NYS Music 20​16

Category: Bluegrass/Country

  • Caravan of Thieves Raise the Dead at Nelson Odeon

    Imagine taking a journey on unfamiliar roads, and your GPS isn’t working. You’re left to trust your instincts, fairly confident that you’ll reach your destination, even if you don’t quite know what lies ahead of you. That’s a bit like seeing Caravan of Thieves for the very first time. The band performed at the Nelson Odeon on Saturday, November 19. Their multiple styles were all over the musical map. There were elements of swing, bluegrass, alt-country, folk, Americana, big band, gypsy rhythms, Celtic influences, and yes, disco, throughout the evening. Their infectious songs had the audience singing along on the choruses, or on familiar cover tunes, and earned the crowd’s trust that we’d all find our way to an enjoyable evening.brian-cornish-caravan-of-thieves-03 Fuzz and Carrie Sangiovanni, the husband and wife guitarists that front the band, accompanied by Nicole Scorsone on violin and Rich Zurkowski on upright bass, led a nearly full house through a rollicking two sets of high energy, foot-stomping, hand-clapping, finger-snapping songs. When not playing guitar, Fuzz played extended solos on what looked to be the world’s most make-shift percussion kit, comprising of a five gallon plastic water bottle, a sauce pan, a spring, a coffee can, what may have been half of a fifty-five gallon drum, and other instruments not readily identifiable. His drum solos added to the band’s “anything goes” attitude and brought smiles and thunderous applause.

    Many of their originals, such as the opening piece “Wasting My Time,” and “I Get Sad,” showcased the remarkable harmony of Fuzz and Carrie’s voices. Scorsone’s expressive violin and Zurkowski’s double bass, which he both plucked and bowed, deserve mention for the richness they added to Caravan of Thieves sound.brian-cornish-caravan-of-thieves-01 The cover tunes were stunning in both their selection, and in their execution. The band put their own signature stamp on these pieces, rather than cookie cutter versions of the original recordings. These included a Beatles “Girl/Being for the Benefit of Mr. Kite” medley, an audience sing-along on Queen’s “Bohemian Rhapsody,” and to begin their encore, an instrumental version of Duke Ellington’s “In a Sentimental Mood,” followed by Gloria Gaynor’s “I Will Survive.” I am going to go out on a limb and state that I’m fairly certain that no other band at any time or any place has ever played those two songs back to back.

    For their finale, the band came down from the stage, gathered the audience around them, and played an unplugged rendition of their song “Raise the Dead.” This piece would be right at home in an Irish saloon, with reverence for the departed and celebration for the living, complete with a stomp, clap, and sing along chorus that those in attendance readily joined in. Maybe we didn’t know exactly how we ended up shoulder to shoulder with strangers, singing and stomping and clapping in public without a care in the world. But, I’m glad to have trusted Caravan of Thieves to get us there.

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  • All You Really Need: DSO at the Palace Theatre

    On Saturday night at the Palace Theatre in Albany, Dark Star Orchestra (DSO) brought the good ol’ Grateful Dead back to life in a stellar fashion.  Excitement filled the room before the first note was played as word had spread that Jeff Chimenti would be on keys for the entire show as he did the night before in New Haven, CT.  Normally holding down the boards, Rob Barraco replaced Skip Vangelas on bass creating a music chairs scenario that we were all ready to embrace.  

    DSO Palace TheatreOpening the set with a heartfelt “Sugaree,” the Capital Region crowd began to “shake it” on low gear while blissfully enjoying Jeff Mattson’s passionate vocals.  After the silky first set introduction, rhythm guitarist Rob Eaton wasted no time channeling the cowboy in Bob Weir with a wild west “Me and My Uncle> Big River” one-two punch.  While “Me and My Uncle” is by far the most played song in the Dead’s expansive repertoire, I never get tired of the rockabilly energy release after a soul searching Jerry Garcia tune.  Chimenti gave the fans a symbolic “YEEHAW” on the keys during “Big River” and reminded the room why he was invited by the remaining Dead members to join them on the “Fare Thee Well” run.  

    Slowing things down with an exceptional threesome of “Peggy-O,” “Cassidy” and “Friend of the Devil,” this show was starting to feel like a classic late-70’s gathering.  Barraco displayed his nasty bass playing abilities during “Peggy-O” before Lisa Mackey floated her way on stage during “Cassidy,” playing the role of Donna Godchaux. She would return two songs later for “From the Heart of Me” which would turn out to be one of the last times this tune was ever played on stage.  It was after “Ramble On Rose” that a wide-eyed seasoned tour-veteran giddily informed me of the Grateful Dead show the Orchestra was recreating:  January 11th, 1979 from the Nassau Veterans Memorial Coliseum in Uniondale, NY.  

    My original hunch of a late-70’s show turned out to be true, but I did not realize the importance of the date until hearing the tear-the-roof-off “Jack Straw.”  Cowboy Bob was back for this desperado masterpiece as Mattson threw in some rawer than usual jamming.  Deadheads young and old call this one of the best versions of all time for the blistering Jerry solo and, nearly 38 years later, DSO honored their heroes to the fullest extent.  Also noteworthy in the original performance was Bobby’s comical word-swap as he sang, “We used to play for acid, now we play for Clive.” But from what I heard on Saturday, Eaton left those lyrics in 1979.  Out of all the stand-out moments of the first set, the vocal belting of “Jack Straw from Wichita” hit the crowd with a sonic uppercut that we didn’t recover from until after set break.  The always rockin’ “Deal” closed out a set filled with Jerry’s greatest hits and some colossal Bobby moments in between.  

    Picking up right where the first set left off, “I Need a Miracle” carried the tidal wave of momentum that was felt over the intermission.  “Ship of Fools” calmly sailed into the number two slot of the second set before kicking off another Weir-inspired highlight in “Estimated Prophet.”  Chimenti, Barraco and Mattson provided the foundation for the psychedelic reggae and while we were in Upstate NY, the California lyrics were shown a lot of love.  “My time’s comin’ any day” eerily stood out to me as the original 1979 show would be Keith Godchaux‘ last appearance at the famed Grateful Dead stomping grounds of the Nassau Coliseum.  An even more fitting tune for the final night of Keith in Long Island, “He’s Gone” allowed my over-thinking self to read even further into the lyrics, symbolism and song placement of my favorite band.  Fortunately, we were given a temporary vocal time-out and the spinners in the audience were treated to a short and sweet “Drums” by Dino English and Rob Koritz on kits and percussion.  

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    New Yorkers from Long Island to Albany were able to enjoy the home state lyrics delivered in the straightforward version of “Truckin’” before the second major highlight of the set, “Stella Blue.”  Mattson made his guitar strings shine one more time during this bluesy crowd pleaser.  “Stella” may have a somber tone, but Jerry’s fiery guitar solo always brings the boil to high during this signature ballad and the Orchestra perfected the nucleus of the original.  Closing the second set with a reminder of all we really need, “Good Lovin’” pleasantly drifted off into DSO show history.  

    The boys encored with “Casey Jones,” which serves as a rarity in late-70’s era.  The “upper” drug reference in one of the band’s most radio-played tunes gave the crowd the extra pep in their step before pouring out into the street of Albany for a night cap.  Similar to the good ol’ Grateful Dead, Dark Star Orchestra seems to have a particular affinity for the Empire State.  While I have not done the research, I would suggest that New York may have more Deadheads per capita than any other state from sea to shining sea.  Saturday night’s recreation of a legendary 1979 Nassau show performed in front of an Albany crowd furthered my love for New York State, the Grateful Dead and the incredibly talented Orchestra that pays tribute to them tour after tour.   DSO returns to the state with “the ways and means” for two shows on November 25th and 26th at The Paramount in Huntington.  

    01/11/79
    Nassau Coliseum – Uniondale, NY

    Set 1: Sugaree, Me And My Uncle, Big River, Peggy-O, Cassidy, Friend Of The Devil, New Minglewood Blues, From The Heart Of Me, Ramble On Rose, Jack Straw, Deal

    Set 2: I Need A Miracle, Ship Of Fools, Estimated Prophet, He’s Gone, Drums, Truckin’, The Other One, Stella Blue, Good Lovin’

    Encore: Casey Jones

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  • Hearing Aide: Greensky Bluegrass’ “Shouted, Written Down & Quoted”

    Greensky BluegrassBluegrass is generally known for its solid Americana roots, sans drums, crammed with banjo licks, crisp acoustic guitar and deep bass tones that glue the melodies together. Greensky Bluegrass has taken the core idea of the typical bluegrass style and spiced it up with a twist of tones that bridge the gap between Americana and a rock flavor to create a perfectly balanced jam grass album.

    Shouted, Written Down & Quoted starts off with an immediate bang that captures the attention of the listener without even trying. “Miss September” dives right in, showing off the beauty of Paul Hoffman’s lyrical and vocal talent.  Heavy on mandolin, this welcome tune eases the listener into the album before “Past My Prime” turns into a more serious ride. Anders Beck dances his fingers around the dobro, creating a gritty tone that craftily weaves around banjo and guitar strokes that are masterfully injected within this track, reflecting the no holds barred attitude.

    A tender “While Waiting” winds through crisp guitar that gently carries the melody with touches of dobro and banjo, once again, dropping in just the right place, creating a beautiful tune. An energetic “Run or Die” rolls along with a quick pace before easing into one of the most tender songs they’ve ever created. “Room Without A Roof” was written by guitarist Dave Bruzza for his wife. Elegant lyrics sung in Bruzza’s deeper vocal tone practically bring the listener to tears as this polished melody is delicately moving and gracefully produced.

    Taking the listener out of the sublime trance from the previous track, “Hold On” picks up the energy at just the right time. Dripping in Michael Bont’s banjo notes that carry the tune along with bending acoustics from Beck’s dobro, this uplifting track puts a smile on the face and instinctively has toes tapping to the beat.  The album title also makes its appearance among the lyrics, so listen closely before they quickly pass by.

    The lyrics within “Merely Avoiding” paint a picture so many have experienced of starting over after moving on from a relationship. Afterwards, the hard hitting track “Living Over” rolls along with deep bass laid out by Michael Devol as clean mandolin notes play along with the guitar and intense dobro action, delivering a stellar melody crammed with an edgier rockin’ energy. “More of Me” eases along with a gentle flow. Carrying the listener on waves of emotion, the instrumental melodies sing the story as the lyrics carry the song across suspenseful ups and downs.

    Bluegrass roots are firmly planted in “Fixin’ To Ruin.” Playfully intertwining the specialties of each musician, this track is stocked solid with the classic energy bluegrass fans have come to love. “Take Cover” carries the album to a smooth finish, fittingly ending with this quick paced bluegrass tune.

    Teetering on the verge of bluegrass, jam and straight up rock, Greensky Bluegrass continues to keep fans captivated by their unique energy. The tracks off this new album leave plenty of room to stretch out and playfully explore during live performances. Don’t let the bluegrass part of their name fool you.  Listeners are in for a hell of a ride with their new album, especially when performed onstage. For more information on Greensky Bluegrass, along with dates for their upcoming winter tour, please visit their official website.

    Key Tracks: Miss September, Room Without A Roof, Living Over

  • Nietzche’s Treats Buffalo to First ‘Folkfest’ Across Five Days Next Week

    This Fall, Nietzche’s debuts their first ever “Folkfest,” a 5-day festival featuring 48 musical acts from Wednesday, Nov. 9 through Sunday, Nov. 13.

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    Folkfest is a follow up to a successful Jazz-Fest this past spring, and a new direction for Allentown and Nietzche’s that aims to bring together a wide range of musicians, including local faces and nationally touring acts.

    Wednesday

    Music will kick off on Wednesday at 6:00 p.m. with Tyler Westcott and his trio performing gypsy jazz and old-time swing. The headliner on Wednesday, Folkfaces, will take the stage at 11:00 p.m. Folkfaces, a local Buffalo band, is known for their energetic, whiskey-drinking Americana music, fused with beautiful ballads. Music will go until 1:00 a.m., alternating sets between the main stage in the back, and the front barroom. Other acts on Wednesday include Sam Marabella & band, The Brothers Blue and Nickel City String Band.

    Thursday

    Thursday is a Singer-Songwriter Showcase, with 15 performances over the course of the night! Each set will be 20 minutes long, with music kicking off at 8:00 p.m. and going until 1:00 a.m. The showcase will feature new artists and well-known local faces to the Buffalo music scene, including Bobby Angel, Joe Bellanti, Jungle Steve, Jack Topht, and Jeff Goldstein.

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    Joe Bellanti

    Friday

    Friday will feature both local artist and touring acts, and will begin with a happy hour led by The Neville Francis Band. The Shelf Life String Band will kick the night off at 10:00 p.m. in the front barroom. Rear View Ramblers, the first headliner of the night, will then take the main stage at 10:30 p.m.

    Rear View Ramblers draw inspiration for their sound directly from Buffalo, playing music that reflects “struggling days being young and broke, to playing music in Allentown and the Elmwood Village, to finding true love in a dive bar on the most random occasions.”

    The Observers takes the stage at 11:30 p.m. in the front barroom, taking you on a journey of the human experience through music. The next headliner, nationally touring act, DiTrani Brothers, begins at 12:30 a.m. on the main stage.

    DiTrani Brothers, Bobby and Walker, originally hail from North Bend, Washington, but began traveling coast to coast with their songs in 2013. Since then, the duo has evolved into a full band, complete with Dana Hubanks on washtub bass, and Eddie Gaudet on drums. Together, the band plays originals inspired by ragtime, Roma swing, and the traditions of these genres. After DiTrani Brothers, Friday’s music wraps up with a final performance in the front barroom at 1:30am from TCBand.

    Saturday

    Saturday’s festivities with the first headlining act of the evening, The Steam Donkeys, performing at 8:30 p.m. on the main stage. With a long and well documented history as one of Buffalo’s longest standing country rock/folk outfits, The Steam Donkeys have seen their fair share, with multiple national tours, album releases, and lineup changes since its formation in 1991.

    Local acts Catskill Mountain Boys and Rob Falgiano continue the party, before headliner Tough Old Bird hits the front barroom at 10:30 p.m. Formed in Fillmore, NY by songwriting brothers Matthew and Nathan Corrigan, Tough Old Bird provides a blend of authentic folk and blues that create a vision of the rural landscape it comes from. The group features a mix of electric guitar, accordion, harmonica, and acoustics that provide a sound that is at once both ancient and modern.

    Seth Faergolzia’s 23 Psaegz follows Tough Old Bird with a set at 11:30 p.m. on the main stage. Touted as the 2010 successor to Seth Faergolzia’s 13-year project, Dufus, 23 Psaegz carries on the warm, weird legacy of Dufus by “stretching the boundaries of musical experience with unmatched craze and care”. Although the group was originally formed to perform Seth’s puppet-rock-opera “23 Psaegz”, it carried on to eventually become a collaborative backing ensemble for Faergolzia’s web of musical endeavors.

    After a performance in the front barroom by Twenty Thousand Strongmen, final headliner of the evening, PA Line, will wrap up Saturday night on the main stage at 1:00 a.m. PA Line exhibits an original performance with musical styles ranging from Mumford and Sons, to Simon and Garfunkel. Each performance aims to get the feet dancing and create intimate emotional connections between artists and fan.

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    PA Line

    Sunday

    After such a headliner-packed Saturday night, Sunday’s music starts in the early afternoon, with Michael Faltyn kicking off on the main stage at 2:00 p.m. Performers alternate between the front barroom and main stage until the festival concludes with the weekend’s final performance by Ann Phillippone at 6:00 p.m.

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    Ann Philippone

    Singer-songwriters Kathryn Koch and Sam Sugarman will provide support for the headliner for the evening, Tiny Rhymes, who will perform at 5 p.m. on the main stage. Tiny Rhymes is a folk group that draws more inspiration from the classical, chamber, and indie worlds than the country of bluegrass realm of folk. On Tiny Rhymes’ song-writing abilities, Artvoice writes, “Some people like to write songs while others tell stories. Vocalist/guitarist Sharon Mok tells her audience a story. Her voice floats beautifully above the acoustic sounds of her ‘chamber-folk’ band only to be matched with the soothing sounds of cello and violin.” The group features members all classically trained, but remaining instinctive in their composition and arranging choices.

  • Foreigner Opens Their Much Anticipated Acoustic Tour at the F.M. Kirby Center in Wilkes-Barre, PA

    The legendary multi-Grammy and American Music Award nominated band Foreigner, who has over 80 million worldwide album sales and remains one of the best selling and recognized bands of all time, made the much anticipated premier of their 2016 acoustic tour opening at the F.M. Kirby Center in Wilkes-Barre, PA on Friday October 21, 2016.

    Foreigner announced earlier this year that they would be kicking off a month long acoustic tour running from October 21st through November 19th with a special and historical stop at the famed Carnegie Hall in New York City. However, Wilkes-Barre, PA would be the launching point for this long awaited, intimate, stripped down acoustic tour.

    There were no drum risers or drum kits, multi tiered keyboard stands, stacks of amps, electric guitars or the highly energetic full impact punch of a regular Foreigner show which typically includes lots of stage energy, running, and jumping along with guitar and drum solos. Instead, the atmosphere was very intimate and relaxed with six white stools lit with moody spots, several acoustic guitars on stands and a few tables with water bottles waiting for the band. The table next to Kelly Hansen, lead singer, had a few hand held percussion instruments he used throughout the set.

    Scheduled for an 8 p.m. start time, guests started arriving at the historical venue around 6 p.m. where the VIP guests were treated with a special meet and greet with the band before the start of the show. Most guests interviewed related a sense of being a part of a special night and feeling the venue and band members themselves made them feel like they were part of the show, relaxed and humbled being a part of the premier of the acoustic tour.

    At 8 p.m. Foreigners tour manager Phil Carson walked out on stage to the sold out crowd at the F.M. Kirby Center and announced the band. As the band members walked out waving and giving peace signs to the crowd, Mick Jones, one of Foreigners founding and only original member, walked out and greeted the audience with two hands waved overhead. The audience was going wild over the fact that Mick was in attendance for tonight’s performance. Mick, who has not toured regularly with the band much this summer, was definitely a nice surprise for all the Foreigner fans. All the band members seemed to sense the excitement and anticipation of the crowd and the historic significance their performance would have on the audience with a feeling of grace and gratitude shared between themselves and the crowd.

    After the warm greeting, the band made their way to their respective chairs on stage from left to right, Michael Bluestein on a Kurzweil electric piano, Bruce Watson on guitars, mandolin, Dobro, banjo and more, Mick Jones on guitar, Kelly Hansen on vocals, Jeff Pilson on bass and guitars and Thom Gimbel on guitars, flute, sax and bass.

    Kelly and Mick each said a few words thanking the crowd for being a part of this special intimate and emotional night, about the inception of the acoustic album largely giving credit to bassist Jeff Pilson before beginning their first song of their fifteen song set, “Double Vision.” The band performed flawlessly, as expected, giving the crowd a different flavor on this Foreigner classic hit. Mick got into a little singer-songwriter mode for the next song talking about when he first came to the “Big Apple” in the 1970’s after being in a few bands prior to forming Foreigner in 1976 with former lead singer Lou Gramm. He discussed the inspiration for the next song, “Long, Long Way From Home,” which featured Thom Gimbel on amazing saxophone. Next up was the popular song “Say You Will.” At times throughout the night, the band had emotional and intimate interactions with the crowd talking about the history, the members and inspiration for the songs. This being the 40th anniversary of Foreigner made it even more special as Mick talked about the ups and downs, trials and tribulations and various band members over the last 40 years.

    Throughout the night, the mood was fun and relaxed with some joking and a bit of roasting of some band members by each other. Again, there was nothing fancy in regards to stage theatrics, lighting, lasers, smoke machines or loud electric amps and guitars –  just the music and the stories. Really, in all respects, the only thing that came through was the music and the personalities of the band in a real and emotionally felt manner. The music was spot on and flawless with the acoustic guitars, electric piano, Bruce’s Appalachian flair on the guitar, mandolin, banjo and some amazing fret work on the dobro during the song “Girl On The Moon.”

    Above all, the harmonies were pure, smooth, silky perfection. Being stripped down without the loud distraction from the electric guitars, synthesizers or drums, the vocals were really the pinnacle of this acoustic set that blended well with the instruments.

    The band, in keeping with the traditional Foreigner stage show, again brought out a local choir to join them on stage for their 1984 number one hit, “I Want To Know What Love Is.” However this time was different for two reasons. First, again, it was an all acoustic unplugged set. Second, instead of a local high school, Foreigner this time chose a local adult choir to join them onstage for the acoustic rendition of this timeless classic. The Wyoming County Chorale from Tunkhannock, PA joined Foreigner onstage for the second to last song of the evening. I’m sure by this point most of the audience at the F.M. Kirby Center had goosebumps not only from this amazing vocal/acoustic rendition, but from the unforgettable experience of the entire night. Closing out their set, again in keeping with Foreigner tradition, was the #3 song on the 1978 Billboard Hot 100 chart and certified platinum hit, “Hot Blooded.”

    In the course of music history, many things stick out in the minds of the fans. Things like their first concert, meeting their favorite band or simply catching a guitar pick or drumstick thrown from stage. The premier of this Foreigner acoustic tour at the historic and intimate F.M. Kirby Center had to be one of those moments for many of the fans in attendance. The fans left sensing the different, real and graceful side of the band and their music heard in a way that will surely leave lasting memories.

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  • Beaucoup Blue Provides the Elixir

    Elixir /ih-lik-ser/ noun – a panacea; cure-all; sovereign remedy

    Elixir is also the title of the soon to be released CD by Beaucoup Blue featuring a cover photograph of an antique elixir bottle from their hometown of Philadelphia. The father and son duo of David and Adrian Mowry, known as Beaucoup Blue, performed October 21st at the Nelson Odeon in Nelson, New York. Their repertoire covered familiar themes of trains, tramps, trouble, troubadours, true love gone wrong, and truth as they see it. David, the elder of the duo, switched often between what appeared to be a vintage Guild guitar and a gorgeous Dobro resonator. Mixing slide guitar with a finger-picking style, thumb-strumming, and percussive gestures, he wrangled an impressive range of sounds from his instruments. He and his son Adrian traded lead vocals on songs that each, respectively, wrote with Adrian adding rhythm guitar and melodic flourishes on David’s songs. brian-cornish-beaucoup-blue-002

    Highlights of their own pieces were “Rounder,” “Hurry Down My Holley,” and “Lonely at the Top.” Particularly noteworthy was hearing how their selections of cover tunes were both respectful to the original songs and revised just enough to be their own enjoyable versions. These included Charlie Poole’s “If the River Was Whiskey (Hesitation Blues),” Tampa Red’s “It Hurts Me Too,” their closing song, “Rainy Night in Georgia,” written by Tony Joe White, and the encore, Junior Parker’s “Mystery Train.” They have an easy rapport with each other and their audience. Listeners were engaged throughout the night’s two sets lasting two hours, ten minutes. Beaucoup Blue reminded the audience that music can indeed be an elixir. Merci, Beaucoup.

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    A journey to the Nelson Odeon to hear live music is not only a treat for the ears but an eye-opener as well in learning how a distinctly different performance space operates. Owners Jeff and Linda Schoenfeld are now in their seventh year operating the former Grange Hall. It is a small, comfortable venue with a capacity of perhaps one hundred fifty. Wood floors, walls and ceiling provide a rich warm sound, managed superbly well by Ralph Meitz, the sound engineer. Ralph and the performers are the only people who are paid. A team of volunteers takes tickets, arranges seating, and manages a small concession area offering soft drinks, baked goods, coffee and tea. Artists and fans meet, mingle, and chat before and between sets and following the evening’s performance. The Schoenfelds have cultivated a loyal group of supporters by presenting a diverse array of acts that might be less well known, but are certainly not lesser talent than might appear elsewhere. They do so by having a relaxed atmosphere with few rules, treating everyone nicely, and doing all they can for the performers, including housing them in their home down the street and providing home cooked meals. These gestures are greatly appreciated by road-weary musicians used to long miles, cookie cutter hotel rooms, and scrambling to grab something to eat and head to the next show. It is a formula that has allowed the Schoenfelds to pay the bills and keep both patrons and performers happy and looking forward to returning. Central New York music fans should check the Nelson Odeon schedule and make it a point to attend a show or two.

  • Hearing Aide: Balsam Range, “Mountain Voodoo”

    Nestled between the Great Smokies, where the Blue Ridge unites, life is hard but comforting like a cool mountain evening. It is there you will find Balsam Range. Their sixth album, Mountain Voodoo, is nothing short of an award winning bluegrass homage.  Boasting Grammy veterans and an honorary Doctorate among this group, the album leaves you with a taste of life in each of the 13 tracks.

    “Blue Collar Dreams” showcases everything that is bluegrass.  Hard driving rhythms, mesmerizing vocal harmonies, enthralling banjo and a fiddle nicely finishes off this testament to a great American roots genre.

    If you’re looking for a bluegrass anthem, look no further than “Rise and Shine.”  This song bursts with a ray of hope and positivity.  You will not find simple vocal harmonization here, but instead sweet runs of acoustics, entwined in harmonies that offer a breath of optimism.  “Don’t Walk Away” transports you through emotion and gives a glimpse through long vocal runs that we expect and find so comforting about bluegrass music.

    Balsam Range’s “Mountain Voodoo” is set to release on November 11th and if a trip through life in the Blue Ridge is what you’re seeking, let them take you.

    Key Tracks: Blue Collar Dreams, Rise and Shine, Don’t Walk Away

  • Warren Haynes’ 28th Annual Christmas Jam to Feature ‘The Last Waltz’

    The hardest working man in rock and roll revealed the lineup for his annual Christmas party Thursday. The show takes place at the U.S. Cellular arena in Warren Haynes’ hometown of Asheville, NC on Dec. 10. A line-up loaded with talent features Haynes’ main vehicle, Gov’t Mule headlining, along with a who’s who of musicians celebrating the 40th anniversary of The Band’s final show as The Last Waltz Band.

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    Haynes started the Christmas Jam in 1988 at a local Asheville club as a benefit for local charities. For the past 18 years, he has used it as a fundraiser for Habitat for Humanity. As of last year, the Jam has raised over $1.8 million for the Asheville Area Habitat for Humanity.

    The 2016 version of the Christmas Jam happens Dec. 10 and is guaranteed to sell out quickly. Pre-sale tickets are available at noon Monday Oct. 24 with VIP packages also available. General sale begins Nov. 1. General admission tickets are $63 and a limited number of reserved seats are available for $73.

    Performers this year, in addition to Gov’t Mule, include Bob Weir, Michael McDonald and Jamey Johnson with Alison Krauss.  The Last Waltz Band features Haynes, McDonald, Johnson, Don Was, John Medeski and Terrence Higgins.

    Other special guests scheduled to appear include Branford Marsalis, George Porter, Jr., Steve Kimock, Marcus King, Kevn Kinney, Audley Freed, “Steady Rollin’” Bob Margolin and Mike Barnes.

    For more information on this year’s event, visit the Jam’s website.  And while you’re mulling over whether you should attend, take a gander at this stellar version of “Stormy Monday” featuring Gregg Allman from the 2013 Jam.

  • Sturgill Simpson Simply Stuns the State

    Outside, on the streets of Ithaca, the plants were dying and the leaves were falling. But inside, in the cozy majesty of the State Theater, country was ‘In Bloom’ as Sturgill Simpson took the stage Thursday night.

    Simpson and his big band (Laur Joamets on electric & slide guitar, Chuck Bartels on bass, Bobby Emmett on keyboards, Miles Miller behind the kit and on backing vocals, Scott Frock on trumpet, Brad Walker on saxophone and Jon Ramm on trombone) played over two hours in a career-spanning set. There was no opening act, there was no encore and there wasn’t an unsatisfied soul walking out the door at the finish.

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    Simpson’s albums famously stretch the fabric of country music, adding in threads of soul, roots, blues and psychedelic elements. Live it plays as kind of a country soul revue, with a three-piece horn section, ever-present slick guitar and a keyboardist that isn’t afraid to mix in some spacey Moog. The band was utilized to full effect throughout the set, whether covering material from his debut High Top Mountain or his breakout sophomore release, Metamodern Sounds in Country Music, each of which dominated the first half of the show. The music also moved the audience to full effect, from head to toe, with head bobbers, shoulder swayers, fist pumpers, booty shakers and foot stompers. Surprisingly, the most country the band sounded all night was in a phenomenal twanged-up cover of Led Zeppelin’s “When the Levee Breaks.”

    It was over an hour before they played material off Simpson’s latest, A Sailor’s Guide to the Earth. After a spacey and noisy intro, the album finally broke into the set with “Welcome to Earth.” The song built in intensity with the horns bursting out into a funky groove that smoothly found it’s way into the second track on the album, “Breakers Roar.” The set continued on as they tackled the entire album front to back. Simpson played the part of band leader throughout, coaxing more guitar, quickening the rhythm or adding more horns, simply with motions of his guitar or a nod of the head, commandeering the stage and in turn the packed theater. “Keep It Between the Lines” brought the outlaw country down to New Orleans with funky horns and B3 organ. They stretched the center out to fit extended solos in from nearly everyone in the band, including an extra groovy bass and drums section. It reached a fever pitch that was fit for a show-stopping set closer, but they were just getting started. Still yet to come was their stirring soul-country cover of Nirvana’s “In Bloom,” the heavy-rocking “Brace For Impact,” with Simpson finally strapping on an electric, and the set-closing “Call to Arms” complete with a “Soulful Strut” jam and a proper off-the-rails scream-to-the-end finish.

    Setlist: Living the Dream, A Little Light Within, Water in a Well > Long White Line > Call Me The Breeze (Lynyrd Skynyrd) > When the Levee Breaks (Led Zeppelin), ?, ?, The Promise, Railroad of Sin, It Ain’t All Flowers, ?, Some Days > Turtles All the Way Down, Hero, Welcome to Earth > Breakers Roar, Keep It Between the Lines, Sea Stories > In Bloom, Brace For Impact, All Around You > Oh Sarah, Call to Arms

  • Set Up Like a Bowling Pin: JRAD Knocks Down the Brooklyn Bowl Run

    If the Brooklyn Bowl ever decides to create a Hall of Fame, Joe Russo’s Almost Dead (JRAD) can be sure to add “Fall Ball 2” to their list of accomplishments. As Saturday night wrapped up the sold out three-show run for this incredible quintet, I will non-apologetically say that they are the most important “cover band” in the world and are potentially better than anything Grateful Dead related today. The Bowl was where they capitalized on their first run as a newly developed powerhouse and years later, this all-star side project has become nationally recognized and a force to be reckoned with.

    “Blues for Allah” welcomed the crowd to the show. The Dead rarely performed the spacey and complex composition live, which JRAD seems to greet as a challenge and ambitiously took the “Blues” to another level before stepping into a starry “Eyes of the World.”   A delicate transition into “Minglewood Blues” was highlighted by Scott Metzger’s fiery guitar solo turning into the first fist-pumping barn-burner of the night. The band slowly eased into “The Wheel” with an extended jam taken over by Tom Hamilton in between the first and second verses. I couldn’t help getting chills as the five pieces screamed out the lyrics “bound to cover just a little more ground.” Observing the usual peaks and valleys of “The Wheel” from a viewpoint that only JRAD could capture was truly a magical experience and one of the highlights of the first set.  The breathtaking transition into “Ramble On Rose” got the predictable crowd explosion as “just like New York City” was sung to their hometown audience. There was a Tom Hamilton lyrical mishap but with the room in a trance, nobody seemed to give a flying flub.

    Merle Haggard’s “Mama Tried” was technically the night’s first cover that this cover band covered (make sense?). The cowboy song gave the thirsty crowd a few short minutes to grab a beer before returning for the otherworldly “Morning Dew.” The unusually energetic intro to the tune made some Heads scratch their beards but the euphoric meltdown in the middle orchestrated by Joe Russo’s team-captain drumming leadership was as mellow as it gets on a Saturday night. The always-powerful refrain was given some extra juice by Dave Dreiwitz’s bass bombs shaking the rafters as the first set came to an impressive close.

    The second set got asses shaking right off the bat with “Crazy Fingers” and I am pretty sure you could actually smell the reggae influenced magic in the air. Another incredibly silky transition led to the monster “Truckin’” and once again the crowd showed some extra excitement in the lyrical reference to New York. The band also got a kick out the lyrics “set up like a bowling pin” which was evident by their ear-to-ear smiles as they exchanged glances. Joe Russo instigated a quick “The Other One” tease to keep the set list note takers on their feet, but the scribes weren’t disappointed with the next rarity, Donny Hathaway’s “Magnificent Sanctuary Band” popularly performed by the Jerry Garcia Band.

    “Help On The Way> Slipknot” was the jazzy cherry on top of the second set sundae and gave Marco Benevento a chance to have his wings spread bright on the organ. Where Hamilton vocally shined during the first section, Benevento added a haunting solo during the thick of the jam. While many came to expect a glowing and upbeat “Franklin’s Tower” to be the other piece of bread to this incomplete sandwich, Benevento and Russo teamed up to create an eerie transition into “Estimated Prophet” which was reminiscent of an early Pink Floyd sample. Benevento used an effect that sounded like a spaceship in Atari’s Galaga being abducted by a larger spacecraft and the retro noise was very suitable at this point in the night. The first guest appearance came during the set closer as Chris Harford (Band of Changes) joined the boys for Neil Young’s “Hippie Dream” off the 1986 album, Landing on Water.  The gritty and bluesy piece gave each member the instrumental spotlight for a moment before they stepped off stage.

    The encore was an unannounced nod to a long time friend and JRAD enthusiast that recently passed away. “He Was a Friend Of Mine”, a traditional folk song popularized by Bob Dylan was performed acoustically as the members displayed their first sorrowful tone on stage since “Morning Dew.” This version is not to be confused with the “He Was a Friend of Mine” cited in Grateful Dead set lists throughout the mid to late 1960’s and felt more like something you may hear off a Garcia/ Grisman compilation. While the somber acoustic tune mourned the loss of a loved one, “Not Fade Away” celebrated their friend’s life and memory. The boys were back on their electric instruments as half the crowd “air keyed” along with Marco. Seasoned Deadheads began the “Not Fade Away” ending clap-chant combo along with the band, which echoed for a solid five minutes even after they left the stage. Security opened the exits encouraging fans to leave, but the community energy was keeping everyone warm inside and sure enough, the group came back for a surprise second encore, “Bertha” to cap off an incredible evening.

    As the house music played and the audience finally began to exit the venue, I couldn’t help but stare at the vintage poster that has hung above the side doors since the early days of the Brooklyn Bowl. While the band’s title bares the description “Almost Dead” the words next to this mystical werewolf poster read “Real, Alive” and after a throw down like Saturday night, I think we can all side with the wolf.

    Joe Russo’s Almost Dead is covering a little more ground at the Brooklyn Bowl on December 29th before taking a short trip north for their two night New Year’s run at the Capitol Theatre on December 30th and 31st. Tickets are going fast and after this past weekend they are sure to sell out soon!