Category: Features

Joe Louis Walker and Jay Geils’ B.B. King Tribute Impresses Hudson Valley Crowd

One of the Hudson Valley’s hottest nights for blues in 2015 took place this last week as Joe Louis Walker paid special tribute to the King with the help of Jay Geils and some newly inducted members of the NY Blues Hall of Fame at Paramount Hudson Valley.

A different kind of induction ceremony kicked off the evening, one far from a yawn-filled series of speeches. With Michael Packer at the helm, an all-star cast joined together on stage to do a five-song opening set with members of this group inducted into the NY Blues Hall of Fame between songs. For a group of musicians who may have only had limited time rehearsing with each other, the sound was solid and energizing. The inductees this year included Michael Falzarano (guitarist for Hot Tuna and New Riders of the Purple Sage), Rick Knapp (bassist for Walter Trout and Jimmy Thackery), Juma Sultan (percussionist for Jimi Hendrix), and producer Osten Harvey Jr. (a.k.a. Easy Mo Bee).

If the roof of the Paramount wasn’t smoldering after Joe Louis Walker’s first song it wasn’t long before it was on fire. As a tribute to the late B.B. King, the setlist included several of King’s songs along with some of Walker’s originals. The set started off with “Friends” and included “Let Your Hair Down,” “She’s Got Eyes Like A Cat” and “Come Back Baby.” Aside from Walker’s incredible mastery of the blues guitar whether screaming at the 24^th fret or playing slow and heavy, the rest of the talent on stage combined for an even compliment, especially Vanessa Collier’s sax solos received by standing ovations.

About halfway through the set Jay Geils joined the set, a guitarist well-rooted in the blues despite his more well-known musical persona with the J. Geils Band. Educated as an engineer, Geils took up a career in music instead and had plenty of stories to share about his start in the blues after accepting his award in a surprise induction into the NY Blues Hall of Fame including some anecdotes about Buddy Guy. In the spirit of the tribute to B.B. King, Geils did not hesitate in saying that the way today’s blues is played can be attributed to King’s style.

Before an encore, all of the performers from the induction ceremony set joined Walker and Geils for a call-and-response shuffle tune. It was a true display on stage of what lies at the base of being a musician, getting together with a bunch of others and having nothing but fun in making music. The encore brought just Walker and his band along with Geils back. Reeling on the power of the end of the set, the crowd took advantage of the Paramount’s coziness and gathered on their feet close to the stage. Possibly an unplanned encore, Walker and Geils took a moment to discuss the structure of what they were about to play. Planned or unplanned, it closed out the night with a strong finish.

As one of only four of these B.B. King tribute shows Walker and Geils were touring with, it was truly a treat to have one of their stops in the lower Hudson Valley.

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November 5, 2015
Aqueous Tackles Dark Side of the Moon During Sold Out Halloween Run

Pink Floyd’s Dark Side of the Moon is arguably one of the most technical and well-produced studio albums of all time. Recorded at the famed Abbey Road Studios in London, the sessions involved some of the most advanced recording techniques of the time including multi-track recording and tape loops, all of which are now customary by today’s studio standards. Among its legend is the haunting and eerie synchronous connection with the MGM classic The Wizard of Oz. So when Buffalo based groove rock quartet Aqueous announced it would be Dark Side of the Moon hosting a night dedicated to the cinematic classic during the second night of their homecoming Halloween run, many fans wondered exactly how these two magical worlds would collide.

To the delight of their fans, Aqueous laid out a seamless and perfectly executed second set on Halloween night– Dark Side of the Moon in its entirety, while dressed as the cast of the Wizard of Oz.

It’s was the band’s first foray into a multi-day Halloween run and they tackled two separate themes; Back to the Future on Friday night and The Wizard of Oz for Saturday’s Halloween festivities. The weekend was a hit among the band’s hometown fans, selling out both nights at Buffalo Iron Works. The overall feel of the weekend was just what you would expect -whimsical, magical and strange – and well worth the $20- two day price of admission.

Funktional Flow kicked off both nights with stellar sets. Their brand of funk/rock/reggae fusion feels organic at its best moments. There is almost an underlying Americana folk vibe to their smoothest reggae inspired vibes. Original tunes like “Moonlight Tide” and “Leaving Town” showcased the band’s new direction since the addition of Joey Lewis (guitar) and Matt Lester (keys) this past April. To say that the version of Funktional Flow fans saw this weekend is a vast improvement on its former self in almost an understatement. The line-up addition have the band going in a positive direction musically.

“The type of music we play really calls for the line-up we have now and it has helped us grow exponentially,” noted bassist Ben Whelan. “With the addition of Joey and Matt we truly feel as though we gained brothers not just band mates. It really has been a great time growing with them and having them add their flavor to the mix. It doesn’t always go that way with new additions so we are really blessed in that aspect!”

Their new confidence spilled over into some fun covers including Phish’s “Lizards” and Stevie Wonder’s “Sir Duke”. Funktional Flow closed out their weekend with a stunning rendition of Aqueous’ “Warren in the Window”. Aqueous would later return the favor with a powerful version of “Mulligan’s”, a Funktional Flow fan favorite.

Funktional Flow is slated to release a new full length album this winter. The band looks to tour in support of the new music with a multi-city tour that will take their sound out of Western New York and more towards the Northeast states.

Friday Night’s Aqueous set proved to be the more upbeat of their sets. In true Back to the Future form, they opened the festivities with film’s theme song “The Power of Love” and closed the night with an Aqueo-fied version of the film’s other Huey Lewis and the News tune “Back in Time”. The set was packed full of high energy moments including “”Don’t Do it”, “Strange Times” and “Underlyer” as well as a version of “Aldehyde” complete with a horn section featuring Justin Lackie on saxophone and Pat Allison on Trumpet. In addition, Aqueous pulled out a rare live version of Dr. Brox from the bands 2012 release “Willy is 40”. The evening continued to be full of surprises, as the band teased both the Chordettes classic “Mr. Sandman” as well as Metallica’s “Enter Sandman” before crashing into a fast paced and edgy version of “Origami”. Of course, the band played tribute to the film’s classic school dance musical moment with their own versions of both the Penguin’s “Earth Angel” as well as the Chuck Berry classic “Johnny B. Goode”.

Saturday night, Aqueous brought the best qualities from the Wizard of Oz to the evening. Both the music and the atmosphere were strange and dark with brilliant pops of technicolor whimsy throughout the night. The first set opened with a mash-up style version of the MGM Wizard of Oz intro and Somewhere Over the Rainbow before melding into a more mellow but groovy version of “Kitty Chaser (Explosions in the Sky)’. Aqueous filled the night’s first set with a powerful collection of original material including “Eon Don” “King for a Day” and a non-stop “Complex Pt.1” into “Wandering” into “Complex Pt. 2”. Matt Harris (saxophone) joined the band on stage to a jazzed out version of the Oz classic “If I Only had a Brain.”

As set two loomed, the room was buzzing with rumors that the band might play Dark Side of the Moon. So when the sounds of the albums iconic opening track “Speak to Me” ushered in the second set, the crowd seem to watch in disbelief. Harris returned to the stage for saxophone duty while Funktional Flow’s Joey Lewis came on board for various guitar work. During “Great Gig in the Sky” the crowd was brought to their knees by vocalist Sarah Jane, who’s haunting and perfectly emoted vocals were the highlight of the set. Adding to the ambiance was the incredible lighting from Craig Freudenthal that only elevated the overall experience.

Aqueous returned with a brief encore that included a stunning version of the Elton John classic “Goodbye, Yellow Brick Road” before ending the weekend with “All In”.

Beyond the sheer technical skill and flawless timing, Aqueous executed pure confidence while accomplishing a feat that many musicians simply couldn’t execute. The talent and precision it takes to perform Dark Side in its entirety in real time didn’t go unnoticed or unappreciated by anyone in the attendance. And the stunning part of it was that Aqueous simply made it look easy.

If this weekend’s shows are any indication, the results are proving that Aqueous is poised to be the band to see on next summer’s festival circuit. The addition of Tom Vayo behind the drums has given Aqueous a more polish and precise sound. It appears and sounds like the band has taken the last few months to fit his style neatly into their musical mix.

“Tom has to be one of the most creative, languid, and definitely dynamic drummers I’ve come across- we’ve spent the last few weeks on the road getting to know each other on a deeper level musically (and personal level really), and I don’t think any of us could be more excited about what he’s bringing to the AQ sound,” noted Aqueous guitarist Mike Gantzer.

Gantzer also went on to acknowledge the changes. “The improvising has been getting deeper and deeper, and every night feels like a new adventure. It’s been awesome and I’m excited to see where it’ll go, if it’s that on point in such a short amount of time! Tom’s also an awesome, fun, silly dude and having him around has pushed the fun level over the top too, which is just as important.”

And for Aqueous, the fun part seems to go without saying. This weekend proved that while they take themselves seriously as musicians, they don’t take themselves too seriously. And that’s what Aqueous fans seem to know, the band isn’t just there to make music, they are also there to be part of the fun.

Fans looking to relive the weekend or simply wanting to hear it for the first time are in luck. Dan Brace of Sonic Farms Studios was on hand this weekend to track both Friday and Saturday night.

After returning home from a three week Southeastern run to play Halloween at home, Aqueous jumps back on the road hitting Michigan on November 4^th. Their remaining fall dates have them making their way out west to Colorado before heading to the Northeast where they will kick off the new year on January 1^st, opening for one night of Twiddle’s three day new year’s run in Burlington, Vermont.

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November 5, 2015
Yonder Mountain String Band Celebrates All ‘Strings’ Day at Anthology

The first day of November, the day after Halloween, All Saints Day. Or, if you’re seeing the Colorado road warriors, Yonder Mountain String Band maybe it’s All ‘Strings’ Day. The night prior, the blocks around Anthology in the East End of Rochester were buzzing with costumed masses in various states of inebriation. On this night, the streets were clear and quiet. But inside the doors of Anthology, a brand new music venue, a hoedown was whipping up.

Coming off their special Halloween gig, where they transformed into Yonder Mountain ‘Punk’ Band, littering the set list with fan-requested punk songs, the band took the stage looking a bit road weary. There was a small fear that maybe they were going to go through the motions at the start. Each member got a chance to warm up their fingers in the show opening cover of Danny Barnes’ “Funtime.” Ben Kaufman (bass) took vocal duties, while Jake Joliff (mandolin), Adam Aijala (guitar), Allie Kral (fiddle) and Dave Johnston (banjo) each worked a solo in between the songs’ three verses. The band continued to warm themselves up with runs through songs spanning their entire career. With two new members in Joliff and Kral, and a new album Black Sheep released in June, the band surprisingly went deep into their catalog. In fact, they played more songs from their first album (3), then from their latest (only 2).

Even after the antics from the night prior, YMSB still had plenty of tricks and surprises left. The band broke through what had been a fairly traditional evening of bluegrass music when Johnston led them in a mid-set rendition of the Rolling Stone’s “Torn and Frayed.” A mellow freeform jam followed and all members of the band crowded together, finally starting to find their footing. Kral and Joliff built the jam up and then the walls came completely crumbling down as the band kicked into Ozzy Osbourne’s “Crazy Train.” The energy level was suddenly doubled and the crowd was matching the band’s excitement, bellowing out the lyrics and pumping their fists.

The audience was feeling feisty after that ride and started yelling out requests. Kaufman remarked that sometimes they take requests, but don’t let it become a habit. But this time they obliged, with a solid run through of their classic “40 Miles From Denver” featuring even more from newcomers Kral and Joliff. After a gorgeous “Ooh La La” highlighted by a magnificent guitar solo, the band was ready for more requests, opening it up to the floor to decide the next song. After a lot of calls from the crowd and a long on-stage conference, “Deep Pockets” was the choice.

The second set would build from the first’s strong finish. A couple of cover-song sandwiches would highlight the set as the band felt more comfortable stretching out into full band improvisation. “Sideshow Blues” built from Kaufman’s dark and spacey bass into a solid groove that eventually slid perfectly into “Jack-a-Roe” which made its way back to “Sideshow” the same way it came in. Kaufman then surprisingly swapped his upright for an electric bass and the band kicked into the second most out-of-character cover of the evening with their take on Dusty Springfield’s “Son of a Preacher Man.” Kral nailed the vocals and Joliff and Aijala found space for some tasty soloing making it a welcome departure.

A late set “Pass This Way” once again extended into a full band jam. Aijala and Joliff assumed the reins and moved the band into a tight segue into David Grisman’s “EMD” which was really just an excuse to amp up the jam into a rollicking bluegrass breakdown. A more pronounced transition back to “Pass This Way” preceded a high energy “Southern Flavor” to close out the set.

Kaufman promised to end the show the same way it started, with some “fast bluegrass music,” which in this case meant an amped up cover of “I Know You Rider.” Who says you can’t have fun the night after Halloween?

[embedyt] http://www.youtube.com/watch?v=UshmcVMPjvQ[/embedyt]

Set 1: Funtime, High On A Hilltop, I’m Not Saying, Annalee, Mental Breakdown, Long Time, Torn And Frayed, Crazy Train, 40 Miles From Denver, Ooh La La, Deep Pockets, Drawing A Melody

Set 2: Son Of A Gun, Straight Line, Sideshow Blues> Jack A Roe> Sideshow Blues, Son Of A Preacher Man, This Lonesome Heart, Amie, My Gal, Pass This Way> EMD> Pass This Way, Southern Flavor E: I Know You Rider

Download the Show

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November 5, 2015
Utica Music and Arts Festival 2015 – A Destination Fest

The Utica Music and Arts Festival has quickly become a must-do summer ending activity in Central New York. The 8th Annual version of UMAF, was held at various venues throughout Utica the weekend of September 11-13. The biggest problem involved with attending this festival is being able to fit in all the great music available throughout the weekend.

Going in without a plan is probably the best way to attack this weekend. Doing it this way, one can experience such pleasant surprises as the young brother and sister combo of Jocelyn and Chris Arndt, who played a Saturday mid-afternoon set at Nail Creek Pub, in the process winning over those in attendance.

Jocelyn Arndt

Joceyln is slight in stature, yet huge in vocal talent. She has a soulful, bluesy voice backed up with power; think Bonnie Raitt channeled through Grace Potter with a visit from PJ Harvey. Jocelyn’s animated vocal delivery commands attention. Her brother Chris, who is also her co-writer, delivers a solid and crisp sounding blues-rock style guitar that is the perfect accompaniment to Jocelyn’s voice.

The band’s tour itinerary is scant during the school year, as both are students at Harvard, but they will be hitting stages across New York in the coming weeks. Check here for dates.

Spending the weekend bouncing between Lukin’s and Nail Creek Pub seemed to be what many people were doing but to do so is to miss out on many of the other acts. Tiny’s hosted several jazz influenced bands, including Notified and the Carmen Caramanica Jazz Trio, while D.A. Bentley’s entertained the EDM crowd with sets from DJ D.A., Vongel and Phungeye among others. Harlee’s Pub & Grille was geared towards the metal. Local favorites Nineball and Street Rock Mafia provided Friday crowds with high energy entertainment at Harlee’s. Nineball is also festival producer, Joe Sweet’s main project.

Lukin’s hosted Conehead Buddha on Friday night. The Albany-area band has been on the jamband circuit for twenty years and showed no signs of wear this weekend. While the band has taken a hiatus here or there within that time, on this night it provided a sharp mix of reggae, ska and jam that has endeared Conehead Buddha to the northeast scene all these years. Also saxophonist Shannon Lynch provided much of the theatrics throughout the set, anchoring the big horn sound Conehead Buddha is known for.

Conehead Buddha

Female artists took ownership of this year’s Utica Music and Arts Festival. In addition to Lynch and Arndt’s performances; on Saturday, the festival faithful were treated to the eclectic mix of jangle pop of Sirsy. Lead singer and stand-up drummer, Melanie Khramer and her partner, guitarist Rich Libutti, had the Nail Creek crowd, the biggest one of the weekend to this point, dancing and singing along. Khramer has the uncanny ability to engage the crowd with humor and powerful vocals with lyrics that may take you to a darker place. The fact that the music is typically so upbeat and Khramer so quick-witted with her banter, may disguise some of the darkness in the lyrics but it also gives the listener pause. Krahmer’s Ella-like voice and stage presence added a terrific touch to the band’s final song of the night, a cover of Black Sabbath’s “War Pigs.”

Melanie Khramer of SIRSY belting it out.

Sirsy will be in Utica again on Dec. 8, performing an all-ages show at The Tramontane (known familiarly as The Tram). The show begins at 8:00 p.m. and will be a celebration of the band’s new EP to be released the week prior.

Exploding onto the Nail Creek stage after Sirsy’s set was Brooklyn’s Shinobi Ninja. With an elaborate and energetic stage show led by lead singer, Baby G, clad in an Iron Maiden t-shirt. It was clear from the start that this wouldn’t be your typical rock show. The band’s uniqueness has been described as being “like the Beastie Boys, Slayer and Lauryn Hill all mixed together.” After witnessing the band’s performance, that is an appropriate description. The following video gives a good impression of a Shinobi Ninja experience. Mix in some metal, reggae, rap, a little punk and a whole lot of jumping and you get this.

The uninitiated looked on in puzzling disbelief once the Ninjas took the stage, however in the short time they performed for the UMAF crowd, most of the leery were won over. The true venue to witness Shinobi Ninja is a live one. If this band doesn’t make some noise on the national scene in short order it will be a surprise.

UMAF faves Hank and Cupcakes followed Shinobi Ninja to a welcoming reception. Also based in Brooklyn, this duo is all about the performance. The husband and wife duo originally began performing together while serving in the Israeli Army at the age of 19. Colorfully dressed and highly animated, lead singer Sagit “Cupcakes” Shir isn’t afraid to get into the face of the audience while performing. In addition to pulling off vocal duties, Shir also drums and plays piano while bassist Ariel “Hank” Scherbacovsky keeps the beat and uses samples while safely tucked away stage right.

Hank and Cupcakes deliver a performance that begs to be seen and the elbow to elbow crowd in front of the Nail Creek’s outdoor staage proved that on a rainy Saturday night in Utica.

Hank and Cupcakes rockin’ the Nail Creek

The other Saturday night headliners performed nearly simultaneously up the street at Lukin’s. Floodwood, a bluegrass based band comprised of moe. bandmates Al Schnier and Vinnie Amico, as well as Jason Barady, Nick Piccininni and Zachary Fleitz, put together a two set show that, unbeknownst to all in attendance, would turn out to be one of the band’s final performances with this lineup. Schnier and Fleitz announced their departure from Floodwood in a release just a few weeks ago.

Floodwood

The band packed the house at Lukin’s, playing right up to the 2:00 a.m. hour, performing Floodwood originals mixed with some moe. covers, Dead covers and other bluegrass. A Floodwood show is always a good time. Varick Street Legend, Rainbow Young even made an appearance opening the set with a rousing version of the “Star Spangled Banner” that included maximum audience participation. Rainbow’s presence was seen at Lukin’s throughout the weekend, cementing the festival as a true Utica tradition.

Rainbow Young, Varick Street Legend, performing the National Anthem prior to Floodwood’s set.

If you’re in a music glut and looking for something new to listen to, the Utica Music and Arts Festival is the perfect venue to get you out of that funk. Festival organizer Joe Sweet and his booking crew go out of their way to include a huge variety of music to the festival each year. The 2015 edition was no different. And at a cost of $10 for a weekend bracelet, the music lover in you simply cannot go wrong attending this destination festival.

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November 4, 2015
Eli Young Band and LOCASH Bring Country to NYC

Sunday nights may be the saddest day of the week with a fresh workweek starting bright and early the next morning, but Eli Young Band and LOCASH didn’t let the night of the week stop them from putting on a wonderful show at Terminal 5 in Hells Kitchen one of New York City’s nicest music venues.

LOCASH, one of country music’s most fun duos comprised of Preston Brust and Chris Lucas, opened up the show. Anyone who has seen these two guys live before knew they were going to be in for a wild and exciting show. They never fail to connect with the audience and keep them on their feet for their entire set. The recently rebranded LOCASH (previously known as LoCash Cowboys) began their set with upbeat C.O.U.N.T.R.Y, which definitely set mood for what would come next. Throughout their time on stage they played a combination of older hits, well known covers, and a number unreleased songs to be included on a future album or EP. The duo performed “You Gonna Fly” which was made into their first #1 hit when Keith Urban recorded and released the song in 2011, as well as Tim McGraw’s hit “Truck Yeah,” which they co-wrote along with Chris Janson and Danny Myrick. Brust and Lucas are talented and proven songwriters, a quality that is apparent when listening to their music and seeing the success writing has brought them. Another cover that delighted the crowd was the duo”s own version of Def Leppard’s “Pour Some Sugar On Me,” which as expected was a a fan favorite.

One of the highlights of LOCASH’s set was how many new tracks they performed. The sweet “I Know Somebody” a song from their EP that will be released in October was a definite standout. The infectious track features some beautiful harmonies has all the makings of a future single. “Drunk Drunk” which shockingly was about alcohol is a great live song, while “Wheels Fall Off” is another romantic song about growing old together. The other most notable new song for LOCASH was the John Legend and One Republic inspired “Shipwrecked” a track that they plan to release as their next single. The song features great lyrics and more awesome harmonies between the duo.

LOCASH closed their set with their current single “I Love This Life” which recently reached the top 25 at country radio and should continue to climb the charts. The song is their self-proclaimed antidote to all of the negativity constantly spewed out on news channels across the country. It’s anthemic feel and message to appreciate everything that you have in life makes it a relatable and uplifting track that has certainly hit the mark with country music listeners. The fans knew every word to the song, and it had them on their feet one last time before LOCASH left the stage.

Headliners Eli Young Band took the stage not long after. With a distinguishable vocals, a solid core of radio hits and quality songwriting, the guys in Eli Young Band (Mike Eli, James Young, Jon Jones and Chris Thompson) are an experienced and confident group who can always be counted on to put on an amazing show.

The band opened with “Drink You Up,” a lively track from their March 2015 EP Turn It On. They performed the title track and their current single from the album. With recent requests to incorporate more songs from early on in their discography into their live shows, the group delighted those who have followed them since their inception when they performed old fan favorites like “Guinevere,” and “Love Songs.” The feel good title track to their last full length album 1,000 Towns, picked up the pace, outlining the amazing things about small town living, while the heartfelt and impactful “Prayer For The Road” from the same album was dedicated to service members and first responders. Eli Young Band also performed the second single from the album “Dust.”

Any good concert includes several well-known covers, and Eli Young Band didn’t disappoint with their own renditions of Garth Brooks’ haunting “Thunder Rolls,” David Lee Murphy’s “Dust On The Bottle,” and Tom Petty’s “Fly.” The group also ventured into the pop side of things with a performance of Andy Grammar’s “Honey I’m Good.” The band and Grammar have collaborated to release a duet version of the song together that is available now on iTunes.

Eli Young Band has scored three #1 singles at country radio. The first, “Even If It Breaks Your Heart,” was inspired as Mike Eli told the crowd by the story of how each of his parents reacted when he told them he wanted to be a musician, and how he met his current band-members while attending college. The uplifting and rousing song about not letting anything stop you from following your dreams and reaching for your goals reflects the lessons learned from each of these stories and sparked an amazing live performance of the group’s first #1 hit as a group. The crowd enthusiastically carried the entire chorus on their own towards the end of the performance, which had to have been a meaningful moment for Eli Young Band to be a part of. Their performance of their most recent #1 hit “Drunk Last Night” was also a memorable one, but the band closed the show with perhaps their most recognizable and beloved song, “Crazy Girl,” a sweet track about making sure loved ones know you care about them. After leaving the stage briefly, and the crowd cheering for one more song, Eli Young Band returned for an encore, performing a fan favorite from their 2008 album Level.

LOCASH and Eli Young Band brought fun and great country music to New York City on Sunday night. Fans in NY will undoubtedly be looking forward to their next chance to see each act live.

November 4, 2015
Halloween Dance Party with Mister F, and Lucid at Putnam Den

Halloween parties at Putnam Den are often some of the best gatherings of the year, with enthusiastic audiences & bands wearing their favorite character costumes, decorative rooms, grotesque drink mixes, and supreme music selections. The theme of every party is to dance, celebrate, enjoy the visuals, and celebrate.

This year, hosted a social event like no other at the Putnam Den in Saratoga Springs, with the help from Albany based Mister F and Plattsburgh’s own Lucid. As the holiday fell on a saturday with clear skies, Saratoga was open for menace.

Mister F kicked off the evening with their eclectic mix of funk, rock, and sophisticated rhythms which attracted many ghouls and goblins right from the start. This local four piece hit the stage dressed as characters from the movie Spaceballs and ripped up an hour performance from out of this world. Their set highlights were an original “Answer the Dog,” featuring members from Lucid and Formula 5 and Bela Fleck & the Flecktones cover, “Sinister Minister.”

Lucid brought an inspiring set with their north woods folk rock grooves that made all the skeletons shake their bones. These handsome devils attired the Village People and busted out their set with a greatest hits medley. Highlights from their set were “Backwoods” featuring George Wurster and “I Kill People” with Scott Hannay of Mister F.

Formula 5 raucously hit the stage running with a Jay & Silent Bob skit featuring Scott Hannay of Mister F and the contagious cover of “Jungle Love” by Morris Day and the Time, a tune long favored by their chosen characters. Highlights from their the Formulaic set was the Huey Lewis and Ray Parker Jr. mix, “I Want a New Drug” > “Ghostbusters” > “I Want a New Drug.”

Formula 5 Set:
Jay & Silent Bob Skit@ > Jungle Love^ > Excalibur, Perch Above the Earth$* -> I Want A New Drug* -> Ghostbusters -> I Want A New Drug -> Mister Elixir* -> Perch Above the Earth > Mister Elixir, Low Rider!, Catch Me, Nu-GEN#* -> Pedro* -> Night Time In The Switching Yard, Epiphany
Encore: Magic Carpet Ride
@ – featuring Scott Hannay (Mister F)
^ – featuring Matt Pickering and Scott Hannay (Mister F), Lowell Wurster (Lucid),
$ – Thriller Jam
* – Unfinished
! – Featuring Jamie Armstrong, Chris Shacklett and Lowell Wurster (Lucid), Scott Hannay (Mister F)
# – Featuring Andrew Chamberlaine and Scott Hannay (Mister F)
‘Jungle Love’ – Morris Day and The Time (1st time played)
‘I Need a New Drug’ – Huey Lewis & The News (1st time played with James and Joe)
‘Ghostbusters’ – Ray Parker Jr. (1st time played with James)
‘Low Rider’ – War
‘Night Time In The Switching Yard’ – Warren Zevon
‘Magic Carpet Ride’ – Steppenwolf (1st time played)

Mister F

Mister F Setlist:
Vocoder > Everything You Say, This One Goes to 11@, See Level > Answer the Dog#, Inside, Eye Level > The Machine, Do It Again%, Sinister Minister^, On and On, Don’t Lose Your Watch

@ – w/ The Munsters Theme Tease
# – w/ Joe Davis (Formula 5) & Lowell Wurster(Lucid)
% – Original, First Time Played
^ – Bela Fleck & The Flecktones Cover

Lucid

Lucid Setlist:
Village People Medley (YMCA > In the Navy > Macho Man > YMCA), 4 Bangers and Hash (Styles of the Smooth > Yanomamo Lullaby > R.L. > The Russian), Gemini Eye > Surf Side Rock Side, Black Smoke, Came and Went > Silhouettes, Backwoods*, Dirt Whiskey Dreams > Shinbones, Blessed and Cursed, I Kill People ^

* with George Wurster
^ – (Andrew James Deller) w/ Scott Hannay of Mister F

November 4, 2015
Garcia Project Brings 1977 Hartwick College Show to Peekskill

Saratoga’s The Garcia Project has been regarded as an authority on the re-creation of the sounds of the Jerry Garcia Band. On Oct. 24, the band continued to celebrate their fifth anniversary at Paramount Hudson Valley in Peekskill, nearing the end of their fall tour.

Nestled close to the front of the stage rather than claiming a stake of real estate, The Garcia Project got cozy with the theater, easing into the set with “I’ll Take A Melody.” The efforts the band has put in to re-creating the performance of the Jerry Garcia Band was clear at the first note, particularly from the intonation and timbre of Mik Bondy’s guitar. To geek out on the band’s gear, check out a detailed rundown of their setups. The band’s presence was cohesive with an agility to build the performance of the songs in the same embodiment as Jerry’s band. Solos were traded between Greg Marshall (keys) and Bondy as if a conversation rather than it just being the next guy’s turn to play. Overall, the first set whetted the audience’s Garcia appetite despite being on the tame side.

On the contrary, the second set took the prize. The setbreak met a mix of conversation and praise for the authenticity of the performance, mostly from first-timers to The Garcia Project. Perhaps that was enough to re-charge the audience as plenty more were on their feet finding their own grooves during the set; although sometimes Jerry Garcia Band shows are a bit more mellow in the first set. Bondy’s guitar work was more noodley, and it was hard to tell that it wasn’t Jerry signing on “The Night They Drove Old Dixie Down.” Throughout both sets, Kat Walkerson’s backing vocals and blithe stage presence enriched the songs as a compliment to Bondy’s vocals.

Like most of The Garcia Project’s shows, this one was a re-recreation of Dec. 3, 1977 at Hartwick College. At the start of the second set, it was announced that the performance was a re-creation of a complete show but which show wouldn’t be revealed until the encore. Hinting at clues about the era of the Jerry Garcia Band based on the stage setup, it turned into a fun, curious guessing game for the audience.

The Garcia Project gave a thoroughly enjoyable performance and experience for the crowd. Though there were a few minor differences between them and the Jerry Garcia Band, inherent to any tribute band, The Garcia Project’s attention to detail on intonation and performance structure does set them apart as an authority on Jerry Garcia.

Setlist:

Set 1: I’ll Take A Melody, Mystery Train, Mission In The Rain, Lonesome And A Long Way From Home, Catfish John, The Way You Do The Things You Do

Set 2: Let It Rock, Harder They Come, The Night They Drove Old Dixie Down, Don’t Let Go, Tore Up Over You

Encore: (not part of the 1977 JGB set): Ramble On Rose, Cats Under the Stars, Talking About You

November 3, 2015
Hearing Aide: Lettuce ‘Crush’

It’s only been three years since we last heard an official release from the funky innovators known as Lettuce. And while that might feel like an eternity, the coming of Crush (Expected Nov. 06, 2015) marks the quickest turnaround between albums in the band’s history. It can likely be chalked up to the extensive time spent together on the road, sparking tons of raw material for the band to work with.

With eighteen tracks and a musical journey covered throughout the album, it’s tough to touch on just a few highlights. Damn near every song has at least one riff or section that can grab your ear and dial you in to a fat groove, and that’s being modest. Either way, they’re back with the most aggressive, ambitious, and funkiest album to date; Lettuce all be thankful.

Crush starts off with the sounding of the Shady Horns, announcing “The Force” and setting the tone for the rest of the album. The band’s play on words with Lettuce Crush (Let Us Crush) is felt from the start with a tight pocket and hypnotically heavy riffs. An immediate evolution is heard on the first track as trumpeter Benny Bloom and saxophonist Ryan Zoidis’ effect-laden horns blaze the way. They’ve certainly been toying more in the live setting with effects, but it’s great to hear it on an album. Zoidis’ sax solo on “The Force” provides some brass foreshadowing for the rest of the album. From start to finish though, this song serves as an anthem to announce the bands triumphant return!

If you’ve seen the band out on the road in the past year or so, there are a good number of songs that will sound familiar. The band used that time together to road test and evolve their ideas. That being said, there were many on Crush that haven’t been played at all, or at least minimally, and are just getting turned loose now. The deeply introspective “Phyllis” was from the road tested bucket. While simple and laid back in nature, Lettuce somehow captures that live magic and is one of the early highlights. The song allows the listener to catch their breath after a typical Lettuce onslaught of fast-paced funk that starts things off. Going back to back with “Phyllis” is the light-hearted Nigel Hall led “Sounds Like a Party.” As with other Nigel songs from previous albums, they nail another classic sing-along and will have you piping in by the time the second chorus comes around.

As the album blazes on, there’s a noticeable sense of diversity that hasn’t been explored to this depth on previous Lettuce albums. While the band has always had their hand in funk, hip hop, jazz, and soul, this album seems to dive in and explore other dimensions to a deeper degree. “Trillogy” specifically is one of the standouts on the album, exploring a hip hop sound like they never have before. It’s also one of the heaviest songs with the first two phases of the song building before taking a dip into the heaviest groove on the album. With innovation like this, there’s a hope that we might one day see an actual MC make a debut on a Lettuce track as a guest. The band has deep connections and fans would fully support an appearance from Talib Kweli, a member of the Wu, or another gifted rapper they’ve crossed paths with.

Following “Trillogy” is the dynamic and fluid “Pocket Change.” This could be a play on words as the band places a heavy focus on the pocket in terms of rhythm and this certainly changes its rapid pace throughout. This song harkens back to some Soulive-jazz influences and reminiscent of the rhythmically intense song “Nyack” from their 2002 release Outta Here. The stark difference between “Trillogy” and “Pocket Change” is something that Lettuce is not only capable of, but one of their strengths. Solos on this include a Zoidis/Deitch syncopated back and forth battle early on that surely spurred the subsequent appearances of Eric Krasno’s guitar in response. Neal Evans and the Shady Horns interplay throughout is an interesting conversation to listen to as well. With so many layers, its easy to say that you should never get bored with this band.

If you’ve never had the opportunity to dive into some Lettuce head first, now might be a better time than ever. Crush is the convergence of road tested and polished material, musical exploration, deep pockets of groove, and a band that is simply on top of their game. With a discography full of hits, this album somehow stands above them all. For the non-musician, the band has endless groove with an allegiance to the pocket and a keen ability to get your foot tapping. For the musician, the band has all sorts of rhythmic and melodic folds to listen for that can keep you eating for days. This album is no different from any of their previous records in that manner, but so different in every other sense. Lettuce all be thankful that they’re back and ready to Crush.

Key Tracks: Phyllis, Trillogy, Pocket Change

The album is set to be released this Friday, November 6. If you’d like to pre-order Crush, click here. There are a ton of limited edition bundles and every order comes with instant downloads of “Phyllis” and “Elephant Walk.”

November 2, 2015
After Funk and The New Daze Support Each Other at Funk ‘N Waffles Downtown

A stately stuffed zebra proudly greeted guests from the front of the stage as they entered Funk ‘N Waffles Downtown Saturday Oct. 24. The zebra, fondly known as Uncle Stremnf, abided as the reigning mascot for electro-jam band The New Daze, who opened for progressive soul group After Funk. Uncle Stremnf gazed longingly into the crowd, his soft muzzle begging to be pet by those dancing near the stage. A few patrons obliged, feeding into the mystique of Uncle Stremnf’s presence.

Though entertaining, perhaps silly to many, band members Max Flansburg (guitar/vocals), Jamie Knittel (bass/vocals), Steve Graff (drums) and Erik Hoffman (keys) take Uncle Stremnf’s existence very seriously. They harbor as much affection for their equine affiliate as they do for eccentrically accessorizing. Knittel dapperly sported a pair of vintage 100% acrylic grey plaid trousers he’d purchased at a thrift shop for a mere six dollars. Though a bit baggy, he paired the look with an equally loose-fitting grey beanie that would periodically either fall over his left eye or slide off the back of his head depending on the trajectory of head thrashing. Hoffman opted to rock a gold medallion imprinted with a cheesy smiley face. The bling nicely complemented his thick mustache that might at any moment take on a life of its own and flutter right off his face.

While expressive in their dress, the members of The New Daze were also extremely emotive in their musicianship. Flansburg and Knittel, equipped with instruments affording them greater mobility, were free to bounce around and animate their guitar and bass playing. Flansburg frequently flaunted a charming toothy grin, jumping up and down in place as he played. His buoyant expression was counterbalanced by Knittel’s straight-faced, almost scowling visage. With feet spread apart, he took on a wide, commanding stance, body rocking side-to-side rather than mirroring Flansburg’s vertical movement.

Speaking of fancy moves, a quick glance through the crowd revealed the rather zebra-like persona of a woman dressed in black and white striped leggings and matching tank top. With arms outstretched in front of her, they danced up and down to the music like a rearing horse might paw the air. Emulating her inner zebra, she danced on behalf of Uncle Stremnf, whose decidedly inanimate disposition prevented him from joining in.

The New Daze performed sequences seeking to take listeners on a journey, drifting between funk, jazz and experimental rock. Delivering a high energy set from the start, the crowd wasted no time breaking into a swell of swaying and head bobbing. The band’s last three songs featured the sexy saxophone playing of Robert Araujo, who added a warm dimension to their sound. Knittel thanked him on stage, perfectly demonstrating the band’s playful demeanor by stating sarcastically, “Thanks for coming here instead of the Nickelback concert.”

After Funk perpetuated a playfulness, with Yanick Allwood (keys/vocals), Jaime Rosenberg (drums), Justin Bontje (bass) and Phil Tessis (guitar) flashing an array of overstated facial expressions and synchronized dance moves. The band members instantly resigned themselves to lovable dork mode. They matched their efforts in humor to entertain the surprisingly thinned out crowd by serving up a musical feast of progressive techno funk. They soldiered through a mix of original songs including those off their recently released ‘Til the Sun Comes Up, along with some old school funk covers.

Throughout the set, Allwood repeatedly contorted his face into looks of seemingly utter confusion, staring off at the ceiling while furiously tapping away at the keys. Despite his confused looks, the sounds he produced made it clear he knew exactly what he was doing: which was communicating with aliens. Tessis’ animated smirks and grimaces often seemed in direct response to either his own wicked guitar playing or Allwood’s key work, appearing to be in near constant bewilderment at the magic developing on stage.

Adding to the crisp, golden soufflé of sound were Allwood’s savory soulful vocals. Opening their performance with an uptempo rendition of Stevie Wonder’s “Signed, Sealed, Delivered I’m Yours,” set the stage for what drives their inspiration.

During a cover of Parliament’s “I Call My Baby Pussy Cat,” Bontje snapped a string in his furious bass picking. Knittel of The New Daze was quick to the rescue, offering his own bass to Bontje from the side of the stage. Bontje accepted the act of camaraderie with an appreciative nod, waiting until the end of the song to switch instruments.

Towards the end of the set, Rosenberg embarked on a heart rattling drum solo, momentarily vanquishing his bandmate’s worthiness to remain on stage. Allwood recoiled to the stage steps, staring back in appreciation and shaking his head in disbelief. Tessis walked off stage altogether, guitar in hand to grab a beer before the end of the solo. Their overplayed actions added an element of comedy to the obvious respect they have for each other as musicians. Before ending their set Allwood made sure to give a shout out to their opener, exclaiming, “Bass sponsored by The New Daze,” once again illustrating the sense of mutual support and companionship prevalent throughout the evening.

November 2, 2015
Hearing Aide: Vulfpeck ‘Thrill of the Arts’

Thrill of the Arts, the debut full-length release from Vulfpeck is an entertaining score of influences —Motown, superfly funk, disco ballads, ’80s easy listening, other music your parents probably owned—and classically trained elements that mix confidently with technetronic effects. The result isn’t nostalgic or avant-garde, but geeky cool in its carefully composed yet vibrant sound; it’s revenge-of-the-nerds with soul-train swagger.

The four-man rhythm section formed at the University of Michigan—Jack Stratton (keyboards/drums/guitar), Theo Katzman (guitar/drums/vocals), Woody Goss (keyboards) and Joe Dart (bass)—self-produced the album through a 59-day Kickstarter campaign and open it with the appropriately named “Welcome to Vulf Records,” an upbeat symphonic theme song that signals it’s time to tune in, brassy saxophone solos and all.

Over the following half-hour, the band grooves through a variety show of offbeat instrumentals, starring guests like rhythm-and-blues vocalist Antwaun Stanley, who sings about the self-aware, TED-talk giving “Funky Duck,” and guitarist Blake Mills in the spaghetti Western rockabilly number “Rango II” that moseys on until mid-trail distortion time warps listeners back to the future. Mushy Krongold (Stratton’s alter ego) brings the 10-tracks to a close with “Guided Smile Meditation,” a spoken-word bit that uses outer-spacey synths to help visualize manning “mission control” and sends TOTA off with a “sense of smile spreading through the eyes.”

Most songs remain under the five-minute mark, but existing live footage reveals that these guys aren’t afraid to improvise and can deliver unexpected transitions with impressive precision. And they’ve also been known to cover a classic song or two like The Band’s “Up On Cripple Creek” and Stevie Wonder’s “Boogie on Reggae Woman” and will occasionally breakdown their instrumental configurations for the audience before jamming out. Vulf has yet to announce a tour schedule in support of the album; however, the band is booked for two nights at the Brooklyn Bowl on Nov. 21 and 23 and special guests are soon to be announced.

Vulfpeck‘s premiere feature compilation is dressed to thrill and proves that independent musicians in the 21st century can provide much more than studio session backtracks.

Key Tracks: “Funky Duck,” “Rango II,” and “Christmas in L.A.”

November 1, 2015