awesome and then yesterday we had the pleasure of playing New Orleans for our first time! It was a small Monday night show with some great local acts, but the venue was awesome and we’ll be back in town for Mardi Gras 2015.
BL: What is it about Texas that keep you going back? I think this was the second or third time for you there if I’m correct.
MV: Texas is awesome. Plain and simple. The weather is always nice (if a little overwhelming with the heat/humidity, but hey…), the people are typically laid back and fun in the bigger cities we visit, and the music fans there love rock and roll. Playing to a room of new faces in TX is one of our favorite things to do because we’re always confident in more than half the room being very into what we’re doing. Texas has stayed engaged with us as a band, even though we’re in NY and only tour down every 3 months or so. There are a few great promoters and venues down there who have put their faith in the band and are working to help us grow down there. We’re grateful for the little set up we’ve been ushered into down in TX. So much so that we’ve decided to move to Austin from 2/10-3/23 this year. We’ve rented a house and rehearsal space and will be writing and demoing for a new album down there. We’re going to be meeting with producers and basically figuring out the vibe for the next record while we’re there, as well as a 4 week residency at Empire Garage & Control Room before a crazy week at SXSW 2015. We have some great friends down there we’d like to collaborate with and we all feel like living there for a bit will help us bolster even more of a buzz down that way. And even if not, it’ll be a totally sweet vacation from NY to escape the middle/end of winter.
BL: Is there any new music on the horizon? I know Big Suspicious only came out in January, but fans are already clamoring some new tunes.
MV: Hell yeah. We’ve got 2-3 tunes we’re going to start playing in Europe hopefully. We’ll probably play a few over this next month as we prepare for the Euro tour. Then when we get home we’re back in writing and US touring mode til we move to Austin for a more focused writing push. I’d really like to do a new single EP with a new single, a new b-side, a few b-sides from Big Suspicious, and a live or cover track early in 2015. I’m hoping to have something together for that before SXSW. Then LP #2 will be aiming for January 2016.
BL: Is it difficult playing 2 or more shows in a day? It seems like you guys have been doing it a lot lately
MV: I wouldn’t say it’s difficult. Oftentimes it’s stressful since it involves a cramped timeframe and everyone is rushing to get everything done and get it done perfectly so we can be on time for the next gig. Typically if we have 2+ gigs in a day, we’re excited about all of them so we’re able to keep the energy high and adrenaline flowing for the whole day. We had a conversation in June 2013 and then again when the album came out about how it was time to say yes to everything. I think we’re winding down on the say yes to EVERYTHING thing but having a solid work ethic and be willing and available to play early and often has helped us immensely.
BL: So a European tour is happening next month. How did that come about and how are you guys feeling going into the shows?
MV: We are all anxious as hell to get over there and get started. We’ve had a great publicist, Carmen, working hard for us in Europe and have had some great reviews of the album and have heard from a lot of excited European fans. We’ve been touring relentlessly since the album came out and I think we all feel really good on stage right now as a trio. We’re learning and growing together, and it’s made for some nice transitions in how we play live. We’re as high energy as ever but the amount of attention we’re each paying to each other on stage is at a heightened level. We’re all much more aware and that’s allowed us to take a few more risks and read the room (and each other) a lot better. As far as how it came about, our European booking agency Teenage Head Music heard about us randomly through a friend and reached out. THM is an awesome agency because pretty much their entire roster is American bands or bands from other countries like Australia and New Zealand, all going to Europe for tours on a very cool routing of venues in a handful of great countries.
BL: How important do you feel having a local radio station is to building a following for a band around a city with how the music business has changed and everything is accessible online?
MV: I think it’s pretty important, but building a following for a band is a very complex undertaking. The way to do it varies by band, by city, by genre, etc and there are so many contributing factors to what builds a band these days. A local radio station that is active and involved in the community is absolutely a key factor to spreading the word. We’re fortunate to have snagged the ears of WEQX listeners and the local area has been crazy supportive as far as showing up at our shows, dancing their faces off, buying merch, and spreading the word. We meet so many awesome people who tell us they’re going to bring more people next time they come see a show, and that is priceless. I think one of the things that has become clear is that the music business relies a lot more on having a supportive community of people invested in each other than ever before. We’ve had a very successful year and we owe it all to the help of other bands and their management (at every level of the game, from moe. to our homeboys the Continuums in Austin, TX and beyond), the promoters who take continual risks on bands, the radio stations who play bands when no one else is, and the music lovers who come out to shows, buy the album, and tell a friend. There’s a whole lot of people who rely on each other to bring new music to the world, and we try to re-invest in our friends and business acquaintances who do good things for the community around them.
BL: Any other plans you have coming up that you’d like to let the public in on yet, or do you want to leave some surprises for everyone?
MV: Announcing our New Years Eve plans soon! It’ll be our first and only Upstate NY show after returning home from Europe and before 2015! More exciting things will be announced over the next few months, I promise!
Tickets for both shows this Saturday are available now. Catch them at these small shows while you can before they move on up to hopefully some larger venues in the near future.
Ubuntu, translated as ‘humanity towards others’, was mentioned for the first time this evening, prior to the song “Meadowlands”, featuring a jazz groove, Vusi’s vocals and Hugh’s trumpet. Hugh then spoke about how much of a privilege it was to play in Albany, and thanked Albany for their role in the anti-apartheid movement, likely referencing the 
The legendary Mama Africa, 
