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
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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 
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.
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; 
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.
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 
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 
The Massry Center has a true orchestral feel complete with ushers clad in black directing people to their seats and 10 minute intermissions between sets. The stage was sparsely furnished with only a Steinway & Sons piano, an old fashioned reading lamp, microphone, and iPad on which Bowling used to read her music.
The first set also saw the first jam transcription arranged for piano. A local pick, she chose “Twist” from October 23, 2013 at the Glens Falls Civic Center. This song displayed Bowling’s range from her slower tempo into a funky jam that had the audience shouting out “Woo!” amidst giggles of laughter.
At some points during the performance Bowling would roll her body back and forth like she was in a trance. Between songs Bowling would speak, injecting her bubbly personality into her act. She dedicated several songs to her friends, one for a friends’ anniversary (“Waste”) another for a friend who had just lost someone (“Dirt”).
Though it wasn’t the typical Phish crowd at Bowling’s performance, it was certainly the length of a typical jam band show. Her performance consisted of three sets and an encore, the last set being a transcription of the infamous “Tahoe Tweezer.”
Set 1: The Curtain With, Talk, The Horse > Silent in the Morning, Glens Falls Twist, Tela, Wingsuit > Randall’s Chalkdust jam > Wingsuit, Waste*
Most of the material on this album contemplates the passage of time and one’s place in life. The album’s second track, “The Song,” distills this down succintly, with a refrain of “All that’s left is the song.”