NYS Music 20​16

Category: Interviews

  • NYS Music Talks JAZZ IS PHSH with Founder Adam Chase

    NYS Music sat down with Adam Chase, one of the founding members of JAZZ IS PHSH, to talk about two musical projects he’s currently involved with. Both JAZZ IS PHSH and The James Brown Dance Party were launched last year, and were well branded. They quickly gained notoriety due to the musicians involved in both projects. The James Brown Dance Party, however, tends to book more selective performances, such as the upcoming New Year’s Eve show at the Gramercy Theatre in Manhattan.

    jazz is phsh adam chaseBoth bands were formed by the Chase brothers, Adam and Matthew, and feature musicians from everywhere.  The beautiful thing about both projects is that a constant variety of musicians can take the show in a completely different direction than previous performances. For the James Brown project, they try to do big and fun special performances, with some smaller runs of shows here and there. This year, the thought came up to reunite with the Giant Country Horns. It had been thirty years since they played together with Phish. Chase went on to say, “when we reached out to them, and proposed the idea of reuniting, they all got so excited. We have Clyde Stubblefield playing, who was James Brown’s original drummer. He’s the original funk drummer. Any funk beat can be traced back to him. Having someone prolific like that just adds to the whole fun energy.  There will be lots of different musicians playing too. Elise Testone is singing, who’s a tremendous vocalist.  I imagine there will be other special guests as well.”

    The vibe that Phish puts out for their shows, especially on New Year’s Eve, will drift down the street into the Gramercy and maintain the positive energy until the sun comes up. As Chase said, “You take away the Giant Country Horns, you take away Phish, and that James Brown vibe alone is a high energy, funky awesome project that people love.  Then you add the Giant Country Horns, and you add Clyde, and you add the fact that it’s after Phish and it turns into a big reunion. There will be a lot of love and a lot of good energy, and it’s just great music.” Expect the unexpected for this incredible New Year’s Eve show.

    In addition, a new record is currently in production by JAZZ IS PHSH. Chase indicated that “it’s being mastered by a Grammy winning mastering artist who does all of the Dick’s Picks remastering. From an engineering standpoint alone, Bryce Goggin was the engineer who did the mixing on the record. We recorded it in multiple recording studios: in Atlanta, Baltimore, and New York at Trout Recording. Bryce mixes a lot of the Trey [Anastasio] and Page [McConnell] records. He also mixed Phish’s Round Room album. He was the main engineer on the record that Herbie Hancock did, where he recorded at Trey’s barn. The engineer that worked with Phish and Herbie Hancock made sense to us because we love the tones he came up with. That kind of pedigree made sense.  We told him about the project and he was in love with the idea. We’re really pleased with the whole sonic experience.”

    When the project was first announced, a lot of people were excited. There are almost 20 musicians on the record. It will reach not only Phish fans, but jazz fans who aren’t yet familiar with the music of Phish.  Chase went on to say, “maybe musicians who study jazz, and might not venture too far outside, may get turned on to the music through this instrumental jazz funk medium we’ve created.”

    Chase compared Phish’s music to the complexity of Frank Zappa’s arrangements. “There’s not always the same embracing by musicians of Phish as there is with Zappa.  There should be just as much an embracing of Phish as Zappa because there are so many complex, amazing compositions that are mind-blowing. As a musician, that’s what turned me on to Phish. Watching them play songs, such as “David Bowie,” live was mind-blowing because of the arrangements. There is a barrier to entry with them, whether it’s with the jam or lyrics. I think it would be good for any musician out there to open their ears to the music of Phish. They have such a vast catalogue.”

    With the new JAZZ IS PHSH record on the cusp of being released, Chase spoke about the arrangements and how he hopes the music affects new listeners by introducing them to the world of Phish. “I feel what I’ve done is cherry pick some of the more intricate compositions, such as “Foam.” Taking some of their rock tunes and making them into a jazz funk fusion shows off Phish’s melodic sense.  While we’ve rearranged some of the melodies, they are intact. Even if they’ve changed and been recolored, it’s pretty accurate. I hope this record will open jazz musicians ears who haven’t yet been turned on to Phish. It’s something that should be celebrated.”

    The scheduled release for their new album is currently slated for the end of February, but pre-orders are available at JAZZ IS PHSH’s official website, as well as at shows. Here’s a preview of what fans can expect at the upcoming James Brown Dance Party New Year’s Eve show at the Gramercy Theater in New York City.

    https://youtu.be/SNB-IEMLJTc

  • Interview: King Buffalo Discusses their Origin, Debut Album, and Aspirations

    Rochesterians tend to think of King Buffalo as a local band, however they are garnering attention on national and international levels. Their debut album, Orion, showed up on the Album of the Year lists for several rock critics. Earlier this month, Stickman Records released a European version of the album.

    King Buffalo
    Photo by Mike Turzanski

    The psychedelic rock band with a heavy blues bent delivers heady grooves laden with symbolic imagery. It’s the kind of music that is best heard live – but if not live, then on a turntable in a room with curtains drawn and incense burning. The sound is reminiscent of iconic classic rock bands like The Doors, Deep Purple, and Black Sabbath, but also has a modern edge that leads one to wonder if this is what Jim Morrison would be creating if he were alive today.

    King Buffalo is comprised of Rochester natives Sean McVay (Guitar & Lead Vocals), Dan Reynolds (Bass & Lights), Scott Donaldson (Drums & Vocals). NYS Music caught up with the band at their recording studio inside the historic Main Street Armory, to discuss the history of the band, their creative process, and future plans.

    Paula Cummings: How did King Buffalo come into being?

    Sean McVay: Dan and I played in a band together for a few years before King Buffalo, called Abandoned Buildings Club. Scott played in a band called Velvet Elvis. We were all in the same sort of psychedelic heavy blues rock circle and played a bunch of shows together. We were all part of the same scene. When our bands dissipated and fell apart, we started jamming, and we clicked really fast.

    Scott Donaldson: I approached those guys because Velvet Elvis broke up before Abandoned Buildings Club. I was booking all these dates and then Velvet Elvis broke up. So I was wondering if you guys were interested in learning some of the songs and filling in. Our fourth original member, Randall, was also the singer of Velvet Elvis. We started jamming and maybe the first or second practice we wrote a song.

    Dan Reynolds: Yeah, I don’t think we played any Velvet Elvis songs until a couple weeks in.

    SD: It was cool we were able to pound that (new) stuff out that quickly. So we started touring and pissing people off because half of them thought we were Velvet Elvis. We were like, “No, we go by King Buffalo now.”

    SM: We’d show up and there’d be a marquee that would say Velvet Elvis and we’d play two Velvet Elvis songs and the rest was King Buffalo stuff.

    DR: And we played one Abandoned Buildings Club song.

    SM: Yeah. We knew pretty early on that we had something cool going. That’s why we kept writing. And then we recorded them. We wanted to have something recorded so we could say, I know you came to see Velvet Elvis, but here. We just ended giving out 300 CD’s on that tour.

    PC: But they were people who were already into that kind of scene.

    SD: Yeah. The first tour we did as King Buffalo was with All Them Witches. They were relatively unknown then. Now they’re doing quite well. We were in an RV with those guys, having fun playing to some people some nights and just to each other some nights. It was a great experience.

    PC: You guys also did a split with Le Betre.

    SD: One dude from STB Records posted a picture of our demo, like “I’m jamming this, packing orders.” And I just emailed him, like “I heard you like our demo, we should do something together.” He said “I’d love to, it sounds amazing, but I’ve got so many projects this year, I can’t do it.” A week later, “You guys are doing a split with this band from Sweden called Le Betre.” STB’s got their own following. It’s a very collector’s-based, die-hard version with splatter vinyl. I mean, none of us had had anything that looked so pretty, so we were all about it.

    SM: The package that they put together – it’s all 180 gram vinyl, it’s super high quality. It has a super loyal following of buyers. I don’t know if they heard of us before they put out the split.

    SD: They have a lot of faith in his label, so they’re like “You’re putting it out? And it looks really pretty, and there’s only so many of these, I’m going to buy one of every version.”

    PC: Tell me about the decision to release Orion internationally.

    SD: To do anything international is pretty easy these days with the internet. You sign up for a website, you put your stuff up there and you pay a little extra to make sure it’s in all the different countries. Stickman Records had approached us after the record had already come out. They gave us an amazing deal because they really love the record and really want to be a part of it. We were obviously floored and extremely happy about it. And then they made a gatefold and 180 gram vinyl record in orange.

    DR: It’s easy to get international, and vinyl record sales right now are so almost bafflingly huge market all of a sudden. In England vinyl sales just passed digital downloads.

    SD: For us, selling internationally is expensive. The shipping is $22.50. I ship everything personally, so I know exactly how much that costs.

    DR: So that’s the only way we could get them out over there.

    PC: I read a lot of the reviews and descriptions of your music, and I’ve seen you guys play, but how do you define your sound?

    SM: We’re influenced by all the classic stuff from the 60’s and 70’s and grew up in a time when grunge was the thing.

    SD: It is what it is. It’s weird now that every genre has so many clear cut “this is what it is” instead of being just one general broad thing. Back in the day, heavy metal was so much more broad than it is now.

    SM: Post–rock pre-blues metal, like what does that even mean?

    DR: I want to know who’s making all these up.

    SD: Psychedelic stoner rock is the one we consistently hear, and heavy blues.

    King Buffalo
    Photo by Mike Turzanski

    PC: You record right here at The Armory?

    SD: This is the room. All the awesome reverb comes from Sean just opening the door and sticking the mic in the hallway. You just get this cavernous amount of sound. If you walk in the hallway and give a nice loud clap, you’ll hear it.

    PC: What is your songwriting process? Do you hammer out the instrumental and then add lyrics to it?

    SM: It’s definitely the very last thing. We just wrote a new song, and we’ve had the structure of it for a while. I wrote the lyrics to it on the way to the gig where we first played it. I knew what I wanted for the melody, but I didn’t have words. We basically jam all our stuff. We’ll have a basic riff or idea and then we’ll just play it for a while and flesh it out and whittle it into something that makes some sense. I’ll just kind of mumble over the top and just sing. Either I’ll come up with some words or Scott will write words and then in the process of reading his words, I’ll write something based off of that.

    SD: It was weird because when we first wrote Orion, we were trying to figure out a writing process and it took some time. We definitely got better at it now. Hopefully it goes a little quicker.

    SM: I had this big vision for Orion, and there’s definitely a story in it. It’s all one cohesive story. I very much wanted it to be that. So we can’t just write anything for the lyrics for the song – like the third song has to push the story forward.

    SD: I think this time it might be more polished, the process.

    SM: Yeah, I’m still trying to figure out the story.

    SD: Sean has a habit of sometimes overthinking things.

    PC: But it’s easier if you have a concept in mind going in. A lot of the lyrics on Orion are references to nature, sci-fi and mythology.

    SM: I was trying to use a lot of psychedelic metaphors and imagery to bring it all together.

    SD: It’s a little ambiguous. That’s a good thing because then everybody can put their own interpretation upon it. If you tell somebody, “This is what to think when you’re listening to this,” it’s harder to make a connection.

    SM: People come up and tell me what they think a song is about, tell me what they think the album is about.

    SD: I was talking with Parks about this – Parks is the singer of All Them Witches – he’s like “The best is when someone is like ‘Dude, me and my lady have a lot of sex to your album.’”

    SM: I just want to be the soundtrack to people’s lovemaking.

    SD: It would be a weird sight if we were playing a show and it just kind of broke out.

    SM: I’d turn around and be like, “Guys, it’s working. I think I found the chord progression.”

    King Buffalo released the recording Live at Wicked Squid Studios on December 26. They will be touring in 2017, and have just begun composing songs for a second album.

    Orion is available in multiple formats through King Buffalo’s website. The European version is available through Stickman Records.

  • NYS Music Interview: Ten Questions with Spafford

    Spafford is a four-piece act from Phoenix, Arizona that has been steadily gaining recognition in the southwestern states since 2012. Following a successful “Breakout Tour” this fall in the Midwest, including two sold-out shows in Chicago, these Arizona funk rockers are ready to spread their horizon even further and head East, as they continue to grow on a national scale. NYS Music took this opportunity to make sure that you’re familiar with the name Spafford and the sound in an interview with their drummer Nick Tkachyk.

    The group consists of Brian Moss (guitar), Jordan Fairless (bass), Andrew “Red” Johnson (keys) and Nick Tkachyk (drums). Their sound can be described as an electrofunk therapy, which combines deep sonic exploration and jam-heavy improvisation. With jams that stretch anywhere from 10 minutes to 30, their songs expand typical song structure, offering an original take on funk-dance-rock music.

    In the past, they’ve shared the stage with prominent acts like Widespread Panic, Particle, EOTO, the Motet, and they’ve performed festivals such as Arizona’s McDowell Mountain Music and Gem and Jam Music Festivals. For the summer of 2017, they have already been announced on the bill for the Electric Forest in Rothbury, MI and Resonance Festival in Thornville, OH.

    On New Years Eve, you can catch them on Dec. 30 & 31 for Phish after-parties with the Magic Beans, at the American Beauty Bar in NYC, and see for yourself why this four-piece is gaining momentum.

    This spring, the Arizona act will hit the road with Umphrey’s McGee for their 2017 tour. Spafford will be fitting in gigs in between their shows with Umphrey’s, including a date in Philadelphia on Jan. 24 and in New Jersey on Jan. 25. For a full list of tour dates, tickets and information, please visit here.

    Karina Verlan: Where did the name Spafford come from?

    Nick Tkachyk: The word “Spafford” is the middle name belonging to our Lighting Designer/Social Media Guru/General Awesome Dude, Chuck Spafford Johnson. The original name of our band, or should I say “the” band because myself and Red were not in the band yet, was “Officious Tort Feezer… or Freezer”. Apparently this is a legal term for a general wrong doer. Either way, the tort thing didnt work out, Brian and Jordan decided to name the band Spafford, and the rest is the future!

    KV: You’ve toured on the West Coast and central states for a while; how do you anticipate breaking through on the East coast?

    NT:We were meant for the East Coast. We were meant for West Coast. We were meant for people… and their ear hearts.

    KV:How excited are you to be joining Umphrey’s McGee on their tour this spring?

    NT:My scale of excitement for this upcoming occasion can be explained in two words… Cannot. Explain. (mostly due to excess excitement, and the inability to explain myself when excessively excited)

    KV:Who writes the music in your band and how do you decide on your setlists?

    NT:Music is a collaborative effort. Always. Every song is different. Our song writing process is extremely personal and sacred for me, and “us.” Honestly, as a drummer, I don’t “write” songs per-say, however when coming up with specific parts for a Spafford song, I love contributing to the greater good (for lack of a better word) that is Spafford! Setlists are whatever.

    KV:What has been the biggest challenge for you thus far as a band?

    NT:THE MUSIC. (and “challenging” in a very inspiring, creative, and GOOD way!)

    KV:Where would you like to see your band 5 years from now?

    NT:Sharing as much positive, emotional and RAW energy with people through music as possible.

    KV: Is there anyone alive or dead that you would do anything to have them sit in with you?

    NT:Bernard “Pretty” Purdie. Nuff said.

    KV:What was your favorite venue thus far? Favorite set that you’ve done?

    NT:The word ‘Favorite’ when it comes to MUSIC, in my opinion, is poppycock. As an artist, I believe I don’t have the luxury of preference. All art IS. And all ART is GOOD. But okay… Favorite venue: Vinyl Las Vegas. Favorite set: First time we played there for a Further afterparty.

    KV:If you added an another instrument to your band, what would it be?

    NT:Another Brian Moss.

    KV: Have you surpassed any of your early goals as a band thus far?

    NT: Can I borrow your fingers and toes. Yes.

  • Interview with Within Shadows: Canadian Metal Band Launches Debut Album and Music Video

    Within Shadows - P. Cummings (5)Within Shadows released their debut album Mind = Enemy on December 21.  In conjunction with the release, they premiered the music video for “Get Up,” the first track on the album. And if that weren’t enough excitement for one week, the band also announced a show on January 14th at Lucky’s Roudhouse in Windsor, Ontario.

    This metal band from Ontario, Canada features Sean Farias (vocals/guitar), Jordan Heffernan (drums), Brad Tiessen (guitar), and Jacob Bailey (bass). NYS Music spoke with frontman Sean Farias about their ambitious 15-track album, the passion they poured into the making of the video, and their plans for 2017 and beyond.

    Paula Cummings: Your album is called Mind=Enemy. How did you choose the title?

    Sean Farias: We chose the title Mind=Enemy because it relates to the song themes that we portray lyrically. The majority of our songs relate to inner battles, struggles that we’ve had and about conquering those. This also helps bring a positive outlook to the listener and help them with the same problems.

    PC: Tell me about the tracks on the album.

    SF: The album is going to consist of 15 tracks, four of them being remakes of older Within Shadows tunes and 11 brand new songs. The songs will range from different metal genres like hardcore, easycore, djent, heavy metal and more. We have a new instrumental track called “Captive” where we try to recreate the concept of our EP song “Regrets” and have guitar solos through the whole song. “Demons” is a remake from an EP released a year ago. We have a song called “Djust Kill Me Now,” which was written during one the darkest times in my life. It is a collaboration with Derek Petricka of Discord Curse and Lucas Mann of Rings of Saturn. We also wanted to showcase that we like to play different genres by including a pop punk song called “On My Mind.” There are many more tracks to this album, and I promise there are many bumpin’ riffs to mosh to.Within Shadows - P. Cummings (3)

    PC: Which bands inspire you?

    SF: Our band is greatly influenced by other bands, such as Slipknot, Lamb of God, Beartooth, Tool, Billy Talent, Rings of Saturn and more. We are influenced by their musicianship and writing styles which we infuse into our own. Also we have seen the majority of these bands perform live, which in its own powerful way leaves us with extreme levels of motivation and the urge to write our own music.

    PC: What was it like to record your first music video together?

    SF: It was incredible! We had the honor of working with Ryan Brough of Zeebrah Media. He is a great guy, easy to work with, and made what was envisioned in our mind come to life. We are just as excited as our fan base to see the finished product. We wanted our first video to be the perfect representation of what we will be like live to anyone who would want to come see us. So it is literally us going buck wild in front of a camera playing our song “Get Up!” We had so much fun shooting this video. Jumping around for three hours was certainly tiring, but we brought the crazy throughout the whole shoot. Jacob Bailey even bled all over his bass from going so full out!

    PC: Jordan got to break out his new drum kit for the video, right?

    SF: Oh yes! He was most certainly excited about that. We all were. This new kit is magical!!!

    PC: You guys also help local charities.

    SF: That is one of our passions. We love to help out those in our community, and also contribute to local charities. When we raise enough money or make enough sales on our music and merchandise, we love to give a chunk of that to charity. For our EP Release the Disease, we ended up donating $500 to our local food bank, because of all the support our fan base gave us. We hope one day we can grow our band to a bigger level where we can help impact more people in a positive way and more on a global scale.

    PC: 2016 has been an eventful year for Within Shadows. What are your band goals for 2017?

    SF: Shows. Lots and lots of shows. Trying to get our band more exposure. Sending our new songs out to record labels and work with many people in the industry and other musicians. Also we want to record a lot more music videos for our tracks.

    Pre-orders for CD’s are being taken at their website. Digital downloads and streaming are available through Bandcamp, iTunes, and Google Play. 

    Photos by Ryan Brough of Zeebrah Media

    Within Shadows - P. Cummings (4)

  • NYS Music in Motion: An Interview with Dopapod

    Dopapod just wrapped up their Fall Tour with Pigeons Playing Ping Pong, performing more than 30 shows across the eastern half of the U.S. The guys sat down with NYS Music publisher Pete Mason prior to their Putnam Den show on October 26 to discuss collaborative sets with Turkuaz and The Werks, performing at Red Rocks and the return of Neal ‘Fro’ Evans to the lineup.

  • Interview with Fossil Youth: Rising Indie Band Talks about Their Billboard Ranking, Debut Album and Upcoming Tour

    Indie Rock band Fossil Youth has risen from relative obscurity to become one of Billboard’s Top New Artists of 2016 – ranking at number 16. No one was more surprised than the band members themselves – Scottie Noonan (vocals/guitar), Hesston Sween (vocals/guitar), Derek Neef (bass) and Zack Jones (drums). From their hometown in the heartland, they spent a good part of the year crisscrossing the U.S., including a stop in Syracuse last summer.

    Just last month, Fossil Youth released their debut album, A Glimpse of Self Joy, through Take This To Heart Records. This poignant concept album is a meandering journey through a heartbreakingly painful relationship and its inevitable dissolution. However, some of the songs, like “Forest Eyes” and “Watercolor Daydream,” have stood on their own as singles. At times soft and lamenting,  and at other times heavy with angst, the music is always genuine and authentic.Fossil Youth - P. Cumming(1)

    Fossil Youth is embarking on the East Coast leg of their headlining national tour in January, with plans to play The Vault in Syracuse on January 27th.

    Frontman Scottie Noonan spoke with NYS Music about their music, the response to their album, their humble reaction to ranking on the Billboard Top New Artists List, and plans for 2017.

    Paula Cummings: Tell me a little about how you formed as a band.

    Scottie Noonan: The first release is 2014. But we started getting this all figured out in 2013. We all happen to live in the same small city of Oklahoma. We consider our home shows and home town Oklahoma City. We’re actually from a small city called Enid, which is an hour and a half north. In a way having to travel to other cities to play prepared us for touring. Having to drive two hours just to play local shows is helpful for the rest of the year, when we basically do that every day.

    PC: You put out an EP in 2015, Intertwined with You.

    SN: Yeah, and in 2014 we had the split. It was such a small thing. It’s also kind of cool to look back on. One of the songs from the split we actually rewrote and put on our new full-length. If you look it up online, you might actually see that.

    PC: And you did the Little Elephant recording. Tell me a little about that.

    SN: That was actually extremely cool. They’re a few guys out in Toledo, Ohio. And honestly, how it looks in the video is almost actually how it is. We showed up at their house. They already have experience recording bands, so they decided “Let’s put all this in our living room.” I think there was like 30 minutes of prep time and they say “Hey, go.” They set up a few cameras standing in places where they won’t actually get shots of each other and do these live sessions in their home. It’s honestly a whole lot of fun. Very, very nice people. I think that’s what helps make them unique, too, is the general experience.

    PC: It looks really cool. And they said they give half of the money from vinyl sales back to the bands.

    SN: I’m so excited about that because we’re trying to get back in there and do another session for our new songs. And it would be so cool to have a second vinyl release through them.

    [embedyt] http://www.youtube.com/watch?v=P7WKYHlbo_Q[/embedyt]

    PC: You know what else just came out was the Billboard Top New Artists of 2016 – you’re in at #16.

    SN: Out of 150. So to be that high up is truly insane, the most surreal feeling.

    PC: That must be validating as an artist to be recognized.

    SN: It was weird. It’s going to sound so lame, but never would I have ever guessed that maybe this early in our career would we hit that. So many friends are in bands a little bit larger, on larger labels, doing other things that scored really well, and we surpassed them. To have that high of a number was never expected, by any stretch. We were excited, like “Did we get number 150? Did we even just crack in there?” And being told we were number 16 is truly insane.

    PC: That is incredible. So who were some of the bands who influenced you? Who were you listening to ten years ago in your formative years?

    SN: Me, personally, I think some of my biggest influences were definitely some of the big pioneers like Fall Out Boy, My Chemical Romance. I think some that we’re getting compared to that were also a big influence for me were Cartel (I was extremely into the band Cartel), This Providence (a very, very cool band), and Cute is What We Aim For. I feel like that’s one that I don’t hear enough of, but was actually a really big deal for me in junior high.

    PC: Let’s talk about the album, A Glimpse of Self Joy. How was it different writing for the album than for the EP?

    Fossil Youth - P. Cummings (3)

    SN: When we were writing the EP we were excited we were writing songs. It was like “Yo, these are the best things we’ve put together.” And we were excited for that. But when it came time to actually sit and write the full length, we actually had the chance to truly as a group work on it. It was a lot more cohesive and I feel like everyone really put their piece into it. There’s a very light concept going on in the album. So it really felt good to preemptively know exactly how we wanted the story to play out and come across and I think that made it a little bit easier. It also made it very cool to be able to throw a large handful of very personal metaphors within it as well. It took a lot longer. Not only because there were more songs, obviously, but I think being able to actually work as a group made it so much cooler and I think that came with the comfort of being a band for a year and a half after the EP.

    PC: So how do you feel about the response to your album?

    SN: Honestly, it’s going to sound so monotonous, because I’ve said it so many times in this interview. It’s unreal. We knew it was better. I feel like, even from the inside while working on it we were like “Wow, I think we have a really cool thing going here.” But again, to score Billboard, to have our songs on larger Spotify playlists despite not having a large team behind us, having this many listeners putting us on their end of the year list, and this many people tweeting us every day is truly surreal. And on the tour we just did in November, we went to the west coast and we had four sold-out shows. We weren’t on a package, it was just us headlining. To have kids singing along to multiple songs on a set to an album that we just put out was like the craziest and most unreal feeling. And it still just feels like a dream. It’s crazy. And now we’re seeing how many kids are posting the fact that we’re going to the East Coast on this January tour and it’s just insane.Fossil Youth - P. Cummings (2)

    PC: You will be playing The Vault in Syracuse again. Do you remember playing there last summer?

    SN: In August. It was with Bonfires. Very cool show. Everyone was extremely nice. I really like its location. Maybe it’s a lame Oklahoma thing that I paid attention to that, but I love how many other places there were for me to go nearby. That was really cool.

    PC: Who are you playing with in Syracuse?

    SN: There’s a band called Everyone Leaves, from Ohio, and a band called Pine. They’re from Canada. It will actually be our first time meeting them.

    PC: Who are some of your favorite bands to tour with so far?

    SN: That is such a rough question. I think it’s going to be fair to say that there hasn’t been a band so far that we’ve dreaded touring with. But I have to give Bonfires so many props. I haven’t felt like there’s been a full band where like every single member just got us on every aspect. So even on small shows where morale might actually be low, we always had each other. And it felt like there was never a bad day, even when financially it would be a terrible night. Just always fun. Loved it so much.

    PC: What are your plans for 2017?

    SN: Relentless touring. So, so much touring. We’re looking at festivals, tours, short runs, and doing our absolute best to play Oklahoma more. I feel like because Oklahoma’s a smaller market, people may not recognize it. We’re just doing everything we can to hit everywhere and doing anything we want to do.

    [embedyt] http://www.youtube.com/watch?v=pH68cLi-Hs0[/embedyt]

  • Interview: Burlington Natives Madaila Set to Make Capital Region December Debut

    Hailing from the same stomping grounds as jam aficionados Phish comes a unique, five-piece outfit known as Madaila. Fresh off the heels of their sophomore album release, Burlington, VT natives Mark Daly, Willoughby Morse, Eric B. Maier, Dan Ryan and Jer Coons, will make their Capital Region debut at Putnam Den on December 16. Their 2016 release Traces hit the public just over a month ago on November 4 , following up their explosive inaugural effort, 2015’s The Dance.

    Although Madaila doesn’t fully embody the typically “granola” association of Vermont musicians, they take their roots and expand on them in a way that makes their sound and image truly unique. Members of the band run the local Future Fields studio, a musical hub in the midst of Burlington where The Dance was crafted. Their catchy and synth-heavy tunes undoubtedly display their musical intelligence.

    At one moment,  vocals can be reminiscent of Justin Vernon in Bon Iver paired with electronic nods to Passion Pit and Tame Impala. The next moment, however, will toss you into a thirty second jam reminiscent of their geographical origins.  Throughout their music videos, the group has honed the talent of playfully moving between serious musical elements and all-out splashes of fun, knowing how to take their craft seriously, but not necessarily themselves. Many videos like “I Know” and “Give Me All Your Love” find band members dressed head to toe in eye-popping color schemes and patterns, resembling anything from an 80s dance party to a Lisa Frank fashion show.

    These psych-pop steamrollers on the rise have curated a generous amount of buzz in a short amount of time and have plans to kick off their first gig in a string of six at the Den. More NY dates follow at Port Chester’s famed Capitol Theatre and Arlene’s Grocery for an extra Phishy NYE run after party. This year comes to a close with two New Year’s stops at hometown venue Higher Ground on December 30 and 31, following the legacies of fellow VT musicians Grace Potter and Twiddle who have filled the same slot in previous years. Madaila kick off 2017 with January appearances at the Press Room in Portsmouth, NH and StageOne in Fairfled, CT.

    This Friday, doors open at 8:30PM with a 9:30PM show to follow for an 18+ crowd. Tickets are $10 with $5 surcharge for those under 21. If you are unfamiliar with Madaila, quickly become acquainted because their Putnam Den debut is not one you want to let fall through the musical cracks. Frontman Mark Daly and Madaila management/production/keys player Eric Maier lent some time to NYS Music to detail their latest album, how to correctly pronounce “Muh-dey-luh” and, of course, how being a phan helped shape their musical journey. ‘Madaila doesn’t sound a lot like Phish, but we are super weird people who resonate with the example they’ve set.’

    Alyssa Ladzinski: For those who don’t know your music, what would you like them to know about you?

    Eric Maier: We call our music “psych pop”. We like it to be at times catchy and at times exploratory. Our live show is important to us. We’re from Vermont! We make our music at the studio we run in Burlington, Future Fields.

    AL: How was recording your 2016 release Traces different than the process of 2015’s debut of The Dance?

    EM: We made The Dance before we put our live band together. Mark played every instrument, which was annoyingly impressive. Haha. Jer and I produced the record. We had input into the sound, but it was much more the product of Mark’s wild imagination. Traces also started in Mark’s freaky brain. But we made Traces after having been a band for a year and the record reflects that. Mark’s writing and arrangements were influenced by the growth and cohesion we have developed on stage. And, more directly, each of us plays on the record in ways that display our musical personalities. All of us see our responsibility as being to help “nurture” something birthed in Mark’s mind. Traces reflects a more mature version of that!

    AL: Explain what it was like creating this album in Future Fields studios in the familiar territory of Burlington, VT. What were the pros/cons of recording in a place you call home?

    EM: Future Fields is our musical home. The studio has grown in and around Madaila. Jer, Willoughby and I are the three owners. We rehearse there. Keep our stuff there. And have made both records there! It’s hard to separate the two! It’s definitely crucial to feel comfortable in your creative environment. Another huge plus is being able to spend as much time working as we need, without worrying about budget. We’ve thought about trying a new environment for the sole purpose of getting out of our comfort zone. Mark’s creative process for composing Madaila’s music has always been about pushing himself into new contexts and out of his comfort zone. So we may try and explore that idea in the future by mixing it up. As it were. But for now, we have everything we need and the price is right!

    AL: You have some pretty interesting music videos and I love how much fun you have with them. How do you come up with the video concepts?

    Mark Daly:  Well, a lot of the videos conceptually come from the combined powers of our very good friend Mike Mooney, founder of Hammer and Saw Films, and myself. A pair of other collaborations have come from a few amazingly talented friends in Burlington.

    We’ve been so lucky and blessed with having a close friend like Mike to help produce, create and shoot a number of videos for the band. It’s a super collaborative and close relationship that helps the entire vibe and environment of our videos. It’s definitely obvious we are having fun, and that’s always been a part of the energy surrounding our band. We are extremely passionate and serious with what we do and our goals, but at the same time we try to always be ourselves and not take things tooooo seriously. Mike and all of us also really like videos with an arc and a theme to it, that tell a story. That’s been a catalyst in a bunch of our videos.

    We like our videos to be eye catching and loose and playful in order to produce a unique outcome, but also because that’s honest to who we are as a band. It’s all a part of the Madaila nucleus.

    We have a new video coming out very very soon and it’s probably the weirdest and most fun video yet so stay tuned!     

    AL: Outside of playing music, how else do you explore and express your individual creativity?

    MD: Music is where we predominantly express our creativity, but it also acts as a platform, or spring-board, that allows us to access several other ways to express ourselves. Whether that’s acting, being a salesman, making art, writing, etc.

    I love writing music as much as possible, but acting has probably been the most active realm of creativity within me aside from that.

    I love making videos and being different characters – just something I’ve done since childhood. It’s all part of loving to entertain I guess. It’s almost more natural to play an outlandish character than to be myself or act normal on camera. Several aliases have helped promote Madaila and Madaila shows over the years. Sometimes there are even appearances at the show or on stage. Music and comedy are two great fucking things and that’s that!  

    AL: What’s one, or two bands, you would love to set up a tour with that you haven’t had the chance to?

    EM: We love the band Vulfpeck and could see ourselves fitting well with them in that happy land between jazz and pop. Rubblebucket are old friends and would also work well. We also love Lucius and think that would be a cool pairing! It’s funny for us since we inhabit a bit of a middle ground between indie rock and jam worlds. We’ve had a great time collaborating and playing shows with our old friends Twiddle, who are also from Vermont. There are so many possibilities for putting bills together. For us it comes down to being turned on by a band’s music, whatever it sounds like. It also makes a huge difference when you hit it off as people. When you connect on a personal level everything is more fun!

    AL: Do you guys practice any pre or post show rituals?

    Both: Yes. 🙂

    AL: Favorite musical purchase or release from 2o16?

    Both: The new Frank Ocean. New Bon Iver. Solange! Chance The Rapper.

    AL: What’s the most interesting pronunciation of your band’s name that you’ve heard?

    EM: Oof. Let’s start by clarifying that it is “Muh-dey-luh”. Haha. We didn’t anticipate the pronunciation being a problem but it’s a weird combo of letters for people. We’ve seen at least 6 different spellings and a variety of pronunciations. The most common is “Madalia”, which adds a syllable by switching two letters.  “Madala” might be the most renegade since it just eliminates a letter altogether. Great question! This comes up a lot.

    AL:  You’re playing a Phish after party in NYC on 12/28–how does it feel to get the opportunity play for a crowd of people who share love for the biggest band out of Burlington? I also have to know, what are your favorite Phish songs? Or album if that makes it easier.

    EM: Yay! It feels great. We are proud to be part of a wonderful tradition of Vermont bands. The scene in Burlington is unreal. And we truly appreciate the history. We look up to Phish a ton for the way they built their band by focusing on their live show; on sustainable growth; on being true to their sound; on putting music first; and on embracing the various weirdnesses that make them who they are. Madaila doesn’t sound a lot like Phish, but we are super weird people who resonate with the example they’ve set.

    As far as Phish’s music itself, people tend to take it or leave it. Which is fine. Mark and I are the Phish heads. Our first band was a jam band that we started (oof) 12 years ago. Pale Moon! We wanted to be Phish. We had dreams where we got invited on stage at SPAC. Haha. Hey! It could happen.

    In terms of favorites. I lose Phantasy points for saying this but I’ve always gotten down with the 90s albums. Running a studio myself I love that expressive environment. I also love the track order on certain records, like A Picture Of Nectar. Live, I’m a sucker for the upbeat major jams like Antelope & Chalkdust.

    MD: Growing up in Vermont and being a musician, it’s super hard NOT to know Phish or been influenced by them. Trey was probably the first person to make me want to play guitar. Because of that Divided Sky – the Junta version – and any Reba jam might be my favorite Phish moments. But there are a lot of them. If I had to list a few more off the top of my head… Trey’s solo at the end of Chalkdust Torture on A Live One, and I always love a good Harry Hood or Fluffhead. I feel like a hippy all over again. Haha.   

    AL: What are your personal favorite tracks on Traces. Do you have a least favorite?

    EM: We love all of our babies. Haha. Well, we developed a great relationship with “Secret”, which we played live before the record was recorded. We’ve really had fun recently with “Excelsior”. The live format is where we encounter these songs most often, so that tends to shape how we feel about the songs.

    MD:  Ditto to what Eric said in “Secret” and “Excelsior.” Another favorite of mine has always been “Spring.” It just really gets me emotionally and is such a poetic and powerful song. We are currently and finally in the process of getting the crazy, long and challenging “Nurture” live ready and I have a feeling it will become an extremely fun, cosmic and energizing song to play live.  

    AL: Who are some of your musical influences/heroes that people wouldn’t guess based on your music?

    EM: Well, Phish, as mentioned! Mark and I both love jazz music. We were just talking about McCoy Tyner yesterday. I love Monk. Miles Davis & John Coltrane are two musical heroes. But both of us have a pretty insane width in what we like. I love what is happening with Sturgill Simpson & the alt-country movement. Jer got me into Chris Stapleton as well. Willy is the master of the indie rock realm. The two of us geek out on PWR BTTM, Alvvays, & King Tuff. He and Jer also venture into the world of metal & both have pop punk histories. Dan is the deepest into jazz – especially modern jazz – as well as old school hip hop. Yeaaaah. We’re all over the place!!!

    AL: Which bands have been on your radar recently? Any up and coming bands from Burlington we should keep on our personal radars?

    EM: Burlington is such an amazing scene. Running the studio also gives us an amazing view into various subcommunities here; aaaand somewhat of a responsibility to not play favorites. Haha. I will say that we worked hard assembling the lineup for our NYE run at Higher Ground, and that each of those bands are artists we love listening to; love hanging out with; and see having the potential to blow the f*** up. Those are: Arc Iris; Lux Deluxe; smalltalker; and Jeff Beam!

    AL: Eric, how do you balance time between keys, production and management? Are you often overwhleed or have you perfected the skill of wearing many hats by now?

    EM: I love being able to split time between different worlds. It can be overwhelming but I have great support on both the art and business sides – people I can rely on and trust! Like Madaila’s manager Mark Balderston! The business side of Future Fields grew out of a frustration with the challenges of our industry. I didn’t expect to like that realm as much as I do. It’s challenging & creative in its own way! And it’s mostly about connecting with other people, which I love. When that starts to drag a bit it’s not too long before I get to go down the hall to the studio and enter a different headspace; or play a show! It’s a privilege to get to push myself in multiple spheres.

    AL: Mark, when you find yourself stuck on writing song lyrics, what are your go to methods to get your creative juices flowing?

    MD: I wish I could tell you but it would be too inappropriate!… Just kidding.

    Lyrics are definitely the hardest part of the songwriting process for me. It most often comes last but there are times when a line will stick during the scratch vocal because it just sounds good and flows well. I almost always have things I want to say, but it’s getting them to fit logically and rhythmically within a song’s meter that’s often the challenge. If I’m stuck on a lyric I try to move on to something else rather than beat a dead horse. There’s always another part to add or another song to start. But I think I write my best lyrics in the morning with a cup of coffee and a clear head. My fianceé and I just bought a house this past summer and the 3 season porch, with the morning light pouring in, has been a really peaceful and productive space so far for writing lyrics and music.  

  • Interview: NYS Music Talks to Aztec Sun

    If you like a little soul sprinkled into your funk, and you have a little jiggle in your step, then you’ll love D.C.’s emerging talent, Aztec Sun.

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    This eight-piece ensemble brings funk-groove-improvisation to their performances that is sure to kick dancing shoes into gear; the band is Stephane Detchou, on lead vocals & rhythm guitar, Ryan ‘Catch’ Sarafolean, on keys/organ & backing vocals, Michael Dravone on trombone, Shane Weckesser on bass, Ray Lamb on lead guitar & backing vocals, John Heinze on drums, Adam Kent on trumpet and Dave Klein on the sax.

    Originally conceived back in 2013, Aztec Sun has been steadily evolving and making a name for themselves; and 2016 was a big year for the group. For one, they were voted “Best Original Local Band” by the Washington City Paper, and performed in front of a significant crown at the D.C. Armory for the paper’s annual “Best of D.C. Celebration.”

    In the past, they’ve shared the bill with other talented acts such as Pimps of Joytime, Burning Spear, The Suffers, Alanna Royale, Naughty Professor, Major and the Monbacks. AZTEC SUN talks about wanting to “push out their ‘Soul with Funk’ to diverse audiences,” and this year, they have done so at prominent D.C. establishments, like The Black Cat, Howard Theater, Rock & Roll Hotel and Strathmore.

    In the future, however, they look to spread their love of funk further, into surrounding areas like upstate New York and Boston, for example; and their dreams extend to playing at bigger venues like Red Rocks, The Gorge, or maybe the Brooklyn Bowl or Fillmore West. Their name is one you’re sure to hear of again.

    Their new studio E.P., titled Set You Free, a five-track, self-produced album, will be released tomorrow. The album is a recognition of their accomplishments thus far, and true to the band’s manifesto to “do whatever you can to make them dance,”AZTEC SUN invites anyone in the DMV area to come celebrate their newest project at their E.P. Release Dance Party at the Songbyrd Music House & Record Cafe, tomorrow, Sat., December 10.

    For more information and tickets, please visit here.

    Karina Verlan: What is the origin of the name Aztec Sun?

    Stephane Detchou: Once the founding band members decided to “become a band,” they wanted to come up with a name that would best represent the music they were writing. After a number of different noun pairings, we decided on “Aztec Sun”: a name which, for us, combined the indelible, fiery presence of Funk with the warmth and energy of Soul.

    Ray Lamb: This has nothing to do with how the name came about but in researching about the ancient Aztecs, I learned that they were not one tribe, but multiple tribes unified together. I think our band dynamic and music have similar qualities.

    KV: What genre of music do you consider your work to be, and who are your major influences?

    SD: We call it “funk with soul.” It generally errs on the side of groove music with a focus on rhythms that will make you move. Our influences are as diverse as our bandmates — James Brown, Sly & The Family Stone, Prince, D’Angelo, Ben l’Oncle Soul, Phish, Snarky Puppy, The Meters, Budos Band, Fela Kuti (to name a few)

    RL: I agree with Steph. We incorporate a lot of different influences in the music we play. I guess sort of like a funk/soul stew with a sprinkle of jazz, rock, blues, pop, jam etc.

    KV: I love that! funk/soul stew… How did you all meet?

    SD: Aztec Sun was initially four guys (two guitars, bass, drums) who started playing together four years ago off of Craigslist. From there, we met and invited new bandmates through personal connections, referrals or random meetings at music events.

    RL: I met Steph at a show that we both were performing in. We had a great conversation about music. About a month later my previous band was having a show and I asked if Aztec Sun wanted in. Steph accepted and asked if I wanted to sit in. I did and they haven’t been able to get rid of me since.

    KV: Who writes your songs in your band? Do you typically write the music or the words first?

    SD: Given the size of our group (eight+ musicians), most of our songs are written collaboratively in some shape or form. Someone will bring a demo to the group with draft arrangements, structure, direction and we’ll hash out details by playing through the songs in rehearsals. In most cases, we’ll have some words to accompany the music when we start working on a song (especially  when one of our singers brings a demo); but there are times when a song is born out of an organic “jam session” and we’ll write lyrics afterwards.

    RL:  Yeah it’s really a cool process with this band. You can bring in an idea and you have seven other minds to help develop it. It’s quite a luxury. Also listening back to jams is great because there are eight different instruments that you can listen to get new ideas from.

    KV: Very cool. How has your music evolved since you first began playing music together? What’s your ultimate direction for your band– are you seeking fame and fortune?

    SD: Our first batch of music was more like funk-rock (think some of Red Hot Chili Peppers). As we added horns and keys (piano + organ), our sound naturally expanded to include a dimension of classic ‘70s soul we could add to the danceable funk we were already playing. At this point, our band’s goal is to continue sharing our music and our live performance with new audiences within and throughout the DMV and add to the funk & soul movement in D.C.

    RL: In the two years I’ve been in the band, I think  we’ve all become better friends, which in turn helps with the music becoming tighter. We listen better and trust each other more. Fame and fortune might be a stretch.  However, if it comes, that would be awesome. But that’s not our goal. We want to keep having fun and get as many people dancing to our music as possible. I think we want to ride the train as long as it stays on the tracks.

    Ryan ‘Catch’ Sarafolean: We want to continue to push this as far as it can go, at this point, it feels like this project has a lot of growth left still in it and we’d all like to see where we can take this music. Outside of the D.C. area is our first step from here.

    KV: Is there anyone you’d like to acknowledge for offering financial or emotional support?

    SD: So many people have helped us accomplish what we’ve done so far. In terms of emotional support, probably all the friends and family who have been coming to our shows to support us, no matter how many times they’ve seen our live set.

    RL: I’d like to thank family, friends, and old band mates.

    RCS: I’d like to also thank all of our neighbors and roommates for dealing with our music into the wee hours – you all are the best!

    KV: Haha. So, what advice do you have for people who want to form their own bands?

    SD: Be honest and collaborative. Being part of a band is an opportunity to express oneself creatively, but that also means remembering to keep an open ear for others’ expressions and ideas.

    RL: Have fun! I think that’s why most people play music to begin with. When you’re having fun, people can tell and it’s infectious. If you read about why most bands break up, they state that they stopped having fun.

    RCS: Push yourself outside of your comfort zone, I’ve found that is where the most amazing growth comes from.

    KV: What are your dream cities to tour? And who would you like to tour with, in an ideal situation?

    SD: Aztec Sun is from D.C., but we aren’t all “from” D.C., so we’re going to be working on touring in cities closer to home: Montreal, upstate New York, Minneapolis, Boston, Chicago… And in terms of tours, it would be great to share a stage with any of the artists that influence our music.

    RL:  Touring is great. It’s always nice to play in front of new people.  I’d love to play Red Rocks, The Gorge, The Fillmore West, Brooklyn Bowl, Electric Factory,  Fox Theatre, Madison Square Garden (hey, gotta dream right!).  As far as bands, Alabama Shakes, Vulfpeck, Trey Anastasio Band, D’Angelo, Turkuaz to name a few.

    RCS: I’ll say it – it would be great to play at the 9:30 club, here in our backyard. That venue is continually rated as the best venue to go see live music in, and damn would it be a fun place for some funk. I’d love to open for Galactic, or Trombone Shorty, or Rebirth Brass Band – anyone out of New Orleans would be dope.

    KV: Do you find it hard to balance music with your other obligations at this point in your career?

    SD: At times, definitely. We try to balance a very accurate shared calendar that keeps track of everyone’s schedules which helps us determine whether or when we can book gigs. On top of that, we’re all working full-time — which can mean very late nights/tough mornings when we’ve got a couple of shows in the same week. We also need to ensure we’re taking our time to check with our families, partners and friends etc (and not just inviting them to our gigs)… so it can get to be a very busy time. But we really enjoy playing and creating as Aztec Sun, so it’s worth it.

    RL: It’s definitely hard but music always manages to make itself a priority in my life.

  • Interview: Del and Dawg Return to RPI to Celebrate 50 Years of Music

    David Grisman, the Dawg of Del & Dawg

    The roots of bluegrass travel from Appalachia through Kentucky in the 1940s, but the origin of one of the most famous duos in bluegrass history is found in New York. On Saturday, December 10, Del McCoury and David Grisman, better known as Del and Dawg will reunite to celebrate 50 years of music. They’ll do so on the campus of Rensselaer Polytechnic Institute, just as they did that first time back in 1966. Del and David will be joined on this very special evening at EMPAC by Jerry McCoury and Chris Warner.

    Mandolinist David ‘Dawg’ Grisman, a nickname coined by Jerry Garcia, has combined bluegrass and jazz throughout a career of acoustic prowess. Grisman studied English at NYU and lived in Greenwich Village where the folk scene proliferated in the early 1960s. David learned to play mandolin in a style befitting the father of bluegrass music, Bill Monroe. One of Monroe’s Bluegrass Boys, McCoury switched from banjo to guitar, making the pairing with Grisman have a deeper connection in the music.

    Grisman spoke to NYS Music from his Northern California home, discussing the origins of Del and Dawg, bluegrass today and the influence of Jerry Garcia on his mandolin playing.

    Pete Mason: The performance at RPI on December 10th is the 50th anniversary of your first show with Del. How does it feel to bring your history together full circle? Any memories of that show?

    David Grisman: It feels just great to have maintained such a fruitful musical and personal relationship for this long. I still remember the excitement and energy of that first gig together, which was captured on tape and released in part on my album, Early Dawg. I was offered the princely sum of $200 to put a bluegrass band together and was able to obtain the services of Del and his bass-playing brother Jerry, with whom I played in Red Allen’s band. My good friend and banjo whiz, the late Winnie Winston, completed that first ensemble. Later that year (1966) at the 2nd Bluegrass Festival in Fincastle, Virginia, Del asked me to play a set with him. That band included Chris Warner on banjo. Del and I have invited Jerry McCoury and Chris Warner to join us for the second half of this show for a special Bluegrass 50th year reunion set. We’re calling the band The Bluegrass Survivors! We’ll also be playing the next night at the Birchmere in Alexandria, Va.

    PM: How was bluegrass received in the mid-1960s in New York?

    DG: Bluegrass was always exciting for New York audiences, then and now. Of course, now there’s a wider audience. But it always was very special for me, particularly when people like Ralph Rinzler, Mike Seeger, John Cohen and Israel G. Young started promoting concerts with bands like Bill Monroe and his Bluegrass Boys and the Stanley Brothers.

    PM: What are some of the highlights of the last 50 years of playing music with Del?

    DG: Playing with Del is always special, but one highlight was the tour we did in 1989 as the David Grisman Bluegrass Experience where Del and his band (featuring his sons Ronnie and Rob and two fiddle players) joined me for a two-week tour to promote my LP, Home is Where the Heart Is. Another high point was producing the Mandolin Extravaganza project with Ronnie McCoury, which featured eight bluegrass mandolin masters in various combinations, all backed by Del’s masterful rhythm guitar.

    PM: What is the first instance where you knew there was a musical chemistry between you?

    DG: I reckon it was the first note we ever played — long ago.

    Del and DawgPM: How did playing with Jerry Garcia influence your mandolin playing?

    DG: Playing with Jerry opened me up to exploring a lot of possibilities that existed within our many common musical sensibilities. We had both drunk from the same musical well for many years and playing together later in our careers was a great musical and personal experience for me.

    PM: You have seen 50 years of bluegrass music, from the beginning of the familiar genre. How have you observed its evolution?

    DG: Well to be perfectly honest, I wasn’t there at the beginning which Del & I both agree occurred when Earl Scruggs joined Bill Monroe’s band in 1946 (which already included Lester Flatt and Chubby Wise). I didn’t discover bluegrass music until 1960, but fortunately the original architects of the music were still in their prime and playing. I did get to play with many of them, including Bill Monroe, Earl Scruggs, Ralph Stanley, Red Smiley, Mac Wiseman and Red Allen, who gave me my first “hard-core” bluegrass job. I’m currently working on a project with one of my heroes, the great mandolin master, Jesse McReynolds. Bluegrass has of course “evolved”, taking on many influences that Bill Monroe probably wouldn’t have approved of. In a way it’s become diluted and in my opinion, commercialized by the music business, as have many other genres. I still like the more traditional bands like Del’s. Having said that, I think there are many young musicians who are playing incredible music these days, from Chris Thile and the Punch Brothers to Sierra Hull. I just wouldn’t call it bluegrass. That’s why I called my own music Dawg because I don’t feel it is bluegrass as defined by the creators of that genre.

    PM: What is it like to have not only a stage relationship with Del, but to also have sons Monroe Grisman and Ronnie McCoury born a month apart?

    DG: Our children are a great source of inspiration. Monroe Grisman is a wonderful musician and singer, but was always in the rock world. He now plays in a very popular band in Marin County, California — Petty Theft. My daughter Gillian (head of production for George Lucas’ Edutopia project) is also musical and even played a gig with John Sebastian’s jug band on washboard bass! My son Samson is a great bass player who currently plays with Lee Ann Womack and the Bryan Sutton Band, as well as my own Bluegrass Experience. My stepson, John R., has been developing into a fine mandolinist and my wife Tracy has subbed for Sam on bass and also plays guitar and fiddle. Of course Del’s sons Ronnie and Rob are fantastic award winning bluegrass musicians and will certainly carry on the McCoury legacy. I know that Del and I are both proud dads and we’ve talked about doing a father & son project someday.

    Tickets for Saturday’s Del and Dawg show are available through EMPAC.

    Watch Del and Dawg from Oriental Theater in Denver below.

  • Interview with Michelangelo Carubba of Turkuaz, Performing at Putnam Den with The New Mastersounds

    Nothing beats a night filled with funk—something the Putnam Den knows all too well. This time around on December 6, multi-talented, power funk collective Turkuaz, with drummer Michelangelo Carubba, will come together with old souls at heart, The New Mastersounds, ready to demonstrate their deep seeded talents for an Upstate New York crowd on a Tuesday night.

    Michelangelo CarubbaTurkuaz, a sizable group containing talent just as abundant as its 9-piece lineup, has explored their extensive vault of instruments, gripping vocals and dance moves each night during their 40+ co-headlining tour dates. While some might think that’s a tough act to follow, or open up for in this case, The New Mastersounds provide necessary balance to explosive dance music with their smooth tunes and classic style, crafted two decades ago directly from Leeds, UK.

    In conjunction with the country-spanning tour, the two outfits will come together to release a split 7” vinyl, where they take turns covering each other’s songs, while adding their own elements and sounds into the mix. Fans can also find tracks that feature the 80’s funk revolutionaries collaborating with the 4-piece smooth R&B and jazz fusion pioneers. The limited edition vinyl is now available to order, and will be exclusively available for pick up at merch tables on tour.

    This co-headlining tour is sure to jam the roof off of any venue with its thick grooves, synchronized dancing and encapsulating performances, which has proven to be true so far with praised stops across the board in New Haven, Chicago, Lake Tahoe and more. Don’t miss their Putnam Den gig this Tuesday, December 6! Doors open at 8PM with a harmonious show to follow at 9PM. 18+ with a $5 surcharge for those under 21. Tickets are $17 in advance/ $20 day of show.

    Ever wonder if anyone still uses ringback tones and if Mike Carubba of Turkuaz did, what it would be? I have the answer: “The Watcher” by Dr. Dre.

    Q & A with Turkuaz drummer Michelangelo Carubba:

    Alyssa Ladzinski: In today’s day of social media, things can blow up pretty fast. Can you explain how it felt when your performance video reached 2 million hits on Facebook?

    Mike Carubba: It was exciting for us. It was the first time any of us had been a part of something that had gone viral like that. The international reach of something like that was the most exciting part for me. I had google translator working hard as I read thousands of comments from people all over the world.

    AL: Being from Buffalo, NY yourself and the band being Brooklyn based, what did it mean to you guys and to your career to have your music soundtrack a New York Knicks game?

    MC: That was another moment where we felt like the hard work was paying off, and the Knicks and the city of NYC sort of giving a nod to us, as being something uniquely “New York”, felt really gratifying. We’re a lucky band.

    AL: You got your band name from a Turkish deli across the street from where Dave and Taylor used to live. They frequently bought Fantas—what flavor?

    MC:  I think Dave and Tay would dabble in all flavors Fanta. They like to really live on the edge.

    AL: What’s one band you would love to tour with that you haven’t gotten the chance to? Last time NYS Music interviewed you, you said Snarky Puppy but that has since been scratched off the list!
    MC: There’s a lot of cool music going on right now, so it’s hard to pick one band, but I think as a group we’re starting to really set our sights high, and look for a major tour to work with. Dave Matthews, Tedeschi Trucks, the Stones would all be amazing.
    AL: In conjunction with the tour, you and The New Mastersounds  are releasing a 7″ split vinyl where you cover each others songs and collaborate on others. What has been your favorite New Mastersounds song to cover so far? And what do you think theirs has been?
    MC: We’ve been playing their song, “On the Border,” and we’ve given it the P-Funk treatment, which is always fun for us. Eddie and the guys have been doing a really great job with our tune, “The Rules.” I’d like to think he’s been enjoying it.
    AL: As a drummer, do you have any specific brand loyalties?
    MC: Early on I was pointed in the right direction with the gear I used, and they’ve provided me with quality products for the last 20 years. Companies like Vic Firth drumsticks and DW hardware are companies I’ll be working with until I retire or my hands fall off, whichever happens first.
    AL:  Let’s be honest, artists always have that one song or artist they despise playing. If any, what are yours?
    MC: If you ask me to play Lady Gaga, I will refuse.
    AL: What’s your favorite CD, vinyl or song purchase from 2016?
    MC: Josh Homme and Queens of the Stone Age released a live acoustic concert called Like Cologne, and anyone that knows me knows I’m a sucker for QOTSA.