Tom Hamilton’s American Babies closed out a lengthy fall tour at Rochester’s Flour City Station. The 31-date tour lasted seven weeks and visited 29 cities spanning 17 states. That’s a lot of miles logged and a lot of notes played. They could have either come out tired and road weary with a just-get-it-done attitude or tighter than ever, ready to finish off 2015 strong. Luckily for us it was the latter.
The band, currently consisting of Hamilton’s long-time partner Clay Parnell on bass, Justin Mazer on guitar, Al Smith on drums, and young singer-songwriter Raina Mullen on guitar and backing vocals, played a set spanning their entire existence and beyond.
Late in the 80 minute set, Hamilton pulled out “Boy,” one of the first songs he ever wrote, originally for Brothers Past. Earlier in the evening though they introduced the audience to a couple of new songs that will likely find their way on their next recording. Each expanded on their unique universe of Americana-based rock. “What Does It Mean To Be” added in an interesting blend of reggae and grunge rock that developed into a long improvisation where some of Hamilton’s electronic history shined through. Eventually the jam wound around to a funked up cover of Bob Dylan’s “Tangled Up In Blue” that was more a cover of Jerry Garcia Band’s cover of the tune. A long and rocking two guitar assault petered into a beautifully mellow segment that picked up steam again only to find its way back into “What Does It Mean To Be” to complete a delicious sandwich.
They followed with another new tune called “Synth Driver,” with hints of the Doobie Brothers and Steely Dan fell into more of a 70s rock vibe. Things darkened up quickly with some heavy guitar effects through the middle section.
Jerry Garcia’s influence came back in a cover of Jimmy Cliff’s “The Harder They Come,” again a cover that was more influenced by Garcia’s version than the original. Some very Dead-like sounds emerged in some of the bands older tunes, particularly on takes of “They Sing ‘Old Time Religion’” and in a beautiful intro to “Invite Your Friends.” Perhaps a carry over from Hamilton’s involvement in Joe Russo’s Almost Dead, or perhaps exactly the opposite? Either way it sounded great, and the American Babies maintained an original and enjoyable take on rock music.
In only their second show ever, Buffalo’s Band of Peace, fronted by Big Leg Emma’s Steve Johnson, opened the show. Guitarist Joe Muffoletto channeled Dickey Betts to great effect, while the band romped through a rousing set of country and jazz infused rock.
Mark Jan. 30, 2016, on your concert calendar. That’s the date Oneonta’s Space Carnival has set for CarnEvil 3.
The bi-annual event was created as a way for Space Carnival to give back to its fans. Featuring carnival and space-themed artwork, carnival games and face-painting booths, the band encourages all in attendance to come in costume as a carnie or associated freak.
Tickets for this New York State Music-sponsored show went on sale Dec. 11 and can also be purchased at the Oneonta Theatre box office. Advance sale tickets are $10 and $12 at the door.
Previous CarnEvil events have been held at the band’s second home in Oneonta, the Black Oak Tavern. Due to popular demand, the third edition has been moved to the more spacious Oneonta Theatre. See footage of CarnEvil 2 below:
https://www.youtube.com/watch?v=9M8TGqyX9x8
CarnEvil 3 begins with another Oneonta band, Boketto, followed by Brooklyn-based Teddy Midnight.
This event’s proceeds will go directly toward funding Space Carnival’s debut album. The band has put together an IndieGoGo campaign to help fund the recording.
Formed in spring 2013, Space Carnival plays a blend of high-energy disco, funk and progressive rock. The band’s roster includes Jeremy Kraus on guitar, Cameron Fitch on keys and vocals, Chris Meier on bass, and Nick Tassinari on drums.
Check out Space Carnival’s release from earlier this year, recorded at the Oneonta Theatre:
Becoming a highly successful jam band is not an easy task. Very few smart, thought-provoking, improvisational rooted groups have found themselves on the path to becoming a top-tier act in the music industry. In a musical world where bands like Phish and the Grateful Dead prove that you can stay true to your artistry and build a fan base, while acts like the Dave Matthews Band and Blues Traveler showcase a more commercial success side, Twiddle seems to be a band that is on everyone’s radar. And their third studio album and second fan-funded record PLUMP Chapter One, a double-disc set, is scheduled for dual releases.
Launched in January of 2015, Twiddle’s dedicated fan base pledged the $20,000 PLUMP Kickstarter goal in less than 24 hours. And even after the goal was reached, backers continued to elect into the campaign’s rewards raising more than $40,000 by the project’s end.
PLUMP–Chapter One is a slightly departed yet highly fulfilling venture for the Vermont-based quartet. The band’s two previous studio albums were mainly composed of clever, intermingled lyrical hooks displaced among lengthy jams and instrumental tracks. The band has stepped away from that style to offer a more developed and produced sound. Only one song on the record clocks in at longer than six minutes. But what the album lacks in extended jam, it succeeds in showcasing Twiddle’s prowess as well-rounded songwriters.
This first installment is overly ripe with earworms and radio friendly pop hooks, none of which should be a surprise to Twiddle fans, as the album contains not one previously unheard tune. If you want to understand why so many new listeners have latched onto the band over recent years, PLUMP–Chapter One exemplifies that attachment at its roots.
Twiddle (L to R) Brook Jordan, Mihali Savoulidis, Ryan Dempsey, Zdenek Gubb
With this selection of songs, Twiddle highlights their socially conscious yet personally hopeful resonance that their followers love. Lyrically, the album is easy to swallow; it’s the tones of personal and social self-discovery that is neither preachy or melancholic. Even in more intense tracks like “Polluted Beauty” and “Indigo Tigger,” deeper, prophetic messages hide among sweet grooves and grunge-inspired edge.
The record’s opening track “Complacent Race” sets the stage for the album’s lyrical flow that reads like a beautifully written manifesto. The song, which has only been played live during a solo performance from lead guitarist and vocalist Mihali Savoulidis, is probably the most ominous of PLUMP–Chapter One’s 11 tracks. Even the initial burst of horns heralds in Savoulidis’ slight contempt, “Drowning in hypocrisy/Doubting our democracy/Still fighting for equality/So you can live the way you please.”
At the album’s most lyrically stern moments, it’s Twiddle’s brand of musical fusion that drives the sheer optimism behind the music. The four-piece outfit masterfully weaves up-tempo reggae fluidity with deep funk-driven bass lines and quirky keys to create the perfect backdrop for their variety of lyrical directness. PLUMP–Chapter One is overflowing with tales of hope, frustration, humanitarian desire and self-awareness. Savoulidis has no problem revealing his life’s truths in songs like “Lost in the Cold,” “Amydst the Myst” or even the well-veiled love song “Five.”
“Lost in the Cold,” a meaningful and personal exorcism, takes on a new life through PLUMP. Lyrically, it’s the courage that comes at the end of hitting rock bottom; Savoulidis perfectly captures what it’s like to be tortured by life’s complexities and the fear of moving beyond them. For fans of the song’s live version, the added horns and sleek production of the track may feel like a slight overreach. But the PLUMP version of “LITC” is a shining example of how Twiddle’s music has the ability to take on a bigger, more complex sound. And it’s more than likely a glimpse into the direction that the band sees its music heading.
“Syncopated Healing,” the band’s upbeat, music-loving anthem, serves as a solicitous reminder that the heart of Twiddle’s music and fanbase is a desire to heal through music. Lyrics like “Relax and dream one day at a time/Let the beauty of the music start to heal your life,” is an example of the mantra-like cadence to which Twiddle excels. Housed right in the middle of the album, the track is a feel-good song that showcases the perfect blend of sing-along lyrics and danceable music. It also holds one of the few illustrations into the band’s jam capability, with a minor but beautifully finished guitar solo from Savoulidis.
Highlighting the album is “Every Soul,” which features Todd Stoops (RAQ, Oktopus). The funky yet seamless track is truly a showpiece for bassist Zdenek Gubb who drives a steady and unstoppable bass line throughout the song that stops only for a musical showdown between Gubb, Stoops and keyboardist Ryan Dempsey. While Stoops lays down his signature sound of wonk and wobble throughout the song, Dempsey counters with classical key work that sounds both studied and whimsical. Behind the kit, drummer Brook Jordan creates a supernatural disco-style rhythm that serves as the foundation for the highly intoxicating and powerful song. It’s a sound that Twiddle explores often in the live improvisational formula, but doesn’t reveal often in the studio form—a sign that the band has plenty of diversity in its arsenal and room to grow musically.
Saxophonist Kenny Brooks (Alphabet Soup, RatDog) makes a guest appearance on “Be There.” The song is an ideal vehicle for Brooks’ warm and charming sound, and the heartfelt track is reminiscent of the vibe created in early Dave Matthews/LeeRoi Moore collaborations. However, the beauty of “Be There” gets slightly lost in its placement, as the tender moment is sandwiched between two of the album’s heavier hitting tracks.
PLUMP–Chapter One reveals much growth for the band. Dempsey places well-manicured piano rifts and keys throughout the album that create a silky, romantic appeal to some of the record’s quieter moments. Without the jam vehicle, Dempsey is forced to use his classical training to make a statement. And Savoulidis makes much better use of his distinctive vocal tone. Unlike the band’s two-disc set Live, recorded from the famed Vermont club Nectar’s, this latest compilation isn’t scattered with unforgiving vocal runs or muffled lyrics. Perhaps it’s merely the growth provided by studio tracking versus the ability to experiment through live performance, or the realization that if you have something worth saying, you probably want to make sure it can be heard. Regardless, Savoulidis hits notes with laser-point precision and delivers lyrics with crystal-clear distinction.
One of the biggest misses for the album is the vocal exploration between Savoulidis and Jordan. Although Jordan has his own vocal vehicle on the folkish “Dusk til Dawn,” there are only minor moments of harmony between the band’s two main vocalists. Jordan’s smooth and milky tone has the opportunity to complement Savoulidis’ smoky and raspier vocal quality. However, even on tracks where harmonies are present like “White Light” and “Polluted Beauty,” the pairing isn’t emphasized enough to truly hear it.
While a track list has yet to be announced for Plump–Chapter Two, it can be expected that the album will drop sometime in spring 2016. And this is leaving online fan groups abuzz with the possibilities. Will Chapter 2 showcase Twiddle’s more instrumental and improvisational side? Will their previously unrecorded jam-worthy songs like “Gatsby the Great” or “Zazu’s Flight” find their way on the second disc? Will they showcase a more playful side through songs like “Cabbage Face,” “Mamunes the Faun” or “Brown Chicken Brown Cow”?
What Plump–Chapter One proves, at least on the surface, is that Twiddle doesn’t want to remain a second-tier festival group. The record’s polished finish is intended to attract listeners that may stumble upon the album, while the songs demonstrate that Twiddle has an ear to create hits that resonate with the community it represents. But as Twiddle continues to find success and its fanbase grows, can the group continue to create music that intrigues new listeners without compromising the band’s musical integrity and its supportive community? Plump seems to be poised to place Twiddle directly in the path to find out.
PLUMP–Chapter One officially drops on iTunes, CD Baby and Spotify Streaming on Dec. 11.
Key Tracks: “Every Soul,” “Lost in the Cold,” “Syncopated Healing”
Back in July, two giant stadiums, one in Santa Clara, CA and the other in Chicago, IL, held five shows between them in honor of the 50th anniversary of the Grateful Dead. When fans arrived for the Fare Thee Well shows, they were welcomed to soothing sounds that filled the air before the show started. Set break and post-show also played this same music to fans as they were heading from their seats to grab a drink, meet with friends or leave the stadium for the evening. Fans were curious as to where this music was originating, as it had never been heard before. Touches of Grateful Dead notes were hinted at throughout, but it was never an exact replica or clear match to being the Grateful Dead. However, the music had a familiar touch about it, but it could not be pinpointed. Who was behind this magical music?
Not long after the reunion run ended, it came to light that Neal Casal was the man behind the music between sets at the reunion shows. Casal, best known as the guitar player for the Chris Robinson Brotherhood, was approached by Justin Kreutzmann to assist with the musical side of the production during the breaks. Casal got together with three other musicians, bassist Dan Horne, drummer Mark Levy, and keyboardist Adam MacDougall, to create the music that would soon become a part of the Grateful Dead history forever. Over the course of a few days, the group put together over four and a half hours of “walk in music” for the reunion shows. The album, Interludes For the Dead, contains the music that grew out of these magical recording sessions over a short period of time. Though the music was originally created specifically for use at the reunion shows, due to an overwhelming demand by fans, it has been put together and released in album form.
When the tracks were being created, it was all done free-form, as the musicians flowed to where their hearts brought them musically. What they created was simply magical. Never anticipating the music being released to the public, the artists pushed some songs to over 25 minutes in length, which tests the boundaries of fitting on one side of a vinyl album. The longest song, “Farewell Franklins,” clocks in at 25:05 minutes.
The flow of the music throughout this album maintains the same continuous mystical aura, as the notes hint and touch upon slight rhythms of Grateful Dead tunes. In addition, some songs follow the same themes of particular Grateful Dead tunes. For example, “Scarlottas Magnolias” has obvious hints of “Scarlet Begonias,” and “Scarlet Wheel” touches upon “The Wheel.” In addition, some tracks are named for specific people or stories. “Gilbert’s Groove” is named after Gilbert Shelton, the artist behind the cover artwork for The Grateful Dead’s Shakedown Street album. “Hallucinate a Solution” was named for a quote Phil Lesh said before going onstage one evening during a Phil and Friends show. Casal had been performing with him, and a discussion came up regarding a difficult transition between two songs. Lesh’s solution was to “hallucinate a solution,” hence the song named in his honor.
Overall, the album that was never to be is crammed with mysterious tones that overlap transcendental notes and waves of creative bliss from beginning to end. This unexpected release easily hits the heart of fans of all genres, as it clearly falls into a category all its own. Allowing the music to flow from the heart, without the added pressure of producing an album from the get go, is what makes this album beautiful. A delight to the eardrums, each tune offers up gorgeously fluid sounds that take listeners on a journey of pleasurable surprises as the tracks drift from one to the next.
Each track is completely different, yet similar, with the low key grooves that are maintained. “Hallucinate A Solution” is chock full of hip beats, while “Gilberts Groove” brings it down with a funky vibe. Jazzy edges are sliced into “Kaseys Bones,” while the mood takes a 180 with a mystical “Space Wheel.” The longest track, “Farewell Franklins,” picks up the beat with a soulful organ and crisp guitar chords that join arm in arm. The album closes with the shortest tune, “Mountains of the Moon,” at just over five minutes in length. This spacey jam takes listeners on a trippy ride through quiet tones intertwined with cosmic hues, sculpting a perfect ending to this remarkably harmonious recording.
Overall, Interludes For the Dead takes listeners from soulful jazz lines to funky, psychedelic punches and everything in between. The free style jamming the musicians put into each track takes you on a magical ride through riffs that soothe the soul, relax the mind and provide endless colorful vibrations of energy. This is perfect music for any occasion, whether a long car ride, stretching to yoga or trying to calm from a hard day’s work. This is the album that belongs on everyone’s playlist. This will soon become one of your top albums played again and again.
Key Tracks: Hallucinate A Solution, Farewell Franklins, Saturdays Children
As the year begins to draw to a close, local and regional acts may stick closer to home, bringing out friends and fans to end of the year celebrations and final shows before a break around the holidays. December in Upstate New York in particular leads to a great number of bands playing club shows for one last hurrah before starting anew in January.
Starting out this evening was Space Carnival, a four piece band from Oneonta. With a flowing vibe through their set and command of the audience’s energy, they wove in and out of originals and covers with smooth transitions and improvisation with a balanced approach. Opening with a flowing and spacey “2001”, the segue into original “Filth” made it tough to discern where “2001” began and “Filth” began, as the songs crossed over musically with finesse. Bassist Chris Meier is a next generation Jesse Miller (Lotus) even though he admits to not having drawn any influence from him; the high pluck of his bass marked the start of a transition into four-on-the-floor dance propulsion at multiple occurrances throughout the set
“Uh Oh I Slipped My Disco” found guitarist Jeremy Kraus and keyboardist Cameron Fitch syncing up for a deep groove that transitioned smoothly into “Shakedown Street”, a choice cover on the 50th anniversary of the first ever Grateful Dead show. “Moonboots” had a feel of Ominous Seapods mixed with a dash of Disco Biscuits as they shifted seamlessly into progressive sections. “Entre the Giants” features a Talking Heads vibe, which aided in the build towards the Heads’ “Stay Hungry”, where Meier set the tone with assurance, Kraus dropped an “Inspector Gadget” tease, with various eruptions out of each shift, using the bursts of energy towards a strong build. With an IndieGoGo campaign for their first studio album, Space Carnival is an exciting live show from start to finish.
Setlist: 2001 -> Filth, Uh Oh I Slipped My Disco > Shakedown Street > Moonboots, Entre the Giants > Stay Hungry > Regal Krad
Kings of the North Country, Lucid, gave The Hollow crowd two musical cornucopia sets that covered all the bases of blues, rock, jam, soul and funk. “Bangers and Hash” kicked the night off with speedy soul and dips of reggae, followed by “San Pedro,” with Lowell Wurster’s vocals driven in step by the beat from the wooden blocks. Meadow Eliz, who has performed with Lucid on a few occasions, and is quite an accomplished artist, joined the group for a pair of songs, “Despots” and “Gemini Eye,” adding quite impressive vocals to familiar tunes.
“Po Man’s Blues” kicked off Set 2 and things kept rocking with “Blessed and Cursed” and the fan favorite “Whisky Dreams.” A cover of the Clash’s “Clampdown” took a few by surprise, while “Dirt”, off their latest album of the same name balanced out the Brit Rock. Among the many highlights in this set was the stand out performance of “Silhouettes,” featuring Jamie Armstrong on saxaphone, a full rocker with strong keys. Bassist Chris Shacklett took to the mic for the penultimate song of the evening, the always enjoyable “Debra,” with Chris hitting every high note seemingly effortlessly. There was little left to ask for on this incredible evening of music from New York bands both new and old.
Set 1: 4 Bangers and Hash, San Pedro, Miles Deep, Psychedelic Circus, Lucky Dice, Mind Trippin, Despots*, Gemini Eye* > Ancient Incantations, Ground on up, Whoa Mamma, On My Knees
Set 2: Po Man’s Blues, Blessed and Cursed, Whiskey Dreams, Black Smoke, Clampdown (Clash Cover), Dirt, Came and Went > Silhouettes, Boats, Backwoods, ***Debra (Beck Cover), Crazy Fucked up World***
* with Meadow Eliz
Catskill Chill may soon become “Adirondack Chill” with plans to move the festival to Lake George.
The Post-Star of Glens Falls reported today that Chill promoter Dave Marzollo met with the Warren County committee that allocates money raised through the county’s bed tax and told them, “We really think this is the perfect home for our festival.”
The festival is set to be held Sept. 30 to Oct. 2 at Charles Wood Park in Lake George, and will receive $15,000 for marketing from Warren County via the county’s occupancy tax. If it moves to Lake George, Marzollo told county officials that “Catskill” will be removed from the festival’s name.
Marzollo told the county that he sold 5,000 tickets to this year’s Chill, the sixth annual edition, which was held at Camp Minglewood in Hancock. Marzollo didn’t want the festival to leave Camp Minglewood, but he announced last year that he had to move it for reasons beyond his control.
This year’s Chill was headlined by moe. and included bands like Lotus, Zappa Plays Zappa, Lettuce, Twiddle and The Motet, among many others.
It might get cold in Syracuse this December, but things are going to get hot at Funk n Waffles Downtown when NYS Music presents bands from around New York State, every Wednesday throughout December.
Major Player with special guest The Nudes perform on December 9, while the folk-pop of Black Mountain Symphony brings guest Steve Scuteri on December 16. Just before Christmas, Albany’s Ampevene make their debut at Funk n Waffles, alongside Chris Eves. New Years Eve-Eve will be celebrated with the roots stylings of Grayak with Michelle Renee in support.
Doors open at 7pm each night with music starting at 8pm. Enjoy a variety of bands that call New York State home every Wednesday night at Funk n Waffles (and some great food too!)
The Joe Marcinek Band will play five shows in early December with a very special lineup. The brief tour brings the band to Syracuse and Buffalo on Dec. 4 and 5.
The current incarnation of the Joe Marcinek Band features Reed Mathis (Tea Leaf Green) on bass, Pete Koopmans (Family Groove Project) on drums and Holly Bowling on keys. Joe Marcinek, of course, will be on guitar. Jason Hann (String Cheese Incident, EOTO) will cover percussion the first two nights, with Michelangelo Carubba (Turkuaz) taking over the final three. ROAR, formerly Yojimbo, will open each night.
Marcinek has a new album in the works. He is funding its creation through a crowd-source campaign. From his website:
We are going out to Colorado to record at Scanhope Sound with Joey Porter from the Motet producing. Most of the money raised will go towards covering the studio time, musicians, mixing, master, manufacturing and anything left over will go towards advertising!
I’ve put together a great package of perks for all those that pledge! Not only will you get a copy of the new CD once finished but if you let us know your email address you will recieve a digital copy of our first album “Both Sides” and the unreleased recording of the show from last month where JMB opened for Moe. The JMB lineup included Jim and Vinnie from Moe as well as Borahm Lee from Break Science on keys!
Dec. 2 – Scarlet and Grey Cafe, Columbus, OH
Dec. 3 – Madison Live!, Covington, KY
Dec. 4 – Funk ‘n Waffles, Syracuse, NY
Dec. 5 – Buffalo Iron Works, Buffalo, NY
Dec. 6 – Beachland Ballroom, Cleveland, OH
Correction: Michelangelo Caruba will no longer be joining the Joe Marcinek Band for this run. Jason Hann will be covering percussion for the first three nights, with Ryan Nogle, formerly of Aqueous, on the fourth night. There will be no percussionist on Dec. 6.
The year after its 20th annual edition, popular music festival Gathering of the Vibes will take a break in 2016.
Festival founder Ken Hays announced today that he needs a “time out,” calling producing the festival as an independent promoter a challenging endeavor.
According to the statement posted on the festival’s website and social media and emailed to the festival’s mailing list:
This is not the end of the Vibes, my friends; it’s simply a pause, an opportunity for us all to reflect on the memories, explore new and exciting festival initiatives while planning our triumphant return in 2017.
The four-day festival started as a gathering at SUNY Purchase for people mourning the loss of Jerry Garcia in 1996, and it has had strong ties to the Grateful Dead community ever since, hosting all of the original band members at various points throughout the festival’s 20 years. The festival was held in several New York locations before relocating to Seaside Park in Bridgeport, Connecticut. Gathering of the Vibes 2016
Jam for Tots, a music benefit series held throughout New York State each holiday season, returns with host Luke Weiler who has been holding the benefit shows 2008.
With events held at The Hollow in Albany, Putnam Den in Saratoga, Last Chance Cheese (Tavern) in Tannersville and Aaron’s Irish Pub in Gloversville, intimate shows are on tap with a variety of live music as well as a chance to donate gifts and raise money for the neediest this holiday season. Weiler feels encouraged for this year’s Jam for Tots. “I’m so excited to see what takes place this year as I am always excited about the events and the vibe that we can all create collectively as Jam For Tots keeps going strong another year.”
The impact of the donations raised by Jam for Tots is quite impressive. “We have donated about $20,000 worth of toys over the last 8 years. We’ve had exceptionally amazing years where we had $10,000 in toys total, and years where we only had two events that raised about $2,000,” shared Weiler. “All bands donate their performances and with four events this year, I am looking forward to a good amount of toy donations, hopefully at least $2,000. I set attainable goals and more the better if we surpass the goal.”
As a holiday event, Jam for Tots is something that is feel good and fun to be a part of. These intimate events help to bring joy to many kids over the Christmas season. Bring a toy and get free admission to each of the Jam for Tots events in November and December.
Becoming a highly successful jam band is not an easy task. Very few smart, thought-provoking, improvisational rooted groups have found themselves on the path to becoming a top-tier act in the music industry. In a musical world where bands like Phish and the 
The festival is set to be held Sept. 30 to Oct. 2 at Charles Wood Park in Lake George, and will receive $15,000 for marketing from Warren County via the county’s occupancy tax. If it moves to Lake George, Marzollo told county officials that “Catskill” will be removed from the festival’s name.
