Category: Western NY

  • Bringing Back the Funk: An Interview with Jesus Coomes of Lettuce

    Similar to Restless Leg Syndrome and sharing the acronym, a Raging Lettuce Show will cause an irresistible and uncontrollable urge to move your body.  Funk might typically be an exercise in rhythmic synchronicity, but the way Lettuce does it conjures up words like relentless, entrancing, potent, and completely intoxicating.  Their sound is composed of seven members whose sole purpose is to contribute to this runaway funk train that’s been taking down anyone in their way.  The band is currently wrapping up their winter tour, but not before a stop in Buffalo, NY at The Tralf on Friday, February 21st.  Their most recent album Fly has only built upon what’s made them so good: commanding beats, catchy melody lines, and stripped of anything that doesn’t add to the overall groove. Writer Jeremiah Shea got the chance to talk with Lettuce bassist Jesus Coomes about the band, a new album, and funk’s recent rise in popularity.

    jesus coomes

    Jeremiah Shea: How did you get your nickname?

    Jesus Coomes: I got that nickname from working in L.A. with DJ Quik. I was really devout with my lifestyle, my beard was long, my hair was long, and he just started calling me Jesus. After that, it caught on and everyone started calling me that.

    JS: How did the band name come about?

    JC: The name just kind of dawned on us. We were playing out at a lot of places and when we went to parties, we’d say to the band: “Let us play.”

    JS: Explain the importance of the overall sound and feel of the band versus highlighting one particular member.

    JC: Rather than having one person being the guy that’s standing out, we like to keep the perspective where the sound of all of us together is much more important than the sound of any us separately. We play our part in the band and when everyone plays their part and we’re vibin’ off each other, that’s what creates really good feel. It’s really just keeping the overall sound of the band being paramount to any individual.

    JS: Lettuce came on the scene in the early 90’s, but didn’t record Outta Here until 2002.  Why is that and what developed during that time period?

    JC: Because recording an album is expensive! That’s one way of looking at it. Also, we formed in 1992, but didn’t really start playing a lot until 1994-1995. I think it’s good for a band to play the material live first before you go record it. By the time we went to record, we had played it so many times that we were able to record quickly. Instead of going into the studio and figuring out what you want to do, we could play as a band basically and get it almost all done live. We had to play out a lot of shows first before we could have something really great to record. I think that’s why it took from 1992 until 2000 to get that going; we were basically playing for a while.

    JS: How does the band balance the band’s responsibilities alongside all of the side projects that everyone is involved in?

    JC: It’s all about priorities. When you give your life to music, you always have a couple of things that are really important to you. We all have those things that we’re involved in, but we keep Lettuce high-up on that priority list. I think the amount of fun that we get to have when we play in Lettuce makes it easy. We’re also all good friends and keep in contact all the time. When all you do is music, you SHOULD have a couple of things that you’re working on I think. It’s not as hard as it might sound; when I’m not touring with Lettuce, I just go super hard in L.A. and write. You want to stay busy. We like to play music, so if there’s a day when we’re not playing music, we’re freaking out! It also keeps us fresh – when I haven’t played a Lettuce show in a while, it makes me really excited to play one.

    JS: There’s a lot of overlapping members within Royal Family Record’s various bands; is it possible we get to see a full Royal Family Tour in the future?

    JC: Oh yeah – you never know what we’re going to do; that’s for sure.

    JS: You can hear funk’s influences in a lot of genres these days, but it seems like there has been a rise of bands lately that just play a pure form of funk – bands like Lettuce, Kung Fu, Orgone, Dumpstaphunk, etc.  Why do you think that is?

    JC: I want to be completely egotistical and say it’s because we’ve been playing funk! Lettuce has been going around playing funk at all of these festivals for so long that somebody must have heard us. You know, I really don’t know why though, but I’m happy about it. I think it’s just a lot easier these days to just get your ear on some dope shit! You used to have to search out that music, but now it’s a lot more accessible and easy to find.

    JS: How does Lettuce continue to evolve while still staying true to funk’s original roots?

    JC: I mean, for me personally, the key is to not be bound by a genre. When you think of a genre, they’re all creations of some dude who probably didn’t play music. It’s just a way to try to say this band sounds like that band, and that’s bullshit! We keep that genre stuff out of our minds and just worry about playing good music.

    JS: Can we look forward to another Lettuce album in the near future? It’s been two years since Fly came out.

    JC: We’re going to be working on it. We did two songs in the studio and we’re going to release those, but I can’t speak on that. We have stuff that’s already recorded and the album is in the works.

    JS: What’s the best part about playing in Lettuce?

    JC: It’s such a blessing to get to play music and be in a band that people enjoy; it’s honestly a dream come true. There’s nothing better in my life than having people appreciate what we do. It’s so dope!

  • Buffalo and Aqueous…A Love Affair

    It has been unbearably cold in Buffalo this winter. Last Wednesday, Aqueous and The Mantras brought setlists that centered around the theme of “Love” and things were more Kate Upton inside of Nietzsche’s than the Roseanne Barr we have been experiencing outside of it.  After an excellent first residency, could Aqueous build upon the great foundation they laid down the first week?  The Mantras gave them a running start by pumping up a much larger crowd and Aqueous was certainly up to the task.
    Buffalo and Aqueous

    The Mantras are an excellent six-piece band from Greensboro, North Carolina that had the place rocking from the moment they hit the stage.  The Mantras’ set featured excellent originals as well as welcome renditions of Umphreys McGee’s “Hurt Bird Bath” and Michael Jackson’s “Beat It”.  With their progressive rock sound that somehow doesn’t deny their southern roots, The Mantras connected with the Buffalo crowd.  It is safe to say that when The Mantras finished their set, Nietzsche’s was buzzing with excitement.

    The theme of the second  Aqueous residency show was the broad theme of “Love.”  Aqueous chose a gutsy opener of Haddaway’s “What is Love” that quickly segued in and out of the hard-hitting Aqueous original, “Eon Don”.  The “Eon Don” segments of this back and forth sandwich provided some new territory for the usual straightforward rocker.  After it finished, the crowd was primed for the fan favorite “Origami.”

    “Origami” would show the crowd that it was business time during “love night.”  From the dream-like intro, this “Origami” was one for the books.  Taking their time and exploring new paths in the intro allowed the drop into the composed section of “Origami” to take flight.  When it hit, the place exploded and many heads were sent banging.  The jam would come firing out with high energy before almost grinding to a halt.  Changing pace and varying the intensity of sound are two weapons that Aqueous has solidified into their jamming arsenal.  Following the halt, Nick Sonricker (drums) would provide an upbeat rhythm that the band slowly built on.  Not rushing into a peak allowed the band to find a gorgeous soaring groove.  The second jam would center around a minimalist playing of the “Origami” theme before it became Godzilla eating every piece of origami ever created.

    The second nod to the night’s theme would be The Beach Boys’ “Wouldn’t It Be Nice” that brought the lightheartedness back after the hard-hitting “Origami”.

    After the short cover, Aqueous would be right back on the heavy improv, crafting a 24-minute version of “All-In”, which has done the exact of opposite of what I have done after hitting 5’9”… grow.  “All-In” has come from humble beginnings to become a jam monster.  The last couple of performances seem to have set the bar higher and higher each time out.  When Aqueous dove into another minimalist jam, they began infusing hints of reggae and funk.  Had Darth Vader been in attendance, he would have said, “The groove is strong with this one.”  The patience that the band displayed set up the final annihilation.  The slow groove transformed into a Mike Gantzer (guitar, vocals) and David Loss (guitar, vocals, keyboards) shred fest, that reached peaking heights that few jams fail to find.  After a short return to the “All-In” theme, Evan McPhaden (bass) lead the band back down into the groove.  Loss moved to the keyboards and the dance party continued.   This “All-In” was the clear highlight through the halfway mark of the Aqueous Nietzsche’s residency.

    After 24 minutes of “All-In” fire, Aqueous smartly decided to take things down a notch, and revert back to the Love theme.  With Keith Allen (guitar) and Julian Sizemore (keyboards) from The Mantras joining Aqueous on stage, Marvin Gaye’s “Let’s Get It On” would be the centerpiece of this love affair.  Loss would have the task of the legendary Gaye vocals.  While he sounded nothing like Marvin Gaye, Loss sang with everything he had and owned the stage, making it a fun rendition.  The real star was Allen, playing a gorgeous-sounding slide guitar that perfectly rang out through the bass groove.

    Aqueous chose to place its newest song “20/20” after “Let’s Get It On”.  Reaching the 12-minute mark in only its second performance, “20/20” continues the trend of Aqueous songs that have big open-ended sections for jamming.

    The set would conclude with “Marty”, an instrumental take on “I Will Always Love You” by Whitney Houston, and “The Median”.  The band had placed a net full of red balloons on the ceiling prior to the beginning of the show.  During the line in “Marty”, “red balloons are falling from the sky” they were released and served as party favors during the closing trifecta.

    After a set that thrilled the crowd, the encore would not disappoint.  James Taylor’s “How Sweet It Is” would be the last Love cover before seguing into “Pictures” and a reprise of “What is Love”, which segued back and forth multiple times.  It felt as if the two had became one song and finished the night on yet another highlight.

    Mixing smart and unpredictable covers, Aqueous engaged the roughly 200 people in attendance for two and a half hours.  This Aqueous set gave everyone a chance to sing along and have some fun, yet provided some serious improvisational music.  Missing either of the next two Nietzsches show would be a big mistake.

    Of note, the band was dressed in shirts and ties, except for Evan who was shirtless except for a bowtie.  That is all I have to say about that but I am told that the ladies loved it.

    Setlist: What is Love>Eon Don>What is Love>Eon Don>Origami>Wouldn’t it be Nice>All In>Let’s Get it On>20/20>Marty>I Will Always Love You>The Median>Marty

    Encore: How Sweet it Is>Pictures>What is Love

    Remaining Aqueous at Nietzsche’s Show Dates:

    2/19 with The Broccoli Samurai (Willy Wonka Theme)
    2/26 with Big Something (Mystery Guest Theme)

  • ABORTED Coming to Rochester, Albany in March

    Belgian death metal veterans ABORTED are hitting the bricks in support of their upcoming release, The Necrotic Manifesto, launching an international tour on February 22.

    ABORTED named Rochester and Albany among the cities they will pass through during their upcoming international tour. (Photo Credit: Aborted/Century Media Records)
    ABORTED named Rochester and Albany among the cities they will pass through during their upcoming international tour. (Photo Credit: Aborted/Century Media Records)

    The tour takes them through upstate New York, with stops in Rochester on March 30th, at the Montage Music Hall, and a stop in Albany the following day at Bogie’s.

    The Necrotic Manifesto will released on April 29th by Century Media Records, and will be the band’s eighth full-length studio album.  It will feature Jacob Hansen as producer, who is also known for his work with Volbeat, Heaven Shall Burn and Mercenary.

    “I can’t believe we did it to be honest.”, stated front-man Sven de Caluwé, through his label’s press release. “We had a little over three months from start to master on this record– everyone really gave 300% on this record, and it was an absolute pleasure to work with Jacob once again, who really pulled the best out of all our asses.

    “I can say in all honesty that ‘The Necrotic Manifesto’ is without a doubt the strongest record ABORTED has done thus far and could not be more proud of everyone involved in the project, stated de Caluwé.  He continued to describe the CD as the band’s “most brutal,” and “technical” record from the band, in their nearly 20 years of recording.

    Phlegethon, of Wormed, and Vincent Bennett, of The Acacia Strain, provide cameoi appearances on the CD with their vocals.

    The album artwork was done by Par Olofsson (Pathology, Immolation, Immortal).”

    Below is a track listing for the upcoming CD, along with announced tour dates.

    The Necrotic Manifesto track-listing:

    1. Six Feet Of Foreplay

    2. The Extirpation Agenda

    3. Necrotic Manifesto

    4. An Enumeration Of Cadavers

    5. Your Entitlement Means Nothing

    6. The Davidian Deceit

    7. Coffin Upon Coffin

    8. Chronicles Of Detruncation

    9. Sade & Libertine Lunacy

    10. Die Verzweiflung

    11. Excremental Veracity

    12. Purity Of Perversion

    13. Of Dead Skin & Decay

    14. Cenobites

    In support of The Necrotic Manifesto, ABORTED will tour North America together with Kataklysm in March/April 2014. The band will then return to Europe in May for a handful of release shows before heading into the festival season. See below for all upcoming tour dates.

     ABORTED tour dates:

    Feb. 22 –          BlastFest – Bergen (Norway)

    Mar. 27 –          Empire – Springfield, VA (United States)

    Mar. 28 –          Sounds Asylum – Middletown, NY (United States)

    Mar. 29 –          The Underground Arts – Philadelphia, PA (United States)

    Mar. 30 –         Montage Music Hall – Rochester, NY (United States)

    Mar. 31 –         Bogie’s – Albany, NY (United States)

    Apr. 1 –             Middle-East – Cambridge, MA (United States)

    Apr. 2 –             Palace Theater – Stafford Springs, CT (United States)

    Apr. 3 –             St. Vitus – Brooklyn, NY (United States)

    Apr. 4 –             Club Soda – Montreal, QC (Canada) *

    Apr. 5 –             El Mocambo – Toronto, ON (Canada) *

    Apr. 6 –             The Foundry – Lakewood, OH (United States) *

    Apr. 7 –             High Noon Saloon – Madison, WI (United States) *

    Apr. 8 –             Zoo Cabaret – Winnipeg, MB (Canada) *

    Apr. 9 –             The Exchange – Regina, SK (Canada) *

    Apr. 10 –           Pawn Shop – Edmonton, AB (Canada) *

    Apr. 11 –           Republik – Calgary, AB (Canada) *

    Apr. 12 –           Columbo Lodge – Kamloops, BC (Canada) *

    Apr. 13 –           Rickshaw Theatre – Vancouver, BC (Canada) *

    Apr. 14 –           Studio Seven – Seattle, WA (United States) *

    Apr. 15 –           Jub Jubs – Reno, NV (United States) *

    Apr. 16 –           DNA Lounge – San Francisco, CA (United States) *

    Apr. 17 –           Ramona Mainstage – Ramona, CA (United States) *

    Apr. 18 –           Mirror Image – Anaheim, CA (United States) *

    Apr. 19 –           Joe’s Grotto – Phoenix, AZ (United States) *

    Apr. 20 –           Tricky Falls – El Paso, TX (United States) *

    Apr. 21 –           Marquis Theatre – Denver, CO (United States) *
    Apr. 22 –           Riot Room – Kansas City, MO (United States) *

    Apr. 23 –           Reggie’s – Chicago, IL (United States) *

    Apr. 30 –           Magasin 4 – Brussels (Belgium)

    May 1 –             Steinbruch Theater – Darmstadt (Germany) ***The Necrotic Manifesto release show w/ GORGUTS, MISERY INDEX***

    May 2 –             Neurotic Deathfest – Tilburg (The Netherlands)

    July 18 –           Boarstream Festival – Mulfingen (Germany)

    July 19 –           Grindtastic Open Air – Mittelsinn (Germany)

    July 21 –           Metal Days – Tolmin (Slovenia)

    Aug. 1 –            Xtreme Fest – Albi (France)

    Aug. 8 –            Party San Open Air – Schlotheim (Germany)

    Aug. 10 –          Bloodstock – Walton on Trent (United Kingdom)
    Aug. 14 –          Summer Breeze – Dinkelsbuhl (Germany)

    Aug. 23 –          Kaltenbach Festival – Spital am Semmering (Austria)

    *=with KATAKLYSM

    ABORTED online:

    http://www.goremageddon.be/

    https://www.facebook.com/Abortedofficial

  • Tim Reynolds and TR3 Rock The Tralf

    DSC_0701The Tralf was packed with loyal Dave Matthews Band followers everywhere and you could hear the banter all around the venue. It was a chance for the loyal fan base to catch longtime DMB collaborator and more recent a regular member of the group in action, TR3.

    Tim Britt opened up things with his acoustic guitar and a microphone. Britt is heavily influenced by Dave Matthews and it could be seen throughout his act, particularly in his heavy rhythm guitar playing. Britt is also somewhat of a one man band as he creates sounds and loops them while playing over them in a very similar style to Keller Williams. His cover of Gorillaz “Feel Good Inc.” is amazing to listen to but yet even more amazing  to watch him go through the setup of the song with his loop pedals. It’s no reason Tim was awarded Best Solo artist for two years in a row in Buffalo.  Britt was joined on stage with Steve Amuso (guitar) and Rocco Amuso (Saxaphone) from the band Of The Cuff.

    Tim Britt Setlist: Would’ve Could’ve Should’ve , Planes, Two Times Sick, Feel Good Inc., Up In The Air, Old Friend,  Breakdown, The Days

    There may have been a lot of DMB fans in attendance trying to get a glimpse of Tim Reynolds (guitar, vocals) but they didn’t expect to be amazed in such a way. TR3 has so much different elements in their show that it is truly amazing to see how three people command one stage. Reynolds is such a great guitar player and has the ability to play so many genres and make it look effortless. TR3 started the night off with a classical acoustic instrumental called “Lonely Woman” and soon after weaved through the night with jazz, funk and rock songs. Reynolds is really a master of the guitar, yet very humbling at the same time. It was very apparent Reynolds was having such a good time on stage with the group as well as the audience with the smiles throughout the night. Mick Vaughn (bass, vocals) and Dan Martier (drums, vocals) are very solid backing up Reynolds as most trios do. Vaughn was a true crowd-pleaser with some of the funkiest dance moves seen on a bassist in sometime. “Cave Man” proved to be an interesting instrumental that was played in the dark as the band whore only lights on their heads to look like eyes in a cave.  TR3 even showed how well they can play other songs and make it their own, covering  “Aqualung” by Jethro Tull really got the entire crowd going and really fueled the finish of the show.

    DSC_1008

    TR3 Setlist : Lonely Woman, New Solutions, See You In Your Dreams, Non-Violent Approach, Evathing I Believe, Highway, Sweet Spot, Missle Comin At Ya, Kool, All Over The Place, Running From People, Caveman, Victory Express, Lips Like Sugar, Dracula, Showbiz Kids, ICU, Industrial Complex, Aqualung, Mercury Direct
    Encore: In The Zone

    Tim Britt and Friends

    Tim Reynolds and TR3

  • Rusted Root to Rock Iron Works on Tuesday February 18th

    Rusted Root will be visiting the Buffalo area Tuesday night at the newly opened Iron Works in downtown Buffalo. Rusted Root has been touring for over 20 years and they know how to put on a great show, combining acoustic rock, world styled music and heavy international influenced percussion section.rustedroot

    The band hails from Pittsburgh and is led by Michael Glabicki (vocals, guitar), I was fortunate enough  to catch up with Michael before he started the seven-stop tour which includes three shows in New York, You can purchase tickets through Iron Works. Tickets are $22.50 in advance and $25 day of show. Doors open at 7 pm.

    Thomas Sgroi: Michael, I wanted to touch base with you regarding your upcoming tour, looks like their will be seven stops, starting tomorrow, I was wondering how the band is doing, any current projects or anything in the pipeline for Rusted Root?

    Michael Glabicki: Well were getting ready to start a new record, it’s just in the writing stage right now and pretty much have 20 songs put aside and we’re going to start breaking them out in sound check, and get some arrangements going and you know that’s how we start our record. We will try to get them in live into the show as quick as possible and see how fans react to them and see their reaction to the arrangement.

    TS: Now you guys come up to Buffalo quite a bit. Is there something that keeps you coming back? Do we show support hopefully (laughs)?

    MG: Yeah, it feels sorta like home to us you know. The fans are fantastic for us, in how they let loose and we have a lot of fun their.

    TS: Yeah, I got turned onto you guys when you came to Blue Heron Music Festival, and more recently at The Peach Music Festival and really had a great time.

    MG: Oh yeah, that was fun, that was a good one.

    TS: I guess personally, what do you do when not touring?

    MG: Just hanging out with family really, and my dog, that’s really a great time for me (laughs).

    TS: What kind of dog do you have?

    MG: We have a black lab mix.

    TS: Cool, we just got a dog in June, I know how that is (laughs). So we are new to the whole thing, always an adventure.

    TS: You’ve band a band for 20 plus years now, how has the music changed since you started?

    MG: I think its gotten a little more matured, it’s gotten in a lot of ways more dynamic and a bit more emotional across the spectrum, we just find new avenues as we go and picked basically new doorways into other dimensions and emotions and connect them up in different ways and make them more and  more legit. For us, that’s the goal, keep withstanding and growing in the universe.

    TS: Is there anything you wanted to share with the fans or anything else on your mind?

    MG: Well, we’re still supporting the last record

    TS: The Movement?

    MG: Yeah, and you know it’s picking up, the fans are really enjoying it and the critics love the record, which is always nice, that never happened before (laughs).

    TS: That does make it easier (laughs)

    MG: Yeah and the fans showing up and knowing all the words is great.

    TS: That’s basically it, I look forward to catching up with you all on Tuesday night.

    MG: Great, Looking forward to it.

    So, there you have it. Try and make it out to the show to catch Michael and the rest of the band, they may even slip some new tunes in and see what kind of reaction they get. It should be a stellar show.

  • The Black Lillies are Coming to Rochester’s Abilene Bar & Lounge

    the-black-lillies-at-liberty-community-center-seated-by-deone-jahnke

    Black Lillies front man Cruz Contreras is no stranger to the music business and the Black Lillies are not his first musical endeavor. Having lent his name to two previous bands that held notable success – Contreras continues that success and more with this electrifying bluegrass outfit. The Black Lillies have grown from a group of friends sitting around a campfire to one of the hardest working independent bands in the industry.

    If you missed their barn burner this past Summer at the Rochester Jazz Festival, this is your chance to see what you missed – if you were one of the foot-stomping attendees to that dance party, you know what to do! Come and enjoy the Appalachian sounds of Knoxville, Tennessee at Abilene in Rochester, NY on March 3rd. Show starts at 8:30PM and tickets are $12 and this is an all ages show.

    Eschewing record labels, they’ve still managed to conquer the Billboard Top 200 charts (Runaway Freeway Blues debuted at #43), put three tracks in Country Music Television’s top 12 requested videos, and film a nationally broadcast commercial for Twizzlers. They’ve been featured on numerous television specials and played festivals as widespread as Bonnaroo, Rochester Jazz Festival, MerleFest, and CMA Fan Fair.  Despite trafficking in a richer, more authentic brand of country and Americana than what gets played on mainstream country radio, they’ve still been invited to perform at the Grand Ole Opry more than twenty times – a record for an independent act.

    The Band:  front-man Cruz Contreras, harmony vocalist Trisha Gene Brady, multi-instrumentalist Tom Pryor, bass player Robert Richards and drummer Bowman Townsend.

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  • Buffalove Music Festival Completes 2014 Lineup And It’s A Heater

    Buffalo Love FestivalThe Buffalove Music Festival rounded out its 2014 lineup with the final headliner added which was announced during a special Buffalove announcement show this past Friday, February 14th  at Neitzches.

    Jimkata will be headlining the festival with Aqueous, Funktional Flow, Slip Madigan and Mister F  all of whom will be playing two sets each.

    The festival will also include over 20 other bands sure to please fans of all genres of music. Cody Conway, the man behind the music festival really hit this one out of the park and making the second year for this festival, a true winner.

    The festival will run from June 19-21st in Silver Creek, NY at The Willow Creek Winery. Tickets include 3 nights of camping and music.This is an all ages show and gates open on Thursday 6/19/14 at 4pm. Look for the schedule of times in the near future. This is one you will not want to miss.

    Tickets can be purchased through www.buffalove2014.brownpapertickets.com  advance $50 and day of show $65

    Additional info can be found at www.buffalovemusicfest.com

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  • Influenced, an Artist’s Review: Umphrey’s ROCKchester

    For this Umphrey’s review we invited Aqueous‘s Mike Gantzer to sit in as guest reporter and cover one of his and Aqueous’s big influences.  

    In the Fall of 2007, I’d been strongly advised by my fellow band mate Evan McPhaden, (who’d been strongly advised by some guy he worked with) to check out a band I’d never heard of. They were playing on a Monday night at the Harro East Ballroom in Rochester, NY. I decided to go based on the pretense that this band “melts faces” and mostly that it was an excuse to see live music on a Monday night instead of doing schoolwork. Six years and 20 some odd shows later, its pretty safe to say that my face really hasn’t been the same, and it’s all Umphrey’s McGee’s fault.

    Something resonated with Aqueous when we first started seeing Umphrey’s. They did what we wanted to do: they grooved, they shredded, they listened to each other. The interplay between every member of that band is out of control, and that set an intense pace for us when we were defining our sound. Specifically for me, the aggressive but dynamic guitar approach was perfect, and I loved how Jake Cinninger and Brendan Bayliss worked as a unit. They sort of re-affirmed my belief that the best way for a band to function is to have every member completely cognizant of the others in the group, and to build every song or jam as one whole; a foundation that we have built our entire band around. Beyond the music, their general structure was fresh and innovative, and it always seems like they’re pushing the jam scene into new territories. (UM bowl, The Headphones and Snocones program, their music education program sUMmer school, etc…)

    It was only fitting that I found myself at the Harro East Ballroom seeing Umphrey’s McGee destroying the place in the very same fashion they had when I began my journey with them all those years ago (albeit with a significant upgrade to Jefferson Waful’s light rig, and probably double the amount of people in attendance). Although the Harro East isn’t the best room acoustically speaking, the band was still totally dialed in, and every nuance could be heard from the right spot in the venue.

    Umphrey’s McGee has mastered the art of the setlist, which in a way is like mastering the art of musical contrast. Given that their catalog is extensive and their musical prowess spans and draws from several genres, Umphrey’s has managed to consistently write setlists that showcase so many sides of the band, and they move seamlessly between those sides with mind-blowing segues and some of the tightest on-the-dime transitions you can imagine. This night was no exception, they seemed to have struck a perfect balance between three notable and specifically Umphrey’s-esque themes: prog, groove, and dance.

    Opening the show with a super aggressive “Padgett’s Profile” right into a burning “2×2”, it was clear that they weren’t taking any prisoners this Sunday night. After the incredible composed section that sounds something like Mozart with the distortion on 11, they opened the song up into a beautiful and patient but ever-building jam. This show in particular saw a lot more psychedelic moments than I’d seen Umphrey’s get into before, which culminated in several chill-inducing moments when songs finally peaked, and that tone was set early on with this particular rendition of “2×2”.

    The set continued on with a standard but excellent version of “Anchor Drops”. Short and sweet, this showcased super solid three part vocal harmonies, and some great and tasteful playing/phrasing by Cinninger. Moving into Safety In Numbers territory, a “Nemo>Sweetness>Nemo sandwich saw one of the most uplifting and triumphant peaks of the first set, and the final lyrics of “Nemo” always resonate deeply with me: “As many times as we’ve been there and back again, Now I don’t care if I’ll be no one in the end.”

    I was psyched to see the band touching on older material from the Local Band Does OK era, as they started up the super prog-y and air-guitar worthy “Water”. This particular composition is adventurous and intense; seguing through many driving peaks and valleys, and the band nailed this version, an impressive task with so many changes. The set came to a screaming close with the deep, slouchy groove “Smell the Mitten”. The guitar harmonies on this song are super playful and fun, and the groove built into a driving/dance-y jam that centered around Joel Cummins’ keyboard leads. There was some specific interplay between drummer Kris Myers and bassist Ryan Stasik that was really pushing the jam, and the song and set came to an epic end with a huge sounding riff. After proclaiming, “Thank you, we’re Joel Cummins and the Twitter Junkies”, the band exited the stage as Supertramp came on over the PA system.

    Excitement mounted as the band took the stage for the second set with the fan-favorite “Jajunk”, and nearly everyone in the place was air-guitaring along, myself included. As the band came away from the composed intro, this section saw a distinctive interplay between Bayliss and Cinninger in the form of a guitar line that served as the theme of that jam. Again, Umphrey’s pulled back the reigns and opted for some brief psychedelia before jumping into the Steely Dan-esque “Comma Later”. Another Joel-led jam found the band entranced in a deep dance groove. Percussionist Andy Farag’s role in coloring the music with tasteful and necessary additions really stood out here. As the jam came to a close, they built it into the instrumental “Space Funk Booty”, a dirty groove based on diminished chords and solid rock riffing, which came to a decently concise close. Bayliss commented on the crowd’s enthusiasm for a Sunday night, before kicking into a newer tune “Glide”. Stasik’s slap work served as the groundwork for a super funky, falsetto vocal-based dance machine of a tune, and the entire crowd responded by dancing even harder than before.

    Moving again into the Local Band Does OK catalog, the band jumped right into “Prowler>”2nd Self”, just as it is on the aforementioned album. “Prowler” featured a super quick tease of Van Halen’s “Unchained” by Cinninger, and both Cummins and Bayliss shined in this section, with beautiful, peaking solos. It’s worth mentioning again how they nailed these songs to a tee; especially given how many intense changes the songs have built into their respective structures.  As Umphrey’s started to draw the set to a close, they pulled out a “Dump City” on the crowd, and this might have been the highlight of the show. It jumped between a sly groove and some super heavy guitar riffs, and two things specifically stood out here. Initially, Jake took some super clean leads that were pretty shocking, very Jeff Beck-esque and tasteful. Secondly, the jam culminated in the ongoing theme of space and psychedelic jamming in the form of a super strange build out of a Myers/Farag solo that launched straight into the atmosphere. It was an odd mix of metal and space, and you could even see the band being surprised by what was happening. Out of nowhere, they pulled it back into “Dump City”, and it came to a raucous close. Bayliss noted that it got “Weird, almost like the Twilight Zone”, and the band appropriately closed the set with the 1982 classic rock hit “Twilight Zone” by Golden Earring, sung by Cinninger.

    Returning to the stage for the encore, they dropped into the shuffle beat/reggae influenced “Thin Air”, an interesting and fun choice, and promptly moved into a shifting section between a Latin samba feel with Bayliss leads, and a jazz feel with Cinninger leads. This built into a soaring duel guitar jam that ended with the classical “In the Hall of the Mountain King”, only to return to “JaJunk Part Two”. Cinninger proceeded to destroy everyone in the building with fiery leads, and the show came to an epic and final ending as the band thanked the crowd and walked off.

    This show achieved what every Umphrey’s McGee show achieves for me; I left feeling incredibly inspired. There’s a strong correlation between any member of Aqueous seeing an Umphrey’s show and new material forming quickly from us thereafter, and that has been a consistent pattern since we all first saw them, fittingly in this same venue. Face: successfully melted.

    Setlist
    Set 1: Padgett’s Profile, 2×2, Anchor Drops, Nemo -> Sweetness[1] > Nemo, Water, Smell the Mitten
    Set 2: JaJunk, Comma Later > Space Funk Booty, Glide, Prowler > 2nd Self, Dump City, Twilight Zone
    Encore: Thin Air > JaJunk

  • Donna The Buffalo Never Seem to Disappoint in Buffalo

    You know that feeling that is produced when your friends and family are around you?  The feeling of comfort and just pure positive vibes filling the room? This is how Donna The Buffalo, hailing from Trumansburg, NY, made the crowd feel on Saturday, February 8th at The Tralf Music Hall in Buffalo. It’s as if you’re at a backyard party hosted by the special people in your life. There was no opener on this night but they didn’t need one because DTB filled the entire nigh, getting fans up and moving with their 27 song set.

    DSC_0164

    DTB started off the night with one of their most recognizable tunes in their catalog with “In This Life”. Jeb Puryear (guitar, vocals) with the very catchy intro and Tara Nevins (fiddle, accordion, guitar,vocals) accompanied with the equally snappy accordion intro got the entire crowd moving.

    One of Donna the Buffalo’s traits is not having a setlist before the show and feeding off what the crowd is interested in hearing. Several times Puryear and Dave McCracken (Keys) took notes from fans asking for certain songs and special birthday announcements. The ability to give the fans the ultimate experience and home type feeling is what DTB is all about. Kyle Spark (Bass) and Mark Raudabaugh (drums) rounded out the band and provided a very solid background to the sound that is DTB, one that is rustic and very authentic.

    DSC_0012

    “40 Days and 40 Nights” is such a uplifting and excitable song from the moment Puryear strums the very recognizable intro. Closing the set with “No Place Like The Right Time” was a highlight of the night, one of the bands top singles and fan favorites to date. There truly is something magically between Puryear and Nevins and it shined bright with their first encore song, “There Must Be”. Nevins fiddle cuts through the crowd and the hearts of everyone and includes Nevins and Puryear on stage . The night was capped off by a growing single, “Working on That” off their most recent album, Tonight, Tomorrow and Yesterday and put the finishing touches on what was a great night filled with friends and concert family.

    Donna The Buffalo has some time to rest after three straight shows, and will be heading to The Virgina Key Grassroots Festival on February 21-22. Catch DTB when they headline The Great Blue Heron Music Festival on July 5-7 in Sherman, NY

    Setlist: In This Life, Temporary Misery,Tonight Tomorrow and Yesterday, One Day at a Time, Everyday, Love and Gasoline, These Are Better Days, I Just Don’t Wanna Be Lonely > Cornbread, I Love My Tribe, I Can Fly, Forty Days and Forty Nights, Broken Record, Ms. Parsley, Ancient Arms, In the Shade, No Sad Songs, Heaven on the Earth, What Money Cannot Buy, Deeds of a Few, Funkyside, Love Time, No Place Like the Right Time

    Encore: There Must Be, Chocolate 3-Step (Yeah You Right) > Gimme Just a Little Time, Working on That

  • Sammy nominee Jeremy Miller is a rocker and an author

    Last December, Upstate Metal’s Steve Strader took the opportunity to speak with Jeremy Miller, lead vocalist of Syracuse’s One Last Shot. Last week, One Last Shot was named among two Syracuse metal bands that are up for a 2014 Sammy Award.

    Jeremy Milller

    The Sammys are presented each year by The Syracuse Area Music Awards Executive Committee. The committee is a not-for-profit organization that supports Syracuse musicians.

    The award ceremony is scheduled for March 7th, at the Palace Theatre.

    Jeremy Miller is a natural wordsmith and his band depends upon him for his writing skills as much as his singing ability. Like many writers, he falls victim to inspiration and often finds himself writing down ideas as they come, or speaking into a digital recorder. Over time, those notes have turned into song lyrics or have collected inside numerous notebooks. Those notebooks are now being worked into a book, about which he spoke to Upstate Metal.

    Strader: So first off what made you want to write a book?

    Miller: A lot of reasons actually. First, I’ve always wanted to have my own book. A lot of my favorite artists have put out books similar to this like Danzig, and William Control of Aiden. Most importantly my fiancee saw all these lyrics I have laying around in notebooks and pushed me to do it. I finally took her push and am doing it now.

    Strader: How long have you been working on this?

    Miller: I guess realistically since I started writing lyrics. I’ve been writing lyrics and poetry since around 11 years old.

    Strader: You mentioned there will be un-used lyrics in it, is there any other cool content you’ll be displaying to your fans?

    Miller: Yeah, so far it’s split in 4 parts. First part is unused lyrics/ poetry, the 2nd part is random short ideas, the 3rd part is passages I’ve written about important band situations, and the last part is stories from shows. There’s also flyer art inside/ art I’ve made throughout the book.

    Strader: Will there be any embarrassing moments?

    Miller: Maybe for other people, everything I do in life can be looked at as embarrassing. I’m okay with that, it makes life fun.

    Strader: What are you hoping readers will get out of this by the end?

    Miller: Maybe it can give some insight to people trying to start a band, and hopefully people in underground DIY bands will be able to relate these situations. Also people can have a laugh or two at some of the stories.

    Strader: Anything you can “leak” about this book and what we can expect?

    Miller: There’s situations with drugs (not my band mates obviously), bum fights, and violence all inside. It comes out late December or early January. Most likely early January. I may leak something around mid December-ish. Oh, and its 50+ pages long. (So far…)

    Strader: How will this book be made available?

    Miller: It will be a real physical book. It will be printed professionally like if you got it at Barnes and Noble. You will be able to get one online or at shows. Just follow us at Facebook or Twitter and you’ll get all the updates.

    Strader: Any last thoughts or words?

    Miller: If this goes well, I have other books planned. This is also “Volume 1”, so as more events happen and if things stay interesting, I hope to make a “Volume 2”. Just stay tuned, and thank you for talking to me about this.