Category: World/Reggae

The Fifth Annual Frendly Gathering: Where Friendship Comes First

The fifth annual Frendly Gathering was held the last weekend of June at beautiful defunct ski mountain Timber Ridge Resort in the Green Mountains of Southern Vermont. With professional snowboarders Jack Mitrani and Danny Davis at the helm, Frendly set out to bring the masses together for a weekend of incredible music, camping, skateboarding, delicious food, yoga and most importantly, inclusiveness. With the motto “there is no ‘I’ in frends,” the festival was true to its word and brought out the best in their attendees.

For those who bought early arrival passes for Thursday, there was noteworthy music already happening once they were shuttled to the grounds. Devesh Duo Band and Gold Town welcomed Frendly goers setting up camp, followed by Burlington favorites Dead Set . With their unique renditions of classic Grateful Dead tunes, they got the bodies moving during the first beautiful sunset of Frendly Gathering.

Billed as The Smooths, Mihali Savoulidis of Twiddle and Todd Stoops took the stage for a unique, smile-inducing set. A cast of characters joined in on the fun for “Frends Theme,” including Jack and Danny, Ryan Dempsey of Twiddle and Jack’s brother Luke Mitrani. The crowd was full of energy, singing along with every word. The magic began to swell, and it was only a matter of time before the rest of the masses would fill the mountain with hugs, smiles and high-fives.

By Friday morning, it was apparent that people were anxious and ready for the headliners of the weekend, Twiddle. Mihali did several solo shows in the Martin Guitar Dome where anyone could pick up a guitar and play throughout the weekend. But Mihali’s kid’s set in the dome was certainly something special, with the tiniest of Twiddle fans singing every word. The kid’s set really proved that the Gathering wanted every single attendee, from little to big, to be included in the magic. Even Ben and Jerry’s were in on the fun, handing out free ice cream throughout the weekend.

The Wood Stage, set in the dense forest with a giant teepee covering the stage, was the scene of some incredible shows on Friday. New Jersey natives Sleepy Man, consisting of a trio of brothers ranging from age 12 to 17, put on a show that left the masses boggled at what they had witnessed. Spitting out folk and bluegrass like they had been playing for 20 years, Sleepy Man left no stone unturned. The crowd was electric, showing their pride for Frendly’s youngest act. Following Sleepy Man was the sultry sounds of Kat Wright and the Indomitable Soul Band. The eight-piece band sent horns blaring through the mountain, giving people the classic soul sounds sure to get them on their feet and dancing. Jumping back to the Woods Stage, Montana bluegrass band The Kitchen Dwellers took bluegrass to an entirely different level, blending psychedelia and bluegrass effortlessly.

Friday’s lineup was stacked, including Moon Hooch, Valerie June, Spirit Family Reunion and Canyon Collected. Each keeping the energy high, they were only paving the road for what would become an epic evening at Frendly. Heavy-hitting funk band Kung Fu brought the hammer down on Friday night, with new keyboardist Beau Sasser’s Hammond organ giving the crowd exactly what they were craving. The jam-funk brought the energy level at Frendly to new highs, especially when Mihali of Twiddle came on stage for “Hollywood Kisses,” which of course turned into “Mihaliwood Kisses.” After a full day of dancing and high energy acts, the crowd was still very ready for the headliners of the weekend: Twiddle.

If you were looking to hear your favorite Twiddle song, then they were anxious to give it to you. Opening with “Gatsby the Great,” Twiddle came out swinging. Every single person at the venue was on a Twiddle high, singing along and throwing the now-famous “peak” in the air. Torrin Daniels, banjo master from the Kitchen Dwellers, jumped in adding that extra something to an already incredible Twiddle set. Closing out the night with an epic version of “All Along the Watchtower,” no one left without a smile from ear to ear.

Singer-songwriter, multi-instrumentalist and beat-boxer Lynx brought it all home Friday night after Twiddle. Her voice carried through the mountains, even to those too weary to stand after a heavy first day. It wouldn’t be the last we saw of Lynx though, as she played throughout the weekend on several stages, even making a stop in the Martin Guitar Dome.

Saturday came, and with it, some rain. But that didn’t stop the masses from doing their morning yoga and dancing to the incredible music that was to follow. If you were up early enough, your day began with a marching band down the mountain including Twiddle and Jack Mitrani and Danny Davis. As you hopped on the train, it led you down to the pond where Twiddle played to everyone huddled around the tiny body of water. It was an incredible way to kick off the final day, with everyone wearing their weary smiles with pride. The day was riddled with fantastic music, including Americana favorites The Kalob Griffin Band hailing from Philadelphia and an intimate Burton TeePee set from Nahko (of Nahko and Medicine for the People). Turkuaz took the Frendly Stage and before you knew it, the ultimate dance party erupted. Their horn-heavy funk eruption had a sea of people dancing effortlessly. Jumping back to the Wood Stage, soul band Con Brio kept the feet moving with their old-school approach to soul and funk.

In the middle of all the activities and music, there was some very important charity work being done by organizations like Love Your Brain and the newly-founded White Light Foundation. White Light raffled off Twiddle and Burton goods, raising over $2000 for the Kurn Hattin Homes for Children and Love Your Brain. If you bought even just one ticket, you could feel the good being passed on to those in need.

Even when the rain began to fall on Saturday evening, people gathered around for the inspiring international music of Nahko and Medicine for the People. The rain certainly did not deter fans from being included in the soul-healing music of Nahko. If anything, it was a welcomed sign from Mother Nature that we were all in it together.

Still the rain fell, but it did not stop every single person on the mountain from witnessing the final night of Twiddle. The crowd’s collective voices rang through the rain for songs like “Frankenfoot” and “Jamflowman.” It was magical, to say the least. Frendly Gathering most certainly delivered, paying homage to the ties that bind music-lovers together. If you came in with one friend, you left with many. If you came with the stresses of daily life on your shoulders, you left without them. Jack and Danny created the ultimate festival experience in the middle of Vermont, leaving everyone anxious for next year’s Gathering.

If you’re interested in seeing what all the fun was about, check out Frendly Presents YouTube channel, which has high-definition recaps of the entire weekend.

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July 13, 2015
Hearing Aide: Mark Doyle “One November Night – Live In Concert”

Mark Doyle has released a two cd live performance by his ten-piece Guitar Noir ensemble project. The material is based on his trilogy of critically acclaimed solo albums, 1999’s Guitar Noir, 2001’s Out Of The Past and the follow-up to Guitar Noir, 2011’s In Dreams: Guitar Noir ll. In Dreams is presented in its entirety on disc one and highlights of the other two cds are performed on disc two along with a few surprise gems. One November Night was performed at Onondaga Community College’s intimate new Recital Hall on November 22nd, 2014 with Jason “Jocko” Randall at the F.O.H. helm and Dan Shaw handling recording duties. Doyle produced and mixed at Near Miss Studios, Jocko mastered the final product at More Sound. The pairing of Doyle and Randall have garnered multiple SAMMY Awards for Mark Doyle and The Maniacs, Doyle’s blues/rock band.

The carefully selected ensemble draws from a list of long-time collaborators, Terry Quill on guitar (former Maniacs), Edgar Pagan-bass, Bill DiCosimo-keyboards, Joshua Dekaney-drums/Roland Pads, all of (Grupo Pagan, Mary Fahl) and a stunning string quintet comprised of Ally Brown-1st violin/section leader, Shelby Dems-1st violin, Leila Dean-2nd violin, Claire Wilcox-viola and Kate LaVerne-cello. The quintet allows Doyle to flex his multi-faceted skill base as a producer/arranger, who states, “I’ve always loved doing string arrangements for recordings, and the idea of working with live strings has long been a dream of mine. The Guitar Noir concept particularly lends itself to this idea, so seeing and hearing it all come together in concert has been very rewarding.”

Doyle’s extensive history as a guitarist, pianist, composer, producer and arranger would take another several paragraphs to cover properly. I suggest spending some time on his website, there are some excellent stories on his discography page and his bio page spells out his history in depth. You can also go back on the NYS Music website and read other pieces I’ve written for Doyle and his works with Mary Fahl.

It was as if the Recital Hall was created for a concert such as this, amazing thought and skill has created an architecturally beautiful venue that is near perfect for audiences and musicians alike. It’s plush, with comfortable seating, excellent sight-lines and the sound, the sound! I was fortunate enough to attend the concert when ‘One November Night’ was recorded, this will be a chance to give it the ultimate respect it deserves. Many fans may think it odd to sit in a theater listening to Mark Doyle perform, but Guitar Noir is a totally different animal, instrumental, atmospheric and lush. This venue is perfect for Doyle’s voluminous abilities to be exercised and the audience to lean back and follow along with the nuances.

Doyle’s love of film noir/sci-fi/horror movies influenced his thematic choices throughout the recordings highlighted here, along with the Sixties theme from Out Of The Past. This is an artist who holds the fullest respect for where he comes from, where he has been, and who influenced his path on the way there. Anyone who has attended one of his shows knows the subtlety in how he expresses them and his affection for them. I highly suggest a good pair of headphones to catch each one.

‘The Perry Mason Theme’ opens the show with all hands on deck, Doyle’s guitar playing the familiar lines that everyone of a certain age knows. It’s brighter, then it breaks into a samba-jam with Edgar Pagan and his unmistakeable smile riding a sweet groove with counterpoint provided by his rhythm section mate, Josh Dekaney. The strings swell in and out as Bill DiCosimo’s keyboard flourishes fill the air, Terry Quill’s accompanying guitar licks double, then echo and harmonize with Doyle, their interplay is and always has been magical. As previously noted, the rest of the first set is dedicated to In Dreams: Guitar Noir II in its entirety. ‘Mr. Sandman’ is dreamy and slowed down, Doyle switches from harmonics to slide to pick, emphasizing tonal changes directly into another standard ‘All I Have To Do Is Dream’. While recognizable, these arrangements take on a new depth behind Doyle’s signature and accompaniments. This version is upbeat, sweet and hopeful, perhaps another chapter in his tome, written for the love of his life. Ray Davies’ ‘I Go To Sleep’ – familiar to many from the Chrissie Hynde reading – comes next in an atmospheric inversion, enough to call to memory the words; “I go to sleep, sleep. And imagine that you’re there with me. I go to sleep, sleep. And imagine that you’re there with me.”, spoken with a volume pedal and a little finger on the volume control knob on Doyle’s signature Stratocaster. The guitar solo at the end is worth the admission price alone. ‘Reve Noir (Dark Dream)’, the first of Doyle’s compositions, brings the theremin in with a haunting effect that is quickly softened by a ‘Dream A Little Dream Of Me’ homage lick. The strings are consistently perfect, performed with touch and emotion, never commanding, yet very present.

Henry Mancini’s ‘Dreamsville’, from The Music Of Peter Gunn precedes ‘Nightmare’, Artie Shaw’s “theme song”, placing dimension on this continuing dream sequence. Doyle’s guitar rises right through the middle of the mix, just on top, right between the ears, precisely where it belongs. ‘Dream Baby’, made famous by Roy Orbison, gets a slower pacing, without the country feel. Not “updated”, but a different take, a saunter of sorts, with Doyle’s slide work and picking dictating the step. The second Doyle composition, ‘Dream Tiger’, gets a bit electronic with sampling running underneath, triggers being pulled and layers upon layers of melody allowing Dekaney to hit it hard. His percussion skills and sound knowledge are flat-out amazing. The band is running at top form, ‘Darn That Dream’ is a late thirties jazz shuffle by Jimmy Van Heusen that reaches deep into Doyle’s cache of tones, throw in the strings and it could be misconstrued as his own composition. ‘Still I Dream Of It’ (Brian Wilson) and ‘In Dreams’ (Roy Orbison) finish disc one. The expression in Doyle’s guitar-voice rides along the melody lines, casually reshaping them, changing tones to define them. One last reference to history and the band is off to break, listening to a rising ovation from the sold-out audience.

The second set, or disc two, opens with ‘Tomorrow Never Knows’, the Lennon/McCartney gem from Revolver that brought the Indian feel to the experimentally minded band. Guitar Noir just rolls it, the Indian undertone as a drone, Doyle voicing the vocals through his fingers, pick and whammy bar. The Jazz Crusaders’ ‘Young Rabbits’ gives each member of the ensemble some individual space while staying tight to the groove of the original. The band doesn’t mind a little jazzy, funk stuff. The Boz Scaggs feel of ‘Invitation’ is such a classic sound. The theremin pushes through in parts, Doyle just soars, and the band is so far in the pocket that you can’t see them. ‘Guitar Noir’ expresses the virtuosity Doyle haunts this song with, the hollow-body whammy gives some surfer vibe, but the synth and pad parts are updated and push just slightly. The theremin entices like an old horror movie, just enough to keep you guessing until he tosses another emotive at you. ‘Out Of The Past’ is a monster. The Indian influences, both string and percussive, paired with the precision of the guitar work and tonalities, is just majestic. These two songs are Doyle’s personal contributions to disc two. It’s understandable why they’re the title tracks from the second disc’s featured albums.

The Doors’ ‘The Crystal Ship’ is a time establishing riff that is just as strong, if not more strongly expressed through six strings. It provides the vehicle to go back, while still moving forward through Doyle’s interpretation. The Beach Boys’ ‘Warmth Of The Sun’ is read in similar terms, lush with strings and keys, the lead gently overhead. Both are so heartfelt, they’re nicely paired in the set and the ‘Surfer Girl/I Only Have Eyes For You/In My Room’ interlude is signature material for Doyle, perfectly placed and segued, setting the stage for a new song to the ensemble. ‘Jive Samba’ by Cannonball Adderly takes the slow jazz feel and uses guitar for the horns while the string ensemble echoes back to them, the bottom is unstoppable even when Doyle lights it up strong. Then, DiCosimo, Quill, Pagan and Dekaney each get several measures of solo space and their introduction to the crowd. Sometimes it’s hard to pay attention to each individual while the band plays, wanting to absorb the whole presentation, but the crowd surely showed their appreciation for each. The set ends with a Stones/Beatles mash-up, consisting of ‘Paint It Black/Eleanor Rigby’. The Caribbean rhythm intro of ‘Paint It Black’ morphs into a rocky, upbeat chorus, then transitions into a searing ‘Eleanor Rigby’ with a Chick Corea like break. DiCosimo rips another organ solo while Quill and Doyle pounce on the top, firing to a dramatic end with the audience standing and yelling for more. The encore is a seasonal piece considering the recording date. ‘Have Yourself A Merry Little Christmas’ and ‘The Christmas Song’ had the audience smiling wide in understanding the moment they were just a part of.

While it isn’t considered professional or appropriate to personalize reviews, in this case and several others recently, these people are my friends. I’m very fortunate to have them. I write what I write because I want to, not for money, but for the love of music, especially when it’s made by people I respect and care deeply for. Check out more of Mark Doyle’s music on his website, youtube and his band, Mark Doyle and The Maniacs’ facebook page and website. There is a rich history there that continues to grow, it should be noted and explored, please do.

Key Tracks: Out Of The Past, Dream Tiger, Guitar Noir

June 28, 2015
In The Studio with Sisters of Murphy at More Sound Recording Studio

Not sure if it’s the same for you, but music to me is like air. I need it to survive. Whether it’s at work, in the car, while I’m running, or just putzing around my home, music is the one thing that allows me to escape the stressors of every day life, to celebrate life, or to lift me up when I’m in need of a mood adjustment.

To totally immerse myself in the how and why’s of the music business has always been a curiosity of mine. When my friends of Sisters of Murphy, Rochester’s number one Celtic Rock band, invited me to tag along while recording their upcoming album at More Sound Recording Studio in Syracuse, I jumped at the chance. Finally I would see the behind the scenes view of music being recorded and mastered.

In The Studio with Sisters of Murphy – More Sound Recording

I met these amazing musicians last year at the Syracuse Irish Festival and totally loved their energy and chemistry together as a band. Their style is fun and upbeat, and their personalities match it ‘to a T’. With Mark Tichenor on lead vocals and concertina; Bruce Lish on bass and vocals; Cedric Young on mandolin, banjo, whistles, pipes, vocals, etc.; Jona Chartrand on electric guitar and vocals; Mike Kedley on fiddle; Rick Elmer on drums and vocals; and Scott Austin on acoustic guitar and vocals, these seven men amp up traditional Celtic music with a spin that gets the toes a tapping and the party going. I knew this recording session was to be epic and I couldn’t think of a better band to introduce me to the ins and outs of making an album.

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Meeting them at More Sound Recording Studio, in downtown Syracuse, I was super impressed with the space, the equipment, and the owner Jocko. This space had all the top-notch equipment and set up needed to capture and master the sounds of tomorrows hits, as well as house out-of-town guests working at the studio. Jocko’s attention to the details was immediately apparent making sure all sound was spot on before any recording began. After the set up was completed…he took the time to get really communicate with the band to what sound they really want to capture and the essence of what they were striving for. With his expertise along with top recording and mastering equipment, I am eagerly awaiting a finished copy of this album. It is no surprise to me to know that More Sound Recording is booked out months in advance and in high demand. His attention to details, his mannerisms on extracting the very sound (vocals or instrumentation), and capturing the vision the musicians have, explains why he is in such demand as a producer and bands travel long distances for his expertise.

In The Studio with Sisters of Murphy

Had a chance to speak with Mick Fury, a local country musician that recently moved to Nashville to tour with his latest album, one that was recorded at More Sound Studio. He took a minute out of his schedule to share with me his thoughts on More Sound Recording Studio.

Mike Fury (MF): Jocko at More Sound Recording, along with Andrew Greacen, produce tunes that have people in Nashville asking what studio down here they were recorded in so that they might try to achieve that same sound on their projects. Andrew brings a master songwriter’s touch to every project he touches. A tireless vocal coach, when he has coaxed the best possible performance out of ya, he sends it upstairs to Jocko, aka the Sonic Ninja. That man can make a crying baby sound like #1 Beatles record. And that’s no joke. Just ask the babies.

We all have specific skills right? Things we’re REALLY good at. I know a ton about songwriting and performance, you’re probably very well versed in photography and journalism, another friend may have gone to school for 7 years to be a doctor and be remarkably intelligent in the medical field. Of all the experts I have had the honor to know in my life, Jocko knows THE MOST about his specialty of anyone I have ever met. The guy has a monster knowledge of sonic manipulation, Bill Gatesian computer skills, is a high-end percussionist, harmony vocalist, and occasional violinist, and always manages to see the big picture of a project, be it one of our country songs or a crushing death metal tune. Oh yeah, and he build his entire studio. From scratch. By hand. Wow.”

I have to say, it was enlightening to see this master at his craft, and to see how his vision and that of the bands came together. It’s so much work to lay down tracks, re-record to make them just right, and then edit so that each piece fits together perfectly like a puzzle. The time and attention that goes into making a final album holds so much more meaning to me now that before, as just a puzzle, it’s tedious, rather frustrating, but in the end as it begins come together, it makes one heck of a beautiful picture.

More Sound Recording Studio

Being in the studio with the band and Jocko was a pleasure and NYSMusic would like to thank both the band and More Sound Studio for allowing our readers a peek inside the studio this month.

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In The Studio with Sisters of Murphy

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In The Studio with Sisters of Murphy

June 20, 2015
Hearing Aide: Todd Rundgren “Global”

Todd Rundgren released his 25th album, Global, on April 7 and immediately set out on a 34 date North American tour. Having had the pleasure of seeing Todd in concert several times, reading some of the early reviews didn’t surprise me at all. If you expect to hear “I Saw The Light,” “Can We Still Be Friends” and “Hello, It’s Me,” TR never disappoints, but, he may make you wait and tease you a few times before giving in. I grabbed a couple of quotes from a good friend’s Facebook posting post-show, before delving deeper.

“Todd always brings his own cutting edge and set his own parameters, very few artists are this talented and confident. If fans struggle with change and evolution, they should choose another artist to follow.”

“It takes a lot of courage as a fan to follow him with an open-mind, but the rewards are worth the effort”, Tommy Allen.

“Just a killer show, filled with positive energy from the girls (The Global Singers) and the DJ (DaM FunK). Todd was in fantastic voice and delivered all of the songs with passion. The choreography and light show turned the whole thing into a very immersive experience. Don’t listen to the bad reviews on the internet, this is a very unique and futuristic show,” said Mark Doyle.

Honestly, it took several spins of Global to get the feel, but being familiar with his previous release, State, it warmed me quicker to the work. The opener, “Evrybody” sounds like a slap in the face to the entitled or a call to arms for the populace. Either way it sets the tone for the album. As on most albums, it’s all Todd, all of the time. Almost exactly the way he would take it on tour. “Flesh & Blood,” another EDM-like tome that pokes fun at DJs while showing what really can be done electronically with real lyrics that have something to say. The verses sting, the chorus, “You’ve got free will, but you’re flesh and blood” simplifies and drives the message. Keep in mind this man is one of the fathers of multi-media, usually several steps ahead of the game, ultimately disenfranchising some. A pity really. “Rise” is right to the heart of the state of things, yes, globally. He speaks directly to the Romanesque status of civilization, “Time’s ticking away, time keeps ticking away. If we don’t rise, then we will fall.” Pretty simple and right on the point. This leads into “Holyland,” a rhythmic adventure into the definition of what that is exactly. Everything. If this track doesn’t hit home, you’re simply not paying attention.

“Blind” slows the pace a blue-eyed, soulful bit and illuminates the false-flag of media. “I’m not a scientist, everybody likes to brag these days. And yet they still insist, twisting all the facts their way.” Directly aimed at climate-change deniers, god-trusting book wavers, that believe all will be taken care of for them, perhaps still on the entitled ones. Shielding their eyes from the reality in front of them. “You have to be blind, blind, blind. Eyes that will not see it. (Writing’s on the wall.)” “Earth Mother” kicks back into EDM as a anthemic call to action, from a Rosa Parks reference to the choruses repeated message, “Can I get a shout-out from my sisters, a shout out from my girls. Now go out there and change the world. “Global Nation” flows right into the theme of one world, one cause, one solution. “Calling out to the planet, calling out to the world. (Global Nation) I wanna wrap my arms around the world, wrap my arms around the world and dance.”

TR always has his moment when his heart bleeds out, “Soothe” is this record’s example. His lyrical emotions move you, the timbre of his wavering voice speaks directly to the listener, whomever it may be. Something TR does exquisitely. This is chicken-skin arms material. “Maybe I can’t make gray skies turn blue, but I can soothe you. When your lovers are untrue. And the whole world seems out to hurt you. Know that I would try, everything I knew, to soothe you. I will soothe you.” “Terra Firma” sequences forward analogously as a tale of the intrepid explorer casting-off to someplace unknown. With solid ground being the love and home he left behind, “I am off to great adventures, leaving you behind. Far beyond the border and I have no clue what I will find. But the thought of home never leaves my mind, no. Though the minutes stretch to hours and the hours stretch to days. With the trials and tribulations, well it seems like I’m so far away. And it’s just too high a price to pay. There’s one thing I can always say. Whenever I feel the rain I put my faith in terra firma. And I’m never far away, because you’re my terra firma. (terra firma) Whenever I feel alone, I go home to terra firma. (terra firma) The place I can call my own, because you’re my terra firma (terra firma).”

“Fate” poses destiny as a card game and addiction that everyone seemingly has. The future being out of our hands like a roulette wheel spinning out of control. No one wants to face up to the realities of our time, it’s easier to rely on fate than make an effort to change. Manifest destiny, worldwide. “Skyscraper” shines the light on the trappings of civilization. Buildings and cars, partying with friends, living in the moment with no regard for what’s ahead. “This Island Earth” closes and wraps it all up, neatly exposing what needs to be for change to happen, allowing the future a chance to exist beyond man’s current course. “There is no other place in this universe, like this island earth. We fantasize about this spoiling other planets, like this island earth.”

When taken as a whole, this album is yet another message from a very old soul, living on the cutting edge of technology. Drawing distinct lines between reality and fantasy, fate and destiny, what can and cannot be. A statement from one of the bravest, deepest songwriters of our time that is not to be ignored.

Of course TR has multiple platforms to read and learn from. Check out more on facebook and his website.

Key Tracks: They’re all key tracks, it’s Todd Rundgren! Check out “Terra Firma” and “Soothe,” they crush.

June 17, 2015
Mountain Jam 2015 Day 3 Recap: Saturday Draws Biggest Crowd of the Weekend

Saturday was one of the best days at Mountain Jam 2015 with endless blue skies, electric green Catskills and another day full of incredible music to ponder. The thousands of festival goers happily greeted the day, feeling recharged as they hiked up the mountain with arms full of drinks, blankets, chairs and sunscreen.

It’s a brilliant concept to have vendors walking thru the music area, dragging coolers of cheap water and Gatorade, ensuring the best policy to rage is hydrate, hydrate, hydrate.

One of the most charming acts of the afternoon was Benjamin Booker, who brought an earthy back roads set on the West Stage with his sincere loud whisper of a voice. The violin and mandolin added a bluegrass tinge as Booker wailed on his guitar for a dirty rockabilly feel.

A light-hearted, upbeat island ambiance grew from the East Stage and climbed up Hunter Mountain as Rusted Root performed their worldly jams reminiscent of the 1990s. Michael Glabicki nearly broke his strings as he beat the hell out of his guitar and Patrick Norman laid out deep bass bombs. The music is a light mixture of Alice and Chains set in the Outback with a cowbell and washboard. It was Rusted Root’s first time at Mountain Jam and they were eager to share music from their latest album with “Save Me.” It was a new age funky groove with high vocals from Liz Berlin, a heavy percussion solo and frog-in-throat vocal effect from Glabicki. The set ended with their top hit, “Send Me on My Way,” that got the whole mountain stomping before casually coming down with an acoustic serenade.

Texas native, Alejandro Rose-Garcia, better known as Shakey Graves, dominated the West Stage. Performing with a drummer and bass player for most of the set, Graves was left alone for a few songs to be the one-man band he is infamous for. The trio gave off a high energy, down home fun as they jumped with rodeo flair all over the stage. Rebelution brought the West Coast vibe with their swells of brass, beach like melodies and layers of hip hop. An enthusiastic traditional reggae sound with skater park boundless horn peaks. The Rasta atmosphere blazed thru the day as The Wailers awakened the crowd with deeply rooted, rock steady reggae. They performed Bob Marley classics such as “Is This Love?”, “Could You Be Loved?” and “Stir it Up,” spreading island vibes all over the mountain and feeding off the crowd’s radiating appreciation. Festival partner and veteran, Warren Haynes took center stage for a second night with his band, Govt Mule. After the previous night of Dark Side of the Mule, many were looking forward to a set of original Mule tunes that as in the tradition of the festival. One of the highlights of the set was a nostalgic “Million Miles From Yesterday” with special sit ins from Elaine Caswell and Machan Taylor plus a Stevie Wonder’s cover of “Superstition”.

Once the sun went down under the mountain, the temperature significantly dropped causing many to immediately layer up and wrap themselves in each other in hopes to keep warm. The clear night sky revealed hundreds of stars and the captivating color changing forest surrounding the festival grounds. As bitter cold as it was, the sight was breathtaking. Headliner of the night, The Black Keys packed a heated set as drummer Patrick Carney and guitarist Dan Auerbach threw down a hard-hitting rock and roll session. The duo was joined by Richard Swift and John Wood for to create a powerful violent surge of solos that blew the roof off the East Stage. Carney and Auerbach shine best as a duo, proving all you need is a drum kit and guitar to move mountains. Thrashing about the stage with a soul-absorbing sound, it’s no wonder that the Black Keys are considered rock giants, having earned multiple Grammy Awards and platinum albums. The crowd screamed along with dusty garage favorites “Lonely Boy” and “Howlin’ For You,” soaking up the raw talent before them.

The Main Lodge served as a great refuge for the hour set break for those eager to warm up with a full bar, plenty of table seating and an art gallery featuring show posters and photography. Arc Iris took over the Healey Hall with eccentric girl next door pop with a twist of sorcery plus an impressive stand-up electric bassist. The Budos Band closed out the Hall with heavy metal horns and dark ska, sound beckoning the crowd closer to the small stage with big band momentum.

Big Gigantic was one of the top acts of the night with the heavy EDM tunes pumping out classic hip hop mashups with new school flavor. They are closest thing the festival saw to a rave, with hurtling glow sticks and peaks of bass drops that kept security on their toes. The electronic duo from Colorado featured Jeremy Salken pounding the hell out of his drums and Dominic Lalli doing his best Kenny G jazz saxophone work while jamming on his laptop, cranking out funky bass. The final day of Mountain Jam approaches with a buzzing lineup of Lake Street Dive, Amy Helm & The Handsome Strangers, returning act Michael Franti & Spearhead plus headliners Alabama Shakes. Stay tuned for our Sunday Recap of the festival with closing thoughts on the 11th annual Mountain Jam.

June 7, 2015
Hearing Aide: Lucid ‘Dirt’

Lucid’s newest release, Dirt, could not be released at a more ideal time. As we emerge from a winter that destroyed many of our spirits, to warm weather that has seemed like a great reward in recent weeks, this is the perfect soundtrack. This north country sextet, from Plattsburgh, NY, brings a smooth blend of jazz, reggae, soul-filled rock with tastes of different flavors of world music together on a record that shines with overwhelming positive hope and all around feel-good vibes. This will surely be the summertime soundtrack to many sunrises, afternoons in the outdoors with a cold beverage and warm nights fireside with friends.

The opening track “Cuerpo” is warm and inviting, a perfect start to the album. With beautiful harmonies from not only the voices of Lucid but a guest female voice as well. This song feels a bit lighter for the band as it’s soothing and beautiful with only small hints of the horns that will fill the rest of the album. A great introduction to what is going to be a ride through genres and styles that feels as good as sipping a cup of coffee on a north country morning with a mountain view.

From there the album kicks up the tempo a bit, reminding us why Lucid has been found on so many festival lineups throughout the past few years, they know how to get people moving. On the fourth track “Skippin’,” an uplifting song with great grooves accented by saxophone lines in all the right places, they sing such memorable lines in the chorus’ that you’ll be singing along by the song’s end. These guys can jam in a live setting but on record the longer tracks are just long enough. They move along to a new sound and a new track when the time is right, likely keeping those less accustomed to extended songs feeling good without getting bored. Though you will likely get lost in many of these tracks and feel an appreciation for Lucid’s musicianship and message, giving you time to appreciate the sounds and also your surroundings. As mentioned before, this is truly a perfect soundtrack for this hot spring that Upstate NY is enjoying right now. Some of the songs have a strong island feel and who doesn’t want that when sitting lakeside, or cruising around with the windows down a summer day?

The only downside to the record is perhaps a song or two where lyrics get a bit repetitive, or a part is carried on only just a bit too long. Even on the third track “People” when the words may lean a bit cheesy. They do it in a way that is quirky and and adorable, think a troop of Muppets jamming out, heads bobbing along. This is a band that knows how to make a listener smile. Especially on goofy interludes where they find themselves in a mess of clucking chickens, yes, that’s a real thing on this album, and it’s a perfect reminder that even with a sometimes more thoughtful message that this band never takes themselves too seriously for their own good.

Later in the album they incorporate a bit of blues harmonica on “Break A Man,” that is followed by big soulful vocals. Then the harmonica drops out, letting the keys and saxophone take charge with melodies that dance with one another, this is a track that will surely bring on hoots and howls in the live setting. Throughout the record the combination of smooth yet strong vocal harmonies, great musicianship and their ability to sway from style to style so naturally makes this a great listen start to finish. Lucid has been doing what they do for years, and it shows, growing their sound from the dirt up to places that are inspirational, uplifting, and also all around feel-good fun.

Bottom line, get this album as soon as you can and it will naturally weave itself into the fabric of your summer.

Key tracks: “Skippin’” “Psychedelic Circus” “Simmer on Down”

For tour dates and information on the album’s release, follow Lucid online at: rulucid.com and facebook.com/RuLucid

May 9, 2015
Upstate Funk Heads West: Giant Panda Guerilla Dub Squad with Euforquestra
At one time I had a friend who exclaimed before each concert she attended, that each band she heard must pass what she called “the sweat test.” That is to say, in order for her to feel satisfied with a band’s performance she should walk away with her clothes drenched in enough sweat from dancing that her attire would freeze stiff shortly after exiting a venue. This was during the early 1990s when I lived through a few rough winters in Rochester, NY. I didn’t go to shows at the time because I was attending a local seminary to get a theology degree and become a Baptist preacher.

Still, her standard for live music stuck with me through the ensuing decades as I grew into the live music scene. I was recently reminded of her on a chilly evening in Boulder, CO as the Rochester-native band, Giant Panda Guerrilla Dub Squad headlined with the Colorado-based funk band, Euforquestra. As I watched the venue full of twirling, jumping,wriggling, and flopping enthusiasts it became clear to me that both bands would easily pass the sweat test.

Euforquestra led the way with a scorching blend of brass-infused funk/Afrobeat music. Giant Panda Guerilla Dub Squad has gained a devoted following to their improvisational roots reggae sound in the Rocky Mountain region, and their lively finishing set was part of a winter tour devoted only to stops in Colorado.
March 25, 2015
Giant Panda Guerilla Dub Squad is Bringing the Spring Steady Tour to Syracuse

Trucking across the country with their fourth studio album “Steady” on their shoulders, Giant Panda Guerilla Dub Squad will be dropping by the Westcott Theater on March 21, to resurrect a night of deluxe reggae spirit for Syracuse. Steady was released in september of 2014, debuted at #1 on the Billboard Reggae chart, #1 on iTunes Reggae Chart, and is the Rochester, NY based quintets’ first collaboration with Easy Star Records.

The GPGDS, as many fans know them by, have been writing, recording, and performing music since 2001 while they were still in high school. The band played local and regional shows, while focusing on performing live for the next few years. In 2005, friends and fans began taping their live shows for fun and sharing their progress with the live music community, which quickly built up a national fan base accompanied by continuous touring schedules. Their hard work and success have nursed a rising career, which we are in store for this week and may even hear some new material from their upcoming album (due out in May), titled Bright Days! Bringing with them to celebrate, are an extraordinary crew of musicians, the High Hopes Band from Boston, MA and fellow Rochester, NY group Danielle Ponder and The Tomorrow People as special guests.

With their Spring Steady Tour under way since March 12, the 20 date tour includes major highlighted events such as the California Roots Festival and Arise Music Festival in Colorado. This run of shows will also bring the Upstate New York natives back home to Ithaca on April 9, Albany the following evening, and Buffalo on April 11. Saturday, March 21 the band will play the Westcott Theater in Syracuse with special guests Danielle Ponder & The Tomorrow People, High Hopes Band. Doors open at 7PM and the show starts at 8PM. This is an all ages show, tickets are $15 in advance and $18 day of the show.

Websites:

http://LivePanda.com/

http://www.highhopesreggae.com

http://www.reverbnation.com/danielleponderthetomorrowpeople

March 18, 2015
Photo Gallery: That 1 Guy at Parish Public House

That 1 Guy brought his unique sounds to Albany’s Parish Public House on a cold wintry Thursday night.

The crowd wasn’t large, but everyone in attendance was dancing up a storm in front of him. With his own invented rig, dubbed The Magic Pipe, That 1 Guy wowed the crowd with quick moving hands up and down the metal pipes, strings, and other electronics on stage. There was also a bit of magic thrown in for laughs. The impressive two hour show was non-stop and should not be missed when he comes to your city.

January 19, 2015
The Buddhahood and Friends 7th Annual January Thaw Concert Celebrates the life of Tony Cavagnaro

In just a week the music Gods will be bestowed upon us when music lovers in Rochester will descend upon the Historic German House for the Buddhahood’s 7th annual January Thaw tribute concert on January 24. The event is held in celebration of the life and music of local music legend, Tony Cavagnaro, who was tragically lost in a car accident in 2007. The proceeds from this event go towards the Tony Cavagnaro Young Musician’s Scholarship Fund, which benefits the Hochstein School of Music and Dance.

Keeping Tony in our hearts and minds and at the forefront of our spirit as a group has helped keep The Buddhahood alive. Celebrating his musical legacy — and his January birthday — has become an annual tradition.”

Buddhahood bassist Rick Whitney

The Buddhahood, a band founded by Cavagnaro, has hosted this event annually during the month of January in celebration of Cavagnaro’s birthday. The show features a variety of special guests and friends to share in the celebration. This year the Buddhahood will be joined by special guests, Teressa Wilcox & Nate Coffey. Also set to appear at January Thaw are friends, Frank Boehm, Chris English, Suzi Willpower, Opal Rose, Chrissy Beth Apples and so many more. The doors open at 7PM. Advance tickets are still available for $10 at Aaron’s Alley, the venue box office and any member of the band. Tickets will be $15 the day of the show so get them now and don’t be left out in the cold when you should be getting toasty inside.

I had an opportunity to sit in on a band practice and talk to the Buddhahood about what this event means to them and why they keep it going year after year. What I encountered was a casual conversation with a band I have been listening to since the good old days, when Park Ave. Fest meant two full days of music with the Buddhahood behind Hogan’s Hideaway. What I learned was what sustains the ever evolving love and light harnessed by Cavagnaro, that was and still is, The Buddhahood.

The studio where the band practices and records is a visual history of the band and all its incarnations. With concert posters from shows past, recording equipment, instruments, photos of Cavagnaro, photos of the band members and their families, and statues of Buddha. Simple symbols that represented the presence of the Buddhahood, an eclectic grouping of cherished memories.

Kristen Mack-Perry: Let’s talk about January Thaw, Tony, and how you got to where you are now. What is it that you all want to create in having January Thaw?

Pete Mugnolo: We want to give back to the community, and do it in a way that benefited young musicians. Because When we originally thought of this idea, Tony was always do that; he was always teaching, but he would do much more than teach. He would kind of take young musicians under his wing and not only show them how to play guitar but how to function in a band. Like with the Panda guys, he really helped them get started.

KMP: One really fun thing about January Thaw is how many guests you have come in, how do they all connect with this event?

Gabe Costanzo: Well a lot of them used to be in the band, and a lot of them used to be in Tony’s bands

KMP: Well it does seem that the members of the band are always changing and evolving, do you think that’s what the structure of the Buddhahood is? a band that doesn’t need to be a certain set-up, you’re just constantly evolving?

Pete: Well Tony would always say, “I’m the only member of this band that has to show up.” Because we got substitutes for everybody! But we never got a substitute for Tony. We always played with Tony, if he couldn’t play the gig then we didn’t do it. With every single lineup, Tony was the one constant. He would say, “I am the only one that can’t be substituted”… and then he died. As a band we were like, well do we keep playing? So we had Grape Fest booked and we cancelled everything else, and we played the Naples Grape Fest because that was a drum march. It wasn’t supposed to be but we did it anyway.

Gabe: We asked if we could just show up and do the all acoustic drum march, ya know the drum and horn march that was all acoustic, and we did, because we just couldn’t do the whole stage show.

Pete: But we put together the first tribute concert November 18, after Tony died. It was at Water Street Music Hall; which was kinda like the wake we all needed to have. We just got everybody together because we wanted to raise money for Jan and Calvin. So we did the tribute and we realized that the band is not just any particular person, it’s not any one personality, its kind of its own entity. It’s an energy that people gravitate to, and that’s what the band is. We thought, it couldn’t be the Buddhahood without Tony, but apparently it can be. It’s different, but ya know.

KMP: At last year’s January Thaw I remember Calvin coming up on stage to play with you, what does that mean to all of you to be able to share that? Do you think that’s something that would have happened if Tony was here, would he have just naturally brought Calvin on stage?

Gabe: It’s organic in a weird sort of way

Pete: It’s just the right, umm… of course!

Gabe: Well we weren’t the ones to suggest it, Jan came to us and said, “Ya know, Calvin is getting really good at the clarinet, and he wants to play.” Before he played on stage, he used to go up and tell jokes, he was our MC.

Pete: He sang Happy Birthday one year

Gabe: So it was just a continuation of that. He’s doing something again this year.

Pete: Having Calvin on stage with us, is like an assurance that the music will live on [through Tony] its like the next generation continuing to play Tony’s music ya know. I’m hoping there’s a Buddhahood when I’m like 100 years old and I’m just the old guy who shows up every now and then and plays a shaker.

KMP: So this is the 7th annual January Thaw?

Gabe: yup, the first one was in 2009

KMP: This is a benefit show, where does your donation go to? do you know who it benefits specifically each year?

Pete: We donate the proceeds from the show to the Tony Cavagnaro Young Musicians Scholarship Fund at the Hochstein School of Music and Dance

Gabe: And they are always keen to tell us, “your donation went to help a young guitar player” or you know, they don’t tell us who it is but, they do let us know how it helps, so that’s nice.

KMP: Is teaching music something Tony was always passionate about?

Gabe: Well I don’t know many people who have made a living at only playing music, and Tony was certainly no exception. One of the things he did do was teaching; he owned a music shop once too, he’s done a lot of things in the music business. But teaching was always there, it was one of the things he always did.

Jim Schwartz: Teaching young musicians, guitar players and mentoring other bands, like the Giant Panda Dub Squad.

KMP: That’s just so awesome, it’s like a family of music to be a part of the Buddhahood.

Gabe: I think it is a family, and ya know, different aspects of the show, like having Calvin and having all of our guests, and the scholarship donation, it really is in a way, closing a lot of circles and keeping the whole thing going.

KMP: [to Matthew] You’re the newest member of the band, the youngest, what is it like to come into a band like this?

Matthew Sieber-Ford: Yeah, the band has such a history and its like, the band is like a family and the history of the band is like a culture. I mean you could take a class and you know, you get to graduate on the history of the Buddhahood. Every time i sit down with somebody, and not the people in the band, I hear all about how “oh I saw them play this” or “I saw them do this once,” – so there is this whole history behind it. When I first started playing [saxophone] I was playing Jazz. Then I was just hanging out and playing music with the Buddhahood, not playing with the band, but just hanging out, and that just completely just opened up my ears and my mind to like a whole new world. Playing with them is a whole other thing, I mean I’m playing with people who are old enough to be my parents as opposed to my peers, its nice to play with people who have done it before and have been doing it a long time. It has totally changed my attitude about things. The family of the Buddhahood reaches far beyond just being in the band, and so many other bands support this band.

KMP: That explains all your fantastic guests at the show, they all seem so excited to be a part of the show, and doing something with all of you in celebration of Tony. With the show now in its seventh year, what has it become for you as a whole?

Gabe: It’s a reunion of sorts

Jim: It gives us the opportunity to rekindle our memories of Tony in a community setting when we have all of the people who are not a part of the band on a regular basis, all come together, for the purpose of playing Tony’s music and keeping it alive and keeping it vibrant. A lot of it is timeless, ya know, you can play it today or twenty years from now and it would still be valid.

Follow The Buddhahood on social media –

Reverbnation: http://www.reverbnation.com/buddhahood

The Buddhahood Facebook: www.facebook.com/buddhahoodmusic

Cdbaby: http://www.cdbaby.com/Artist/TheBuddhahood
January Thaw Concert FB: https://www.facebook.com/JanuaryThawConcert

January 16, 2015