The Capital District welcomed the newest addition to the music community on Friday, May 2nd, with the grand opening of Grandma’s Studio at The Albany Barn.
The recently renovated St. Joseph’s Academy building was turned into a 22 low-cost live/work residence for artists in the area with the concept of creating affordable living and wide open, creative work space. The idea for bringing a community together to work towards the goal of building art, music and relationships gifted the appropriate title, The Barn. Within the walls of the new venue, Bryan Brundige owns and operates the multi-track recording studio, Grandma’s, dedicated to the creation and capturing of music in comfort.
The fresh new venue has bright, white walls that were lit up with multi-colored changing bulbs and were the perfect highlight for the local art on display throughout the two floored area. The first concert at the new performance space kicked off with Palatypus, Kimono Dragons, Le Rubb and PJ Katz & the Fat Buckle Band. Guests could enjoy the music from the main floor in front of the grand stage or with the open aired, walkway of the second floor. New to the scene and already set to perform at this year’s Tulipfest, the Kimono Dragons bring a much need surfer rock vibe to land lovers in Albany with fast riding riffs and rhythmic swells. Le Rubb is a unique quintet that brilliantly fuses electronica and jazz creating their own sound with echoes of digital turntables, horns and wind instruments with the classic percussion set up and bass. PJ Katz, multi-instrumentalist and producer, joined forces with the Fat Buckle Band for a high energy rocking set to close out the event.
There’s nothing like the thrill of a new venue opening that can send the heart racing with hope and imagination. Just think of all the new show possibilities that are now plausible. is a strong supporter for the growth of music in Upstate New York and beyond. We congratulate and thank Grandma’s Studio and The Albany Barn on their opening and efforts to create a space for artists to “live, work and inspire.”
NYS Music sat down with Mike Valente before a Goatwhore show last month and asked a few questions. Here’s what Mike had to say about Bogie’s and some of the memories inside those walls.
Today, Bruno lives in the Capital Region. But, she is the very definition of a cosmopolitan, having lived throughout the world, thanks in part to her father’s career as a nuclear engineer. Originally born in London, Bruno has lived England, Canada, and the Netherlands. In the United States, she’s lived on both the West Coast and the East Coast. As can be imagined, her father believes in a good education.
For starters, Bruno enlisted herself into an amateur boxing program at Sweeney’s Boxing & Fitness in Delmar, New York. Sweeney, has produced two champion boxers out of his gym. One of which, Sarah “The Knockout” Kuhn, who is responsible for introducing Bruno to the gym. All who walk into Sweeney’s gym are immediately made aware of the no none-scene atmosphere. Those who seek training for amateur boxing are warned they must meet “high expectations” or be asked to leave.
Like the images tattooed onto her own body, she draws back to things she’s picked up along the path. She still picks up a pen. She writes prose and later posts it onto Facebook for her friends to read. (“Just with the way my words come out on paper. Just writing and writing, and read it later and I’d learn about myself. Same thing will happen with my art. I’ll just zone out and start drawing. When I’m done with a piece, I’ll look at it and I won’t realize that it came from me. It’s like I’m looking at someone else’s art.”) When she tattoos, she can listen to her music. (“Music is very important to me. I listen to ’80s music when I tattoo. I listen to the 80s station on Pandora – Billy Joel, Flock of Seagulls. Stuff like that. I listen to hardcore metal, a little mix of everything. Every now and then the occasional Haddaway.”) The television show has lead to more phone calls; old clients offering up support and new ones from out of town calling in to have work done. It humbles her to remember how long it took to build her credibility with clients. (“It’s been glamorized so much that everyone wants a hot girl tattooing them. But, back in the day, for the trailblazers, it was difficult.”)
On this evening, Chick Corea used but did not need the microphone to address the sold out crowd, for the venue’s acoustics allowed for his voice to echo throughout the entirety of the Hall. Coming out unannounced, Corea spoke of attending Saint Rose church while growing up in Chelsea, Massachusetts, referencing the collegiate campus of The Massry. He spoke of leaving Massachusetts for New York City, so he could be with his musical heroes, many of whom he performed the work of this evening. Opening with “It Could Happen to You”, recorded by Miles Davis, his fingers glided across the Steinway & Sons piano, followed by an introducing the crowd to Stan Getz “Desafinado” and played bossa nova on the piano.
Corea then asked the crowd, “Would you like to hear something by John Coltrane?”, and he then proceeded to play a track from Village Vanguard, off his phone, into the mic, for a solid 30 seconds, with laughs and applause from all. No one complained about this, and it lightened up the evening even more. Chick Corea was not looking for a night of serious, focused performance, but one where he interacted with the audience and kept things light. Two Bill Evans numbers followed, “Song #1” and “Very Early”, the latter a serenading waltz.
Remarking that Thelonius Monk was the “most profound jazz composer,” he treated the audience to “Pannonica,” elegant and melodic, and “Work,” plucking the internal strings for an added, deep bass sound and a highlight of the evening. Continuing with tributes to those he admired and called friends, he spoke of Stevie Wonder, who he first met in 1972/1973 at The Bitter End in New York City. Having recently discussed American standard songs, such as “My Funny Valentine,” Stevie said to him “What about new standards, like my music?” Donning a flannel shirt, Chick played “Overjoyed” and “Pastime Paradise,” which found audience members mouthing the lyrics to two classic Wonder songs.
“I have an idea,” said Corea. He wanted to create portraits, also the title of his latest double album, chock full of solo performances. He invited audience members who were interested to come down and have a seat next to the piano while he improvised their ‘portrait’, much as a visual artist might do, but in this case, his medium was the piano. Four audience members were given a rare treat – a personal composition based on nothing more than their name and appearance.
Portrait #1 was for Nancy, a Kindergarten teacher, a lovely number that seemed to combine the theme to ‘Mr. Rogers Neighborhood” and springtime. Portrait #2 for Richard in his off-white suit had a Billy Joel mid-70s vibe. Portrait #3 for Lorena ‘from the mountains’ (Inlet, NY), sounded like 
Some of Corea’s “Children’s Songs” could compared to The Grateful Dead’s “Space”, with added piano accompaniment. Ending with a flourish and an audience cheering for more, Chick quietly left the stage, the audience left to catch their collective breathes and reflect on the masterful performance they had just witnessed.