Author: Steve Malinski

Daryl’s House Club Welcomes Moon Hooch, Honeycomb, and Karma Darwin

As the year draws to an end and people gear up for New Year’s celebrations, Daryl’s House Club in Pawling will help kick the weekend off with three New York area acts this Thursday December 29 – Honeycomb, Karma Darwin, and headliner Moon Hooch.

Based out of Massachusetts, Honeycomb is a beat box performer with a loyal following and a successful ranking finish in the 2015 American Beatbox Championships. Not only does he have a lot of studio experience including a collaboration with Moon Hooch, he has also worked with many DJs and jam bands at festivals. Appearing also before the headliner is Karma Darwin out of Brewster, NY. Formed in 2013, the band has an 18-track self-titled album and has won the Capitol Theatre’s (Port Chester) battle of the bands contest in May 2014.

From their busker days in the NYC subways five years ago, Brooklyn’s Moon Hooch has since exploded, gaining many followers and refining and refocusing their drum-and-sax dance sound to build off the energy commonly found at their live shows. Earlier in 2016 the band released its second full-length album Red Sky and just before Christmas released The Joshua Tree EP, available for free (or small donation) from their website.

Doors open at 5 p.m., show time is at 8 p.m.

Tickets: $15 available from Daryl’s House here.

December 28, 2016
Holiday Cheer for FUV 2016: A Year-End Musical Cup of Hot Cocoa with Amos Lee, Lucinda Williams, The Record Company, Corinne Bailey Rae

The cold New York November rain was coming down as thousands gathered at Rockefeller Center for the 84th annual tree lighting ceremony on Nov. 30, but just a few miles away in the Upper West Side a few thousand lucky music fans nestled in at the Beacon Theatre for an incredible lineup of music. The 12^th annual Holiday Cheer for FUV show brought crowd favorites Corinne Bailey Rae, Lucinda Williams, The Record Company, and headliner Amos Lee (and some special guests) to the historic Beacon Theatre stage.

The evening started off with a musical introduction by Amos Lee performing “Holiday Song” before bringing The Record Company on stage. A high energy and powerful start to the show for sure, The Record Company quickly engaged the audience for their short three-song set which included their well-known “Off the Ground.” The trio from L.A. who commanded the massive stage at Mountain Jam 2016 brought the same energizing show to a much different setting at Holiday Cheer.

A change in pace was met as British singer/songwriter Corinne Bailey Rae graced the stage with her soulful and sincere voice, accompanied by John McCallum (guitar) and Steve Brown (keys). Her set featured songs off of her latest album, The Heart Speaks in Whispers, and included her own take on Joni Mitchell’s “River,” perfect for ringing in the holiday season. The audience cheerfully welcomed the few spare minutes at the end of her set, allowing Rae to play them one more, “Sky Will Break.”

WFUV’s Carmel Holt broke the din of the intermission with an enthusiastic introduction for Lucinda Williams, describing the singer-songwriter as an essential in the American musical landscape. After starting her set solo with the title track from her 2016 release Ghosts of Highway 20, Williams was joined on stage for a stripped-down acoustic-electric set alongside former Wallflowers guitarist Stuart Mathis who served as a perfect complement to Williams’ guitar and vocal styling.

The evening’s headliner stepped in mid-set for a song, making the already robust stage presence even greater. Lee backed Williams up on her song “Lake Charles” constructing memorable, rich vocal harmonies. Williams’ bluesy country set concluded with a striking rendition of her 2014 song “Foolishness.” At first, Mathis’ guitar work on the song’s intro teased a possible Dylan “All Along the Watchtower” but it quickly turned into the powerful thought-provoking song soliciting cheers throughout, particularly with references against some current events in politics.

Holiday Cheer for FUV’s 2016 headliner, Amos Lee, was no stranger to the event, having performed for it previously. Joined by a full band on stage, Lee treated the Beacon to many familiar songs from throughout his recording career along with a few holiday treats – sounds that tickled a few different listening appetites. Lee paused briefly before breaking out one of his new songs, “Vaporize,” to talk about how his 2016 album Spirit allowed him to explore sounds and styles outside of his typical arranging style, exemplified by that song. Helping Lee sing on “Vaporize” was a surprise guest, Rachael Price, from the band Lake Street Dive. Speaking of guests, Price wasn’t the only one to join Lee during his set. After a few moments of praise and admiration for Lucinda Williams, Lee brought her onstage to perform one of her songs, “I Envy the Wind.” Corinne Bailey Rae stepped out for “Keep It Tight,” and Philly-based soul singer Mutlu helped out on “Sara Smile.”

The evening concluded in a Holiday Cheer fashion with a Christmas-themed encore of two songs. Rachel Price and Mutlu joined Lee and his band for the penultimate, “This Christmas.” Holiday Cheer’s nightcap stepped back into tradition with a rendition of “Silent Night” will all of the evening’s performers (except Williams) helping out. Lee stretched his voice unhindered into a higher octave for a verse, and Price, Rae, and Mutlu all added beautiful harmonies to the song.

Holiday Cheer for FUV proved to be another successful live music conclusion for the year, bringing unique and venerable sounds together to resonate for the Beacon Theatre audience in a single event. The event is produced annually as a benefit concert for WFUV, a public radio station broadcasting from Fordham University in the Bronx. With 2016’s Holiday Cheer behind us, it’s time to start building anticipation for next year’s lineup.

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December 12, 2016
‘Deep Listening’ Pioneer and Experimental Music Composer Pauline Oliveros Passes Away at 84

Pauline Oliveros, experimental composer, electronic music innovator, accordionist, pioneer of the Deep Listening philosophy and Distinguished Research Professor of Music at Rensselaer Polytechnic Institute, passed away Thanksgiving Day at the age of 84.

During my own time as a student at RPI studying soil mechanics and structural analysis of steel and concrete I somehow found the time to add an electronic arts minor to my transcript. I had heard of a class called ‘Deep Listening’ and it seemed to this then-junior engineering student like a curious subject to help round out the arts minor. It wasn’t until my senior year – when it was too late to reconfigure course schedules – that I had a taste of this subject when my advanced computer music class sat in on a session happening two floors above in West Hall.

Near one side of the room a dozen or so students was Pauline Oliveros, deeply immersed in the multi-channel surround soundscape created with her cherry red accordion and numerous effects processing. Seeing the focus of those students in a music setting unfamiliar to me was incredible and proved an importance to her course.

Oliveros was interested in music from a young age, learning accordion from her mother in Texas at age nine and learning the French horn and tuba later on. Her education took her through music programs at the University of Houston and San Francisco State College where she obtained a Bachelor of Fine Arts degree in composition. She remained in academia for several years, teaching at Mills College and UCSD. In 1981 she left UCSD to come to the Hudson Valley, where a less restrictive creative environment allowed her to further explore performance and composition where she later founded the Deep Listening Institute.

She introduced herself to the idea of deep listening in the early 1950s when she got her first tape recorder. “I immediately recorded from my apartment window in San Francisco,” she recalls in a 2012 interview on WRPI in Troy, NY. “I listened as I recorded but when I listened back to the tape I heard things that I hadn’t heard when I recorded. So, I realized that I hadn’t really been listening. Since then my mantra has been listen to everything all the time and remind yourself when you’re not.”

The term “Deep Listening” hadn’t been coined for many years after her early experiments with tape recordings and work with the San Francisco Tape Music Center, though the ideas and teachings were there in Oliveros’ early academic career in experimental music and composition. “Deep Listening” as a term was a coincidence of pun associated with recordings made in the Dan Harpole underground cistern in Washington State in 1988 with two of her musical partners Stuart Dempster and Panaiotis who then donned the name for the group of Deep Listening Band.

Deep listening, in brief, is about treating listening as an active rather than passive process, a process that takes some effort. “Deep Listening is listening in every possible way to everything possible to hear no matter what you are doing,” Oliveros described. “Such intense listening includes the sounds of daily life, of nature, or one’s own thoughts as well as musical sounds. Deep Listening represents a heightened state of awareness and connects to all that there is.” That philosophy has led her to have a profound influence on music through improvisation, meditation, and use of electronic music.

Oliveros’ extensive fifty-year career as a leader in avante-garde and experimental music included numerous recordings under her own name and with the Deep Listening Band. Along with these recordings, Oliveros has many publications, videos and has given many lectures and workshops out of the classroom setting. She received several awards in her career, including the most recent biennial John Cage Award in 2012, given by the Foundation for Contemporary Arts in New York City to individuals who have made outstanding achievements in contemporary performing arts.

From 2001 until her passing, Oliveros had been teaching Deep Listening and conducting research at RPI in Troy. Her collaborative research at the university included the Adaptive Use Musical Instrument (AUMI) – a development of adaptive musical instruments through computer interfaces for those with mobility restrictions – and others including artificial intelligence programming for improvised music and data science research with the university’s School of Science.

In 2012 a celebration of Oliveros’ 80th birthday was held at the university’s Experimental Media and Performing Arts Center (EMPAC). Oliveros, along with the Deep Listening Band, gave a performance utilizing computer simulations, developed by architecture acoustics professor Jonas Braasch, of the acoustics of the cistern in which the band recorded in 1988, implemented using technology within the theater.

While Oliveros had an extensive career as a composer and performer, many people who have worked with her have been remembering her as a compassionate mentor, brilliant until her passing. Former student Blair Neal recalls of her impact, “Technology was never at the core of [class] discussions though, it was always the power of the human and how we communicated and listened to each other. That kind of teaching is something I try to carry with me always.” Another former student, Alex Bulazel shares simple words of gratitude, “Pauline was always an inspiration to her students, reminding them of the importance of creativity, artistic self-expression, humor, and most importantly, listening.”

November 30, 2016
Photo Gallery: The Machine at Paramount Hudson Valley

No one can replace the likes of Roger Waters, David Gilmour, Rick Wright, Nick Mason, or Syd Barrett of Pink Floyd, but in The Machine’s recent stop in Peekskill the band showed that it’s possible to get fairly close to doing so.

The Machine lived up to their 26-year reputation for accurately recreating the Pink Floyd catalog in their first ever appearance at Paramount Hudson Valley, a sort of hometown show as they are from across the river to the south in Nyack, NY.

The set list pulled from each of Pink Floyd’s distinct sounding eras including the songwriting of Syd Barrett, the Roger Waters-driven songwriting, and the post-Waters take-off under the wing of David Gilmour’s guitar. The Machine wasn’t shy in reaching deep, either. “Wut’s…Uh the Deal” and “Burning Bridges” were in the mix as treats to the true Pink Floyd fans in the crowd.

Each of the key elements that identify Pink Floyd’s style were obvious during The Machine’s set. Joe Pascarell’s guitar intonation mimicked that of Gilmour’s Black Strat and was almost note-for-note on solos, particularly the show-closing “Comfortably Numb.” The distinct vocal leads of both Waters and Gilmour were well represented in similar tones particularly when the two roles play off each other in “Run Like Hell.”

The Machine returns to New York for two shows in November in Ithaca and Tarrytown.

Setlist

Set 1: Welcome to the Machine, Another Brick in the Wall, Wot’s…Uh the Deal, Hey You, Astronomy Domine, Sheep, On the Turning Away

Set 2: Shine On You Crazy Diamond (Parts 1-5), What Do You Want From Me, Echoes, Money, Arnold Layne, Wish You Were Here, Shine On You Crazy Diamond (Parts 6-9)

Encore: Burning Bridges, Comfortably Numb

August 13, 2016
Photo Gallery: Phish SPAC Afterparty with McLovins at Nanola

As part of a series of Phish SPAC afterparties presented by NYS Music, McLovins took the stage at Nanola in Malta following Phish’s third night at SPAC. Check out NYS Music’s gallery and video from their set below.

July 14, 2016
Carl Palmer’s ELP Legacy Pays Tribute to Keith Emerson

When it comes to rock and roll drummers, Carl Palmer joins the ranks of the most regarded drummers in the genre. Under the touring name of Carl Palmer’s ELP Legacy, the drummer intended it to be a celebration of his 50th year as a professional musician. However, in early 2016 when tragedy struck his former bandmate Keith Emerson (who was set to join Palmer on a few shows), the show quickly turned around to a tribute to Emerson.

Palmer stopped by the Paramount Hudson Valley theater on June 16 with his performance, joined by Paul Bielatowicz on guitar and Simon Fitzpatrick on bass. Without Emerson’s legendary keyboard role in the mix of the sound, the group took a new form of power trio to interpret and present Emerson, Lake and Palmer’s music. Channeling the groundbreaking progressive rock format in this setting doesn’t seem like an easy task, but Palmer did it in a fresh way that was just as exciting as ELP’s recordings.

The two-set show started off with a punchy version of the Peter Gunn theme and continued with many of the iconic original and classical re-arrangements that make up the ELP library. Throughout the evening, Palmer took a moment between each song to break from the kit to share a story about the tune, particularly if there was a connection to Emerson. Most notably, he dedicated “Pictures of an Exhibition” to Emerson, which had been one of Emerson’s favorites.

Palmer’s band can properly be called a power trio — their sound was rich, robust, and complete to fill out the fresh take on ELP’s songs. In a way, it sounded like a really good garage band with a progressive rock influence.

Fitzpatrick alternated between bass and Chapman Stick, which coupled with Bielatowicz’s guitar recreated Emerson’s keyboard parts which defined many of ELP’s songs. Behind them (or rather, front and center on the stage), Palmer’s technical and powerful drum playing was just as, if not more, vivid than in his younger ELP years. Both Fitzpatrick and Bieltowicz had opportunities to show their chops with solos — an instrumental version of “Take a Pebble” by Fitzpatrick on Chapman Stick and Bielatowicz with a multi-part solo guitar solo right before the intermission.

Leading out of “Fanfare for the Common Man,” Palmer broke out an extended solo, fairly routine at the start. Building up the solo, he mixed in some electronic drums buried in the kit. After a few minutes navigating the kit, a grin grew on his face as he stood up to show off some Buddy Rich-style stick tricks that drew some quick applause.

Before calling it a night, Palmer introduced the encore by encouraging the audience to take their phones out and record and post a video of it in memory of Keith.

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July 14, 2016
Melissa Etheridge Sends a Pulse Through Peekskill

When Melissa Etheridge took the stage at the Paramount Hudson Valley, her presence was immediate as the sold-out theater greeted her with a standing ovation at her first notes. As she appeared from the shadow behind her wall of guitars adorning the stage it was apparent that she was just as excited to be there as the audience was.

For a solid two hours, Etheridge presented a dynamic set (with no break) complete with both delicate moments and high-energy songs. Although the show was a solo act, her two hour set wasn’t just a singer with a guitar. Using loop effects and some percussion she backed herself up with more than just a guitar. At one time, she played a game of guitar roulette – looping a few background percussion and rhythm lines as she contemplated which of her ten guitars to pick next to play a bit of the lead part.

With a few words shared between songs, she took particular attention – honest attention – to the surrounding Peekskill community citing the art that she took in earlier in the day. Particularly stunning to the audience was her lead into “Silent Legacy” where she picked up the bass behind her and introduced it as the bass guitar she had bought just that day from Division Street Guitars (a small shop just around the corner from the Paramount) which is a permanent addition to her collection and is appearing with her elsewhere on tour.

Etheridge’s setlist included many of her chart-topping songs and a few off her latest album This Is M.E. A few came in as requests including “Ready to Love” on piano which had never been recorded and only performed a few times. Two other highlights included the swampy tune “Stranger Road” played on her resonator and “Chrome Plated Heart” played on the candy blue guitar she called “Trouble” which included a lot of looping and soloing.

Etheridge responded to the Orlando shootings which occured just days prior in the way she knew how buy writing, recording, and releasing a brand new song, “Pulse,” just two days later. Three days after the song was received by the public, Etheridge paused near the middle of her set to reflect about it and the song before performing it for one of the first times live. It was just as emotional for Etheridge as is was for some of the audience who held up signs supporting the song (a surprise to her).

Etheridge brought a driving close to her set with a one song encore, building out a complete jam on the beautiful white 12-string Ovation. The ascending chord lines in the jam kept the audience wanting more each time, but sadly a show has to conclude at some point.

Setlist: Ain’t It Heavy, If I Only Wanted To, Silent Legacy, I Want to Come Over, Ready to Love, Pulse, Come to My Window, Stranger Road, The Weakness in Me, Chrome Plated Heart, I’m the Only One, Bring Me Some Water

Encore: Like the Way I Do

July 13, 2016
Dead and Company at Citi Field June 25-26

Dead and Company returned to New York City having first visited Madison Square Garden this past fall. Their two-night run at Citi Field was met with excellent weather, some cool breezes, the return of Donna Jean Godcheaux to the microphone, and a chance for Oteil Burbridge to sing a chorus of “Going Down The Road Feeling Bad.”

The band had previously in this tour made many song debuts not heard in the fall tour, though they broke out “Throwing Stones” for the first time.

Dead and Company’s two shows at Citi Field had some more energy than their other appearance in New York at Saratoga Performing Arts Center a week prior, though to be fair to SPAC the crowd was much bigger as was the venue. Almost a year after Mayer experienced Fare The Well from the audience, he continued his Dead and Company trend to impress Dead Heads with his growing adaptability to the Grateful Dead format and style. To the New York City crowd, Mayer’s guitar and vocal work flowed even better than at their October/November 2015 shows at Madison Square Garden.

Check out NYS Music’s gallery from the June 25 show below the setlists.

June 25: (listen on archive.org)

Set 1:
Shakedown Street*, Jack Straw, Althea, Loose Lucy*, Ramble On Rose, Sugaree*, Passenger*, Casey Jones

Set 2:
Dark Star, Friend of the Devil*, Scarlet Begonias* -> Fire on the Mountain* -> Drums# -> Space -> The Other One -> Wharf Rat -> Throwing Stones+

Encore:
Ripple, One More Saturday Night

June 26: (listen on archive.org)

Set 1:
St. Stephen, The Music Never Stopped*, Bertha*, Black-Throated Wind, Peggy-O, Box of Rain, Going Down the Road Feelin’ Bad*

Set 2:
Truckin’ -> He’s Gone*, Help on the Way* -> Slipknot! -> Franklin’s Tower* -> Drums -> Space -> Days Between, China Cat Sunflower -> I Know You Rider*

Encore:
Samson and Delilah*

Notes:
*With Donna Jean Godcheaux
#Oteil Burbidge on marimba
+Dead and Company debut

July 12, 2016
Paramount Hudson Valley Kicks Off 86th Anniversary With Michael McDonald June 25

The historic Paramount Hudson Valley theater in Peekskill celebrates its 86th year this Saturday June 25 with a special fundraising anniversary event featuring multi-Grammy award winning artist Michael McDonald. This year marks the third year of the theater’s stewardship by Red House Entertainment, who brought the venue back to life after it took a brief hiatus in 2012.

The evening starts at 8 p.m. with the Hudson Valley’s own Marc Von Em of the Rob Thomas Band. As a regular at clubs throughout NYC and the northeast, Von Em’s dynamic performance on both vocals and acoustic guitar round out a complete sound for a one-man show. Following Von Em’s set Michael McDonald’s son Dylan McDonald takes the stage with his band Dylan McDonald and the Avians for a set.

The evening’s headliner has made a name for himself apart from the bands he has worked with – Steely Dan and The Doobie Brothers – along with many other musicians he has collaborated with after his time with those two bands. His work has won five Grammy Awards throughout his career. At the Paramount, McDonald will bring a collection of songs from his years with Steely Dan and The Doobie Brothers along with his solo hits.

https://www.youtube.com/watch?v=X3v8LEb1LxA

The 86th anniversary fundraising celebration at the Paramount will include giveaways and merchandise auctions. The theater asks for support “to assure [they] provide world-class entertainment to the Hudson Valley all year-round.”

Show: 8 p.m.
Tickets: $70/$90/$105/$130 available online or by calling the Paramount box office at 914-739-0039

June 22, 2016
The Show Goes On: WRPI’s Steve Daub Bids Farewell to ‘Stormy Monday Blues’ This Week

It’s a Monday night in Troy, and radio host Steve Daub shuffles into the WRPI studios with a small duffel bag of CDs in hand, ready to pick through some of the new local and national blues records on the shelf. At the top of the 8 o’clock hour, his distinct voice carries the words, “You’re listening to Stormy Monday Blues on WRPI-Troy,” over the intro riff of the blues tune of the same name. This Monday, he will give that intro on the radio one more time.

Steve Daub in the studio, May 2016

Underneath the stadium-style lecture halls of the Darrin Communications Center at Rensselaer Polytechnic Institute resides the university’s radio station. WRPI pumps out music and programming with all sorts of content from the whacky musings of Harmando in the morning to the Capital District EDM staple of DJ Scooter’s “The Sounds of Now” on Friday nights. In between sits many other notable programs, including Steve Daub’s “Stormy Monday Blues.”

Daub began officially hosting the program in April 2000 after co-hosting it with former host Bill Burdick on a few occasions. Just over 16 years later, “Stormy Monday Blues” will again be passed on in a similar fashion. The program was started in the early 1980s by Jim Barrett (River Street Beat Shop, Troy) as a spin-off of his long-running program, “Kaleidoscope,” which currently airs on WVCR at Siena College. Since then, some of the hosts include Dave Thomas, former Smithsonian post-doctoral associate Kip Lornell, and Bill Burdick.

A mainstay of “Stormy Monday Blues” over the past few years has been frequent, live in-studio performances and interviews with local blues artists, some such as Rhett Tyler and Professor Louie & The Crowmatix taking residency status. On top of being a prominent figure in advocating for the patronage of live, local blues performances, this lead to Daub’s November 2012 induction into the NY Blues Hall of Fame.

Soon after Daub’s concurrent retirement from his professional career comes a relocation that will make him unable to make it to the studios to keep doing the show, but he is leaving it in good hands. Regular listeners of the program have become familiar with the new voice of the show over the past few months.

Though Daub is leaving “Stormy Monday Blues” this week, he by no means will part ways with music. While he wraps up some odds and ends around the Capital District through part of the summer, he plans on filling in some air time on WRPI, perhaps making an encore appearance on “Stormy Monday Blues.” He is looking forward to splitting more of his time between New York and New Orleans to take in the rich music scene and culture of the city where he already makes an annual pilgrimage for the New Orleans Jazz Festival, and he may look to pick up some on-air time in the Crescent City at Tulane University or the renowned jazz and blues station WWOZ.

Prof. Louie, a frequent “Stormy Monday Blues” guest, performing at Paramount Hudson Valley in Peekskill, Oct. 29 2015

An inductee of the New York Blues Hall of Fame as a musician (February 2015), Sonny Speed has a wealth of knowledge of the blues, which he will bring with him as the new host of “Stormy Monday Blues.” As an accomplished musician and record producer, Speed has opened for some big names including the Zombies, Cactus, Leslie West, Leon Russell and Toby Walker, among others. On top of that, he has shared the stage with Joe Louis Walker, the Drifters, Murali Coryell, Taz Cru and Chubby Checker to name a few. Speed has been getting acclimated to the radio environment as a co-host with Daub for the past handful of months.

Sonny Speed at the keyboards

It wasn’t entirely a chance encounter that brought Speed to the WRPI studios. Daub and Speed have worked together in the past judging blues events, meeting at Caffe Lena in Saratoga Springs.

As Sonny recalls:

I was hosting the Capital District Blues Network jam at Caffe Lena some time this past December. Steve was there watching the acoustic jam and later that night he called me to the back room and says ‘I want to talk to you about something. I’m going to be retiring and I’d like you to take over my show. I think you’ve got a good fit with what I’m doing there.’ He didn’t want to go to just anybody who didn’t have a depth in the blues.

Speed owns Sun Spot Studio in Saratoga Springs and has produced more than 75 albums, so hosting a radio program that incorporates live sessions will be a natural fit for him.

Rhett Tyler performing on “Stormy Monday Blues,” Nov. 23, 2015

Speed lists several big-name blues artists as his favorites starting with Toby Walker, Albert Collins, Buddy Guy, Keb’ Mo’, and New York-based artists Slam Allen and Joe Louis Walker. Though he has a similar taste in the blues to Daub, Speed is looking forward to presenting his own take on the genre while bringing in new and returning live studio guests and continuing his own music activism to get people out to see live music.

Although “Stormy Monday Blues” will just be CDs from the studio this Monday, be sure to tune in as Steve Daub signs onto the show one last time to share some memories and words of thanks before drifting into the night as Sonny takes over to finish the rest of that evening’s show.

Catch “Stormy Monday Blues” as it continues every Monday with Sonny Speed from 8 to 10 p.m. on WRPI, broadcasting to the Capital District at 91.5fm and worldwide at wrpi.org.

May 7, 2016