Mike Gordon is not your typical man. And when left to his own devices, things can get quite Gordon-y. The Phish bassist’s solo band made a stop in Baldwinsville, just outside Syracuse, at Paper Mill Island. The amphitheater resides on a small parcel nestled between the Erie Canal and the town center, tucked back behind an inn and a canal lock. If you blinked you might miss it. A perfectly weird spot for the perfectly weird Gordon. It was the band’s first outdoor show. As Gordon announced, “it’s nice to be out.” Though in the end, it might have been better to stay in. From the imagination of Mike Gordon, this outside out show featured a whole lot of visual enhancements, most of which were lost in the summer sun.
Mike Gordon Band – Papermill Island
The stage was almost entirely black. All of the instruments were either black or draped in black. The musicians were dressed in black with slight variation. Gordon wore deep red jeans, and his shirt was more of a dark grey. Once you went down the rabbit hole of noticing these details, you noticed it all seemed to be meticulously coordinated. Drummer John Kimock wore a striped shirt that perfectly matched the colors of Gordon’s jeans and shirt for instance. But why Gordon’s nails were painted white I couldn’t say. Scott Murawski‘s guitar and Gordon’s bass were custom made with LED lights in the neck that reflected through the bodies. Seeing them in action was somewhat reminiscent of the early 90’s Phish backdrops painted by Gordon’s mother. The walls displayed constantly moving graphics while lights lined the floor were flashing and spraying more color across stage. There was a lot to take in visually once the sun went down.
Additionally, there was a large interactive keyboard lining the front of the stage. When the keys lit up, audience members were able to hit the keys and play along with the band. After a very brief appearance in the first set, the keyboard came alive for most of a late-second-set version of “Voices.” (video below) The keys would light up in sections giving different audience members a chance to jam. Aurally, the results were mixed, but in person it was a boatload of fun.
This tour saw the additions of Robert Walter on keys and John Kimock on drums in Gordon’s band. Both members slid right into their roles with nary a hiccup. The band was tight and grooving every step of the way. And every song jammed. With lesser musicians this formula can grow tiresome, but with this outfit, it only got more interesting the further they went. They played a smattering of Gordon originals, a couple of Phish tunes, and a few covers to round it out.
The covers, two in particular, stood out as clear highlights of the night. Their take on the Flaming Lips’ “Are You a Hypnotist” started with excellent playing through the song portion, and dripped slowly into a oozing spacey jam while a Tron-esque bright green grid was projected along the walls. It was a “wow” moment, as the music went places I hadn’t thought possible from this side project. Then, to close the set, the band took on Here We Go Magic’s “How Do I Know.” The sunny and bright song burst out into a rocking jam driven by some relentless work by Walter and Kimock. The covers were so good, perhaps it pointed out a weakness of this band: songwriting. That said, Mike Gordon knows how to put on a thoroughly fun show that is both musically and visually engaging. I’m still smiling.
Setlist
Set 1: Different World > Another Door, Surface, Here Today, Say Something, Looking For Clues, Spock’s Brain > Different World
Set 2: Jones > Take It As It Comes, Sugar Shack, Normal Phoebe, Are You A Hypnotist, Voices, Face, How Do I Know
Portland born Folk artist, Todd Snider, brought his musically charged, humorous life stories to the Westcott Theater in Syracuse, on June 24, for his first show in central New York. Of what was supposed to be a duo with John Craigie, turned out to be a one-man show of Todd all by himself. News of why Mr. Craigie wasn’t playing or why he couldn’t make the show, was left unannounced but that didn’t stop the crowd from patiently waiting and thoroughly enjoying the only performance of the evening.
Todd’s artistry is not about the music, it’s about the story in whole. The lessons he learned from his travels, the wisdom he’s acquired from meeting strangers, past relationships and living on the road all have a say in how each show pans out. The diverse audience loves it though. From the moment Todd stepped on stage and waved his hat in the air to greet the crowd, everyone cheered in excitement to hear what he had to say. It was as if he had played in Syracuse many times before. For the following One-Hundred minutes, Todd played soft chords on his nylon-stringed acoustic guitar and told stories, which gave way to laughter, smiles and even some frowns.
Entertainment shows it’s face in many forms and Todd naturally entertained the crowd. He provided a unique and vulnerable show for everyone in attendance, aiming to show himself as an enthusiastic, opinionated, musical story teller of truth and tall tales. He accomplished just that and more as the audience was drawn into every detail that he presented about his time on this wonderful planet.
With a packed house, country duo Love and Theft took Syracuse by storm performing several of their hit songs while fans danced and sang word for word. The crowd begged for more throughout the entire show. Afterwards, Stephen Barker Liles and Eric Gunderson both took the time out of the set to share stories and memories with us.
Unlike most shows, the meet and greet was held after the performance. The duo spent so much time with each fan for autographs and photos that we didn’t get out of there until almost 1:30am. Every fan was impressed with their show and more importantly with the fact that these guys were just every day people sharing their love of music with the rest of the world.
Catch their next NY show Aug. 2 at Spiedie Fest and Balloon Rally in NYC.
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
In the photojournalism profession, there are certain things you hope to one day do in your career. Whether it’s covering a favorite band, or capturing the perfect shot, or interviewing someone you’ve revered over the course of their career, we all have that bucket list of wishes. As we get ready to welcome Heart to the Oncenter’s Mulroy Civic Center Theaters, June 30, I recently was able to check off one such accomplishment on my bucket list. Graciously agreeing to speak with our readers, I had the opportunity to interview one of the icons of rock and roll, Ms. Ann Wilson.
Ann Wilson – Heart
Ann and Nancy Wilson are known and revered as trailblazers in a predominately male field of rock and roll. Shattering the glass ceiling and overcoming adversities, Ann and Nancy not only blazed the way, they set rock and roll on fire. Over the years their music has spanned generation after generation, and their longevity can be attributed to their ability to touch their audience no matter what age they are. Recognized once or twice along the way in their successful careers, I found Ann so humbled by it all. Let’s recap a few of those awards: In 2013 they were inducted into the Rock & Roll Hall of Fame and in 2012 they were honored with their Star on the Hollywood Walk of Fame. They have had four GRAMMY nominations over the years as well as the Lifetime Achievement Award from the GRAMMY Foundation Northwest Chapter. They have been awarded the Lifetime Achievement from the VH1 Rock Honors, and the Image Award’s Lifetime Achievement for Excellence in Songwriting from ASCAP. They have exhibits in the Rock & Roll Hall of Fame Museum, the Electronic Music Project Museum, and the Grammy Museum. Needless to say, they’ve made their mark in the industry over their more than 40-year career and along the way grown in the “Hearts” of all their fans; myself included.
As I sat down to speak with Ann Wilson, I had to pinch myself. This was definitely a humbling experience and I wanted to ask the right questions that our readers would want to know. So I took a survey and a few of these questions can be found within.
Kathy Stockbridge (KS): Thank you so much for agreeing to talk with our readers. We are so happy to have Heart coming to the central New York area. You have been one of the most influential women in rock and roll history. You and your sister have made every list possible hailing you as trail blazers in this field. When it come to breaking the glass ceiling as women in a predominately male genre, you forged the way for so many females that wanted to be like you. Being in the forefront who motivated YOU to pursue your dream in music and sculpted your love of rock and roll. Who were some of your earliest influences.
Ann Wilson (AW): You’re welcome. Well one of my really early influences would be someone like Judy Garland. You know, that’s who my mother listened to, but the people that influenced me to do rock and roll were not women, they were all men. They were The Beatles and The Rolling Stones, and people who were being played on the radio back then. Then later on it was Deep Purple, Led Zepplin, and Pink Floyd, and all those people that populated the airwaves back then is what really turned me on, and got me into it.
KS: You mentioned that your mother listened to Judy Garland. I read somewhere that your mother was a very strong woman and could be considered a feminist. How did she encourage you and your sisters when it came to pursuing your career choices?
AW: I think that our mother was pretty suspicious of the music business. She considered it to be the fake and phony tinsel world; a scary world especially for two of her three daughters to enter into. But she wanted us to be happy and wanted us to find a bliss and follow it. Yeah, she was happy about that part. She used to not have any problem with offering up her advice about how to survive in the entertainment industry though, which I always thought was pretty interesting since although she was a smart woman, she had no experience in it. She just saw what happened to Judy Garland and said, watch out, don’t do that.
KS: You had some major obstacles you had to overcome over the years along the way. What were some of those obstacles that came up and you hurdled them with no problems whatsoever.
AW: Haha, hurdle them with no problem? Well that didn’t exist. In the very beginning of course there was a level of sexism that wouldn’t be acceptable today. That was the first hurdle. Then along with that came credibility. “Are women trying to do rock and roll even credible or are they some kind of cartoon character?” That was the biggest hurdle at first. And then after that..all the typical ones like ageism, body image, like all those that people face. Only somewhat amplified because it’s in entertainment. But the thing is if you really love and are focused on what you’re doing and that’s your main focus, than you can always look at that and center on that and some of that stuff can go by without really screwing you up too bad.
KS: Absolutely … kinda like you had to do twice as much as the next male artist to get to where you were.
AW: Yes, but backwards and in high heels, right?
KS: And you did it! Along the way, who was there for you before you were famous that you would say thank you to? The one person that made a difference in your career?
AW: I would have to say my parents. My blood family. Our older sister and my parents were the ones who were most there for us and our friend, Sue Ennis, she was there too. And the original lineup of the Heart band was a tight and committed little unit so we were all there for each other.
KS: You have played with some amazing musicians over the course of your career. What are some of the “stand out” moments, moments that resonate as “ah ha/oh wow” moments for you?
AW: Getting to go into the studio at all and make a record was a big “oh wow”, and the whole thing expanded from just different levels of it. First you play a big club, then you get to play a big outside show, then you might get to open up for someone big in an arena, then you get to headline the arena yourself. As it climbs, there are just bigger levels of “oh wow” I guess. Then there are some moments like you get your first gold album, then you get to star in a rock video, then you have to deal with all those problems we talked about a minute ago. Those are “oh wow” moments too when you say, “okay this is what I signed up for … oh wow.” Then in later years I think moments like being inducted in the Rock & Roll Hall of Fame, that was big. Then playing for the President at the Kennedy Center Honors was very big. That was pretty great, yeah really great.
KS: Did you deal with phobias at all like stage fright in the beginning? I know like for myself, I still have to sometimes take a deep breath and begin as I do an interview such as this with yourself, as I get a bit nervous.
AW: Oh thank you. There were times when I did have fears before going on stage. But after a while both Nancy and I learned that is just really so counterproductive. I mean if you allow yourself to fall into that, really your just looking at yourself. You’re not going out there and putting out and getting into it. So we learned different techniques you know like breathing and just being more mindful about being in the moment. So to answer your question, I rarely have any nerves now before I go on. But I do want to be awake and alive up there. I don’t ever want to be just acting it out or holding it in.
KS: Do you feed off of the audience in that moment?
AW: Oh yes, totally. It’s all about that!! If you feel like they’re not there or they’re drifting, or looking at their cell phones, or yawning, or something you take it personally. And then when they’re there and everybody is up on their feet and loving it, and you see peoples eyes are full of excitement, then it really does affect you. It helps you be excited, and then therefore they’re more excited. They factor a lot.
KS: Not sure if the readers are aware but in the 90s you played a part in the Seattle music movement. Talk to me a bit about those years, the grunge movement, and how you all had a hand in that.
AW: Well, I don’t know if we had a real hand in the grunge movement. I would say that if anything we were involved in the 80s in the big bombastic movement in the 80s which grunge was a reaction to, partially. We did live here then, and when we came in off the road when the 80s were over, we just kinda melted into the music community and made friends with a lot of those guys who were being sought out by the record companies. Suddenly Seattle was the place for the record guys to go and like put on their plaid shirt at the airport and come try and find people. And there were a generation or two down from us who were having a big struggles with singing and drugs. The music community was pretty close at that point and we found ourselves hanging out a lot. There were hard times with people dying and people really fading, and so there was a support system there that was really really cool. We would get up on stage at each others shows locally and there was some really great people involved in that scene. And they didn’t appreciate the title “grunge” either.
KS: I think the movement grew more after the fact. I think in the moment, it was the “hip” thing. But people didn’t appreciate truly it till it was over.
AW: I think that’s probably the way it is with most movements. Like even the hippy movement, when the rest of the world finds out about it, it’s really over. And that’s how it was here.
KS: You folks were playing music for years. You started playing in the late 60s early 70s, during the end of the hippy movement, and then continued through and had such a long lasting career. What do you think your longevity is attributed to? And how do you see your music progressing through those times?
AW: Back in the 60s I was still in high school and at art school so I wasn’t really performing professionally until the mid 70s. But from the mid 70s till now has been nearly 40 years, and it’s just been a time continuum focusing on something I just really love to do. And sort of whitewater rafting the music industry changes.
KS: You’ve stayed true to yourselves and your sound. You’ve not succumbed to the different genres to stay popular. In fact I see you fluctuating between a rock sound and a kinda folky rock sound throughout all the years. I attribute that to your longevity and ongoing popularity over the years and through several generations. My son who is a teenager and he and his friends, they all know who you are. Demonstrating the generational span. But your talents do not end there. You mentioned you were in art school. You recently put out a book where you illustrated the entire book as well as wrote with your sister both that one and your memoirs in Kicking and Dreaming. Was that therapeutic to you to get that all out on paper? What was the motivation for that book?
AW: Yeah, doing that book was a little like being in therapy. We just wanted to “from the horses mouth” tell our side of the story, because there is so much of the story that gets told for us and is sort of misinterpreted. Especially in the early days when there were no women really doing rock, there were a lot of people going that this is how they should be stereotyped. So I think we felt it was important to set the record straight and show what it was like for us. And we worked with Charles Cross who is a great writer, and wrote a great book about Kurt Cobain, and another great one about Jimi Hendrix. He is from here in Seattle so he kinda had a clear understanding of Seattle musicians. A real first hand knowledge of them. So that’s why we chose to work with him.
KS: You also are in the process of putting out a children’s book. Talk to me a little this project and your illustrations in the book. You are extremely talented, you sing, you play, you write, you draw, you do everything!
AW: Well thank you. The book came out of the lyrics to the song “Dog & Butterfly” obviously, but to make a full book out of a set of lyrics you have to expand on it. So that’s what we’ve set out to do is make a bigger story out of the visual of the dog chasing the butterfly, and the metaphor of a person chasing after their dreams. So it’s for the kids, but it’s also for the lucky adult who gets to read the book a hundred times to the child, because having done that myself I know how much I really appreciated the books that my kids loved that I read to them that were well done.
So we’ve tried to do that, and make it a worthwhile story. Has a little moral that if you keep going after something and you keep at it you’re patient, it may come to you. There’s a really good chance of it coming to you.
KS: You do so much, what is your favorite part of the work you do. Do you find that one creative outlet tends to call to you more than another?
AW: My favorite part is singing. The actual act of singing itself. All the stuff that surrounds it, and nothing against interviews I like doing them, but the actual getting out there and being one with the melody and physicality of singing is what I really like the most. It’s spiritual to me, it’s more than just getting up there and screaming. It’s way more than just getting out there to make money or having lifestyle maintenance, ya know. Yeah, yeah that’s my favorite part.
KS: Throughout your entire career you’ve been recognized on the Walk of Fame, The Rock & Roll Hall of Fame, but for all of that that you have been recognized what strikes me as most poignant is all your work with charitable organizations. Talk with me a little about these organizations you feel passionate about and why you lend your name and time to these causes.
AW: Well, if you care about the world and you feel like a participant, I think artists should be participants. If someone comes to you and they say “I’ve got this project and as part of the outreach for awareness we’re doing this album or we’re doing this show,” then that is like nail on the head. That is what I know how to do and that’s what I can give. So that’s why we’ve contributed to different causes in the past; the trafficking, the LGTB’s, and all the different things that we’ve done all are important.
KS: If I were to sum up your career in one paragraph, what would you want your legacy to be?
AW: I think that a really important part of it is, and not to harp on the gender thing constantly, but it’s important that rock music and that art in general not be delegated to one gender or the other. It’s about equality and that’s one of the biggest things that Nancy and I would like people to remember when they look back on us.
KS: If you were to have a sound track of your life, what would you name it?
AW: “Hope and Glory” (which is also the name of her 2007 solo album)
KS: At the end of the day you made so many sacrifices along the way, to you were they worth it? Is there anything you would do differently?
AW: The sacrifices are worth it. Definitely. I think if I had to do anything differently, I probably wouldn’t have gone to so many parties in the 80’s. I think I would have been a little bit more mindful of my physical health. Other than that, it’s really when you go back and see that one thing leads to another, and one decision you makes something happen which makes the next thing happen, I don’t think it’s really important to say “would I change anything?” Because you can’t.
KS: I feel the same way. I think everything we do throughout our lives molds us to who we are and those decisions (at that time) we felt were right. Ms. Wilson it was so nice talking to you. Thank you so much taking the time to speak with us and I look forward to your show in Syracuse. And as a music photojournalist, this was truly a highlight of my career so thank you. And let me thank you as well for forging the way for so many women that have followed you and your sister in rock and roll.
AW: I enjoyed this, thank you. And I really appreciate your thoughtfulness.
So as I hung up the phone I basked in an afterglow of the conversation and all that it held. Ann Wilson was a generous, thoughtful artist that truly loves music and everything about music. I get the impression along the way she had to battle so many adversities, that it caused a certain mistrust with not only those in the industry but media as well. But I bow to her as she hurdled all those difficulties and blazed a new direction of music for women. In the beginning I felt her apprehension in our interview, and I could tell that she was cautiously choosing her words, but as time went on I felt that it became a conversation between us and that perhaps she trusted that my intentions were genuine. I was so humbled by the conversation, and had to seriously pinch myself a time or two to make sure it was actually occurring. Going in to the interview I was a huge fan of hers just by what I knew about her, but after speaking to her I became a big fan of hers as a person. The shear talent this woman possesses in all creative mediums is amazing. I got a sense of gratitude that over the years she’s survived the challenges, and celebrates now that in the end gets to just play the music she loves to the audiences that she so loves. So glad she persevered and came out the other side to enjoy the part that feeds her soul.
I am truly looking forward to celebrating this music and this week with the band that changed the face of rock and roll forever. It’s time to just enjoy the moment and celebrate the music with the queen of Hearts, Ms. Ann Wilson.
I can’t express to you music lovers just how important it is to support your local talent. Without the support of us, many of these talented artists fall between the cracks and have nowhere to go.
Unfortunately, the music scene is losing another great local band because local venues just won’t open their doors and give musicians the exposure they deserve – Loose Cannon. I can’t tell you how many times I have heard Syracuse-area venue owners or managers tell a band that they couldn’t play there because they were from Oswego County. I just don’t see the logic in that. I mean seriously, several Syracuse bands are welcomed with open arms in other county venues. In my opinion, “You’re not from Syracuse” is a poor excuse.
With that being said, I’d like to say farewell to the amazing, talented group of guys from Loose Cannon. Hopefully things will turn around in the near future, and these bands that have had to call it quits will be able to rejoin the music scene. Until then, I beg all of you to get out there and support your local artists and voice your opinion to these venue owners/managers.
Fox Fest, the 2015 SAMMY winner for best festival in Central New York, returns for its 6th year. The not-for-profit festival will support the CNYSPCA this year.
Music at the festival runs from 12pm-12am and includes sets from Scars n Stripes, Barndogs Plus, Country Swagg, Redline, TJ Sacco, Dirtroad Ruckus, Chris Taylor and Seeking Monte. Fox Fest boasts plenty of room for campers , motorhomes and tents with a variety of food sold at the event. Alcohol may be brought by patrons.
To buy tickets, Fox Fest sells t-shirts as admission. To order a shirt and gain admission to the festival, you may order online or fill out a form at one of the following locations: Limp Lizard on Onondaga Blvd., Tanner Valley Golf Course, Frank’s Moondance on Rt 20, Amber Inn in Marietta, and the CNYSPCA on Malloy Rd. in North Syracuse. Patrons may also call to order a shirt via 315-382-5896 or 315-256-7005.
With over 2000 attendees in 2014, Fox Fest 2015 will be an immensely popular event with great music, all supporting a good cause.
The CNY SPCA is open for viewing Monday – Saturday from 10 AM to 3:30 PM. All adoptable animals are on our website www.cnyspca.org. If you are interested in one of our available animals please fill out an application and get pre-approved.
Venture into Downtown Syracuse any summer weekend and chances are you’ll wander into some type of cultural festival. The biggest of all these Clinton Square festivals is Taste of Syracuse, held the first weekend of June. I’d never been to the Taste of Syracuse Festival so I entered this year’s version totally green. Pre-fest research is a must, printing the artist schedule and reading up on the must-have food samples will help you make the most of your time.
This event is highly attended by all different types of people and gives a true Taste of Syracuse in that regard. The perfect weather also likely had a lot to do with the size of the weekend crowds.
Food vendors were plentiful, many with long lines to try the bevy of $1 samples being offered. And while I didn’t try the much hyped Bang Bang Shrimp, I did get my hands on the grape leaves from the Turkish Cultural Center booth and the vegetarian spring rolls with hot sauce from the Lao Village tent and both were delicious. The hot sauce, paired well with a Founders All Day IPA and the smooth Chicago style blues of The Nighthawks with Steady Rollin’ Bob Margolin performing on the Main Stage.
The primary reason for my attendance at Taste of Syracuse was, however, the music. With 38 bands playing on three different stages over the course of the weekend, there were plenty of choices to be had for even the most fickle music fan.
Friday night featured Vinyl-Albums live, three different bands offering their interpretations of three classic albums: Paul McCartney and Wings’ Band on the Run, U2’s Achtung Baby and Alanis Morrisette’s Jagged Little Pill.
One of the more uplifting bands of the weekend was the UAD Show Group/Kings of the Fall, performing on the Delta stage Friday evening. Their soulful sounds provided a nice diversion from the heavier rock and country artists performing throughout the weekend.
Syracuse rockers Under the Gun closed the night on the main stage, playing a mix of hard-charging rock anthems from the 80s up to the present.
Washington, DC blues legends, The Nighthawks with frequent special guest and former Muddy Waters band member, Steady Rollin’ Bob Margolin grooved the main stage crowd on Saturday with a mixture of originals and blues standards.
Steady Rollin’ Bob Margolin and The Nighthawks performing at 2015 Taste of Syracuse Festival
Pale Green Stars were a standout band. This Syracuse-based band is part country, part punk, part alternative, and all entertaining. Upon first listening, the vocals of Jeff Jones reminded me of Art Alexakis of Everclear, yet still has his own distinct style and great stage presence. This three-man crew of talented musicians performed many originals from their album The Honkytonk Years, which is available to listen to in full on YouTube. Do yourself, and the band, a favor and purchase the album outright. It’s a good summer soundtrack.
Another band that drew my attention was the Rochester band Teagan and the Tweeds. Steeped in country but dipping their toes in the sexy blues of Bonnie Raitt and Janis Joplin while donning some Bourbon Street pizzazz, Teagan and the Tweeds are difficult to categorize, which is a good thing. Lead vocalist and guitarist, Teagan Ward has a voice that’s raspy and soulful and one that demands the audience’s attention. Her band mates are formidable as well. Bassist Jeremy Stoner brought out a tuba for “Give it Up or Let Me Go” and quickly won over the hesitant crowd. Teagan and the Tweeds frequent the Dinosaur BBQ circuit and refer to themselves as a BBQ band. For more information, check out their website: www.teaganandthetweeds.com.
Teagan and the Tweeds winning over the crowd from the Clinton Square stage at the 2015 Taste of Syracuse Festival
For me, festivals are a way to discover new music, especially local music. While there seemed to be a dearth of cover bands on this year’s Taste of Syracuse bill, it was a treat to discover several bands out there doing original material and winning over crowds. Keep the local talent thriving and get out there and become won over, because, after all, every big artist was local at some point.
Life is good for Mike Gordon these days, with Phish coming off arguably one of the most creative years in its 32-year history and his solo band gaining steam across the country.
On top of that professional success, the 50-year-old bassist says he has a wonderful family life, one that allows his wife and daughter to travel with him when he’s on tour. This time spent with his 6-year-old daughter has changed his perspective on a bevy of things.
“I waited until I was older to have a child,” Gordon said. “And I was so ready for it. I spend time with her every day and I don’t tour as much as I used to. It’s cliché, but I get to see the world through young eyes. It’s a unique and whimsical perspective.”
Gordon, who is in the middle of a tour with his band, treks through New York this week, stopping in Buffalo on Tuesday and Syracuse on Thursday, before stopping at the Egg on Friday in Albany. Accompanying Gordon is Max Creek guitarist Scott Murawski, Craig Myers on percussion, Robert Walter on keyboards and John Kimock on drums. This is the second tour Gordon has done since he released Overstep, an 11-song LP featuring songs such as “Say Something,” “Yarmouth Road” and “Tiny Little World.” Gordon and Murawski wrote all the songs over a handful of trips to places in New England, such as North Adams, Mass., where Gordon’s mother, Marjorie Minkin, owns a loft.
“With Overstep, our goal was to rock and display a lot of raw energy,” Gordon said. “Moving forward, we don’t want to stop that, but we want to be more experimental, maybe a bit thrashy. We’re exploring all sorts of themes.”
Gordon added that his daughter has been a big inspiration for a lot of the lyrics he’s written lately, and added that Tessa also influenced some of the writing on Phish’s most recent album, Fuego.
This band has become Gordon’s personal artistic outlet. Trey Anastasio and Tom Marshall are the “chief” songwriters in Phish, and this band gives Gordon the ability to do what he wants. Full creative control, if you will. He spoke of seeing the Trey Anastasio Band recently.
“Trey is great about running a tight outfit and I admire it a lot,” Gordon said. “I saw them recently and the horns really work great in the band.”
Seeing as how Phish fans are highly critical of just about everything anyone in the band does, it’s easy to draw comparisons between Gordon’s band and TAB, but none of that seems to affect the bassist.
“I want to be edgy, to push the limits further,” he said. “I love it when we’re tight and loose at the same time. I don’t have much to prove — we take chances, especially with the strange, angular parts. We try to just live in the moment.”
Gordon has been a fan of Max Creek for many years, and recalled the first time he saw Murawski and the band.
“It’s pretty cool,” he said. “Not just his playing, but his whole vibe. Seeing Max Creek play a long time ago – people say they sound a lot like the (Grateful) Dead. I see them as a tweaked version of country rock. Scott smiles so much and is always in control, yet he’s humble at the same time. Before I knew him, I noticed that he always looked so comfy (on stage) and I really like that influence.”
So in his two bands, Gordon plays with two different guitar monsters in the jam band scene in Murawski and Anastasio. On the surface, both guitarists share some similar themes and styles in their playing, but Gordon did his best to explain the differences between the two.
“Scott is very clever about outlining chord changes as they happen,” he said. “Trey is the opposite. He’s good at flowing over the changes, creating textures. Sometimes he sounds like a movie soundtrack in the way he flows. But I definitely think there is some cross influencing going on between them.
“One week after I met Trey, we went and saw Max Creek. Not long after, Trey got his Ibanez. Maybe it was just a coincidence. And Scott now owns a Languedoc. Trey is great at melody, and I’ve noticed Scott bring some of that in. Every connection is based on another connection.”
Gordon went on to conclude the topic: “Scott and I spend so much time together, it’s just organic. Scott is the one who wants to jam as long as possible and stretch things out. So I guess it’s apples and oranges.”
While Phish is lauded for the light show that accompanies its marathon concerts, Gordon’s band takes stage production to the next level. He and Murawski had special guitars built for last year’s tour, and they are all black with sensors on them that reflect the light, making them appear luminescent.
Gordon also revealed that he is going to debut another new bass sometime soon, which he dubbed it the “2.0 version” of the bass he had been playing in his solo band. The concept was designed by Gordon, who said it looks like a Modulus, but is a hollow body, which gives the appearance of a 3D effect. He said it has an EMG/Modulus sound. The guitar was built by Ben Lewry of Visionary Instruments, which Gordon gave high praise.
“This is very organic,” he added, saying Murawski’s guitar has basically the same concept. He didn’t specify when he will be debuting the new bass, but said it will happen on this tour.
Back in 2011, Gordon played The Egg, a venue nearly universally applauded for its stellar acoustics, uninhibited sight lines and friendliness to performers. It ended up being one of the few official Mike Gordon Band releases, and Gordon said he is quite excited to return to the venue.
“I loved that show,” he said. “The sound at the venue is conducive to what we do and it’s very technical. A lot of times there are different challenges at venues like unpredictability and that can make a lot of things pretty hard. We already have enough to think about and the Egg is just so easy to play. I can hear it all, both the loud and the soft, and it all resonates in a very controllable way.”
As for his work with Phish, Mike Gordon said that he’s mostly focused on his work on this solo tour, but did give a glimpse into what Phish has been up to recently.
“It’s hard to think about, because I have so much going on with this band, but I’ll tell you this: The guys in Phish all got together two months before our tour is starting, and this is the first time in a long time I can remember us practicing so much, this early before a tour,” he said. “Who knows, we may even have a handful of new songs.”
He even shared a brief thought on the upcoming Fare Thee Well shows, celebrating 50 years of the Grateful Dead.
“The Grateful Dead have obviously been a big influence, and it’s really nice they feel proud enough to commemorate the 50th,” he said. “All four of them still have the fire.”
Over the past two years, Gordon has been sharing his own version of Couch Tour with fans via his Facebook page, posting photos of him on various couches, often with a funny look on his face.
Is the couch tour going to continue? More importantly, has Gordon settled on a couch?
“Yes, I am going to continue it and yes I found a couch, but … it needs a little work,” he said.
Every once in a while the music industry often has break out artists that stand out, as a little bit different and unique. At times these musicians begin a new musical culture. We saw that as Elvis introduced rock ‘n’ roll. The Beatles took the Ed Sullivan show by storm, Diana Ross & The Supremes lead the Motown revolution, KISS began a hair-band revolution. Tupac made his mark in hip hop/rap, and Kurt Cobain became legendary as part of the grunge phase. It’s been a while since this musical culture shifted.
As I cover shows across the state I see a trend occurring. I notice more so often than not, a great majority of musicians are returning to the basics. You know, a good song, a great voice, a clear instrument, and not so much lighting that they become a figment amongst smoke and mirrors. Yes, these are the bands and musicians that seem to be making their way today in the sea of musical opportunities.
Enter Jonathan Jackson +Enation. Most of the readers know Jackson as Avery on ABC’s hit television show, Nashville, where he plays a musician. On the show Avery’s character stands out as unique and special, and not fitting the form of the traditional country music we’ve grown accustomed to.
Joined in Enation is Jackson’s older brother, also an accomplished actor, Richard Lee Jackson, and Daniel Sweatt — who is one of the most talented musicians out there. Together these three blend together in a perfect mix that makes up one heck of a rock band. Yes I said a rock band.
Jonathan Jackson + Enation – Westcott Theater
When I first came across this band I was surprised to learn how long they’ve played together, and although I was late to the party, I was so happy to have gotten there. Touring currently with their fourth album, these three have been perfecting their craft. Striving to capture that energy from their live show. Radio Cinematic I believe has achieved just that. Having heard their album before their live performance I questioned and hoped whether their live show would live up to my expectations. Well it did just that, and then far exceeded those expectations.
Jonathan Jackson + Enation – Westcott Theater
Opening the evening was a local Pop/Rock/Alternative/Indie band from the Ithaca area called Maple Hill. These four young men were quite energetic. Not only did they prime the crowd for the main event, they were actually quite humorous and entertaining throughout their own set. Their new album, Headspace will be released June 19, 2015. Joel Beckwith (Bass), St. John Faulkner (Drums), Max Gaeta (Lead Guitar), and Kristian Wood-Gaiger (Vocals/Guitar) amped up the crowd with original music and remixed covers such as Drake’s, “We’re Going Home”.
They thoroughly surprised and delighted me with their style, sound, and high energy performance. I highly recommend if you are in the area of The Dock (415 Taughannock Blvd. Ithaca, NY 14850) June 18, you should stop by and join them to help celebrate their record release party from 7-10pm. All ages are welcome and the cover charge is only $5.
Maple Hill – Westcott Theater
Then came Jonathan, Richard, and Daniel who from the moment the spot light hit Jonathan at the piano and he began to sing, I was totally blown away. Opening with “Young World’s Riot,” Jonathan’s voice along with his piano permeated your soul.
Jonathan Jackson + Enation – Westcott Theater
As they moved into the rest of the set, Richard’s percussion laid down a constant rhythm while Daniel’s bass and resounding vocals added to Jonathan’s, and together they found a synchronicity that not only encapsulated the live sound they were striving to achieve on the album, but far exceeded my expectations. From the moment they began playing right up to the end, I was in a hypnotic trance. In addition to mesmerizing the entire audience, they took the time to recognize a special guest on her birthday and dedicated a song to the sweet young lady.
Jonathan Jackson + Enation – Westcott Theater
These kind young men were gracious, appreciative, and as famous as they all are in their own rights between television and movie stardom, you wouldn’t know it as their humility was refreshing. As they wrapped up the evening, Jonathan took to the piano once again to close out the show as he began, with Young World’s Riot, moving me almost to tears.
Jonathan Jackson + Enation – Westcott Theater
I highly recommend if they come anywhere within driving distance (or if you’re up for a road trip) to take in one of the shows on the second leg of the Radio Cinematic Tour this year. If you can’t catch them live this time around, by all means head straight to their website to purchase this album. You will be glad you did.
Jonathan Jackson + Enation – Westcott Theater
Setlist: Maple Hill
Never Enough (original)
Well, Well, Well, How the Turntables (original)
Argyle (original)
Hold on, We’re Going Home (Drake cover)
Space to Grow (original)
Stomping Ground (original)
Jack Blinked (original)
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Set List: Jonathan Jackson +Enation
Young World’s Riot
Ascending
Things You’ve Never Seen
Kicked In The Head
The One I Love
Everything Is Possible
All The Best
Let The Beauty Out
I See God In You
The Hands of Your Drug
Let Me Out
The Fly
The National Anthem
Corduroy
In My Tree
A Far Away Reality
Keep Asking Why
The Morning Of The Rain
Eyes of Grace (Birthday Dedication to Miss Lily)
Young World’s Riot
Unlike most shows, the meet and greet was held after the performance. The duo spent so much time with each fan for autographs and photos that we didn’t get out of there until almost 1:30am. Every fan was impressed with their show and more importantly with the fact that these guys were just every day people sharing their love of music with the rest of the world.
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.”
Music at the festival runs from 12pm-12am and includes sets from Scars n Stripes, Barndogs Plus, Country Swagg, Redline, TJ Sacco, Dirtroad Ruckus, Chris Taylor and Seeking Monte. Fox Fest boasts plenty of room for campers , motorhomes and tents with a variety of food sold at the event. Alcohol may be brought by patrons.
Gordon added that his daughter has been a big inspiration for a lot of the lyrics he’s written lately, and added that Tessa also influenced some of the writing on Phish’s most recent album, Fuego.
So in his two bands, Gordon plays with two different guitar monsters in the jam band scene in Murawski and Anastasio. On the surface, both guitarists share some similar themes and styles in their playing, but Gordon did his best to explain the differences between the two.
“I loved that show,” he said. “The sound at the venue is conducive to what we do and it’s very technical. A lot of times there are different challenges at venues like unpredictability and that can make a lot of things pretty hard. We already have enough to think about and the Egg is just so easy to play. I can hear it all, both the loud and the soft, and it all resonates in a very controllable way.”
