NYS Music 20​15

Category: NYC Metro

  • Sprocket at Brooklyn Bowl: Not A Secret Anymore

    The ever growing Sprocket fan base was out in full force for the bands biggest show to date. The hard working NYC bases jam band has put in the time and energy to get to showcase their talents on NYC’s hottest stage, Brooklyn Bowl. Tom Tompkins (guitar), Dan Haller (bass), Nate Rosler (drums), and Angelo Miliano (keyboards) had all but forty-five minutes to show the Brooklyn Bowl crowd what all the hype was about and why they are the best kept secret in the NYC jam scene. I don’t think they are a secret anymore, crushing the set with just three songs, the way all jam bands should do a second set. The set began with “Letters At The Bottom Of The Sea” an unreleased track which featured an indie meets improvisational rock vibe, an all around well composed and executed song, which can surely be jammed out in the future. Sprocket sounded tight and relaxed, not given any time to get in the groove with such a short set they followed with “Shroud”. Without an extended solo Rosler showcased his talent on the drum kit by powering the band through this uptempo and solid jam, keeping the energy level high. The band took a quick breather and shared with their fans how excited they were to be playing at Brooklyn Bowl and let us know they would jam out the rest of the set. “Cube” was a set closer and encore all rolled into one, featuring many peaks as the band was encouraged to keep the jam rolling. The only song played off of their 2014 release Tropical Bushwick, they were able to take this well structured tune into an exploratory space and really pile layers on top of layers within this jam. Sprocket kept the audience captivated and begging for more.

    You can see Sprocket next on May 23 at the Studio at Webster Hall, tickets here or in Chicago on July 4, post GD50 at the Hard Rock Chicago, tickets here.

    Setlist: Sprocket at Brooklyn Bowl 4/21
    Letters At The Bottom Of The Sea, The Shroud, Cube

    *Photos By: Evan Rosler

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  • Natalie Cressman Keeps the Late Night Grooving at the Blue Note Jazz Club

    For 34 years the Blue Note Jazz Club has been cramming this small, railroad style club, full of music enthusiasts, shoulder to shoulder and back to back. The late night groove series which showcases local up-and-coming artists (such as Natalie Cressman) across many genres from funk to R&B, was the perfect place for this blend of classic jazz melodies fused with everything from Bossa Nova to Indie Rock.

    Natalie Cressman (trombone, lead vocals) and her band, Ivan Jackson (trumpet, vocals), Mike Bono (guitar), Jonathan Stein (bass), Samora Pinderhughes (keys), and Mark Whitfield Jr. (drums) combined their musical talents and influences to walk us through a Pandoras Box of uptempo beats and traditional jazz.

    Natalie Cressman Blue NoteThe night began with “Motherless Child” reminiscent of a blend of Brazilian Jazz and Samba featuring a powerful solo by Jackson and an opportunity for the entire band to show off their talent while Cressman conceded to the side stage to let them shine.

    On “Stolen Bells” Cressman and Jackson started off showcasing the cohesion of the small horn section while Pinderhughes forewent the grand piano to take us for a ride on his Nord. Cressman showed off her vocals for the first time of the evening on “Fortune’s Fool” off of her 2014 release Turn The Sea giving way to a lengthy piano solo by Pinderhughes on the soft and gentle tune. “The Unknown” gave Cressman a chance to further captivate the audience with her singing, then transporting the audience  to a 1960’s jazz club full of hepcats with the retro composition “You’ll Never Know”. Jackson then took the lead on both vocals and trumpet for a cover of Bon Iver’s “Blindsided” penned by Justin Vernon before Cressman lead us into the passionate melodies of “New Moon” with her captivating range.

    Natalie Cressman Blue NoteBeing performed for the first time live, “Traces” was driven by Stein laying down the rhythm on his seven string bass while Cressman and Jackson showed us what great chemistry can do for a tune while Jackson’s backup vocals only accentuated Cressman’s lead, giving the audience the feeling this was a song they have played a hundred times before. The young band leader returned to her horn for the lead on “Turn The Sea” the self-titled track off of her 2014 album. The band led the late night jazz fans on an improvisational jam and stretched out “Fallin” with Jackson driving it home with his phenomenal trumpet work. Bono was given a chance to showcase his guitar play with extended solo’s on Hanne Hukkelberg’s “Do Not As I Do” before turning back to Cressman’s crooning on “Warm Winds”. This late night at NYC’s most historic jazz club was driven to a close with “Stolen Away” an upbeat number alternating back and forth between guitar riffs and trombone, featuring Bono and Cressman playing off each other, leaving the fans wanting more.

    You can catch Natalie Cressman next with Jesus On The Mainline at Brooklyn Bowl on April 28, tickets available here or with her full band at MAYfest a Music Art and Yoga festival May 22-24 in Cold Spring, NY, purchase your tickets here.

    *Photos By: Mark Dershowitz

  • Interview: Sprocket at Brooklyn Bowl April 21

    It has only been a couple of years since Sprocket was just a trio playing dingy basement bars in front of a mix of music fans and drunk NYU students. They have since rounded out the band to a quartet and worked their way through the growing pains that any up and coming band goes through. Sprocket proves that with the right combination of musical chops and hard work, you can go places. Last year, Thomas Thompkins (guitar), Dan Haller (bass), Nate Rosler (drums), and Angelo Milliano (keyboards) released their first LP Tropical Bushwick, and this week Sprocket will play its first show at Brooklyn Bowl, the band’s largest venue to date after playing every venue along the way Wicked Willy’s, Arlene’s Grocery, The Bitter End, SPiN, and Fontana’s Bar just to name a few. Following this gig, Sprocket will be touring the festival circuit before heading north to the windy city for a very special GD50 after show on July Fourth. Sprocket answered some questions about the growing pains in getting to this critical point in their evolution:

    Sprocket will be accompanied by Gowanus and The Mantras at Brooklyn Bowl April 21 8pm, you can purchase tickets here.

    Graig Adler: Being a NYC-based band, getting to play Brooklyn Bowl is a major milestone, what is the worst venue you’ve played?

    Sprocket: Not naming any names, but we had one show where the sound guy started unplugging our equipment with 15 minutes left in our set. He apologized profusely, but apparently, there was a burlesque DJ show that “had to start on time” for a bachelor party, the room cleared out and we never went back on.

    GA: Last year you put out your first EP Tropical Bushwick, what did you learn from this process? What will you do differently next time? Do you have another album in the works?

    Sprocket: We recorded Tropical Bushwick ourselves, in our studio, in two months, for zero dollars. It was an incredibly rewarding process, and we feel like we got a great product out of it. We’re all really proud of that accomplishment, and I think the album captures where we were as a band at that point in time. I think one big lesson that we learned is how much we could actually accomplish when we set a goal for ourselves and really worked our asses off to make it happen. Next time around, we all want to be able to take a little more time with the process, to really focus on capturing a greater depth of sound that is representative of where our music has evolved over the last year.

    GA: Sprocket originally started as a three-piece band, then added a keys player after the fact. How has this changed the bands reach and overall playing style?

    Sprocket: In addition to Angelo being a great player and songwriter, we have a richer harmonic palate available now with him in the band, there are more options available to us. With another harmonic instrument in the mix, it makes each of us able to lay back a little more, and use the interplay between the instruments. We also have a lot more nicknames between us.

    GA: Is there one band member that writes most of the original music and compositions, or is it done as a group effort? Who writes the setlists for each show?

    Sprocket: We all participate in writing music. Sometimes one of us brings a fully composed song to the group, and we work to add a little bit of flavor to each of our individual parts, and sometimes someone will come with their part and a melody, and we all work to build around that. Then there are songs that we have written together as a band, in the moment. Setlists are generally a group effort, and we try to put thought into each one that we create, taking into account where we’re playing and for whom, and what special or new things that we want to do at each show. Of course, once we get on stage, audibles are often called, but we try to build a set that will flow with the energy of the night. If the crowd’s energy takes us in a different direction, then you have to be ready to roll with the punches.

    GA: Sprocket has a show coming up at the Hard Rock Chicago over July Fourth weekend. Will this be the biggest Sprocket show to date? This has to be a great honor; how excited is the band for this gig?

    Sprocket: The July 4th show is definitely our biggest show to date. July Fourth, at the Hard Rock Café, in Chicago, after one of the most important shows in our scene’s history. We’re all giddy looking forward to it. Just thinking about what the scene is going to be like in Chicago that weekend is not only exciting, but it’s also inspiring to a young band that is trying to aspire to bigger things. July Fourth weekend is proof positive that the kind of music that we want to play can create an incredible movement of people and that’s seriously inspiring.

    GA: What festivals will Sprocket be playing this summer? Is there one you are most excited about?

    Sprocket: We’re really excited to tap into the festival scene this year, and we’re going to have a good slate ahead of us with sets at Rock and Roll Resort, Moondance Meltdown, Pink Moon Festival and a few others. As for which one we’re most excited about, we’re always most excited about the next one up, so in this case that would be Rock and Roll Resort on May 1st.

  • Funk N Bowl in Brooklyn April 14

    Living in New York you always stumble upon legendary sit-ins and collaborations amongst your favorite artists. When you’re favorite trumpet player or vocalist get called on stage to accompany the band, that feeling in your stomach starts to grow, you ask yourself “what will they play?” or “I wonder what these two will come up with?” At the Funk n’ Bowl show at Brooklyn Bowl the fans had plenty of time to let their imaginations run wild on what sound, songs, and jams this stellar group of musicians would come up with.
    With a line up as long as the bathroom lines at Wrigley Field the stage was graced by Eric Krasno (guitar, Soulive), Jesus Coomes (bass, Lettuce), Adam Deitch (drums, Lettuce), Marco Benevento (organ) accompanied by Snarky Puppy’s Chris Bullock (sax), Michael “Maz” Maher (trumpet), Justin Stanton (trumpet), and Nate Werth (percussion). The show opened as most superjams do with each member of the group showing off their talents, but none stood out more than Coomes who stood center stage like this was his band. They worked their way through multiple tracks off of Krasno’s 2010 release Reminisce which included covers of Jimi Hendrix’s “Manic Depression” and The Beatles “Get Back” and a sit-in by Maurice “Mo Betta” Brown (trumpet, TTB). While Coomes seemed to be guiding the band we were graced the the occasional Krasno guitar solo and fantastic high’s  from the horns section.

    The second half of this one set show featured Marco taking charge, highlighting his organ work, a rarity you see him without the rest of his arsenal. He captivated the crowd and got everyone involved with “At The Show” off of his current album Swift. Bobby Deitch took his son Adam’s place behind the drum kit for a couple of songs then the evening was brought to a close with both Deitch’s on stage working percussion while the rest of the band brought the night of funky jams to a close.

    funk n bowl

  • Hearing Aide: Misery Kills ‘My Ugly Insides’

    Misery Kills (formally called Misery) is a metal band from the Long Island/NMy Ugly Insidesew York City area that I never heard of until a couple of weeks ago when I caught a few metal shows down there while visiting family. Bassist Joe LoCasto, who plays in Misery Kills, also plays in a band with Joey Z of Life Of Agony called Zire’s War. After having the pleasure of witnessing Zire’s War, Joe LoCasto told me to check out Misery Kills, so after receiving their album My Ugly Insides, I had high expectations for this album, after listening to this album, I was not disappointed.

    The album starts of with an instrumental intro entitled “Eight FortySix Thirty” then blazes into a devastating track called “Eyes Wide Open.” And when you hear the evil screeching roars of vocalist John LoCasto combined with dual guitars of Corey Schaefer and Duane Conlon, you know that this band means business. To top it off the bone crushing tracks from drummer Scott Borrero aided with underlying bass of Joe LoCasto gives this band a unique chemistry. The best way to describe the sound of this band…remember the circle charts from elementary school? Picture three interlocking circles representing three bands: Lamb Of God, Coal Chamber, and Agnostic Front. The gray area that the three bands I just mentioned share is what Misery Kills and this album reminds me of.

    Now back to the album. The track that I fell in love with is “Poltroon.” That song makes me want to stomp someone the hell out, a great feel good aggressive song. Every track is solid, thrashy, and to the point. The quality and mixing of this album sounds retro, which I believe that producer Joey Z (Life Of Agony, Zire’s War) was going for when he was putting the finishing touches on this album.

    misery-kills-2014-band-photo

    The next track that gets me going has to be “Kills My Day,” it’s the fastest and most vulgar track on the album, it’s very blue-collar with no-nonsense. Right after that, the guitar work on the following two tracks “Sick Around You” and “White Trash” is absolutely top-notch. This band grabs you by the collar and makes you listen…and trust me, you will be hooked.
    Towards the end of the album, you are graced with the track “Give Em Hell” which is a foot stomping anthem with catchy hooks and nasty breakdowns , then My Ugly Insides ends with the title track which is the cherry on the bloody sundae that this band serves. It’s a very appropriate and dark song to cap off to what is in my opinion, a very solid metal album from a very hard-working band. I was happy this band reached out to me, so do your ears, mind, body, and soul a favor and pick up this album.

    You can purchase My Ugly Insides here. Check out the track “13 Miles” below.

    Key Tracks: Poltroon, Kills My Day, Give Em Hell

    [youtube http://www.youtube.com/watch?v=-OdE60fKpWs&w=420&h=315]

  • Interview: Natalie Cressman Band at The Blue Note Jazz Club April 18

    On Saturday April 18, Natalie “Chainsaw” Cressman will grace the stage at the iconic Blue Note Jazz Club with her full band and blend of jazz, funk, and just the right touch of indie rock. With her own band she showcases her songwriting and composing talents highlighted by beautiful vocals and stellar trombone play. Natalie Cressman has taken cues from band leaders such as Trey Anastasio and Peter Apfelbaum to assemble an amazing line-up of musicians behind her. Calling on some of her most trusted friends and colleagues certainly makes it easier for this band of young up and coming musicians to click and fire on all cylinders.

    You can purchase tickets for Natalie Cressman Band April 18 at the Blue Note Jazz Club here.

    NCB2

    Natalie Cressman took some time out of her busy schedule, which includes multiple bands, duets, side projects, sit-ins, and baking to answer some questions about her current project, her influences and her upcoming show at The Blue Note:

    Graig Adler: How would you describe your current project? Who are the members of the Natalie Cressman Band?

    Natalie Cressman: The music is definitely an eclectic mix of styles, both old and very new. Anyone who knows me knows I have a love for a crazy range of music, from Brazilian choro to Kendrick Lamar. As a result, my music pulls from elements of established traditions including jazz and world music, but fused with more modern soundscapes it becomes something entirely new and somewhat uncategorizable. My bandmates are some of my best friends, and also some of the most brilliant musical minds I have ever encountered. The band usually consists of Ivan Jackson (trumpet, vocals), James Casey (tenor sax, vocals) though unfortunately he won’t be with us on Saturday, Samora Pinderhughes (keys) who I’ve been playing music with since we were 10 years old, Mike Bono (guitar), Jonathan Stein (bass), and Mark Whitfield Jr. (drums).

    GA: Where do you draw your influences from for this project?

    NC: Everywhere from rhythmic traditions of the african diaspora, jazz, soul, funk, and indie rock. There’s a density and layering of elements so on one hand it’s really accessible but layered with harmonic and rhythmic depth that I think makes us really unique.

    GA: Are you writing most of the music yourself?

    NC: I write all the songs and arrange them myself, but each band member infuses the music with their own personality and tastes, so they definitely have a huge creative impact on the sound too.

    GA: There was an obvious evolution from Unfolding to Turn The Sea , especially in your vocals, how have you evolved since? Do you have a new album in the works, how will it be different from the first two.

    NC: I think I’ve developed a lot as a songwriter even since Turn the Sea, because I’ve been cultivating my original voice without relying quite so much on certain elements that come naturally to me because of my jazz background, such as having a lot of moving chord changes. I’m trying to be really deliberate with my musical choices and I think that awareness is changing the way I write. The other big thing that’s changed is that I’m getting more into the production side of things. I’m working on a new EP that will be wildly different because it’ll be a combination of live instruments and electronic-based productions, that in my opinion heighten emotional impact of my songs. But it’s still music from my very eclectic point of view, with my horn writing, so it’s not departing from what I’ve done previously, merely developing it further.Turn the Sea sort of hinted at this direction but now I’m embracing it whole-heartedly.

    GA: Of all the different groups and projects you are currently involved in, besides your own, which are you most excited about?

    NC: I’m excited about so many different projects, but at the moment I’m most excited about playing in Peter Apfelbaum’s S P A R K L E R!! He is one of my favorite composers and I love the wildly creative nature of this band, plus I get to rap and play bass on some of our tunes! I also love playing with Jesus on the Mainline, such a fun band with some of my favorite people. We have a show this month at Brooklyn Bowl and we’re pumped.

    GA: What festivals will you be performing at this summer? Is there one that you are most excited about?

    NC: I’m excited to return to Burlington’s Jazz Fest with my band in June, we love playing up there. Besides that, I’ll be in Europe for a bunch of the summer so actually am missing a lot of the big festivals. But I am probably most excited to be playing Catskill Chill w/ my band for the first time, as we haven’t done many jam-centric festivals at this point. I think people will dig what we bring to the table. Not exactly a festival, but I’m really stoked about the super jam in Chicago post-GD50 that also happens to be on my birthday. The line-up is bananas, it’s gonna be so dope.

    GA: We know you have been playing the trombone since a very young age, can you play any other instruments?

    NC: I play some piano and electric bass, and am just picking up guitar. I can also play trumpet and tuba pretty terribly.

    GA: It is becoming well-known you bake recreationally, will there be “Chainsaw Cookies” for sale at the Blue Note?

    NC: Unfortunately, I have a feeling that my bake sale won’t fly at The Blue Note merch booth, so no “Chainsaw Cookies” this time around. But I am considering opening an Etsy page for my “bakery,” as an outlet for my baking obsession….

    GA: One of your most popular performances from last year was when TAB covered Ana Tijoux’s “1977”, how did that come about? Do you speak Spanish or any other languages?

    NC: I think Trey got the idea when one of his daughters played the song while they were driving around in his car. He just got this crazy idea for us to cover it and called me up. And I never like saying no to his crazy ideas because most of them turn out to be awesome. So I got to work learning the song at half-speed, line by line, until I could do it. I speak French fluently and a bit of Portuguese, and I’ve sung in Spanish and Portuguese a bunch growing up, so I think Trey thought rapping wouldn’t be any different. But it took me a loooonnnng time to get that rap down.

    GA: Being such a young band leader what have you learned from working with Trey Anastasio in TAB?

    NC: I’ve learned about a million things from Trey about being a bandleader but some of his most impressive qualities are his boundless creative energy, positivity, and work ethic. He wakes up at the crack of dawn almost everyday and gets straight to work on various ideas and projects. One quote he’s passed on to me that I’ve really taken to heart was from his old music teacher, who used to say “It’s so good it should be even better.” That concept of forever revising and improving on one’s craft made a huge impact on me, and that’s really reflective of Trey’s super-human work ethic.

    NCB

     

  • Coal Chamber, Filter, Combichrist Annihilate The Emporium on Long Island

    Going into Easter weekend, I took another weekend to visit Long Island and there I went to another kick ass venue The Emporium in Patchogue on Long Island.  A rather big and spacious for a medium-sized venue that holds about 1100 people, multiple bars, serves food, with a decent sized pit are in front of the stage.  The overall sound is great, so I would highly recommend to see a metal show there or any genre of music there.

    American Head Charge was originally billed to appear on the lineup but was not there.  No word on why.  Not long after the doors opened, Saint Ridley from Detroit, Michigan opened the night with five songs.  They were pretty good, excellent chemistry together.  You could tell they were enjoying themselves on stage.  They had guitar issues on stage, but they did an excellent job of not letting that interfere with their performance.  I thought they were a darker version of Angels and Airwaves but more metal than punk.

    Combichrist graced the stage afterwards.  They were by far the most energetic band of the night.  I didn’t know what to expect from them.  I have never purchased an album or seen any videos, all I knew was they were a very dark and industrial band.  To me, their sound and presence was a mix of Orgy, Nine Inch Nails, and Mindless Self Indulgence.  They were absolutely superb.  All their synthesizers were played on stage, not a prerecorded track over the PA.  Some of the songs they played were “We Were Made To Love You”, “Maggots At The Party” and closed with “What The Fuck Is Wrong With You.”  They definitely made me a fan after their set was over.

    Filter certainly made an impression that night as well.  Although the crowd was a lot more calm and tame compared to Combichrist, I absolutely loved what Filter did during their set.  They chose to go deep into their catalog and play some obscure song sand tell the audience what each song was about.  Interesting note: again, Filter has a new lineup.  vocalist and mastermind Richard Patrick (younger brother of actor Robert Patrick and once an original member of Nine Inch Nails)  has a different band around him;  Oumi Kapila on guitar, Ashley Dzerigan on bass, Bobby Miller on keyboards and programming, and Chris Reeve on Drums.  Funny thing about this lineup…Richard Patrick went on a few rants about how much he hates the current pop music scene in the US, and Ashley Dzerigan has played bass in lots of pop music groups such as Adam Lambert and Cee Lo Green.  However, this lineup fits the music of Filters past, and now I’m curious to see if Richard Patrick will use this lineup for the upcoming Filter album that was recently announced.  They opened with “You Walk Away” off The Amalgamut, then into “(Can’t You) Trip Like I Do,” off the movie soundtrack of Spawn.  But the real highlight of the night was the other obscure classic “Jurassitol.”  Every song performed Richard gave it his all, the use of fog machines and lights gave their set a trippy atmosphere.  Filter closed their set with their original hit “Hey Man, Nice Shot” before ending with Title Of Record’s “Welcome To The Fold.”  This band still has lots left in the tank.  A headlining tour is eminent in their future.

    The anticipation was killing me for Coal Chamber to rock the stage.  And man did they bring it.  Although they did a U.S. tour a couple of years ago, it still seemed that they were away from metal for way too long.  And as soon as they stormed the stage with their anthem “Loco,” the chemistry and magic that this band had twenty years ago seemed to have never fade away.  This time, their production was much, much bigger from their previous US tour.  They had 2 large video screens behind them showcasing clips and montages of random b-movie horror films.  The big highlights of their set had to have been “Rowboat,” brand new song from their upcoming album “Rivals,” and their disturbing classic “I.”  They played a full fifteen song set with no encore.  Their crowd was absolute bananas during every song.  Frontman Dez Fafara even had to tell an audience member to calm the fuck down and stop taking cheap shots in the mosh pit.  That was entertaining.  Also the rest of band was so damn clutch, but it was drummer Mikey Cox who was an absolute machine behind the kit.

    I would certainly hope that Coal Chamber is going to take advantage from the recaptured momentum that they have and with the new album Rivals due mid May, I believe the future is bright for Coal Chamber and every band that is part of this tour.

  • Pigeons Playing Ping Pong at Brooklyn Bowl: The Birds Are April Fools

    “Thanks so much” was the only words the Pigeons Playing Ping Pong uttered as the took the stage at Brooklyn Bowl before turning back and walking off. The band is Greg Ormont (vocals, rhythm guitar), Jeremy Schon (guitar, vocals), Ben Carrey (bass, vocals), and Alex Petropulos (drums). Known for their funk sound, tight jams, and goofy on-stage antics, certainly had something up their sleeves for this April Fools Day show. They returned back on stage to open the set with what played out to be the encore, “G Chord Explosion” rocked right out of the gate and played through with the intensity any show closer should, finishing off with Petropulos pounding his drum kit and another “Thanks Boston” from Carrey before the band walked off stage one more time to resounding boos from the NYC crowd. After the gag was over PPPP returned to bring us the type of show you would expect given the bands rising popularity, the upbeat “Time To Ride” highlighted Ormont’s unique vocals before breaking into “Burning Up My Time>Tubthumping>Burning Up My Time” while the 1997 Chumbawamba cover incited equal parts dance moves and chuckles from the crowd, it was reminiscent of Tom Marshall on vocals when Phish covered the tune at the Hampton Coliseum 11/21/98, and to bring things full circle Schon was sporting his best 1998 Mike Gordon shaggy haircut.

    PPPP kept the upbeat jams going with “Live It Up” before being joined on stage by local 24-year-old amazing talent Kyla Moscovich (trumpet, PitchBlk Brass Band) for “Whoopie”, Moscovich laid down brassy solos intertwined with Ormont and Schon battling it out with guitar riffs. “Penguins>Funkijam>Upfunk” was punctuated by a lengthy drum solo by Petropulos, and for “Whirled” Matty Carl (sax, Schwizz) joined in on the fun. PPPP followed by playing “Walk Outside” sandwiched around Carl Douglas’s “Kung Fu Fighting”. The second set was brought to a close with “Julia” a break from the bands usual funky beats to provide more of a Calypso sound. For an encore PPPP returned back to their funk-jam roots for the show closing “Cliffs”. You can catch the Pigeons Playing Ping Pong for three nights at their own music festival, DomeFest, May 28-30 at Trip’s Farm in Terra Alta, WV. Tickets can be purchased here.

    4/01/2015 @ Brooklyn Bowl (Brooklyn, NY)

    Set 1: G chord explosion#, Time To Ride> Burning Up My Time>Tubthumping>Burning Up My Time, Live It Up, Whoopie^, Penguins>Funkijam>Upfunk%, Whirled*, Walk Outside>Kung Fu Fighting>Walk Outside, Julia

    Encore: Cliffs+

    Notes:

    # Chord explosion followed by a “Thank You” and ending hits, walked off stage as if end of the show

    ^ w/Kyla Moscovich on trumpet

    % w/drum solo

    * w/Matty Carl (ShwizZ) on sax

    + w/April Fools day lyrics

    [FinalTilesGallery id=’142′]

  • Sprocket at Fontana’s Bar: The NYC Jam Scene’s Best Kept Secret

    On a Saturday night in New York City your music choices seem to be endless. Do I go see Galactic at Best Buy? Budos Band at Brooklyn Bowl? Or do you go see Sprocket? One of NYC’s fasted rising jam bands, Sprocket is a classic four piece featuring Thomas Thompkins (guitar), Dan Haller (bass), Nate Rosler (drums), and Angelo Milliano (keyboards). Sprocket came out jamming on the melodic original tune “What You Heard,” before tearing into “Headway” off their 2014 debut album Tropical Bushwick. The title track off of their album “Tropical Bushwick” begins as a classically composed song before breaking out into funky upbeat jam.

    sprocketSprocket jumped into a full blown jam segueing from originals “Shroud > POW” before breaking out their first cover of the night Phish’s “Wombat” which lived in a space between a tease and a jam before completing the unfinished “Shroud.” Haller and Milliano took the lead on Bob Dylan’s “Don’t Think Twice It’s Alright” before Rosler drove the set to a close with “Womp” another Sprocket penned track. For an encore the band pulled one more selection off of Tropical Bushwick the hard rocking “Trucks” brought the night to a close and left the crowd wanting more. You can see Sprocket next at Brooklyn Bowl April 21 or in Chicago on July 4 at the Hard Rock.

    Tickets available for both shows, 4/21 Brooklyn Bowl here and for 7/4 Hard Rock Chicago here.

    Setlist:  What You Heard, Headway, Tropical Bushwick, Shroud > POW > Wombat >Shroud, Don’t Think Twice > Womp

    Encore: Trucks

  • Jam Jar at Brooklyn Bowl with Formula 5 and Friends

    Never miss a Sunday Show. Especially when Sunflower and the Seeds is opening at Brooklyn Bowl’s Jam Jar. It appears this seven-piece rock band from New Jersey gets tighter each time they play together and on this particular Sunday, the lucky seven’s seemed to be rolling. The band is comprised of Kyra “Sunflower” Schenck (vocals/acoustic guitar), Brittany Beckett (vocals), Victor Cornette (guitar), Karlee Bloom (keyboards), Joe Harris (bass), and Joe “Big Daddy” Huster (drums).

    They kicked things off with “Sweet E” and “Trippin” that really showcased Schenk’s great pipes and Cornette’s fast paced guitar play. Beckett accompanied Schenk on the lead for an ensemble rendition of The Beatles’ “While My Guitar Gently Weeps.” Natalie Cressman (trombone, TAB) joined on stage for S&TS’s “Back Home” which was highlighted by a length and pungent solo. The band never lost a step and charged through “Harvest” > “Texar” with the same high octane spirit they had carried so far before being joined once again on stage by Cressman for a cover of The Who’s “Eminence Front” before the band rounded out the set with one more original tune “Moving.”

    Jam JarTweed brought their high energy, livetronica sound from Philadelphia for a set of multi-layered, psychedelic dance music. AJ DiBiase (guitar/vocals), Joe Vela (drums), Jon Tomczak (synth/ vocals) and Dan McDonald (bass,/vocals) combined create a fresh genre they call jamchronica. Their heavy synth effects hypnotize as the progressive rock melody thrashes you on the dance floor. Tweed’s precision is key as the mood switches from interstellar swirl to dirty funk with continuous vocal harmonies.

    Formula 5, a four piece jam band from Albany made up of James Woods (bass), Greg Marek (drums), Mike McDonald (keys) and Joe Davis (guitar) closed it out. Musically they are very talented and kept true to form in the “Phish” landscape of heady jams, space jams, and bliss jams. This set was highlighted by Elise Testone (vocals) and Natalie Cressman (trombone) sitting in on “Trampled Underfooot” with Elise’s crushing vocals and Natalie’s triumphant trombone solo. Then the band kept the crowd moving and the pace up with originals “Excalibur” and “Pedro” before seguing into crowd favorite Men At Work’s “The Safety Dance” which was highlighted by Mike McDonald. The band closed out the night with a stretched out jam that kept the set closing “Nu-Gen” going late into the night.