Author: Ally Dean

John Brown’s Body, Grayak and Alex Gideon Awakened the Westcott Theater with Roots Rhythms

While Saturday October 10 was not their first rodeo, (or fashion show, as some say) the reggae revolutionaries of John Brown’s Body brought their musical stampede, including Grayak and Alex Gideon, to the Westcott Theater. Replete with trumpet, trombone and saxophone, their rich sound echoed through the theater as frontman Elliot Martin freely swayed with the music.

JBB’s horn section was the pinnacle of an evening of varied instrumentation from the three acts that graced the stage. One man band Alex Gideon opened first, relying solely on his guitar, looping vocals and sound effects he created live. The Syracuse native was surrounded by a sea of unmanned instruments assembled for the ensuing artists. The gadget dichotomy accentuated his minimalist setup, which could have lent him more credibility had his routine not been as lackluster.

Gideon played a few catchy covers including Joe Cocker’s “Feelin Alright” and Sublime’s ever-popular “Doin’ Time.” To these he injected his own beat boxing to the mix. And to his credit, Gideon generally selected songs well suited for his funky soul singing style, to which he could accentuate with just the right amount of gruffness when needed. Alas, despite a slew of somewhat catchy tunes, including his original track, “Cuse Town,” Gideon’s performance maintained a relatively stagnant energy, with beat boxing and looped sounds that carried minimal variation from one another.

Local folk/reggae group Grayak followed, performing to a room fairly well stocked with humans. Considering the band is fairly new to the scene, the crowd of roughly 200 was an encouraging sight. They played a mix of songs from their 2014 album Made of Light and their new album set to be released February 2016. After the first few songs, lead singer and guitarist Phil Grajko took a moment to graciously acknowledge, “I’ve been listening to JBB for years and it’s an honor to be playing with them.”

Grajko usually relies on sister Hannah Grajko for backing vocals, but amidst her absence, Jessica Brown of Root SHOCK, a reggae band which Phil Grajko is also a part of, filled the backup vocalist position. Having been performing together in Root SHOCK for several years, Grajko and Brown’s seasoned harmonizing capabilities definitely did justice to the Grayak tunes. Brendan Gosson switching between fiddle and mandolin, Blake Propst on upright bass and Tyler Dattmore on drums, completed the quintet.

Gosson frequently switched between his two stringed sweethearts, the mandolin providing much more of a staccato sound. During “Maya” a track from Made of Light, Grajko’s guitar work midway through the song had an almost Spanish-style appeal to it. The crowd, which wasn’t too shy to dance, really got moving for “Lovely Girl,” an uptempo number about a girl worth spending time with. Gosson brandished his fiddle once again for “Made of Light,” their title track and last song of the evening.

John Brown’s Body took over, with the horns providing a dramatic opening for “Step Inside,” the first song off their 2013 album Kings and Queens. It is a fitting song to open a set, as the lyrics urge, “Come one and all got to make the dancehall tight,” seeking to usher in participants to partake in the music and merriment. JBB transitioned to some heavier material, playing songs with themes more related to their namesake John Brown, a nineteenth century militaristic abolitionist who saw armed rebellion as the best means to ending slavery. While respecting Brown’s valiant efforts, their performance of “Empty Hands” provided a powerful peace offering to listeners, questioning the need for war, exclaiming “So look into the palm of my hand, no weapons/ No frustration or need for confrontation.”

“Plantation” followed, though it actually comes directly before “Empty Hands” on Kings and Queens. It recalls the trials of working on a plantation and living a life in servitude. The last two lines, “With a guitar we’ve a song warning you/ Give them all a way home.” It acts as a call for freedom, and perhaps the guitar serves as a nonviolent alternative to a weapon as a means of provoking change. Surging forward with messages of inspiration, Tommy Benedetti (drums), Dan Africano (bass), Jay Spaker (guitar), Jon “JP” Petronzio (keys), Scott Flynn/Alex Asher (trombone), Drew Sayers (saxophone), and Sam Dechenne (trumpet) rounded out the battalion. It was a battle well fought by all on stage that evening.

October 15, 2015
Hearing Aide: CBDB ‘The Fame EP’

Southern “joyfunk” group CBDB recently released their EP The Fame, which melds pop and electronic jam influences to create an often warm and upbeat sound with hints of blues-rock.

Recorded at FAME Studios in Muscle Shoals, Alabama, the four tracks were recorded in one session. The six-piece jamband includes Cy Simonton (guitar & vocals), Kris Gottlieb (guitar & vocals), Glenn Dillard (sax/keys & vocals), Donald Deloach (percussion), Paul Oliver (drums) and David Ray (bass & vocals). The album was produced by CBDB and John Gifford III, mixed and mastered by Don Srygley, with Spencer Coats acting as assistant engineer.

The first number on the EP “Ground Score,” opens with a brisk guitar riff similar to the opening riff in progressive rock group Lee Terrace’s title track “Deep Blue.” Lively guitar makes way for Simonton’s crisp Michael Jackson-esque vocals. His less poppy, southern-infused singing weaves into the instrumental groove, at points almost seeming to compete with the instrumentation, but breaking off halfway through the track to make way for a playful exchange between guitar and saxophone. The rich saxophone evokes the same horn heavy influences carried throughout the theme music of late night comedy show Saturday Night Live.

“Echoes in the Room” provides a fulfilling swell of organ that blends beautifully with blues-rock guitar and Simonton’s lyrics, creating a song that ebbs and flows in intensity, seeming more purposeful than the other more jam-based tracks. The heavier guitar in the beginning of “A1A” sets the stage for what one might expect to be a pretty standard, well-layered jam. Guess again. Simonton’s angsty, whining vocals interject in ways that don’t comfortably blend with the song, leaving this pop/rock conundrum to ooze through the speakers like a giant melty cheese ball.

The FAME EP can be found on cbdbmusic.com, iTunes, Spotify, Apple Music, YouTube, Rhapsody, Google Play, and Pandora.

Key track: Echoes in the Room

October 13, 2015
Glass Animals and Empress Of will Take Over Terminal 5

An evening of enchantment awaits those who intend on attending Terminal 5 in New York City Thursday, Oct. 15. Solo artist Lorely Rodriguez, going by the stage name Empress Of, will open the show, immersing the crowd in a sea of handpicked electronic beats layered with her ethereal Spanish-influenced vocals. Rodriguez released her debut album Me, in September 2015, and will be pulling from this freshly published collection of sound confections.

English indie rock group Glass Animals will take over, performing songs off their debut album Zaba, which dropped in June 2014. Frontman Dave Bayley’s feathery falsetto voice will be accompanied by his keyboard prowess along with Drew MacFarlane (guitar/keyboard), Edmund Irwin-Singer (bass/keyboard) and Joe Seaward (drums). Their eclectic and undeniably sexy sound ambience instils vivid depictions of tropical scenery leaving the listener to feel as though they’ve been immersed in a dance jungle of of desire. Don’t miss this.

Doors at 7:00 pm. Get tickets here

October 13, 2015
DrFameus and Particle Wash the Westcott with Sound

DrFameus proved himself a chameleon of sound, opening for Particle at the Westcott Theater Sept. 23. Allen Aucoin’s one-manned music machine fluctuated from synth and high hat driven 80’s dance to more lazy and free-flowing experimental jazz, pulling samples from Fergie’s “London Bridge” among other unexpected sources. Producing a beat reminiscent of the bass heavy pulsations in Die Antwoord’s “I Fink U Freeky” kept the crowd alert, as they made efforts to sift out other familiar rhythms and samples.

Aucoin’s laptop acted as an instrument as much as the drum kit set up before him. Frequently looking over at the small screen to his left, pressing buttons perfectly in time with the music, he was effectively conducting a mini techno orchestra. “Cold Step” commenced with haunting piano effects, showcasing the DJ-drummer hybrid in a swarm of heavy energetic percussive and techno sounds. At the end of Aucoin’s set, a gentleman brandishing a solid black guitar case sauntered across the room, having plenty of space to breakdown and boogie with the crowd not exceeding thirty spectators.

The Particle crew followed on stage, delivering a slew of zippy electro grooves. Guitarist Ben Combe, with body pivoted forward, scrunched facial expressions and fingers scrambling across the fretboard, plainly indicated his full mental immersion. Keyboardist Steve Molitz demonstrated his own enthusiasm, purposefully pressing specific keys while giving raised eyebrows to the crowd as if to say, “How do you like this?” His effects often produced sounds synonymous to the grand majesty of Manheim Steamroller’s epic instrumental holiday ballads.

Clay Parnell (bass/vocals) and drummer Allen Aucoin rounded out the four-man crew. With their powers combined, the band performed a collection of songs that were as distinctive as a litter of Dalmatian puppies. Their music activated the perfect environment for listeners to zone out but still manage to feel stimulated with high-speed instrumentals and enthusiasm exuding from the musicians.

October 6, 2015
John Brown’s Body, Grayak, Thunder Body and Alex Gideon All on One Stage

Fans of reggae can feast their ears on the smorgasbord of regional talent performing at the Westcott Theater on Saturday, October 10. Alex Gideon, Thunder Body and Grayak each have a spot to give the audience a taste of their latest musical workings before John Brown’s Body takes the stage as the final act of the evening.

Alex Gideon, guitarist and vocalist from New York-based reggae/funk band The Fat Peace will be stepping on stage as a solo act, relying on his guitar and vocal skills while looping in other instruments and sound effects. Gideon has experimented with a collection of covers while also producing his own original songs.

Thunder Body, a Rochester-based reggae group, has continued to grow over the past few years, expanding its identity far beyond the reggae designation, incorporating ingredients of jazz and soul into an eclectic stew of energy. Matthew O’Brian, former front man of Giant Panda Guerilla Dub Squad leads the troop with vocals and percussion. With his drum kit uniquely positioned to the front of the stage, O’Brian mixes up the traditional musician arrangement, a visual metaphor representing their drive toward differentiation. Supported by Rachel Orke (also former GPGDS member) on analog keyboards and melodica, Dennis Mariano and Sam Snyder on guitar, Jeremiah Pacheco on bass and Brian Blatt with miscellaneous instrumentation, they spread messages of love both for humanity and mother earth, which are entwined in their encouraging lyrics.

Grayak is the beloved reggae/bluegrass/folk brainchild of guitarist and vocalist Phil Grajko. The band, rooted in Syracuse, also features sister Hannah Grajko (vocals), Brendan Gosson (fiddle and mandolin), Blake Propst (upright bass) and Tyler Dattmore (drums). The current lineup is a recent amalgamation of musicians that have begun performing together in increased frequency, branching out geographically to enrich their fan base. Grayak’s song lyrics explore the beauty and influence of the mysterious workings of the universe, intermixed with occasional subtle references to the zombie apocalypse.

Veterans of the national reggae scene, John Brown’s Body, an influence and inspiration for many of the musicians sharing the stage that night, will grace the theater, pulling from nearly a dozen albums of material compiled since their inception in the mid ‘90s. Elliot Martin (lead vocals), Tommy Benedetti (drums), Dan Africano (bass), Jay Spaker (guitar) Jon “JP” Petronzio (keys), Scott Flynn / Alex Asher (trombone), Drew Sayers (saxophone) and Sam Dechenne (trumpet) comprise this flock of future roots revolutionaries. They evoke a lion-like pride of tight-knit, well-rehearsed sound and thought provoking lyrics seeking to engage and empower listeners.

October 5, 2015
Carolyn Kelly Blues Band and Charlie Musselwhite Bring the South to Syracuse

Southern flair washed the Westcott Theater in spicy fits of harmonica and blues guitar Sunday, Sept. 13. Carolyn Kelly Blues Band opened, the leading songstress demonstrating her powerful vocals for a mature, introspective crowd. Nearly every audience member was seated, either in the rows of collapsible chairs closer to the stage, or further back on the beer keg stools clustered around small bar tables. They sat quietly, listened thoughtfully and applauded graciously after each song. Kelly was joined by Terry Mulhauser (guitar), Don Sollars (drums), Jerry Neely (keyboard), Jim Pavente (bass), and special guest Skip Murphy on harmonica.

For their final number, Kelly announced, “It is Sunday so we’re gonna’ take it to church on this one,” then reaching deeply into her soul, bellowed a rich opening solo of “Amazing Grace” before the band joined in. The historically statuesque crowd came alive, feeling compelled to clap along to this final number, revved up by the intensity of the band’s performance.

Charlie Musselwhite and his musical crew including June Core (drums) Steve Froberg (bass) and Matt Stubbs (guitar), followed quickly after. Musselwhite attempted to warm up the crowd calling out “It’s so quiet in here. We got some blues in the house tonight,” as if reminding the audience they were permitted to be a little more rowdy. A spunky performance of “River Hip Mama” proved too irresistible for an older woman to the left of the technical booth as she whipped out her shiny iPad to snap a quick video. Musselwhite brandished an impressive set of pipes given his seniority in the blues scene, hitting every note like a pro.

Singing aside, Musselwhite’s harmonica maneuvers are largely what draw crowds. His masterful playing produced a sea of shrill pitches mixed with more mellow hums, delivering that thirst-quenching satisfaction blues harmonica offers fans. Stubbs’ blues-rock persona could have given the allusion both visually and sonically that he was the long-lost third member of the Black Keys. With greased, combed back hair, scruffy beard and sporting dark t-shirt and jeans, his heavier guitar riffs completed the allusion.

Musselwhite played with the crowd a little, prefacing “Stranger in a Strange Land” with the inspiration behind the song, which came from his experience as an eighteen-year-old looking for a factory job. He began, “A couple years ago when I was 18…” and the crowd chuckled. He continued, “Sometimes it still feels like I’m eighteen, though it’s fleeting.” Musselwhite vibed a mix of old wisdom and young charm, effortlessly switching between modest humor and sly sauciness.

September 29, 2015
Vaporeyes and Mister F Illuminate the Dance Floor

High energy and good humor characterized the evening of Saturday September 5 at Funk ‘n Waffles Downtown as Albany-based Mister F and Syracuse group Vaporeyes dished out mystical reverberations of sonic opulence. Mister F, featuring Matt Pickering (Mr. M) on drums/samples/vocals, Scott Hannay (Mr. S) on keyboards/vocals/vocoder, Ben Pickering (Mr. B) on bass/vocals and Andrew Chamberlaine (Mr. A) on guitar/vocals, channeled a Particle-esque vibe, while displaying plenty of original character for the audience.

After an energetic performance of “Machine,” Pickering announced sarcastically, “that song’s not about robot voices at all.” Hannay quickly followed up, speaking purposefully into the mic in a distinctly altered voice, “no, not about robot voices at all…” Although the band freely jokes around on stage, they take their actual musicianship quite seriously. Pickering frequently spices up his intricate drum beats with clever pauses and commanding breakout jams.

After finishing an impressive jam halfway through their set, Hannay walked over to Pickering, momentarily commandeering a drumstick to serve as a bottle opener before immediately returning to his post and fluidly sliding into the next jam. At it’s conclusion Pickering called out to the crowd, “We’re Mr. F, give it up for beer!” Members from Vaporeyes scattered amongst the unfortunately sparse crowd, including bassist Shannon Zory and his girlfriend who had plenty of dance room to face each other and playfully weave their heads back and forth in a snake-like fashion, clearly enjoying the music.

Vaporeyes, composed of notably younger musicians than Mister F, certainly held their own on stage. With a slightly muddier, grungier sound, Jonas Reddy-Nicholson playing keys/synths, Shannon Zory slappin’ bass guitar, Sean “Chid Law” Cadley on drums, Jamie “Jyms” Tynan on guitar and Stephanie Donato playing saxophone delivered a string of equally dance-worthy tunes to listeners. As the evening progressed, the musicians called out to the crowd, “Is it still Saturday?” There were in fact ten more minutes before midnight, so they opted to play a number aptly titled “Saturday Song.” It carried a lighter, more ambient sound than some of their heavier jams and incorporated more prominent synth effects.

Throughout the evening, Zory’s gilfriend mingled with the other bandmates’ girlfriends and snapped photos of the band’s performance, occasionally gesturing with a victory fist pump reminiscent of a golfer making a hole-in-one. The close-knit flock of dedicated followers supporting the members of Vaporeyes makes watching the band more gratifying, knowing their musical endeavors are supported by the ones they love.

September 16, 2015
Hearing Aide: Ken Chapple ‘Crossing The Black’

Oregon-based bluegrass singer/songwriter Ken Chapple is debuting his first album, Crossing the Black, September 18. It is a compilation of 10 original acoustic songs featuring his flatpicking guitar prowess and vocals, and collaborations with a collection of other local musical talent. Accompanying him on the album are Lex Browning (fiddle, vocals on Cutie Pie, See Where She Goes, Black River Cabin, Salvation and Sweet White Clover), Rob Wright (bass, vocals on Cutie Pie, Black River Cabin, Salvation and Sweet White Clover), Peter Schwimmer (banjo), Martin Stevens (mandolin) and Julie Schmidt (vocals on The Wheel). Every song is written, arranged and produced by Chapple, and the album was recorded at Big Red Studio with Billy Oskay engineering.

Chapple has been playing guitar since he was twelve-years-old, and his proficiency on guitar is apparent. Having released two albums with bluegrass group Wayward Vessel, Chapple’s debut album has been a long time coming. His warm, gentle voice makes listening to his album a relaxing endeavor, which may be best suited for lounging on a warm summer’s night with a few candles burning nearby. His songs carry themes of love and following the heart.

“Pair Of Twos” begins with an easygoing elegance, featuring Browning on fiddle. Uttering the words, “Why settle for a pair of twos. Mama said there’s so much more I can do. Be an artist or be a fool but don’t hold back now,” — Chapple seeks to inspire listeners to follow their dreams. “Without Your Warmth” quickly transitions from a pensive introduction, increasing tempo as Chapple sings of a deep need for a loved one, proclaiming, “Without your warmth I will die.” The title track “Crossing the Black” is an all instrumental piece opening with intimate guitar, followed by a simple but pronounced bass line. Fiddle soon joins, which momentarily takes a backseat for mandolin, and then guitar. All instruments have their moment to shine, and this track truly showcases Chapple’s guitar work, providing a wholesome, satisfying feel.

A variety of limited edition music packages and pre-order options are available here. Check out Ken Chapple’s SoundCloud and Bandcamp profiles, or his Facebook page for more information about his work and upcoming events.

Key Tracks: Pair Of Twos, Without Your Warmth, Crossing the Black

September 12, 2015
Grayak and Yankee Blood Offer a Genuine Connection

The feathery, jazz-infused voice of Yankee Blood singer/bassist Ruth Kelly, supported by guitarist/vocalist James Karp and drummer Adam Verone, filled downtown Funk ‘n Waffles Thursday, September 3, with a lighthearted yet full sound that would never suggest they were short a keyboardist. A healthy crowd had gathered even before Yankee Blood got the show started, who were opening for local band Grayak. All three musicians casually donning t-shirts and jeans, the lazy, bluesy feel of their second song, “Sioux City” got the crowd swaying in an almost dream-like state.

They performed a brand new song titled “Savage,” which will be included on their EP coming out in October. The track started off as a slow rock number, but carried out a heavy instrumental buildup with head bang worthy beats. The egg crate stuffed into the bass drum quivered in approval. After their performance of “Blue Eyed Lover,” Kelly divulged how she normally plays the tune on upright bass, but winged it (very successfully) on her red lacquered Gretsch hollow-body electric bass.

Yankee Blood’s second to last song, “Beekeeper,” will also be featured on their EP. Kelly made sure to alert the crowd of Karp’s ironic fear of bees before adding that once the EP is out, copies will be distributed with jars of honey. Her witty quips between songs revealed an endearing and sharp sense of humor, painting the trio as the sort of people that would be fun to hang out with and share a few beers. Softly crooning the line “I want someone to love,” during “Beekeeper,” followed a theme present in several Yankee Blood songs concerning an honest yearning to share such tenderness with someone.

The five members of Grayak, who had been mingling in the crowd during Yankee Blood’s set, coalesced on stage to commence part two of the evening’s entertainment. Frontman Phil Grajko, sporting suspenders and a metal canteen slung across his torso, looked ready to embark on an intense musical expedition. Thinking logically, he opted to set the canteen by his feet rather than trying to rock it while simultaneously playing guitar. With Hannah Grajko assisting on vocals, Brendan Gosson on fiddle and mandolin, Blake Propst on upright bass and Tyler Dattmore on drums, they opened their set with a bouncy, optimistic tune titled “Seek It Still.” It describes a personal quest of persistence and determination to find truth and meaning in the world even if the path is rough.

The song functioned as a fitting kickoff for Grayak, a project which Grajko has been nurturing for quite some time, often playing solo, but finally able to showcase with a full ensemble. The crowd, heavily speckled with friends and fans whom have seen Grajko develop and transform his musical repertoire over the years, welcomed the distinctive guitar/fiddle intro to “Have a Beautiful Now,” quickly getting into a flowy dance groove and happily singing along to a song many audience members share a personal connection to.

The more reggae-style instrumentation during “Maya” provided a slight divergence and nice addition to the folk-centered genre Grayak largely falls under. The playful fiddle part literally chases the lyrics “I run, I run, I run…” adding an intriguing audio element that emphasizes the vocals. Before beginning “Together” Grajko announced, as he always does, “This is a love song but it’s also sort of about the apocalypse.” The introduction usually provokes people to smile and possibly feel slightly confused. After the song concluded, Grajko noted his musical troupe has only been playing together for a few weeks, adding to the impressiveness of their collaboration. The band polished off their set with Grayak’s title track, “Made of Light.” Opening with a low-key bass solo, the lyrics speak to the connectedness of humankind. It slowly builds with up-tempo guitar and runaway fiddle parts that might make someone wish they were standing in a breezy meadow on a warm summer’s day.

September 11, 2015
Roots Reggae Groups Root SHOCK and Mosaic Foundation Dig Deep and Bare Their Souls

The room was swarming with movement Saturday, August 29, at Funk ‘n Waffles downtown with Root SHOCK and Mosaic Foundation. The quintessential roots reggae mixture of djembe and melodica tones reverberated throughout the cozy, recently carpeted space. Lead vocalist Yao Foli of Mosaic Foundation expressed an exuberant passion for social issues close to his heart, proclaiming how the power of love is an important mechanism for effecting positive change.

Combining sequences of fluid dance moves with strings of powerful words, Foli’s band mates melodically bolstered his noble messages, adding a grace to a performance whose content could easily be formatted as a stripped down, straightforward public speech calling citizens to action.

Between songs, Foli offered positive pearls of encouragement to his audience. “To free Africa we must free ourselves” and “Love knows no boundary my brother.” Foli knows how to make his audience feel welcome and powerful all in one breath. Working up a decent sweat through all of his dancing, Foli brandished a small white towel to pat his face dry during song breaks, a testament to his hard work and dedication on stage. Mid-performance, Foli stepped to the front of the stage, grasping the mic with his other arm outstretched, getting as close to the crowd as possible, standing not only before them, but with them. Foli is not just a showman, but a leader and organizer in his own right, as his spirit brings people together to share a love of music and spread positive messages.

Following Mosaic Foundation, Root SHOCK delivered their own high-powered compendium of positivity. Bringing uplifting messages to an already revved up crowd. Opening their set with the always awe-inspiring love ballad to lead vocalist, Jessica Brown’s mother, “Sweet Reunion.” Prompting fans to reflect on and cherish their own familial relationships. Brown’s striking, soul-grasping vocals and incredible range continued to command the crowd. Daring them to dance harder and cheer louder during a bouncy performance of the upbeat “Sunlight of a Brand New Day.” The lyrics challenged listeners to “Live the life you want to live, love to live the life you want to give. Give the love you want to feel, the kind of love that empowers and heals.” The high-energy atmosphere fostered a connectedness and comfort level allowing several liberated spectators to remove their shoes, showing off some fancy footwork, toes unrestricted.

A crowd favorite cover of indie pop group Miike Snow’s highly danceable “Animal” continued to sustain movement as Brown took to the tambourine with guitarist Phil Grajko assisting on vocals. A rendition of “Rough Cuddle,” a song Grajko recorded with fellow reggae group Morning Sun & The Essentials, describes a dreamily mysterious and thought-provoking woman figure who asks, “what’s stopping you from seeing more?” This question is perhaps meant to awaken listeners and remind them to be more aware and present in their own lives.

A Stevie Wonder cover of “Master Blaster” followed, during which Grajko is known for sporting a set of shades as an ode to the beloved musical legend. Root SHOCK finished off their set with the more reflective Stephen Marley cover of “Pale Moonlight,” which tenderly recounts a love that has since been lost. Both reggae groups took the room on an awakening emotional journey where observers could connect more with themselves, the people around them, and reflect on their relationships with society as a whole.

September 5, 2015