Genre-hopping and genre-defying singer/songwriter Norah Jones is embarking on a few-week-long tour that will be closing with a three-show run through New York state.
The nine-time Grammy winner has collaborated with everyone from Ryan Adams to Billy Joe Armstrong to Bill Frisell on her way to selling over 40 million records. Her latest solo album, 2012’s …Little Broken Hearts, was produced by Dangermouse, whom she had previously worked with on Italian composer Daniele Luppi’s spaghetti Western project, Rome.
Fans can expect to hear songs from across Jones’ entire catalog on her fall dates.
The tour makes a stop at KodakHall at Eastman Theater in Rochester on Nov. 6, then moves on to the State Theater in Ithaca the next night before concluding at the Capitol Theater in Port Chester on Nov. 8. Ticket presales start today, and general on sales have not been announced at this time. Full tour dates are listed below.
10/20 – Wilkes Barre, PA – FM Kirby Center
10/21 – Pittsburgh, PA – Carnegie Music Hall
10/23 – Columbus, OH – Ohio Theater
10/24 – Bowling Green, KY – SkyPAC
10/26 – Memphis, TN – Orpheum Theater
10/27 – Tulsa, OK – Brady Theater
10/29 – Wichita, KS – Orpheum
10/30 – Ames, IA – Stephens Auditorium
11/1 – Milwaukee, WI – Riverside
11/2 – Ann Arbor, MI – Michigan Theater
11/4 – Rama, Ontario – Casino Rama
11/6 – Rochester, NY – Kodak Hall at Eastman Theater
11/7 – Ithaca, NY – State Theatre
11/8 – Port Chester, NY – Capitol Theater
Phish has surprised their fans with special, unannounced sets at many of their festivals in the past 19 years. At The Clifford Ball, a flatbed truck drove the band around while they jammed. During The Great Went, the band DJ’d under fake names in a tent for a “Disco Set.” The Lemonwheel featured an hour long ambient set late at night, while Big Cypress had slightly-announced ‘Midnight set’ where the band played for seven hours straight, stretching from the end of the last millennium into the dawn of the new one. IT had The Tower Jam, with the band performing on an air traffic control tower while acrobats danced below and Superball IX had the ‘Storage Jam,’ which sparked a new era of psychedelic jamming and broke new ground. The Drive-In Jam would join all these in the annals of Phish lore.
Via unpluggedmusings.wordpress.com
Magnaball’s foray into the history of Phish’s special festival sets was the Drive-In Jam and it raised the bar while putting forth a performance on par with the ‘Storage Jam,’ if not exceeded this established upper echelon of improvisation. On a 183 foot movie screen, a wide array of visual treats combined with a progressively growing ambient jam that eclipsed the Lemonwheel by a longshot and morphed into a full on jam for 50 minutes. The Drive-in Set raised the bar for surprise performances and gave fans a treat after the music on the main stage ended an hour prior.
How can one explain what happened in those 50 minutes and the lead up to the Drive-in Jam performance? For starters, you can watch the video captured by Phun Guy and judge for yourself what transpired. Add to this a breakdown of what occurred in each ‘segment’ of the Drive-In jam and take a waltz through Phish at the top of their game, more than 30 years into their career.
0:00 – 8:10 Gentle, airy, spooky feedback with the sound of chains and haunted house noises – a psychedelic Chilling, Thrilling Sounds of the Haunted House. Screams and chimes ala “Dance of the Sugarplum Fairies” build on the cosmic sound that develops from the first portion of the jam.
8:10 – 10:30 Waves and a few bass notes from Mike redirect the jam to fresh territory, an ocean-sound-scape, where some light vocals accompany the developing music.
10:30 – 12:30 Trey takes a lead and Fishman is more prevalent in the mix, building towards a jam that could be a Type II jam of any song from this summer – the epic jams we experienced are found within this portion. All four are synced up now.
12:30 – 15:30 Trey jumps ahead with some arcing riffs while Fish works the crash cymbals loudly. Page is the captain here – guiding the band into the grandiose trip through an ambient wormhole. Trey keeps jumping ahead at times, short leaps that propel the jam with the rhythm section building upon already fertile ground.
15:30 – 17:30 Mike brings the bass to the fore and now we have a change in the tone – deeper and weirder. Trey pops in with some lighter notes while Page adds in UFO sounds to freak people out. The visual display at this time was practically a trip through an episode of Cosmos, minus Neil DeGrasse Tyson’s narrating.
17:30 – 22:30 And here comes Fishman! The pace picks up a bit as Mike and Fish are going double time and leaving the ambiance behind. Trey and Page follow suit and we have lift-off. This section of the jam is quite remarkable for the build and peaks throughout the ascent. This is a hyper-space jump via ludicrous speed. Fish doesn’t let up on the drums for a second and Trey gets a little nasty towards the end here.
22:30 – 24:00 Trey wants to get weird, so Mike gets into a new bass groove. A jam that could be found in an odd version of “Catapult” grows while Page adds in some subtle screams; the build is tremendous here. Closeup fractal imagery of the band is seen over the rest of the crazy visual effects.
24:00 – 27:00 Fish returns the jam to earth’s orbit. The mild funk that develops thankfully doesn’t fizzle or fade but instead grows into a new jam, one working in deep bass from Mike and spacey Page effects. The jam collapses in a collective heap of Trey and Page.
27:00 – 29:00 Bells, looping and synth arise and slowly rebuild the jam. Fish pounds the drums to redirect and we’re off once again!
29:00 – 32:00 With a solar array lighting the screen, another Type II-esque jam develops, eliciting a portion of “Cheap Sunglasses” followed by a vocal jam from Mike and Trey. This is a freaky portion of the entire jam and fodder for future late night Freakouts by The Bunny.
32:00 – 34:30 Some meatballs from Mike as Trey slowly paces forward and new territory being broken in a disjointed area where they slowly reconvene.
34:30 – 37:00 Trey takes over and we have all four dialed back in. A blissful jam emerges. The visuals of the band projected on the screen are more solid and animated with a touch of tripped out A-Ha.
37:00 – 40:00 As this jam builds it develops into a nearly composed portion that would be a treat to hear again live. Mike and Fish steer the ship while Trey leads the way and Page sets the tone for the jam – it’s hard to hear this jam and not recoil in amazement.
40:00 – 43:20 This just keeps getting better and better. Page is now leading the way with Trey and Fish creating interplay for a broader jam to develop that adds layers to the already existing jam – a meta jam. ‘Whoa’ vocals emerge midway through then Trey takes command.
43:20 – 45:30 Trey moves the jam into final section territory, a possibly composed portion of accelerated guitar work to signal a shift, which the others follow perfectly. The jam mellows a bit without flatlining; instead Page adds some synth effects to provide a base.
45:30 – 46:30 We come towards the close of the Drive-in Jam, all four slowly winding down the jam until it is just a series of beats and feedback played behind the screen.
46:30 – 49:30 A darker section emerges, driving home the remaining jam with audio-hallucinations and growing vocals from Trey and Mike building the jam up.
49:30 – 51:40 Sound effects from Page are the beginning of the end for the Drive-In Set, as eerie mad scientist laboratory sounds carry over while Trey uses the Mu-tone to drip a little “Space” goodness into the final minutes. After one last build, the music ends slowly and gently.
51:40 – 52:17 Well deserved applause from the faithful 30,000 that stayed awake to witness this incredible musical event.
With an absolutely mind blowing Day 1 under their belt, Phish carried the momentum in stride and coasted gracefully into what was the single best day of Magnaball on Saturday. Delivering four sets, including one unannounced “secret set,” which included almost an hour of free-form jazz infused improv laced with a touch of funk that lasted well into the morning, Phish came out and laid down a more than memorable first set which included a diverse blend of both classic and revamped numbers.
As Phish took the stage for their first set of the second day of the festival the weather and the crowd could not have been better. It seemed as if the majority of the crowd was fairly responsible on Friday night and opted out of late night partying into the sunrise in order to be full force for the marathon day that was Saturday; however, this likely wasn’t the case for everyone. Nonetheless, from where the NYS Music crew was planted, the crowd was in full swing and the energy was at an all time high for the day set.
Walking out on the stage, Phish opened up with “Divided Sky,” the crowd was instantaneously locked into a dancing groove as the range of this song truly captivated the masses. One of the most beautiful live music experiences a fan can have is when they get so lost in their own dance moves – that when they do finally take a peek out of the corner of their eye, they’re embedded in a sea of dancing people locked into a developing wave of unison. That feeling of not being alone is invaluable and that energy is absolutely unparalleled. Take yourself back to some of the highest moments of your life; a sexual encounter, walking across the stage after graduating, landing that big job after a good interview, making a crowded room of people laugh at the same time, etc… None of it can be compared to that feeling of simply belonging as an individual in a crowd of thousands of people all enjoying the same music together.
After the band pushed through their classic staple “Divided Sky” they slammed into “Moma Dance” which whiplashed the crowd into another wave of dancing madness. Mike, Page and Trey each took their turn to step into the spotlight and lead the rest of the band through their own respected numbers as Phish went on to play “Mound”, “Army of One” and “Scabbard.” as well as the stellar “Sample in a Jar” and “Tube” before the band hit a cool down song with “Halfway to the Moon.” Page poured out an abundance of emotion and took his time to work through the core of the song with precision.
As the band was feeling the energy, “Camel Walk” surfaced and a flowing wave of dancing emanated through the crowd; the good people were feeling this song and had the moves to prove it. The new Mike song, “How Many People Are You?” one of many new songs Phish has in their arsenal when they hit the road for their 2015 Summer Tour, made an appearance again after being debuted earlier this summer. The new songs were well received by the fan base as well as the next studio album is sure to be as well.
The sweet and tender cover of “When the Circus Comes” put the entire weekend into retrospect. The place, the people, the crew, the music and the community as a whole were part of this traveling circus and the circus was the place to be. The band stepped in and out of their solos beautifully and even the composed parts of this version spoke volumes.
Closing their set with “Undermind” > “Run Like an Antelope” was full of raw energy simply foreshadowing what was yet to unfold throughout the rest of the day. This was just a small piece of the pie as a whole, but what was witnessed on the first day of Saturday was some top notch Phish and they set the stage for the brilliance of music that was planted firmly on the horizon. As the nightfall came the music only got better. When the lights are turning ‘round, the wheels were rolling on the ground.
How does one describe Saturday’s second set without gushing over the energetic jams? Phish came out for this first night set swinging. The set moved from rocking energy to extended inspired jamming. The audience was on their feet throughout the set, often kept on their toes, not knowing what to expect next.
A powerful “Wolfman’s Brother” kicked off this energetic set. It was followed quickly by the one-two punch of a short, but sweet, “Halley’s Comet” straight into a “46 Days” that starts out raging and morphs into a slower and darker than usual jam. As the jam picked back up, Anastasio patiently incorporated the opening chords of “Backwards Down the Number Line,” bringing about an incredibly smooth transition. The band gave this traditionally standard tune a bit more energy than usual, keeping up with the energy of the earlier songs.
The set was capped by a perfectly combined “Tweezer” and “Prince Caspian.” The “Tweezer,” which seems to have a little more pep than most, goes into an intricate jam, out of which comes a near-perfect segue into “Prince Caspian.” There is little one can say about this “Caspian” other than “WOW!” What is usually a breather song for the set was anything but that this time around. It starts off with far more power than anyone expected and morphs into a nearly 17 minute excursion that almost returns to “Tweezer” before the band keeps the improvisation moving.
The entire set is must-hear Phish, an example of some of the finest playing the band has performed in their current era and one of the best sets of the tour. The “Tweezer” > “Prince Caspian” segment alone is some of the best Phish ever played, with “Caspian” being one of the all time versions of the song.
By the time Saturday night’s set started, mild weariness from a lack of sleep may have set in due to the immense overall fun of Magnaball. That quickly dissipated, thanks to a killer opening section of “Meatstick” > “Blaze On” -> “Possum” > “Cities” > “Light” > “555.” Fresh off that amazing second set closing “Tweezer” > “Prince Caspian,” which, admittedly got the crowd wildly worked up, Phish came out blazing for an incredibly diverse set that featured 1.0, 2.0 and 3.0 song choices.
“Meatstick” got the juices flowing with a short and fun solo from Trey. Up next, however, is the jam of the entire festival. And that’s an incredibly tough statement to make amidst a weekend packed with some of the best Phish jamming since — wait for it — 2004.
“Blaze On” has risen quickly up the ranks as the best new song the band has debuted since 2009. It’s almost like Trey is saying, “Hey guys, check it out. Look where we are now, compared to where we were years ago.” The chorus ends with, “You’ve got one life, blaze on,” which seems like an omen to the past, present and future, telling us that these first 32 years were only the beginning.
After some polite psychedelic rambling, the band kicked it into high gear around the 10-minute mark for a major key jam, paced initially by Page’s clavinet, before Trey ramped in with a somewhat haunting lick that takes the jam into a completely different direction. The final two minutes of “Blaze On” are so reminiscent of the Superball “Golden Age,” it’s actually a bit eerie. At times, it even dove into sounding like it was riddled with anxiety, which came right after a calm and uplifting segment. Either way, this jam is a total keeper.
Up next was a straightforward, but always fun take on “Possum.” where the real winner was the hypnotic segue into the decades-old song written by original band member Jeff Holdsworth. This is one hell of a segue and a must-hear for every fan. “Cities” was next, and for a minute, this was going to go the way of Philly’s jam on August 11, but it ended up sounding like a bit of a reprise of the “Blaze On” jam.
“Light” was fun for nearly 16 minutes, but it doesn’t stand out among the behemoths of Magnaball. A fun segue into the Mike Gordon-penned funk song “555” seemed a bit out of place coming out of the space “Light” left behind. “Wading in the Velvet Sea” slowed things down even more, but it was well played, especially for a Phish festival.
Closing out the set was a personal favorite, “Walls of the Cave.” While this version doesn’t stand out much on the radar, it was executed perfectly, with Trey building tension throughout the jam, before bringing the song to a raucous close. A “Boogie On Reggae Woman” and “Tweezer Reprise” encore put a cap to an almost perfect Phish set, the latter bringing the crowd into a swirling frenzy.
Set 1: Divided Sky, The Moma Dance > Mound, Army of One, Scabbard > Sample in a Jar, Tube, Halfway to the Moon, Camel Walk, How Many People Are You, When the Circus Comes, Undermind > Run Like an Antelope
Set 2: Wolfman’s Brother, Halley’s Comet > 46 Days -> Backwards Down the Number Line > Tweezer > Prince Caspian*
Set 3: Meatstick > Blaze On -> Possum > Cities > Light > 555, Wading in the Velvet Sea > Walls of the Cave
Encore: Boogie On Reggae Woman > Tweezer Reprise
*Unfinished.
Notes: Caspian included a Tweezer tease and was unfinished. Cities contained a Mind Left Body Jam tease.
Phish returned to Watkins Glen International Raceway on Aug 21-23 for their 10th festival, Magnaball. The sold out event gathered more than 40,000 fans to the gorgeous hillsides of the Finger Lakes Region of New York for 3 days of camping, art and the musical jam stylings of the Vermont quartet.
Creating a small city within itself, MagnaBall offered a Ferris Wheel, onsite radio station known as The Bunny, a Post Office, a huge 183-foot movie screen, a high class restaurant serving local and organic five-course meals, interactive art installations and so much more to keep fans glad, glad, glad they had arrived. Despite being sold out, tickets could still be purchased at the gates making for a slightly hectic arrival on Thursday and Friday.
The festival started around 8pm on Friday with a perfect yet uncommon opener of “Simple” with Page tickling the notes of “Magilla” and a howling good time as the band went into “The Dogs” from their Chilling Thrilling Sounds of the Haunted House Halloween set, a nod to us all that Phish and the fans are wild animals. A sincere surprise was the appearance of the beautiful, instrumental classic of “The Man Who Stepped Into Yesterday” as it jumped into a strong “Avenu Malkenu” and back home again in “The Man Who Stepped Into Yesterday,” which slowly led into “Free,” reaching great heights as Trey blared the rocking riffs to Mike’s hard hitting bass.
Taking a moment from the music, Trey reflected on the band’s history with their festivals and how their families have since grown in the number of children the band collectively has. Showing a bit of his ’embarrassing dad’ side, Trey shared that this day was also daughter Eliza’s birthday and requested a collective “Happy Birthday,” which the crowd happily performed as he brought her onstage.
The major bustout of the set was the short and sweet “Mock Song,” an original Mike tune that hadn’t been played since 2003 and with an appropriate lyric change of “Clifford, Super, Magnaball.” The highlight of the set that was talked about all weekend was the set closing “Bathtub Gin”. The Magna Gin was over 20 minutes long with intense, improvisational peaks of highly danceable rhythm, layers upon layers of interchangeable, bizarre melodies and a blissful, playful pace to start the festival.
A photo posted by phishfromtheroad (@phishfromtheroad) on
We were one set deep into Phish’s 3-night, eight-set Magna-opus and the gloves were already off. You weren’t getting out of there without some pain and bruises, but you were definitely getting out alive, possibly more alive than when you entered. The summer has seen the band playing at a consistently high level, not just for 3.0, and not compared to just 2.0 or 1.0.
The band is older, the crowd is older, but the music has been reinvigorated both with new songs and new twists on old favorites that has rejuvenated all involved. A ‘Not Your Father’s’ second-set-opener of “Chalkdust Torture,” got things jumping off from the rocking shell of the song proper, and as soon as the last verse was sung we were deep into a pool of straight improvisatory gravy. That gravy would flow throughout the set, as jams became songs became jams once again, oozing together over and over into a delicious stew for over 90 minutes.
After a dark and winding “Ghost,” Velvet Underground’s “Rock and Roll” took a journey that eventually wound around to the bopping reggae groove of “Harry Hood.” They lingered patiently for a couple of minutes before launching into the “Hood” nearly everyone saw coming, giving the band another chance to showcase one of their rejuvenated songs, with a rejiggered closing section that allowed a bit more freedom. This time it meant a nifty little “Cars Trucks Buses”-esque jam preceding the typical climactic finish.
“Waste” provided a pleasant breather before more renewal was on display with the fresh off the wire “No Men in No Man’s Land.” The 2015-debuted tune is already taking on a fun rocking life of its own. There was nothing particularly new about “Slave to the Traffic Light,” sitting there in its classic set closing greatness but it stood tall and proud still, executing the dismount perfectly. Still got it! No surprises were in store with a “Farmhouse” and “First Tube” encore, but the stage was set, and the final energetic notes would dance along the Watkins Glen air for the remainder of the weekend.
Magnaball was not just some mash-up of two random words, but simply the best way to describe the current state of Phish, a band sounding as fresh as ever, even after 32 years. The first third of that definition was in the books.
Set 1 review by Susan Rice, Set 2 review by Eli Stein
Set 1: Simple>The Dogs > The Man Who Stepped Into Yesterday> Avenu Malkenu> The Man Who Stepped Into Yesterday > Free, The Wedge, Mock Sock, Roggae > Rift, Bathtub Gin
Set 2: Chalk Dust Torture* > Ghost -> Rock and Roll > Harry Hood -> Waste > No Men In No Man’s Land -> Slave to the Traffic Light
Encore: Farmhouse, First Tube
*Unfinished.
Notes: Page teased Magilla in Simple. TMWSIY and Avenu Malkenu were played for the first time since July 4, 2012 (124 shows). After Free, Trey asked the crowd to sing Happy Birthday to his daughter, Eliza, who briefly joined him onstage. Mock Song was played for the first time since July 12, 2003 (320 shows), and featured a lyric change to “Clifford, Super, Magnaball.” CDT contained a What’s the Use? tease and was unfinished. Hood contained a CTB tease from Mike.
On the cusp of announcing two nights of shows at the Kings Theater and the release of their new album Paper Wheels, Jennifer Hartswick and Natalie Cressman of Trey Anastasio Band will bring their individual solo projects to Brooklyn Bowl for a night of jazz and funk.
Natalie Cressman Band features fellow TAB member James Casey (tenor sax), Ivan Jackson (trumpet, High & Mighty Brass Band), Samora Pinderhughes (keys), Mike Bono (guitar), Jonathan Stein (bass), and Mark Whitfield Jr. (drums). Natalie’s dynamic trombone play and soaring vocals lead the group through a dynamic blend of jazz and funk that will be sure to keep you grooving.
Jennifer Hartswick, the senior member of TAB’s horn section, will be headlining this evening of explosive tunes with a marvelously curated group consisting of Bob Lanzetti (Guitar, Snarky Puppy), Rodney Flood (Drummer), Dezron Douglas (Bass), Rob Marscher (Keys, Addison Groove Project/Matisyahu) following up the release of soulful and intimate Ocean Floor .
Make sure to catch Jennifer Hartswick and Natalie Cressman at Brooklyn Bowl, Thursday, August 27 at 8pm, tickets are available at here.
Century Media, one of metal and hard rock’s most prominent indie record labels, has been bought by Sony Music Entertainment for almost $20 million. Century Media has launched the careers of well known bands such as In This Moment, Stuck Mojo, Fozzy, Shadows Fall, Lacuna Coil, Suicide Silence and many more.
Founder and CEO Robert Krampf (above) is very pleased and was quoted stating (via Blabbermouth.net):
“The future of Century is incredibly bright, the company I founded over 25 years ago is moving into its strongest chapter yet with the best music company in the world, Sony Music. I am tremendously excited to work with the outstanding executive teams at Sony Music and RED to further grow Century’s labels as a dominant force in rock, prog, alternative and metal. The sky is the limit.”
The purchase includes every Century Media label including Another Century (rock), InsideOut Music (progressive), People Like You (post-punk, alternative) and Superball (alternative, modern progressive).
Krampf will continue to serve as CEO for Century, and RED Distribution will handle distribution for Century in the U.S., while Sony will pick up international distribution.
Best of luck to Mr. Krampf and congrats on the big move and best of luck to the company!
Phish front man Trey Anastasio has announced his latest solo album, Paper Wheels, is finally available for pre-order at Trey’s store and Phish Dry Goods. The album will be released Oct. 30 and will be offered as a limited edition with only 4,000 copies.
This will be Anastasio’s third LP as a solo artist. The album was expected to be released in early 2015 but was delayed. Once the material was ready, however, the album only took a week to record.
To promote Paper Wheels, Trey Anastasio Band has announced a fall tour. The tour will kick off in Brooklyn on Oct. 16. The band will spend the rest of the tour on the West Coast, including a sold-out show in Las Vegas, and will end in Denver on Nov. 14.
Tickets for all shows will be available through a pre-sale starting at noon Aug. 27 and ending at 5 p.m. Sept. 2 at Trey’s website. Tickets will go on sale to the general public Sept. 3.
Full tour dates:
October 16-17 – Kings Theatre, Brooklyn, NY
October 30-31 – Brooklyn Bowl, Las Vegas, NV – SOLD OUT!
As the 2015 Great New York State Fair approaches opening day, the lineup has ironed out nicely for the week. Although a slow start, we have some award-winning musicians and comedians coming to the Grandstands, while Chevy Court once again will draw in record crowds for their free concert series. With record-breaking crowds last year, it is anticipated to repeat and exceed these records with the $1 day once again on Labor Day and now $3 Thursdays added to the lineup.
With Special Days and Events Planned all week-long, there is bound to be fun in store for you and your family and friends at the 2015 Great New York State Fair
Opening Day / Governor’s Day, Thursday, August 27th, $3 Thursday
Chevy Court
2pm – Everclear
8pm – Rick Springfield
Grandstands
7:30pm – Eric Church, with special guest The Cadillac Three
Pride Day/Law Enforcement Day/New Americans Day, Friday, August 28, 2015
Dairy Day, Senior Citizen’s Day, Monday, August 31, 2015
Chevy Court
2pm – Bowzer
8pm – Cole Swindell
Fire & Rescue Day, Beef Day, Senior Citizen’s Day, Tuesday, September 1, 2015
Chevy Court
2pm – Oak Ridge Boys
8pm – Joe Nichols
Women’s Day, Wade Shows, Wednesday, September 2, 2015
Chevy Court
2pm – Salt N Pepa
8pm – Snoop Dog
Armed Forces Day, $3 Thursday, September 3, 2015
Chevy Court
2pm – Echosmith
8pm – Jason DeRulo
Grandstands
7:30pm – Patti LaBelle
Six Nations Day, Student’s Day, Saturday, September 4, 2015
Chevy Court
2pm -The Ripcords
8pm – Fifth Harmony
Grange Day, Saturday, September 5, 2015
Chevy Court
2pm – Sawyer Fredericks with Josh Batstone & Amanda Lee Peers 8pm – The Jacksons
Sunday, September 6, 2015
Chevy Court
2pm – R5
8pm – The Steve Miller Band
Labor Day, Summer Send Off “Dollar Day”, Monday, September 7th
Chevy Court
6pm – Nick Jonas
Immediately Followed By Fireworks
With thirteen new rides joining the Midway, you’ll find something to excite everyone from those preschool youngster to those young at heart. Special rates are available for pre-sale tickets as well as specials on individual days. Take a peek at those new rides added and specials offered on the nysfair.org site here.
When it comes to the most diverse offering of culinary delights, you only have to visit the Great NY State Fair to get everything from fan favorites of chocolate milk to fried anything. In addition to the many food vendors, throughout the entire grounds you can find some of NY State’s finest culinary eats offered and wineries galore.
Last year’s attendees asked for some healthier options, and this year your request was answered. Make sure to find the new vegan/vegetarian stand, Strong Hearts Café, in the International building. The acclaimed vegan/vegetarian restaurant brings its signature focus on great taste to the Fair. Everything on the menu is 100% vegan and 1000% delicious. There you’ll find in addition to entrees, their non-dairy milkshakes, which will include a new flavor especially for the Fair. Although they’ve brought the deep fryer, it’s solely for their Vegan Wings. In addition to our vegan vendor, a new gluten-free vendor will also be joining the Fair, so make sure to check them out for the healthier fare at the fair.
Whether it’s healthier choices or the fair favorites, meals can be on the fly or planned ahead by visiting the sites new food finder app. Just type in the type of food you would like, and viola’ your route will be planned.
There is just about something for everyone to keep you busy throughout the day as you meander in and out of the buildings taking in everything from promotional items to best in fair for horticulture, arts, and livestock. Whether it’s shows and competitions that bring you to the fair, the food, the rides and games, or the entertainment, you are bound for a fun time.
I highly suggest you downloading the app for the NYState Fair as well as take a peek at the parking and fair maps to plan the easiest pathways in and around the activities for the most enjoyable experience. Planning ahead always helps to get the most of your action packed day as well as take advantage of all there is to be offered.
More than one long, strange trip began along the San Francisco Bay in 1965. The spotlight this year had been on The Grateful Dead’s anniversary during the Fare Thee Well shows in Chicago but more recently the San Francisco sound was again celebrated at The Ridgefield Playhouse in Ridgefield, CT. Exactly 50 years after the founding of the Jefferson Airplane, the Jefferson Starship teamed up with Jazz is Dead and Quicksilver ‘Happy Trails’ to mark the occasion.
Jazz is Dead made a return this summer after a 10-year hiatus, prompted by the occasion of the Dead’s 50th anniversary. Though their set was only an hour long (since they were sharing it with two other incredible acts) it was enough for them to make a solid statement about their interpretation of the Grateful Dead. The set was led in by Tom Constanten, who played alongside Pigpen in the Grateful Dead on keys around 1968-1970 including the Woodstock festival, playing “Mountains of the Moon” on keyboard. Founding bassist Alphonso Johnson was also joined by Jeff Pevar (guitar), Rod Morgenstein (drums), and Chris Smith (keys). The sound of Jazz is Dead was unique; the performance wasn’t a straightforward cover of Dead songs but rather a well-polished, technically tight arrangement of the originals that made it almost their own to a degree. In “Sugaree,” for instance, reggae rhythms were built around the main ideas of the Grateful Dead’s version. It is true that Jazz is Dead is a cover band, though defining them as one after their set in Ridgefield seems far-fetched because their arrangements are so interesting and refreshing.
A shorter set was presented by Quicksilver ‘Happy Trails,’ a version of Quicksilver Messenger Service assembled for the occasion. Founding member of Quicksilver Messenger Service David Freiberg was joined by singer and wife Linda Imperial along with some fellow members of Jefferson Starship to recreate the sounds of the band. The set included a tribute to the late keyboard player Nicky Hopkins during a jam on “Edward, the Mad Shirt Grinder” and some psychedelic jams on the 50’s rock and roll inspired “Mona.”
Jefferson Starship isn’t in the same form as the times of “We Built This City.” Appropriately, they came back after a six-year hiatus in 1992 under the lead of Paul Kantner to honor the music of the band they were formed from. Playing songs of the Jefferson Airplane on the day of the 50th anniversary of that band’s founding was special, particularly for the choice of venue opposite the country from California. The Starship’s presence on stage was bold and cohesive – original members of the Airplane Paul Kantner and David Freiberg kept the sound true and original to the Airplane along with longtime Starship drummer Donny Baldwin, keyboardist Chris Smith and guitarist Jude Gold. The animated and exhuberant Cathy Richardson fulfilled the big-shoes role created by Grace Slick’s powerful vocals, to whom she gave a tip of the hat to near the end of the set. Together they made the performance feel engaging to the audience with down to earth, unscripted banter and humor between songs, which has been a consistency for the group through the past several years.
The Starship’s setlist wasn’t able to cover every fan favorite but included the staples like “White Rabbit” and “Somebody to Love.” The other parts of the set were more treats than crowd pleasers. Gold took the room through the busy finger-picked guitar tune“Embryonic Journey” adding his own improvised licks to the instrumental song. “Wooden Ships,” which Kantner wrote along with Crosby, Stills and Nash, carried a similar feel to CSN’s performance but Kanter’s and Richardson’s vocal duets throughout the song soared in its own way. The encore of performance of “Volunteers” was straight-forward but not moot. More than just a favorite, it marked the peak of energy in the show with members of Jazz is Dead, Quicksilver, and some of the crew coming on stage to jam along; the audience taking to their feet.
Hiding in the dark of a concert is the sound engineer – the person who can make or break the sound and experience of a show yet often not in the limelight. This particular show, along with a few others where Jazz is Dead and Jefferson Starship are teaming up, was both hosted by and mixed by legendary sound engineer Dan Healy, most notable for his years working with the Grateful Dead and role in the development of the Wall of Sound system. “As real as it gets” is the only way to describe the sound. Aside from Healy’s ears at the controls, the experience of the early days of the Fillmore was captured with the Pig Light Show, a recreation of the types of psychedelic projections seen at those early shows.
Dan Healy at the soundboard
Overall, the evening felt more of a community than band/audience. The small and cozy theater delivered a much bigger sound than first expected and added to the anticipation already in the air over the conglomeration of musicians who had immense contributions to the 1960’s San Francisco sound. One thing is for sure: never miss one-of-a-kind shows that don’t come around often like this one.
Jefferson Starship Setlist: She Has Funny Cars, Crown of Creation, Today, Lather, Wooden Ships, White Rabbit, Eat Starch Mom, Embryonic Journey, Have You Seen the Saucers, Greasy Heart, The Ballad of You & Me & Pooneil, Somebody to Love
Encore: Somebody to Love
Jazz is Dead and Quicksilver ‘Happy Trails’
[FinalTilesGallery id=’377′] Jefferson Starship
[FinalTilesGallery id=’378′]
You know it’s a good one when Rob’s smile is that big. moe. bassist Rob Derhak was grinning ear to ear as the sun set in a blaze of glory over the crowd gathered for Saturday night’s show at Burlington’s Waterfront Park, part of the Lake Champlain Maritime Festival.
On Friday night, moe. kicked off the weekend with a show at Higher Ground in South Burlington, late enough that fans also attending the Twiddle concert at the Waterfront could make it in time to see some of moe. (The band’s switched locations and times for their Saturday night gigs.) The box office said moe.’s Higher Ground show was sold out, but it never got too packed for fans inside the concert hall Friday night.
The show started off with “Same Old Story,” the highlight of the band’s latest album, No Guts No Glory, released last year. The song is always high energy and fun, but it’s easier to get into later in a set. “Waiting for the Punchline” followed it up, getting the crowd dancing like a good ol’ fashioned hoe.down, as usual. The rest of the set was relatively standard but enjoyable.
The second set got more exciting. It opened with “Rainshine” (which always sounds like “Haze” at the beginning, getting at least one member of the crowd falsely psyched up). It was only the third time this year the song, from moe.’s 2012 album What Happened to the La Las, made it into a setlist, and it ended up being a fun one with a nice heavy jam section.
Then Mihali Savoulidis, Twiddle’s frontman, joined moe. to play “The Road,” giving it more spunk than usual. After a good “Wind It Up,” the band played the first few chords of “meat” before guitar player Al Schnier stopped it and tried to get the whole band to join him in a rendition of the Grateful Dead’s “Eyes of the World.” It didn’t last long — Al’s guitar cohort Chuck Garvey gave up playing and started laughing almost immediately, and Rob seemed to play every note on his bass in hopes some would work. Al gave up and the band proceeded with meat, jamming it through all its funky glory. It transitioned into first a stellar “Billy Goat,” which always gets the crowd singing along to its good-life-advice-y chorus, then “Head,” before finishing up the “meat” sandwich with more rumbling bass and shredding.
The show ended with a quick encore of “Lazarus,” which at this point is somewhere between the old “Lazarus” and the newer “The Bones of Lazarus.” Fans seem to agree that its better than “Bones” but doesn’t yet reach the heights of the storied “Lazarus”es of bygone days.
After a late night, moe.rons had to transition to an early show by moe. standards on Saturday night at the Waterfront. Part of the Lake Champlain Maritime Festival, the show featured a ring of vendors off chuck.side of the stage. Bluegrass jammers Cabinet opened the show with a lot of energy, then passed the stage off to moe.
The band started on a high note with a “Buster” that transitioned into “Spine of a Dog,” two songs that fit well together with the same sort of calypso feel to them.
After finishing up “Spine,” Al made the crowd turn around to view the amazing sunset, burning across the sky with bright pinks, oranges and yellows. “We’ll give you a second,” he said. “Look at this. This is fantastic.”
Rob joked that they just wanted to see everyone’s asses.
Then they played the lighter “Blonde Hair and Blue Eyes” before they got down and dirty with Rob slapping the shit out of his bass on “Not Coming Down.” That transitioned into “Wormwood” > “Deep This Time” > “Downward Facing Dog” to finish out the set with a whole lot of head bobbing and dancing.
Set two opened with moe.’s funnest song, “Seat of My Pants,” which was bouncy and fun with all the springy octave jumps and just enough down and dirty rocking. There may have been a brief tease to the theme song for Sesame Street. It almost sounded like it was going to go into “Rebubula,” but instead it continued into “Dr. Graffenberg.” Sometime in there, a crew of audience members dressed as sea life paraded through the crowd and made their way to the front, dancing there briefly before ebbing back to the sea (one can only assume). Besides that, Graffenberg was as whimsical and rockin’ as ever.
Band members then took the set down a notch with the slow but beautiful “Where Does the Time Go?” Some consider this a bathroom song while others enjoy it wholeheartedly, getting lost in the nostalgic melody and skillfully written lyrics.
Then “Tubing the River Styx” segued into a smokin’ “The Pit” that transitioned into a lighter tone with “Kyle’s Song.” Then “Gone” segued into “Do or Die” with a pensive jam that featured the lights going down and the band playing in silhouette against the backdrop.
During al.nouncements, Al read a note that wished someone named Erica a happy birthday and said, “PS- San Ber’dino.” And almost immediately other band members started playing parts of the Frank Zappa tune, and they went right into it when Al’s announcements wrapped up. Then they wrapped up the show with “Happy Hour Hero,” a great song that has a laid-back melody, sending the crowd off to some Twiddle or just one more bottle.
It’s always a treat when moe. plays Burlington, and this weekend run was one for the books!
Friday, Aug. 7 at Higher Ground
I.
Same Old Story
Waiting for the Punchline
Okayalright>
Big World>
Ricky Marten
MarDema>
George
II.
Rainshine
The Road*
Wind It Up
meat.**
Billy Goat>
Head>
meat.
E: Lazarus
Saturday, Aug. 8 at the Burlington Waterfront
I.
Buster>
Spine of a Dog
Blond Hair and Blue Eyes
Not Coming Down>
Wormwood>
Deep This Time>
Downward Facing Dog
II.
Seat of My Pants>
Dr. Graffenberg
Where Does the Time Go?
Tubing the River Styx>
The Pit>
Kyle’s Song
Gone>
Do or Die
E: San Ber’dino
Happy Hour Hero
*Joined by Mihali Savoulidis of Twiddle on guitar.
**Al stopped after the song started and tried to get the band to play the Grateful Dead’s “Eyes of the World.” It didn’t work.
Natalie Cressman
