NYS Music 20​15

Category: Features

  • A Farewell to Summer and Minglewood

    As another remarkable summer festival season draws to a close, the 2015 edition of Catskill Chill also marked the end of another magical era. Dubbed “A Farewell to Minglewood,” festival organizers announced the sixth annual Chill would be the last one at its present and only location to date. Camp Minglewood, an incredibly remote and scenic summer camp in Hancock, NY, has been the festival’s home since inception, but perhaps due to a seemingly yearly growth in popularity the festival announced it will seek new quarters next year. This gave everyone in attendance, collectively known as the “Chillfam” one last time to make memories and enjoy a fantastic lineup of music in a truly special place.

    Farewell to MinglewoodWith a steady stream of people still filing in on Friday afternoon securing camp sites and cabin spots, a full three days of music began on the festival’s various stages. Things got funky right away as Funky Dawgz and Natalie Cressman each had their brass powered bands open up action at Club Chill. Definitely more clubhouse than night club, the Club Chill stage is a unique one featuring wooden stadium style seating with multiple levels that were also partially enclosed. Although it was located uphill from the main stage, it featured some of the finest acts of the weekend including a thoroughly enjoyable set from Buffalo’s own Aqueous early Friday evening.

    The Nth Power, an emerging funk, jazz and soul hybrid act initiated action over on the main stage. Spearheaded by the drumming prowess of Nikki Glaspie. The lively rockers powered through a set of originals including “Only Love” and also included a cover of The Beatles’ “She’s So Heavy”.

    This warmed up the stage nicely for Lettuce, who followed with their signature high-octane brand of funk. Fittingly, they brought former member Nigel Hall on stage for the last few numbers laying down a funky “Sounds Like A Party To Me.” This was only the first of many memorable sit ins and collaborations throughout the weekend. The night continued with spirited set of electronica infused rock courtesy of Lotus, Break Science kept the party going and then some with a set that featured a plethora of sit ins from drummer Adam Deitch’s fellow Lettuce band members.

    Meanwhile, Club Chill was packed to the gills thanks to another well-orchestrated collaboration. Members of Twiddle were joined by an all-star supporting cast including Tim Palmieri from Kung Fu on guitar and Tood Stoops from Raq on keys for a Grateful Dead tribute set. A clean run through the Jerry Garcia classic “Birdsong” preceded a thunderous rendition of “The Other One”. Other classics like “I Know You Rider” and “Fire on the Mountain” were met with appreciative roars and applause as this  hyped set seemed to live up to its billing. One last mashup of rich musical talent brought things to a close on Friday with Dopakuaz Plays Studio 54. Comprised of members from Dopapod and Turkuaz, the big band ensemble replete with female vocalists did their very best to create an air of a late night disco party at the renowned New York City night club starting with an opener of KC & The Sunshine Band’s “That’s The Way (I Like It)”.

    The hits just kept on coming late into the night with spot on renditions of “You Should Be Dancing” and “Get Down.” The group even showed an ability to shift seamlessly between songs which was highlighted by an impressive “Funky Town” >“Disco Inferno” transition.

    Farewell to MinglewoodSaturday saw more musical tributes and artists joining forces with beautiful results. Shwizz and Fikus combined for a Shwikus Plays the ’80s set that was very well received. They were followed by yet another super group as the ChillFam All-Stars, which included Steve Molitz from Particle on keys and Mike Greenfield from Lotus on drums, paid musical tribute to the great Herbie Hancock.

    Club Chill was enraptured as the All Stars pulled off a set that included hits like “Watermelon Man” and “Rockit”. A tribute of another sort took place later on the main stage as Dweezil Zappa brought his Zappa Plays Zappa band for a set of his father’s music. Their current tour is celebrating the 40th anniversary of the Frank Zappa and the Mothers of Invention album One Size Fits All so a steady diet of tracks from that were played in addition to other classics like “Don’t Eat the Yellow Snow”.

    The main late night musical acts for Saturday featured two bands who are at very different points in their respective careers. Venerable upstate New York jam legends moe. were given the headlining slot for this year’s Chill, the first one they’ve ever played. A set opening “Seat of My Pants” was jammed to perfection and a rousing segue into “Recreational Chemistry” had hopes high for a special set. However, they didn’t dig too much deeper into the musical vault as the rest of set featured staples like “Happy Hour Hero,” “Spine of a Dog” and “Buster,” which served as closer. On the other end of the spectrum is Twiddle, a Vermont based rock quartet that is growing in popularity each passing day. They seem to have already developed a young and enthusiastic fan base and their performance this weekend surely opened some eyes. Playing with a noticeable energy and excitement, the group sent everyone back to their respective homes smiling with a set that saw Todd Stoops sit in on “Brown Chicken Brown Cow” and an impressive display of talent by keyboardist Ryan Dempsey on “Jamflowman” which featured a fun give and take jam with guitarist Mihali Savoulidis.

    Farewell to MinglewoodWith two incredible nights of music in the books, Sunday offered no rest for the weary as another full schedule lay in store. Turkuaz got things started in the early afternoon with their customary explosive big band sound. They were followed by The Motet who ran through a set of their own funky hits including “Funny Bone” and “Like We Own It”.

    Up at Club Chill, another of New York’s own, Solaris played to a small but rapt crowd as they delivered their version of electronica which included a fun take on the theme from Tetris. Shortly afterwards, it was time for Dopapod and their set on the main stage. With the sun beginning to set behind the trees, a beautiful canvas was naturally created as the group seemed to soak up every minute of their set which was littered with teases of “Funkytown” throughout as a nod to Friday night’s performance. 

    Farewell to MinglewoodAdditional Saturday highlights included Electron, an old Disco Biscuits side project featuring Marc Brownstein on bass and Aron Magner on keys who were joined by Tom Hamilton on guitar and Mike Greenfield on drums. This was as close to an actual Bisco performance as you can get as the old friends ripped through a set that included classics like “Shelby Rose” and “42” as well as a sterling cover of Pink Floyd’s “Have a Cigar”. Not to be outdone, Pink Talking Fish, a band that melds the music of Phish, Talking Heads and Pink Floyd, played perhaps one of most enjoyable sets of the weekend afterwards that featured other Pink Floyd covers like “Money” and “Eclipse”. The highlight may have been the performance of “Pigs (3 Different Ones)” that was dropped right in the “pause” section of Divided Sky.

    To close things out, Catskill Chill had Particle, the only band to appear here every year, play a farewell set that featured sit ins from start to finish. Members of Dopapod, Turkuaz and Electron all jumped on stage at some point for a truly fitting farewell. The family atmosphere this festival has naturally developed was highlighted by the closing selections of “Family Affair” and “We Are Family”. Particle keyboardist/leader Steve Molitz urged everyone to remember the good times created at this special place before everyone went on their way and the book was closed on another special weekend. Some say the month of March comes in like a lion and goes out like a lamb.

    While it may be debatable as to when summer festival season exactly comes in, there’s no doubt after a weekend of music like this one that it goes out with a Chill.

  • Up North Grace Potter is Grand

    With flawless vocal delivery, an array of acclaimed guest musicians and a fiery light show, Vermont rocker Grace Potter wowed a crowd of thousands at Burlington’s fifth annual Grand Point North festival.

    Up North Grace PotterPotter, originally from Waitsfield, has found success on an international level in recent years, topping iTunes charts and even collaborating with The Rolling Stones. Light rain on the first day of the weekend festival did little to dampen the spirits of an enthusiastic crowd who traveled from both near and far to see acts that also included The Flaming Lips, Shakey Graves, and Mike Gordon of Phish. As Potter walked onto the stage, her skin glistening from raindrops, the audience went wild. Potter, now a solo artist after disbanding Grace Potter & the Nocturnals, put on an astounding performance, showing off her piano, guitar, and bluesy vocal skills. Crowd favorites included “Paris (Ooh La La),” “Low Road,” “Runaway,” “Stop the Bus,” “Hot to the Touch” and “Delirious.”

    Up North Grace PotterWhen Potter sang a passionate rendition of “Stars,” having prefaced the performance by explaining that the song was about losing someone close to her, some in the crowd were moved to tears. The surprise of the night came when special guest Kenny Chesney joined Potter to perform their single, “Wild Child.”

    Earlier in the day, performers included Amy Helm, daughter of Levon Helm, who played with her band Amy Helm & The Handsome Strangers, Odessa, Madaila, and Maryse Smith with Michael Chorney. These musicians, along with Shakey Graves, Phish’s Gordon, and Burlington-based singer Kat Wright, joined Potter on stage for the final song of the evening, “Burning Down The House.” 

    Written by Alexandra Provost, Photos by Laura Carbone

  • Hearing Aide: Ryan Adams’ 1989

    Last fall, I bumbled about Meeker Avenue listening to Ryan Adams’ self-titled album until black plastic garbage bags began to line the streets, and I began to feel hectored by the bar-corner security cameras on my side of  McCarren Park. I sat on my stoop under the BQE– entombed in the crumbs of a stale relationship, a total of -$2 in my bank account– singing along to “My Wrecking Ball” until tears sluiced down my cheeks.  Lonely nights stitched together into a seamless tapestry of nightmares, the smoke from my cigarette billowing into dawns like ghosts. Two weeks of this rigmarole and both Ryan and I finally pooled together our emotional claustrophobia, swore off our belabored relationships, and promised to let go — together.

    Following the good into the gone came Taylor Swift‘s 1989.  A month later. Taylor wasn’t as humble anymore. She was past the youthful sincerity of Fearless and bolder than Red. The righteousness of nothing-lasts-forever pop catapulted me out of my lonely bed. And I began to struggle through the nights with someone new. She laughed off the pain Ryan Adams formerly ached after. 1989 encapsulated early-20s-nonchalance: It was the sound of showing up to work in ripped tights, with crumpled wristbands from the night before, the sound of digging through your pockets in search of loose change to pay for beer, the “fuck it” shrug when the quarters didn’t amount to enough. But 1989 was also the promise of a new beginning (“the best people in life are free”). She declared it the age of adulterated innocence: we were the New Romantics and heartbreak, our national anthem. The blinding light in the sunrise of “Shadows” turned into the pink sunset of “Let Go” and finally helped us see again in “Welcome to New York”– these two albums routed me back to myself.

    Juxtaposing these sounds together on a cover album re-opens the same memory they helped weave shut in the first place. Though Adams’ rendition of “Welcome to New York” isn’t quite “My Blue Manhattan”, it strips the song of its slick Swedish appeal, drilling in its place Springsteen-inspired vocals. It surprises me that he didn’t notice it wasn’t a very workers-of-the-world-unite song to begin with–New York isn’t ever really waiting for anyone–but the casual conviction with which he says “it’s been waiting for you” makes me want to believe him. His preoccupation with the Boss persists in his mournful vision of “Shake It Off”, where a redundant synth shows up abruptly in the second half, desperately trying to impersonate the xylophone in Candy’s Room. Ryan seems to miss the point: I want to hear melancholy in “Shake It Off” as much as I want to hear an orchestral horn section in “My Wrecking Ball.” The inclusivity of “Love Is Hell” and the grandeur of Max Martin hooks aren’t mutually exclusive but removing lines like “Dancing on my own/ I’ll make the moves as I go” from the context of heavy-duty pop makes them sound like they were edited out of the Replacements’ “Achin’ to Be.”

    After sharing such intimate experiences with Ryan Adams’ discography over the past years, I imagined his monsters would resonate with me more than Swift’s but the static and melodically sparse “Out of the Woods” fails to register. He clutches on to the same five notes that linger for the next six minutes. Hushed vocals over simple guitar strumming don’t touch me as much as Taylor’s vocal reach does during the bridge when she sings “when the lights came up you were looking at me”.

    “This Love” is doused in an aggrandized churchy reverb and a piano arrangement reminiscent of a self-indulgent Badlands. The original “Love” had a gradual build up that aptly leveled the nervousness and anxiety experienced after a lingering traumatic break up. The bassline supported the tender lyrics with measured dignity, giving ample time and space to superimpose your own story on the track. Adam’s interpretation has less heart in it, and reverb simply doesn’t compare to the integrity of several layers of treated piano and harmony tracks.

    Similarly, his take on “Bad Blood” reduces the intention of a hard-hitting eye-for-an-eye song to a pathetic dismissal. His approach takes socially-acceptable angst and makes it too real, too sad, all too soon. “Blank Space,” “I Know Places”, and “Wildest Dreams”, some of the strongest tracks on the original, lack imagination and are unmemorable in his cover album. “Clean” sounds a lot like his earlier “Dancing All Night,” only his 4/4 time signature leaves you wanting something wilder.

    The actual songwriting behind “All You Had to Do Was Stay” and “Style” is overshadowed by drums and bass. Rough and breathy vocals on both tracks go to show that this isn’t more than a compulsive inch.

    Despite all that, the album holds a few redeeming moments, including “Wish You Would” which, for once, stays true to the original melody. The bare “How You Get the Girl” less hurriedly sells the song from a male perspective. I can see him showing up at the door shaking from the rain.

    Before this album, I didn’t think it was within my emotional capacity to dislike anything Ryan ever recorded. Here’s where I admit I was wrong. This album requires fire, time, and a lot more love. That being said, I can’t really hold it against the guy for following through with an impromptu week-long Swift-inspired PaxAm project. Trust me, if my drunken impulses amassed me as much of an audience, I would’ve been doing the same thing all along. Meanwhile, you will find me singing significantly worse versions of both Taylor Swift and Ryan Adams songs at karaoke.

    Listen HERE.

  • Photo Review: Starset Delivers A Stellar Demonstration In Erie

    Unknown to many in attendance for the Breaking Benjamin and 10 Years show at the Erie Insurance Arena in Erie, PA on September 16th, the poster for the event made no mention of the band Starset, who would set the mood for the evening. This was merely because they were a later addition. As the crowd gathered, filling the general admission area of the floor in addition to both of the levels of seating on either side of the venue, they eagerly waited to get the show kicked off with 10 Years. As Starset took the stage, they were met by a large number of blank curious stares. Who is this band?

    starset erie

    The band is Starset, a Cinematic Rock Band out of Columbus, Ohio. Consisting of vocalist, Dustin Bates, Bassist Ron DeChant, Guitarist Brock Richards and Drummer Adam Gilbert. Why are they called Cinematic Rock? For starters, their album Transmissions, which is woven with orchestrated interludes, gives the album a soundtrack feel. It’s their on stage performance that is truly out of this world. Not only do they feature two giant LED screens on either side of the set, but also a giant touch screen used to deejay the electronics for the on stage performance. The LED screens play space related content that coincides with the music. If that wasn’t enough, the band members wear space suits, which have recently been fixed with jet packs and masks that feature a variety lights and colors.

    starset erieAs their performance progressed, so did the energy of the crowd. The blank stares that surrounded at the beginning of the night had transformed into enthusiastic shouts among those in the crowd who had began singing along. With each performance, Starset’s fan-base seems to expand. The band’s on stage energy and presence coupled with their symphonic sound and cinematic visualizations captivates and leaves you hungry for more.

    Starset is a band with a message. A message commissioned by an organization known as The Starset Society. What is that message? You can read more about by visiting their webpage. Starset’s debut album Transmissions was released in July of 2014 and landed at #49 on the Billboard Top 200 Album Chart. You can still catch Starset on tour at many announced locations, with additional locations still being added both on their website http://www.starsetonline.com/ by looking under “Demonstrations” or via their Facebook page.

    Starset Erie setlist:  First Light, Rise and Fall, Down with the Fallen, Halo, Telescope, Carnivore, The Future is Now, My Demons

  • Interview: Tom Constanten Discusses Jazz is Dead Reunion, Reflections On The Grateful Dead and More

    The Grateful Dead have been in quite the spotlight this past year with it being the band’s 50th anniversary and the shows they hosted to mark the occasion. After a 10-year hiatus Jazz is Dead breathed new life for a special reunion that took place August into early September, with a few shows scattered around the calendar into 2016. Jazz is Dead’s 2015 reunion is comprised of Jeff Pevar (guitar), Alphonso Johnson (bass), Rod Morgenstein (drums), Tom Constanten and Chris Smith (keys).

    As the Grateful Dead’s keyboard player for a few years alongside Ron “Pigpen” McKernan, Tom Constanten gave Jazz is Dead a direct inject of Grateful Dead experience. Though his recording and performance time with the Dead was relatively short, his early-formed lifelong friendships with Phil Lesh and Jerry Garcia and time with the band has has rung throughout his life. After a recent Jazz is Dead performance as part of a bill with Jefferson Starship at The Ridgefield Playhouse, we chatted with him about his experiences over the years.

    Steve Malinski: How is the tour going?

    Tom Constanten: Absolutely wonderful.Everybody in the whole outfit is so excellent both on stage and off. The music is on a roll, each night the music is better than the previous night. I just look forward to waking up every morning.

    SM: How did you get involved with this round of Jazz is Dead?

    TC: I’ve been involved touring with Jefferson Starship over the last ten years or more and this is an extended family much like the Grateful Dead scene. One thing led to another. It’s almost like prom night in the back of the barn. You know, things happen and here I am.

    SM: Given that you’ve had the experience of playing with the Grateful Dead, how different does Jazz is Dead feel musically?

    TC: Oh, it is very different and refreshingly so. I’ve been playing with a varying number of bands over the last few decades who pride themselves on getting themselves as close as they can to the original and I’m really delighted to get away from that. One of the signs as to how much fun it is for me is none of the tricks in my bags of tricks work! I have to think of new ones and I find that challenge totally delightful. I’m plowing new furrows in my brain; I’m getting out of the rut. And being around such top-notch musicians challenges me, stimulates me. It’s like no other band I’ve played with.

    SM: This was my first time hearing Jazz is Dead and to use your word, it’s definitely one of the most refreshing takes on the Dead that I’ve heard.

    TC: Yeah, we fly outside of the box and think under the radar. And what you hear is the result.

    Tom Constanten

    SM: Going back to the roots of your involvement with the Dead, how much of an impact has that had on you over the years?

    TC: Oh, immeasurable. Immense and immeasurable. I met Phil Lesh in the summer of 1961. He introduced me to his friend Jerry Garcia. Big brother Phil was 21 years of age. Jerry and I were teenagers, he was 19, I was 17, and none of us could have imagined where this was going to lead but it had delightful turns, exciting turns, and occasionally mind-blowing. Definitely unpredictable. Over the years I’ve developed a taste for that. I really like it that way.

    SM: This summer marks the 20th anniversary of Jerry’s passing. What was it like to have the experience working with him?

    TC: Well, like I said, we’ve done it since we were both teenagers. On stage and off, back in the early ’60s he was mainly into the Appalachian folk music. He had not yet taken up the electric guitar. Once he incorporated the blues literature in his playing, something electric happened and the rest is history.

    SM: What are some of your thoughts or reflections on the Dead’s 50th anniversary Chicago shows and all the attention they’ve been getting?

    TC: I’m glad they continue – I celebrate their success. I did not go to the Chicago shows. My take on that is if they invited me I would go willingly. There were a number of other invitations I got to go there but they all seemed… it seemed like I would be crashing their party and I didn’t really feel welcome by those invitations. They varied from tacky to creepy, not something I would want to be a part of. But like I say, if they invited me, I would have gone willingly. But it’s been a while since I’ve played with them and since I’ve played with them I’ve been playing with Jefferson Starship, Big Brother and the Holding Company, Quicksilver Messenger Service, Country Joe & The Fish, and it’s like I got out of the frying pan and into the lake.

    Tom Constanten with Country Joe and Peter Albin at the Woodstock 40th Anniversary celebration, Bethel Woods 8-15-2009

    SM: Last time we spoke in 2009 about a week before the Woodstock 40th Anniversary show at Bethel Woods, you mentioned that you were looking forward to getting back to the site and playing some music in that setting. So, what was it actually like for you?

    TC: Well, there are so many such settings. Over the past ten years, it’s been like a perpetual homecoming. Meeting long time old friends, making new ones. The line started to blur between them. It just lumbers on in the most entertaining and delightful way.

    SM: As an engineer by day, I’m a fan of numbers and math and remember reading at some point you have a knack for number systems and whatnot.

    TC: One of my mentors when I was a student in Europe, Henri Pousseur – I worked in his studio in Belgium for a couple of months. He was very much into applying mathematical models to music. In fact he has a [1958] piece for two pianos called “Mobile” and it’s a mobile score. Either or both pianos will start anywhere in it and there are certain rules to the road on how to proceed and I’s designed to turn up fascinating sounds whichever way you go.

    SM: Going back to the Dead, would you, going forward, be willing to join up with them again?

    TC: Of course I would but I’m not holding my breath. For one thing their evolution over the last forty years has been way different than mine. Their experience has been extremely different. I don’t know what it would be like playing with them again. It’s like, here I am, a 4-stripe sergeant and they’re generals, that sort of thing. The relations and connections with them have been totally friendly. It’s just uncertain what it would be like. I’m not shy, I’m not hesitant. I’m just basking in the unknown as I often do.

    SM: Well, with the number of side appearances that are popping up, it seems like there’s always that opportunity for an invitation to pop up.

    TC: Well, after the passage of four or five decades, people start to cultivate issues with each other, I know it’s much more complicated for them than it is for me or any of my colleagues who played keyboard for them, So I’m extremely hesitant to be judgmental because I know it’s much more complicated and sticky for them. So, bless them and may they live long and prosper.

    SM: As Spock says.

    TC: Yes indeed, I’m showing my split fingers to the microphone.

    SM: Aside from Jazz is Dead, what other things are you up to?

    TC: I’ve been travelling more as a solo act lately doing piano recitals, showing off the breadth of my material – ’60s material, stuff back to Bach, Chopin, Rachmaninoff, Brahms. I’ve played all of them and likely to try them at any time. I’ve also been working with Bob Bralove in an improvisational duo called Dose Hermanos – “dose” as in a measurement of medication not the number. We are the antidote to rigid, structured, stratified thinking. And also in the past year or so I’ve been working with a string quartet. I would prepare arrangements of music of the ’60s like “Eleanor Rigby” and Peter Rowan’s “Free Mexican Airforce” and I do the vocals and play along and have an awful lot of fun doing that. We have another show like that coming up in a couple of months. And these things are keeping me delightfully occupied.

    SM: Well, that’s about all I had in mind this evening without going on for a while longer. So Tom, I greatly appreciate you spending a few minutes with me here and I’m sure we’ll chat again sometime down the road.

    TC: I look forward to it. Thank you for your kind attention.

    tom constanten

  • End of Summer Jam at Paramount Hudson Valley

    The weekend after Labor Day brought a wide variety of sounds to Paramount Hudson Valley in Peekskill with several NYC and Westchester-based acts both inside and outside the theater as part of their End of Summer Jam. In the week leading up to the show, weather reports were cautiously optimistic about keeping the day dry but a few heavy downpours dampened the outdoor festivities a bit. Fortunately, the music had shone through and kicked up the energy for the crowd that made it out to the free day of music.

    Phineas and the Lonely Leaves
    Phineas and the Lonely Leaves

    The street stage, lined with food and craft vendors that braved the intermittent rain, featured a mix of solo singer-songrwriter type acts and full bands. Acoustic sets were presented by New York Times author and musician Andy Revkin, Chloe Cannon, Rufus Rufasu, and The Godfather Johnny Giovanni. Peekskill’s own Phineas and the Lonely Leaves gave a high-spirited mix of their original and rock cover songs. Trifecta‘s set was mostly covers, but took on a stripped-down heavy blues/rock take on classic rock songs complete with some added shred-talent on guitar. The final outdoor act of the day, The New Resistants, played with a similar feel and energy to Trifecta, taking on a classic garage punk sound. A late addition to the schedule from North Carolina and familiar name to the area was the aggressive jazz trio Joy On Fire who kicked off the afternoon.

    Trifecta
    Trifecta

    Kicking off the day inside was Yardsale, a brisk-paced bluegrass trio from nearby Mahopac, NY. The standout of the afternoon Gedeon Luke & The People gave the Paramount a gossip-worthy set full of driving Memphis blues and soul, Gedeon himself dancing in the aisles with the crowd. For something a little bit different, DJ Logic gave a well-mixed DJ set, though a thin crowd seemed slow to get into the set. Closing out the night was NYC’s all-instrumental progressive jam band TAUK as they make their way through a tour supporting their brand new double live album, Headroom.

    Gedeon Luke
    Gedeon Luke

    Certainly a fantastic assortment of live music, let’s hope the End of Summer jam returns next year under sunny skies with a packed house.

  • NY Senator Chuck Schumer Introduces Anti-Ticket-Buying-Bot

    As if outrageous “service” and “convenience” charges from maniacal agencies like Live Nation and Recording Academy weren’t bad enough, live music fans are also up against a different breed of evil: scalpers. And what’s worse? The scalpers have gone digital. NY Senator Chuck Schumer has a possible solution.

    No longer is a fan’s worst enemy the guy who bought 10 tickets for face value, only to turn around and sell eight on the corner outside the parking lot of the sold-out show for twice the value. Now, resellers (individuals and companies alike) are developing algorithms and programs to snatch up tickets en mass solely for the purpose of redistribution at a huge markup through sites like StubHub, Craigslist and even Facebook. Bottom line: While scalping has always had an effect on the ticket resale market, the problem has become increasingly substantial with the increased use of technology.

    Chuck SchumerLuckily, Senator Chuck Schumer has taken action, introducing legislation that would ban ticket buying “bots” in New York state. While this is new legislation for New York, the ban already exists in 14 other states. As many online commenters have joked, this move may have been taken in response to Chuck’s own inability to find tickets at reasonable prices for the Oct. 22 Paul McCartney show in Buffalo; currently nosebleed seats average $275+ while floor seats will catch around a cool $500. By the way – face value for nosebleed tickets was $29.50, including fees.

    Joking aside, these bots are taking far more than a small slice of tickets being sold. According to varying sources, ticketing robots can account for 30-60 percent of tickets sold for certain events. Artists have tried to combat this in a variety of ways in order to give their fans a fair shake; Foo Fighters tried to keep everything in-house and LCD Soundsystem added shows for their farewell run, for example. Still, these tactics are limited when it comes to the clever scumminess that is the mind of the scalper.

    Chuck SchumerUnder the new legislation, companies or individuals caught using “bots” to scoop up tickets solely for the sake of resale would be fined up to $1,000 per ticket, with the same fine enforced upon secondary sellers. While that sounds great on paper and would be even better in reality, the unfortunate truth is that in these bans are tough to enforce. In addition to standard reselling sites like StubHub, for example, there are numerous ways tickets can be unfairly obtained and resold. Still, a focus on correcting what has become a widespread foul practice is a step in the right direction for music fans everywhere.

    All that said, there is one important sentiment worth mentioning: Some people pay what they deserve to pay. Don’t be stupid. Don’t be the guy who spent $500 for a behind-the-stage seat at the Dead 50 reunion shows. There is something to be said for supply and demand, and the ignorance of the customer is at the fulcrum of the demand. Think about where your tickets are coming from. There are plenty of great sites, such as cashortrade.org, that forbid reselling tickets over face value. Similarly, there are plenty of online communities that operate under the same principles. Best of all, know the right people and look out for your own family and friends. Don’t scalp, and don’t be scalped. If you find yourself about to click “buy” on a ticket that is being sold for way over face value, ask yourself two questions: “Whose pockets am I lining?” and, just as important, “Is it really worth it?”

  • Lockn’ 2015: Turning Lemons into Tasty Lemonade

    The third year of Lockn’ Music Festival brought together another year of incredible jam and classic rock acts to a crowd of aging Deadheads and jamband lovers in the beautiful Blue Ridge mountains of Virginia. The location was as ideal as you could get – mountains for miles on a hilly expanse with room for tens of thousands to convene for four days. Lockn’ has taken the lineup and style of the first few years of Bonnaroo and brought that formula back for fans of a wide range of jambands alongside special guests and classic rock acts that few would be able to see otherwise. Despite weather that cancelled Thursday’s music, the weekend was a great success for patrons and musicians alike; Lockn’ is all smiles, all the time.

    lockn 2015The microburst that blew threw on Wednesday evening caused a significant amount of damage that disrupted festival arrivals from setting up campsites until Friday morning. Cancelling Thursday’s music was a necessary step for organizers so that they could assess damage, make repairs and ensure that the festival goers, once allowed inside the grounds, would be safe and the festival would not have lingering issues to address during arrival.

    Although the music was cancelled on Thursday, bands made an effort to placate fans who were stranded in Charlottesville, VA, about a half hour away from Lockn’s home in Arrington, VA. Billy and the Kids, featuring Bill Kreutzmann, Aron Magner, Tom Hamilton and Reed Mathis took over The Jefferson Theater, selling the show out shortly after being announced that same day. They brought up friends Jason Hahn, Eric Krasno and John Popper for portions of the night as they drifted through the Grateful Dead catalog with a fresh take on the classics. Down the street Strangefolk performed for free at The Whisky Jar, entertaining a packed house and outdoor patio that brought to mind the band 20 years ago on the college circuit in New England, although now with a wider catalog and ardent fans singing along with the band. The Southern Belles, MOOGATU and Kings of Belmont all performed at The Ante Room in Charlottesville, making the best of the situation. Even though the bands had their Thursday sets cancelled, they made lemons out of lemonade while the music never stopped.

    Arrival on Friday led to five hours of traffic on winding back roads, which hardly tested the patience of the older fan base – five hours of traffic is a walk in the park if you went to any of the first three Bonnaroo’s or Phish’s festivals in the late 90s and early 00s. While traffic made it seem the crowd was sizeable this year (28,000 per co-promoter David Frey), it was slightly down from last year, due in part to Fare Thee Well (another Pete Shapiro promotion) being a destination event that some attended instead of Lockn’. The festival was VIP heavy with the gen pop given a view from car camping on the hill overlooking the Oak and Ridge stages, giving a glimpse at how the other half lives – closer to the stage, in glamping tents and RVs that were even more proximal to the venue. Indeed Lockn’ is a festival designed to attract a VIP crowd with VIP tastes.

    Friday’s music was streamed briefly in the car and once campsite was setup, the folk rock of Anders Osborne circulated over the RVs and up the hill, a serene sound to mellow the stress of car confinement away. String Cheese Incident took the stage at dusk, fresh off their rescheduled Doobie Incident set earlier in the day, which many were disappointed to miss due to Thursday’s cancellation. Cheese played a six-song set over an hour, ending with a 1-2-3 punch of “Rosie,” “Close Your Eyes,” and “Colorado Bluebird Sky.” Phil Lesh and Friends performed a set that felt more like a Chris Robinson Brotherhood show, aside from when Eric Krasno and John Molo drove the set, notably on “Playing in the Band,” “Gimme Shelter” and the transition from “Morning Dew” into “I Know You Rider.”

    Jefferson Airplane celebrated their 50th anniversary with founding members Jack Casady and Jorma Kaukonen alongside Larry Campbell, Teresa Williams, Jeff Pehrson, Rachael Price, GE Smith and Justin Gulp, as well as a guest appearance by Bill Kreutzmann. While there was no “We Built this City”, fans heard the early catalog and hits, including “Volunteers,” “White Rabbit,” and “Somebody to Love,” with Price and Williams handling the vocals for the absent Grace Slick. Sadly, no “We Built This City” was performed, despite being quite apropos for the setting.

    The highlight of the day was the Joe Cocker tribute, Mad Dog and his Englishmen, fronted by Tedeschi Trucks Band and featuring some 20 players on stage throughout the night playing songs off the album and allowing a wide range of musicians to pay tribute to the late Cocker. Among the many highlights was John Bell on lead for “Delta Lady,” a rousing chorus for “Let’s Go Get Stoned,” Leon Russell shining on “Space Captain”, a pair of Beatles covers – “Something” and “She Came in Through the Bedroom Window”, as well as the rearranged Beatles “With a Little Help from my Friends” closing the set in grand fashion. Fingers crossed that this performance is available as a DVD in the near future.

    Per past attendees, the venue set up had changed, but descriptions of the past were moot. The layout of the grounds – ample food and beer vending in just the right spots, clothing and art vendors set up in an easily digestible manner – made for wandering during the non-stop music an available option, never having to leave the concert field to explore. Participation row and the main food tent had a distinctly local focus, as Lockn’s is striving to make the event a more regional festival that draws locals in a part of the country that is light on the large festivals, All Good aside. Stages were set up side by side, with only two late night options, one slightly more convenient than the other. Blue Ridge Bowl was home to Umphrey’s on Friday night and Gov’t Mule Saturday night, as well as Melvin Seals and JGB Saturday morning and Keller Williams Grateful Gospel Sunday morning. Garcia’s had it’s own tent with a late night selection of Grade A Jerry tunes, while the Woods Stage, well, the Woods Stage was far and was a less attractive option with Mickey Hart and EOTO one night and Hart with Steve Kimock the other. No doubt these sets were better than imagined, but a 10 minute walk late at night at a festival takes an hour, and with limited music late night, Blue Ridge Bowl and Garcia’s regulated well.

    The music on Saturday was a start to finish day of the best Lockn’ had to offer, keeping patrons inside the concert grounds and focused on a barrage of big names and big hits. The funky smooth Karl Denson’s Tiny Universe satiated the crowd in the mid-afternoon, punctuated by Chuck Leavell sitting in for The Rolling Stones “Tumbling Dice.” A mellow Hot Tuna set preceded Bob Weir joining Tedeschi Trucks Band for a bluesy string of tunes including “Key to the Highway” and “Walkin’ Blues.”

    Robert Plant and his Sensational Shape Shifters played a set of Zeppelin standards with a bluesy touch to the traditional tracks. “Black Dog” had a slight twist to it, Howlin’ Wolf’s “Spoonful” was a pleasant surprise, “Going to California” sounded as grand as ever and “Whole Lotta Love” and “Rock & Roll” were both crowd movers for an audience moved from their lawn chairs to rock out to Plant’s vocals and showmanship.

    Widespread Panic kicked off their set with “Chainsaw City” and “Henry Parson’s Died” before heading into new material off Street Dogs, “Cease Fire,” “Jamais Vu,” “Honky Red,” and “Street Dogs for Breakfast.” Warren Haynes unsurprisingly joined the band for “Surprise Valley”, followed by Chuck Leavell sitting in for “And it Stoned Me” before the big guest of the night, Jimmy Cliff, graced the stage and gave the performance of the festival. His classics – “Sitting in Limbo,” “The Harder They Come,” “You Can Get it if you Really Want,” “Many Rivers to Cross,” – were not just sing-alongs for the audience but a time for Widespread Panic (as well as Leavell) to shine as the greatest backup band ever for the legendary Cliff. Covering The Clash’s “Guns of Brixton” was unexpected and energetic throughout, while the obligatory “I Can See Clearly Now” was preceded with an introduction from Cliff, “This one’s from the movie Cool Runnings,” to which the audience cheered wildly and the spirit of John Candy laughed joyfully among the crowd.

    Billy and the Kids played their stand-alone Saturday night set, with “Peggy-O”, “Dancing in the Streets,” and an extended “Throwing Stones,” seguing into “Not Fade Away” to close the set. Being Lockn’, the interlocking festival, as Phil Lesh and Friends began their set moments later, they picked up the beat of “Not Fade Away” and built a jam off the Buddy Holly song as they worked into “Scarlet Begonias,” “Hard to Handle,” and “Good Morning Little Schoolgirl,” a love letter to some woman/women that evening. Carlos Santana joined John Molo and Barry Sless as Phil’s friends, and his performance (when not overshadowed by Warren Haynes) was a true treat. The guitar prowess of Santana has been heard for over 50 years and to some, this was the first time seeing the legend, whose rapid fire guitarwork was given room to breathe on “The Other One” and “All Along the Watchtower.” A standalone Santana set would be a welcome addition to Lockn’ 2016.

    Sunday was a crisp, dry day as fall began to hit the Blue Ridge Mountains and layers became required for many. Fishbone’s energetic ska amped up the crowd for The Oh Hello’s and St Paul & The Broken Bones prior to Slightly Stoopid’s 4:20 set of reggae infused set that was as lively as expected. Trombone Shorty & Orleans Avenue matched Fishbone’s energy with the usual high-intensity set of New Orleans-tinged songs, notably “Feets Can’t Fail me Now,” “On Your Way Down,” and a cover of Green Day’s “Brain Stew.”

    Gov’t Mule played a set of older songs, a few from The Deep End albums, “Thorazine Shuffle”, “Blind Man in the Dark,” featuring Jimmy Herring on guitar, and a closing “Soulshine” which featured a cover of Van Morrison’s “Tupelo Honey” sandwiched inside. A few newer tracks – “Endless Parade,” “Stoop so Low,” and the rock ballad “Captured,” all made for one of the tightest sets of Lockn’. Haynes shines proper when he is in the confines of his own band.

    Widespread Panic performed nearly on par with the night before, with only Haynes joining the band mid-set for a rowdy “Ribs and Whisky,” and “Taildragger.” New songs “Steven’s Cat” and “Sell Sell” gave another taste of Street Dogs but the second half of the set was where the true heat and highlights lay. Thanks to Duane Trucks filling in for Todd Nance, Widespread Panic has found a career resurgence and a louder, more powerful rocking sound as they near their 30th year as a band. “Papa’s Home” > “Drums/Bass” > “Papa’s Home” followed by “Disco” > “Protein Drink” > “Sewing Machine” blasted the audience off through one classic Panic tune (Disco) and a pair of Vic Chestnutt songs (Protein/Sewing) that wade in the water of hard rock, something that has changed the Panic sound for the better in the past few years. Robert Plant closed the festival with less variety than previously suggested, but when its Robert Plant, who doesn’t mind hearing “Black Dog” a second time? For that, the audience had no complaints.

    Overall, Lockn’ 2015 was a great success despite Mother Nature giving the festival an additional challenge before the gates opened. Aside from putting together a lineup for the ages, Lockn’ combined local flavor and influence as well as a Gathering of the Vibes-esque crowd to treat the Mid-Atlantic to a well-established festival experience to end the summer. With time, Lockn’ is likely to be the next Bonnaroo.

  • Hearing Aide: Johnny Cummings ‘Radiate’

    Johnny Cummings (JC) is a singer/songwriter and multi-instrumentalist based in Rochester. You may know him from bands like Jet Black Berries, My Plastic Sun and cover-monsters Something Else, here he takes on the task of being a solo artist with Radiate. It reflects the depth of his contributions to the aforementioned bands and stretches the definition of what pop or power pop can be. While waiting for the release of Radiate, it was necessary to quell my exuberance over it after having the material for a few months. It’ll be good to revisit and expound on it.

    Johnny CummingsCummings is a modern poet with the musical chops of a prodigy and the vocal range of a choir. His songwriting sweeps across a range of styles and influences, culminating in a singular voice that can bring exuberance and tears in one breath. Really. Instrumental contributions by Cummings include Piano, Keyboards, Organ, Guitar, Ukulele and String Arrangements on top of his vocals. He has listed a co-credit for all but one of the songs on Radiate, I’ll credit the co-writers song by song. Also contributing Musically are Michael Lasaponara: Drums/Percussion, Sam Snyder: Lead/Rhythm Guitar, John Viavattine: Bass, Mike Klock: Bass on track nine, John Delmonico: Cello on tracks three/eight, Mike Sapienza: Sax and Dave Sapine: Trumpet, Horns on track two. Then Ryan Cummings, Liam Enright, Elvio Fernandes, Becca Nyerges, Rob Smith and Jessica Wojcinski on Background Vocals. Radiate was Produced, Engineered and Mixed by Sam Polizzi and Mastered by Brad Blackwood at Euphonic Studios. Art Direction and Layout by Mike James with Cover Photography by Andy Buscemi.

    The opener, “Missing Pieces” (JC/Wiktorski/Polizzi) is an impressive starter, it’s uplifting with its big choral backing vocals in the choruses, positive message and brilliant read. It’s almost as if Cummings is checking off a “to-do” list of styles beginning here. If you aren’t swept away at the first chorus, it isn’t loud enough. “Chemical Love” (JC/Netsky) has a familiar melody faintly, “She’s Come Undone” maybe, regardless, he takes a big swing with the horns pushing along the sharp rhythm section. The samba feel relates right to the topic, lyrically he takes the direct approach and you can almost envision the movie scene, he’s visual that way. JC takes to the piano on “Imperfectly Perfect” (JC/Vainberg) and gives one of his strengths, a masterful love song that just reaches you in the chest. The slowly built background keys and voices crescendo to a whispered end, the rich quality of Delmonico’s cello combined with Cummings’ authentic vocalization make the song reflective of its title, without imperfection.

    The ukulele makes its first appearance in “My Girl (Autumn Rose)” (JC), while it leaves a Hawaiian taste, the song is a straight-up beach-blanket rocker, in black and white. It has a rockabilly jump and a love crazed jive. His strength of conviction doesn’t wave and he surely isn’t afraid to express conviction.

    Johnny Cummings“All Roads Lead To Home” (JC/Fink) may be the overall best example of Polizzi’s depth of mix and production, there is so much going on as the song goes from soft to orchestral by the end. Johnny’s vocal performance is one of my favorites here as he stretches his range comfortably in another radio-friendly tome to faith and place. From the first note of “Rush” (JC/Fink) you realize you’re heading someplace different musically, it’s bigger, deeper and stronger. The story more aggressive and wanting, the layering of vocals more dramatic and towering. There’s a modern rock hook with a electronic base, alternative licks and a Phil Collinsesque drum track. The listener can feel how there’s an associative nature to some of the pieces, that happens when the writer is speaking truth.

    “Best Of Days” (JC/Fink) is a power-pop crusher, it finds the most in every moment and lesson. From the first chorus on Michael Lasaponara has a gleaming stage with big guitars, keys and voice being paced by his big beat. He jumps all over it in the outro and by then it’s like a train. It’s reflective, it’s positive, it’s pragmatic and still joyous. Back to the piano for the intro of ‘Halo’ (JC/Fink), and JC is taking you to church. Elements are introduced gently, but that’s the hook, there’s a fateful hymn voiced triumphantly. It suddenly becomes evident that rebirth is a part of loss, the cello and slide exhibiting how each can trigger a feeling or depth thereof. The choir of vocals takes us home. It’s majestic and just as soon as it peaks, it softly and thoughtfully closes. “Beautiful Low” (JC/Fink) is JC’s absolute sweet spot, smart modern-rock with a twist in the brilliantly simple lyric. It’s anthemic, it’s a call to arms and a voice of experience. Cummings has a masters degree in pop and this one drives on the bottom end, the hook is endless and the melody will give you an ear worm for days. Promise. The closer, “Radiate” (JC/Fink) is ready-for-video treatment, it has all of the pieces, a soulful vocal, perfect structure, the rises and falls build with each change. It takes a victorious stance and assumes the last chapter is relatable on multiple levels, it is, or at least I read it that way. This is true as part of his storytelling throughout Radiate, the writing is thoughtful and relatable, the musicianship is top shelf and the production is brilliant.

    Cummings’ masterful wordsmanship and musical dexterity combine to make a literal hit machine! His songs are voiced with such clarity that his deftly oblique lyrics are immediately relatable to all, impossible for many writers, seemingly second nature to him, astonishing to a careful ear. I’ve experienced very few songwriters with the depth of talent he exhibits, anywhere, anytime, anyone. Besides, who the hell else is going to get you to dance with a ukulele in his hands?

    Key Tracks: Imperfectly Perfect, Beautiful Low, Rush

    You can buy this work on iTunes, then check out more of his musical adventures on Facebook, Jet Black Berries and My Plastic Sun band sites.

  • Burning Man 2015 Black Rock City, NV (NSFW)

    Once a year, tens of thousands of people gather in Nevada’s Black Rock Desert to create Burning Man: Black Rock City, a temporary metropolis dedicated to community, art, self-expression, and self-reliance. In this crucible of creativity, all are welcome. Burning Man isn’t your usual festival. It’s a vibrant participatory metropolis generated by its citizens.

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