Category: Blues/Jazz

Syracuse Jazz Fest Day One Begins and Ends with A Bang

Day one of the Syracuse Jazz Fest couldn’t have dialed up better weather, a better lineup, or better setting as the crowds filled in to the Onondaga Community College campus like a wave coming into shore. With music in the wind, literally, this spectacular day went down in the record books as a huge success.

Kicking off the day with locals Scottie Madonia, Sam Smith, Dunhan Hall, David Millen, Rick Bostick, and Nick DeMaria who make up NOTEified, they welcomed special guest Julia Goodwin to entertain early arrivers with hits from Stevie Wonder, Peggy Lee, Herbie Hancock, some Snarky Puppy, and Annie Lennox.

However it was Julia’s cover of Billy Joel’s “New York State of Mind” that blew away the audience and would make Billy Joel himself sit up and take notice. Her voice is full of passion, yet strong and effortless, and with the accompaniment of some amazing musicians, this young group rocked the stage opening what would become the 34th epic weekend of music for the Syracuse Jazz Fest.

Next up was a band of amazing local artists from the Central NY region who paid homage to the late Mark Murphy. Mark was instrumental in the Syracuse musical scene as well as making his mark on the world with his innovative song writing and acting abilities. Discovered in the 50’s by Sammy Davis Jr. at the Ebony Jazz Club, Murphy was considered by his peers to be one of the greatest jazz vocalist ever, touching their lives and influencing their sounds. With six Grammy nominations and more than 40 releases over his 40 year career, the stage was full of top notch musicians this past weekend ready to celebrate his life and accomplishments.

Randy Brecker 2016 Artist in Residence, Joe Carello, Jay & Marty Ashby, Ronnie Leigh, Nancy Kelly, and Darmon Meader, took to the stage together with Peter Eldridge, Lauren Kinhan, and Kim Nazarian also known as the New York Voices. Their set celebrated some of his greatest songs and memories they each shared with him over the years. Known as a whistler it was fitting that during this set, a wind blew up and blew his sheet music all over the crowd reaching those in a way so fitting for the legend.

As the sun began to set, it was time for the The Mavericks to heat up the stage and the party to begin. Those not familiar with this vivacious group were in for a real treat. Best known as country musicians, their eclectic mix of sounds can best be described as a Bakersfield sound. You’re familiar with it…it’s a recipe with a Tex Mex flavor, a bit of rockabilly, a tad of Latin, some rock and roll, and traditional country to make a unique country mix that is the perfect recipe. These spicy entertainers are not only outstanding musicians, they have one of the best stage presence I’ve ever seen.

It didn’t matter that this music wasn’t traditional Jazz per se, because with a voice like a purr and a smile that melted all the girls hearts, Raul Malo mesmerized that audience from the get go, making his mark on this event. Joined by band members Paul Deakon on drums who laid down the beat and percussion for the evening, he set the stage for Eddie Perez’s rocking solos. With flying rock star hair and the best rhinestoned pants that would make any vaquero proud, Eddie’s rifts brought the house to their feet. Rounding out this dynamic group was the one only oh so very colorful Jerry Dale McFadden on keyboards. This charismatic musician won the crowd over the minute he took the stage in his dapper green suit. This band stood out as a cohesive group. No one member outshone the other, instead they each complimented and played off of each other and the crowd throughout the whole set. With an elite ensemble of brass rounding out the group, these gentlemen had that crowd on their feet dancing in no time flat.

Singing a setlist of some of the most versatile songs this evening, they had this journalist’s attention as they played a personal favorite “Harvest Moon”, a Neil Young cover that Malo made his very own. Getting into a patriotic mood for the 4th of July weekend, his rendition of Frank Sinatra’s “That’s America to Me”, demonstrated the varied influences other musicians have had on the band. As the smiles grew wider on the audience’s faces, the toes began tapping moreso, it was no time flat that the audience was eating out their hands and becoming part of the show. Feeding off this energy, and throwing in their rendition of Guantanamera by Pete Seeger and Twist and Shout made famous by the Isley Brothers, Mr. McFadden danced his way across the stage from one end to the other, inciting the crowd in a happied frenzy. Yes, it was crystal clear they were going to be a very tough act to follow on this gorgeous July evening.

As the sun set, and the fire began to fade in the sky, the mood also changed on stage as it was time for the headliner Michael McDonald to take the stage. Sharing a personal message, this humanitarian personally spoke about the state of this country, perfectly segwaying into “Freedom Highway” and “Sweet Freedom”. It was a joy to sit back and listen to this melodic voice once again.

Seeming timeless, Michael McDonald surrounded himself with an amazing ensemble with Bernie Chiaravalle on guitar/vocals, Dan Needham on drums/percussion, Mark Outhit on sax/keyboards, Pat Coil on keyboards, Jacob Lowery on bass/vocals, and Drea Rhenee’ rounding out the group on back up vocals and percussion. Whether real or Memorex, McDonald’s voice is spot on and the emotions are heartfelt as he closes his eyes and belts out his music.

As the night ended, fitting it was to have the evening end with a bang, with the fireworks display for all those who gathered on this holiday weekend to enjoy friends, community, and music at it’s best.

The Mavericks Setlist: Back In Your Arms, All Night Long/Aquarius/Let the Sun Shine In, Stories, All That Heaven Will Allow, There Goes My Heart, Dance the Night Away, Harvest Moon (Neil Young cover), Only Question Is, Loving Tonight, Acoustic, The House I Live In, That’s America To Me (Frank Sinatra cover), Ride With Me, Fall Apart, Every Little Thing About You, Dance In the Moonlight, Summertime, Come Unto Me, Bring Me Down, and Guantanamera/Twist and Shout (Pete Seeger cover/the Isley Brothers cover)

Michael McDonald Setlist: Freedom Highway, Sweet Freedom, It Keeps You Runnin’ (The Doobie Brothers song), I Keep Forgettin’ (Every Time You’re Near), I Heard It Through The Grapevine (Marvin Gaye cover), Hurt Me, Obsession Blues, You Don’t Know Me (Eddy Arnold cover), Here to Love You (The Doobie Brothers song), Ain’t No Love, Minute by Minute (The Doobie Brothers song), This Is It (Kenny Loggins cover), What a Fool Believes (Kenny Loggins cover). Encore: On My Own (Patti LaBelle cover), Yah Mo B There (James Ingram cover), Takin’ It to the Streets (The Doobie Brothers song)

July 10, 2016
Hearing Aide: Eric Krasno “Blood From a Stone”

Eric Krasno and his debut solo album Blood From a Stone references an original composition, as well as the effort he put into singing on an album for the first time; indeed for him the experience was like drawing blood from a stone. Taking the album as a whole, the soul infused into the rock throughout the album (featuring Derek Trucks, the London Souls and more) creates a binding production, a step in a slightly different direction that will be welcomed by Krasno’s fans throughout this more than two-decade career.

Fans will find a rock and soul project, rather than the jazz and funk instrumental feel of Krasno’s Chapter 2. “This is more of a lyrical and songwriting album with elements of improv and funk in there. This was more about presenting the songs and letting them take life from there,” said Krasno.

The two-time Grammy winning Krasno shared that the album finds its influences in the era of Stax Records, with elements of Hendrix, psychedelic rock and the Grateful Dead, lyrically speaking. “I have very eclectic tastes from hip hop to Neil Young, and I pulled from many influences but made it a cohesive project — that was the toughest thing after wanting to go in so many different directions,” he said.

In recent years, Krasno has seen a shift to the studio, producing albums for Allen Stone, Tedeschi Trucks and Aaron Neville, and started a record label, Feel Music Group. Reflecting on working with such legends, Krasno said, “Neville was a dream come true to produce for one of my favorite singers.” He has gotten a healthy amount of attention from the New York Times, which has helped to spread the word and brings new fans into the fold. Bowlive, an eight-night event that aims for a Spring 2017 return to Brooklyn Bowl, “helps the whole family grow — from Lettuce to Soulive, to Bowlive and the new record label.”

Blood From a Stone shows a soul stirring and haunting “Jezebel,” an “In Memory of Elizabeth Reed” influenced “Curse Lifter” featuring Derek Trucks, and “Wicked this Way,” a full bodied mellow funk number, featuring Alicia Chakour on vocals. The album’s longest track, “Please Ya,” is deeply bluesy, pain creeping from the words over the longing from a sad tempo. The flow to the album along with variety in the tracks makes it a passive or active listen — sit back or dive in, no matter what you’re easily hooked.

The Eric Krasno live band will feature Danny Mayer (Beau Sasser’s Escape Plan), Mary Corso (Beau Sasser’s Escape Plan), Eric Kalb (the Dap Kings), Alex Chakour (Charles Bradley), and DeShawn Alexander (a Berkelee student whom Krasno met when he taught a Master Class recently) which was brought together after the studio album was complete. While the London Souls are featured on the album and Nigel Hall, too, Krasno set out to create a band that could tour in support of the album. Krasno went with musicians he’d worked with, whom he felt would rep the album well. Check out Eric Krasno Band tour dates and catch this new soul rock group as they draw blood from a stone.

Key Tracks: Waiting on Your Love, Jezebel, Unconditional Love, Curse Lifter

July 8, 2016
10 Standout Acts From Rochester International Jazz Festival 2016

On June 20, the entire Northern Hemisphere celebrated the Summer Solstice, while in one small corner of the world, many silently anticipated and schemed for the 2016 Rochester International Jazz Festival, which started a few long days later.

Later, on July 4, while most everyone in the United States was busy celebrating the birth of our nation, many in Rochester quietly rested in their homes, recovering from nine full nights of wall-to-wall, street-to-street music and merriment. Indeed, the final night of the festival ended in an explosion of sound that was brighter than any fireworks. Trombone Shorty partied with a capacity audience at a lot that fronted the new Midtown Tower, while a block away the Wood Brothers filled the corner of East Ave and Chestnut Street, and just one block from there Mingo Fishtrap jammed to a crowded Jazz Street. Meanwhile, the indoor clubs were still brimming with music, the food trucks were slinging sandwiches and the buskers were making every street corner their own mini music venue. Then the clock struck 11 p.m. and the fantasy of a vibrant downtown Rochester slowly drifted back to reality.

Throughout the nine days, NYS Music made it to 41 sets, in 13 venues to see 38 different acts. Nine continuous nights of music can’t be beat, and the Rochester International Jazz Festival proves worth the anticipation year after year. Of everything we saw, these 10 acts (not counting the headlining series) stood out as the best and brightest.

10. Makoto Ozone and Tommy Smith

Japanese pianist Makoto Ozone and Scottish saxophonist Tommy Smith make for an odd pairing nationalistically, but a masterful combination musically. Their duets ranged from beautiful classically leaning romantic landscapes to a bopping blues inspired by Gary Burton mistakenly orchestrating a popcorn explosion. But by far the highlight of the set came after Smith told a story of a keyless, legless piano that hung on the wall of the poor schoolhouse he attended as a child. He then proceeded to demonstrate how he would play his sax into the body of the piano, which caused the strings to reverberate. It was an incredible and gorgeous effect that we won’t soon forget.

[embedyt] http://www.youtube.com/watch?v=upCURCqoU08[/embedyt]

9. Orgone

Funk bands are a dime-a-dozen. It’s nearly impossible to rise above the fray. But Los Angeles’ Orgone has found the perfect formula and they have it down to a science. Starting with the supremely talented front of Sergio Rios on guitar and Dan Hastie on keys, they add in trombone and trumpet to a rhythm core of percussion, drums and bass. As an instrumental outfit the band takes the funk to rocking peaks behind Rios’ fierce shredding. But wait, there’s more. Enter Adryon de Len, with her Tina Turner hair in her Tina Turner dress shaking her Tina Turner moves. She’s got a voice that knows no heights, and soul that knows no bottom.

8. Red Baraat

Rochester-born Sunny Jain leads the international party band Red Baraat with a double-sided Indian drum called a dhol. The nine-piece band features an eclectic mix of instruments that when they all come together create what world peace must sound like — a reason to party indeed. Jain proclaimed the 5:30 p.m. set to be the earliest they had ever played, but was very excited for the capacity crowd that came to listen and dance. They opened with a spacey mix that slowly built around a distinguishable rhythm before exploding into a wall of sound. It was an announcement of their arrival, after which the usually seated Harro East crowd got to their feet to dance the early evening away. They mixed together their older material, which took on more of traditional feeling, with newer tunes which mixed in some guitar and horn effects lending darker edges to the otherwise happy affair.

7. Nicholas Payton

Nicholas Payton and his trio, with Joe Dyson on drums and Vicente Archer on bass, were cruising through Payton’s album Letters, with its cleverly titled tunes like “A” and “F for Axel Foley.” Payton was playing trumpet and his Rhodes piano, sounding like a one-man Keith Jarret/Miles Davis combination and pulling it off with master strokes. He had a pogo-stick-esque stand that held his trumpet up on his knee freeing his other hand for tickling the ivories. No sooner had we literally written how hot the playing was in our notes when the distinctive sound of the fire alarm came calling from just outside the theater doors. Then the confirmation, yes, we needed to evacuate, and soon found ourselves waiting to get back in with the band in the same alley suffering the same fate. Unfortunately, though it was a false alarm, it was deemed too difficult to get everyone back in the theater in a timely fashion, so the set was cut short, leaving us to wonder how good it could have gotten.

6. Mammal Hands

The Made in the UK series at the Rochester International Jazz Festival seems sure to send at least one emerging exciting young band that is moving the needle on jazz every year. This year Mammal Hands fit that bill. A piano trio with the somewhat odd lineup replacing the traditional bass with a saxophone. Saxophonist Jordan Smart carried most of the melodic weight, while Nick Smart banged out challenging rhythmic and textural undercurrents on the piano and Jesse Barrett drove the music with his unique and styled drumming. The music was at times catchy and hummable and at times ominously brooding with explosive improvisations and impressive full band interplay.

5. Claudia Quintet

Drummer John Hollenbeck formed Claudia Quintet in 1997 and they’ve been the same band ever since. Impressive in any genre, but particularly in jazz where ensembles are near-impossible to keep together over any extended period. Another unusual batch of instruments graced the stage, and each sound and each player were integral to the bands sound. Accordion, saxophone, vibraphone, bass and drums brought life to Hollenbeck’s compositions, which each had its own odd back story. One took a four-bar solo from “Night in Tunisia” and slowed and stretched it out to create an entirely new piece. Another was dedicated to beagles at Newark International Airport, while a companion was dedicated to beagles at John F. Kennedy International Airport. The music featured many syncopated complex melodic passages that were reminiscent of some of Frank Zappa’s more adventurous work, done acoustically and without a guitar. The vibraphone did a lot to bring this comparison to fruition, as did the boundless creativity in the writing and execution.

4. The Congress

We readily admit, the Congress, a four-piece out of Richmond, VA, took us by complete surprise. Ducking into the Big Tent on the way from one place to another, we didn’t plan on staying long. But a couple songs into their set, the Congress put a stop to whatever it was we were planning and we stayed through to the end, with a serious itch to come back for the late set. They moved seamlessly from outlaw country rock to soulful and groovy blues, including an out-of-left-field but nonetheless incredible cover of “Que Sera.” But the slower piano-led rock ballads, aided in no small part by the festival-provided grand piano, were where the band truly shined. Bassman Jonathan Meadows showed off impressive vocal range with his unique smooth-yet-gravelly voice. They closed the set on a lengthy jam that started quietly with a piano solo but slowly built to a raging climax that had us momentarily forgetting we were at a jazz festival.

[embedyt] http://www.youtube.com/watch?v=mEMA1-dpJ8w[/embedyt]

3. Judith Hill

Judith Hill made news prior to her appearance at the festival by recounting her story of being aboard a private plane with her close friend and producer of her album, Prince, when he collapsed weeks before his death. Prince was also her mentor, and her performance didn’t do anything to hide his influence. Her set was an action-packed entertainment-filled hour that was visually and aurally stunning and captivating. Colorfully eccentric outfits, coordinated dances and what must have been a first for the Jazz Fest, confetti cannons, adorned a set filled with piano ballads, soulful pop and straight-up funk outs. Her band was spectacular, featuring her mother on keys, who graced the audience with a gorgeous mid-set solo piano interlude, and father on bass. But there was never any doubt that Judith was the featured performer, and she had the talent and charisma to pull off every part of her act.

[embedyt] http://www.youtube.com/watch?v=TBcx0aO9ijk[/embedyt]

2. The Wood Brothers

The Wood Brothers returned to the festival for the second straight year, graduating from their final day Harro East performance to their festival-closing set on the big free stage out on the streets of Rochester. The street lights remained working and had guitarist and singer Oliver Wood all confused as to which way he was going. Though clearly, the decade-long side project for Medeski, Martin and Wood bassist Chris Wood is still going up and up, leading us to wonder which band is actually the side project. Chris was back with his dance moves, his harmonica playing and of course his bass playing, which he split almost equally between electric and upright. Oliver lead the band through a set that spanned their catalog, featuring crowd-favorites “Luckiest Man,” “Honey Jar” and an encore cover of the Band’s “Ophelia.” The energy bursting off the stage was matched out on the street making for the perfect capper to a fantastic festival.

1. Nacka Forum

One of the real treats of the Rochester International Jazz Festival is the international aspect. Being exposed to music that otherwise you’d probably be completely unaware of leads to some fantastic and unique discoveries. Nacka Forum, a band made of four festival veterans, Jonas Kullhammar on saxophones, Goran Kajfes on trumpet, Johan Berthling on bass and Kresten Osgood on drums, was the show-stopping jaw-dropping discovery that highlighted this year’s international offering. Hailing from Sweden and Denmark, the band has been together since 1999, another jazz act bucking the trend.

Kulhammar was the spokesperson and kept his banter light with a very dry sense of humor, riffing on topics like the greatness of Dinosaur BBQ, how much he likes Rochester and how he needs to find an American wife. Osgood wore a TMNT T-shirt and a cheap trucker’s hat with “Fred Anderson” hand-written in permanent marker. Kulhammar quipped that their sets were always different, the only thing that would be consistent was Osgood’s outfit. And he wasn’t lying. We caught three of the four sets, each different, with the exception of Osgood’s clothes.

The humor was backed up by seriously good music. Almost impossible to define, each song presented it’s own adventure. It was highly rhythmic, with the horn players grabbing percussion whenever they weren’t playing, maracas, congas, tambourine etc., even at one point in an all-out four-part rhythm jam. They played mostly from their latest album, We Are the World, which Kulhammar repeated over and over to comic effect.

At times it wasn’t clear if you were laughing because something was funny, or because it was so incredibly amazing that there was just no other way to react. In their final of four sets, Osgood revealed that what seemed like a silly hat, was actually a touching tribute to a Chicago club owner who championed improvised music. Near the end of the set he put on sunglasses and snuck off to the side of the stage. It seemed like a joke, but he was actually heading to play the church’s pipe organ. Kulhammar then descended to the church’s other smaller organ and they engaged in a spacey jam with Kajfes belting out weirdness on an electric trumpet. Eventually Osgood’s organ found a groove that the bass picked up on and the band aptly turned an out-of-this-world improvisation into their rendition of Sun Ra’s “We Travel the Spaceways.” When we warned in our preview that each venue has its own unique character, we never imagined a venue would serve as one of the instruments — truly incredible.

July 8, 2016
NYS Music Presents Thursday Nights @ Nietzsches

NYS Music Presents, Thursday Nights at Nietzsches in Buffalo.

7/7 Tyler Pearce Project, Dirty Smile, Noah Gokey

Tyler Pearce Project is a soulful pop rock band consisting of Miss Pearce and her band mates Greg Broadhurst (drums), Chris Vandenbos (Guitar), and John Cannon (Bass). Her enchanting voice and passionate performance is not one to miss.

Dirty Smile always comes prepared with honest songs and infectious energy. This rock pop soul band stands resolute in its pursuit of rock-n-roll greatness. The energy of their live performance leaps from the bandstand with grand enthusiasm. It’s difficult to ignore the vibrant, free flowing presence of Megan Brown at the microphone. Erik Eimiller, Jesse Raderman, Mike Suda, and Gus Walters form the adept band behind Brown that sounds seasoned beyond its years; dynamic and intense with a rock soul.

Noah Gokey is a Buffalo, NY based singer and songwriter who has produced over 120 songs and 9 albums while appearing on radio stations TV, and a variety of stages. Gokey’s unique sound is difficult to categorize in one genre but can be described as an eclectic mix of arsenal rock with influences from folk, blues, jazz, and reggae.

7/14 Tiny Rhymes, RADARADA, The Tins

Tiny Rhymes is an indie alt-folk chamber group from Buffalo, NY. Featuring tight vocal harmonies, richly melodic string lines, and the introspective songwriting of leader Sharon Mok. Though the group members are classically trained, they strive to be instinctive about their technical choices and arrangements

RADARADA  is Buffalo’s freshest Jazzy HipHop band. Inspired by artists such as Common and John Coltrane, RADARADA seeks to expose and exploit the similarities between jazz and hiphop in both a meaningful and creative way.

With influences ranging from Talking Heads to Tame Impala, The Tins masterfully create layered jams that USA Today claims as “brilliant pop exuberance.” From Buffalo NY, the trio has released a number of critically acclaimed records and are currently in rotation on SiriusXM Radio and have been licensed to several hit TV shows including Beverly Hills 90210 and Roadtrip Nation.

7/21 The Public Presents: The Get Money Squad, Uncle Crunchy & the Granolas, Feverbox, Jon Bap

The Get Money Squad  is a Surf Rock duo consisting of Quinton Brock & Jon Bap.

Feverbox , formed only at the beginning of this year consists of Josh Little, Nicholas Kelly and Griffin Smith who have been playing music together since high school. .Taking notes from bands like The Beatles, The Strokes, The Kooks, Arctic Monkeys and The Shins, the trio decided to start a new project with the intention of making original music that stayed true to their creative influences with a focus on vocal harmony, catchy riffs, smart lyrics and a tight live performance.

7/28 Buffalo Infringement Festival Opening Ceremonies

8pm   Brass Pro and the Waterfront Revivalist
8:30pm   beerhall philosophers
9pm   the Minions
9:30pm   The Left Hand of Darkness
10pm   The Hell’s Harlots Burlesque
10:30pm   MatKa
11pm   Bagel Jesus & Friends
11:30pm   Lazy Ass Destroyer
midnight   Intent To Sell
12:30am   Hooked on Casiophonics

July 7, 2016
Frendly Gathering 2016: A Most Fulfilling Weekend in Vermont

From the first moment festival-goers entered Timber Ridge in Windham, VT, the frendly feeling was immediate and overwhelming. Everywhere the eye could see, campers were setting up tents, walking around and looking for long-lost faces they hadn’t seen in what always seems is way too long. The vendor booths were starting to come alive as their first patrons wandered up to grab a drink and some food after the initial moments of the Frendly Gathering 2016 adventure started.

Thursday, June 23: Day One

The Frendly Stage kicked off Thursday’s music with the collaboration Zebra Muscle’s first of two sets of the weekend. The impromptu band led by Danny Davis’s roommate, Chris Emmington, was the first to sound the musical alarm, with the help of Twiddle’s drummer, Brook Jordan. Next to come up was Canyon Village, WY-based bluegrass quartet Canyon Collected, followed by the warmest of welcomes from the hosts, Jack Mitrani and Danny Davis – two of the seven founding members of the Frends Crew.

The next two acts to take the stage were breathtakingly full, funky-soul Burlington, VT, natives Smooth Antics and the Van Morrison tribute band Into the Mystic. After more than three hours of action on the Frendly Stage, fans were given a chance to catch their breath. People kicked around the concert field catching up with frends who had arrived a set or two before. Others went back to their campsites to give their dancing feet a rest. However, all knew what was next – Twiddle’s first set of the weekend.

As the clock neared 11 p.m., the excited gatherers climbed partway up the hill to a budding campfire, where the four rising stars of Vermont-based Twiddle, Mihali Savoulidis, Zdenek Parker Gubb, Ryan Dempsey and Brook Jordan, were organizing their respective basic setups for an intimate set. They began with “Lost in the Cold;” a song that has quickly become yet another that fans sing-along to in unison with the lion personified, Mihali. The boys played newer songs, like “White Light” and “Be There,” but were sure to hit other tunes along their timeline like “Hatti’s Jam” into “When It Rains It Pours” and “Frankenfoote” into the first night closer and ever-appropriate “Frends Theme.”

Everyone slowly dispersed heading back to various campsites or to explore this year’s Frendly grounds. The first day of Frendly Gathering 2016 had come to a close. People laid their heads down, and smiles ran across their faces as they were thinking about the day.

Friday, June 24: Day Two

As the sun rose in the small southern Vermont town of Windham, campers awoke to what was assuredly going to be a beautiful day. Most people knew the weather was going to be nice, since they had prepared their camping gear in the previous days for the appropriate conditions, but the anticipation of the day’s beauty came from a source much closer to the heart. After all, it was the beginning of the second day of Frendly Gathering 2016.

The day started as a crowd gathered with their mats in front of the Frendly Stage for Rise and Shine Yoga. Shortly after that, Burlington-based surf band the High Breaks were the first musical act of the day. Following the wave-riding music that helped shake the morning cobwebs off of people’s hips were traditional world-fusion Vermonters Mal Maiz, the first band to take the Wood Stage. Up next was Boston’s alternative folk rock trio Ballroom Thieves at the Burton Teepee.

The day was gaining momentum and was certainly showing no signs of slowing as Twiddle prepared for their second set of the weekend. The resident headliner played on a platform in the middle of a camping area by the pond, situated next to the mountain’s lodge. A crowd of fans, frends and family gathered around as the mid-afternoon set began with “Amydst the Myst” from their latest album, Plump.

The set wasn’t long, but brought giant smiles to everyone’s faces, especially when they led into the crowd favorite “Mamunes the Faun,” during which the muse of the song could be seen dancing on the lawn behind the stage. After the pond set had wrapped up, the rest of the day was filled with a litany of amazing music all over the mountainside. Marco Benevento rocked the Frendly Stage to a crowd who couldn’t stifle their excitement for the New York State native. Following him was Eminence Ensemble, a Boulder, CO, progressive rock band with a funky fusion, on the Wood Stage.

On top of the typical stage performances there were the various acts who appeared in the Airstream camper, dubbed the FrendShip. The performances included Jaden Carlson Band and Trevor Hall with Mihali. There was also an open mic at the Martin Dome throughout each day where Martin and Co Guitars, a sponsor of the festival, provided a variety of guitars for everyone to play and try their hand at entertaining the crowd.

As the night progressed, the highly anticipated upper-bill bands started to take the stage. Trevor Hall, the Los Angeles-based acoustic folk favorite, filled the Frendly Stage with his beautiful music. Pennsylvania native Cabinet found a happy home on the Wood Stage and as soon as their set was done, Brooklyn, NY-based power funk band Turkuaz exploded with their set on the Frendly Stage. Friday night’s main stages’ music was given its finale by Moon Hooch on the Wood Stage, followed by Big Gigantic on the Frendly Stage, who received guest appearances by both Mihali and the Turkuaz horns.

After the final performance in the main concert field, a buzz filled the crowd; everyone was talking about a secret set. They all knew there were four sets of Twiddle but only three were on the schedule. This had to be it – everyone had to get up the mountain to ascend to the DJ Nest where Twiddle was about to play on platforms, built up in the trees. What could be expected from the set, no one knew.

The lights flooded the trees and the set started. The Vermont-based quartet played their secret set in a single, hour-long jam, very much akin to a Phish secret set. There’s always the silly rumor that Twiddle’s ultimate goal is to one day be handed over the torch by Phish. Anyone who has grown with the band and their music knows that to be completely false. However, in this jam it was clear that these guys are heavily influenced by their Vermont jam band brethren and weren’t afraid to pay homage to them.

After the amazing secret set everyone carefully traversed down the mountain. There was much to recap about the second day of Frendly Gathering 2016, sitting around campsites and on hillsides. Everyone went to bed, trying their hardest to forget that the next day would be the last day of what had already been an incredible weekend.

Saturday, June 25: Day Three

Many people awoke in their tents to the same atmosphere of beautiful weather and high anticipation of the day to come as they did for day two. Although it was the last day of the festival there was so much more to enjoy; what was to come would create memories that would help make the whole weekend last an eternity.

The music kicked off at noon with New Paltz, NY-based Appalachian soul band Upstate Rubdown on the Frendly Stage. The stage was home to a few amazing sets in the afternoon, leading into the evening, including New York City’s first and only all-women mariachi group, Mariachi Flor de Toloache. They lit up the mountainside with their beautifully performed music, proudly displaying their Latina heritage. Once their set was complete, they were completely transparent in the fact that they had enjoyed every second of their Frendly experience, with the crowd fully reciprocating the feeling.

Unlike the previous two days, day three was filled with overlapping performances while multiple stages were alive with music. While it was quite impossible to see every single act that day, there was one act that almost no one was prepared to miss — the late afternoon performance by Gubbulidis, featuring Jaden Carlson at the Burton Teepee. Starting off with the Twiddle song “Apples,” the trio, joined by Aaron Hagele on percussion, had the crowd completely mesmerized by a jaw-dropping and oh-too-quick set. The half-hour set ended the same way Twiddle’s campfire set ended, with the theme of the weekend, the theme of the hosts and the theme of many people’s lives, “Frends Theme.”

As the sun started to set on the mountain, the teenage guitarist phenom, Jaden Carlson, had her first full set with her band, quite appropriately named Jaden Carlson Band, on the Wood Stage. The Boulder, CO-based band, filled with a fusion of jazz, funk and soul, was playing simultaneously with fellow westerners, Bozeman, MT’s Kitchen Dwellers, who were over in Wakers Barn. A Bluegrass band who is finally spreading their wings, the Kitchen Dwellers are more frequently dedicating time to playing east coast shows. Fans were torn between the two acts, but neither decision yielded anything resembling disappointment.

The evening moved along in fine form with performances from Monophonics, Sinkane and a second set of the weekend from Zebra Muscle. As the clock approached 11 p.m., the frends on the mountain began feeling their much understood glee as Twiddle’s fourth and final set was coming up on the Frends Stage. Before the set started, the crowd was treated with a surprise from three young ladies known as The Jamflowgirls. Cassidy, Jamie and Georgia played a song, written with the help of Mihali, and performed on a Martin guitar Cassidy won earlier in the weekend. The song, “Frendly Gathering is Here,” will likely become another token theme for the festival.

Twiddle’s final set was absolutely electrifying. Kicking off with “Jamflowman,” the host-band was quick to bring up their first guest, Jaden Carlson. She helped rock out “Hatti’s Jam” into “When it Rains it Pours.” When her guest appearance was finished, the little lady who had dropped jaws all weekend with her skill and phrasing, which could easily be attributed to her having an old soul, got an eruption of cheers from fans, new and old.

Next up to help Twiddle close out the Frends Stage’s last act of the weekend was RAQ’s Todd Stoops. After he was announced, the crowd immediately cheered his name in the very familiar fashion, “Stooooops!” Before he and the band broke out into “Every Soul,” which he sat in on for the recording on the latest album, Plump, Todd wished his wife a happy birthday and anniversary; it was truly heartwarming. Stoops also came out a couple songs later to give support on a song continuously growing in popularity, “Lost in the Cold.” The last stand-in was by Torin Daniels from the Kitchen Dwellers, playing banjo on “Syncopated Healing.” The bluegrass sound was an amazing substantiation of the already fun and truly healing song.

The weekend was capped off with a true mountain party, as festival-goers once again trekked up the mountain to the DJ Nest where the collaboration, the Smooths, played in the treetop platforms. They created a dance party, making sure to bring the crowd into full participation mode by covering Sublime songs, Talking Heads songs and much more. It gave everyone a feeling of fulfillment as Frendly Gathering 2016 had finally come to a close. Gatherers meandered down the mountain, looking for small final parties at various campsites. Sleep fell over the mountain as exhaustion from the joyous festivities finally settled deep into the bones of the mountainside frends. The only thing anyone could think of as they closed their eyes was what was to come with Frendly Gathering 2017.

July 2, 2016
Hearing Aide: Devon Allman ‘Ragged and Dirty’

Life on the road, the sights in the rearview mirror and the hard lessons learned along the way, Devon Allman and his latest album Ragged and Dirty is the perfect soundtrack to crank on the speakers over a nice long summer road trip, perhaps one marked with a few stops at some biker bars and dives.

Devon Allman’s latest album “Ragged & Dirty” debuted at #4 on the Billboard Blues Charts upon its release on Ruf Recording last October.

Raised in Texas by his mother, Shelley, he did not meet his famous father, Gregg Allman, until he was 16 years old. Now 43, he’s been touring nationally and has released eight albums with bands including Honeytribe and Royal Southern Band.

Ragged and Dirty, Allman’s third solo work, debuted at No. 4 on the Billboard Blues Charts upon its release on Ruf Records last October. It’s produced by Grammy winner Tom Hambridge, who also co-wrote three songs on the album. Allman shakes the dust off his father’s signature style of guitar-driven blues and rock and infuses it with his own modern, hard-hitting licks and powerful lyrics in this latest incarnation.

You can almost feel the grit in your teeth throughout this professional, polished album, which runs the gamut of styles from country roots in track one, “Half the Truth,” to blues and rock n’ roll with a slight edge of funkiness in the album’s title track 11, “Ragged and Dirty.” Get lost in the soulful, sultry steam guitar-laden sixth track, “Midnight Lake Michigan,” and then find yourself in the honky-tonk stylings of track 10, “Times Have Changed.”

A highlight for me was track number three, “Leavin’,” which reminds me of a mix of Joe Cocker and the Allman Brothers Band in a song about running away from the same old problems and falling into old routines. A solid rock n’ roll journey with heartfelt lyrics, it’s a great song for a road trip without a destination.

The seventh tune, “Ten Million Slaves,” a song about the journey and trials faced by millions of slaves as they were ripped from their homeland and brought to America to be sold, came as a timely surprise as the original A&E mini-series “Roots” recently aired on television.

Track 10, “Times Have Changed,” is a good reminder to stay relevant and not get caught up in looking back on the past and making up your mind to change things. As the lyrics note, “I’d do anything you say, and now there ain’t no way/ That was yesterday, and times have changed/You’ve got to pick and choose, and I was bound to lose, but I’ve got some news for you, times have changed.”

Track 12, “Leave the City,” is the perfect way to wrap up this album, with Allman’s soothingly familiar voice gently commingled with sounds of a resonator guitar seeping through to wash you clean, as you leave the dirty city for land of riversides and mountain tops.

It’s clear this an album inspired by life on the road. To steal a line from the fifth song, “a road runner baby, Citadel platinum frequent flier,” Allman brings his tour to New York with a June 15 show at Iron Works in Buffalo, at the Wescott Theater in Syracuse on June 16 and Albany’s Empire State Plaza on June 29. Catch him before he travels on.

Key Tracks: Times Have Changed, Midnight Lake Michigan, Leave the City

June 11, 2016
Béla Fleck and the Original Flecktones’ Reunion Tour Hits Albany

The house lights dimmed and the Hart Theater at The Egg Performing Arts Center in Albany grew dark. The house was packed; every seat was filled with a body consumed with anticipation. Four years had passed since most of these fans had seen the act that was about to take the stage, and for anyone else it had either been longer or not at all. Slowly, music started to escape from the speakers. The first sounds heard were from a jaw harp played by the instrumentally diverse Howard Levy as he walked out on stage. Next, Futureman came out with his Synthaxe Drumitar, laying down percussion in the most unique way with an instrument of his own design. Then came Victor Wooten and Béla Fleck, at the same time, filling the sound out with their respective bass and banjo. The June 8 reunion tour show of Béla Fleck and the Original Flecktones was underway.

The Nashville-based progressive bluegrass, jazz fusion quartet started their unsupported two-set show off with one of their oldest tunes, “Frontiers.” There was a thorough introduction to everyone’s capabilities right off the bat. Howard demonstrating his note-bending harmonica technique, Victor proving to be as solid as ever, helping to keep the rhythm in fine form, Béla plucking away at his banjo in the most expert of ways, and Futureman’s fluent ability to fill the rest of the sound with the perfect percussion.

The band played a few more songs before the crowd was addressed. Béla spoke first, talking about how long it had been since they’ve toured and how they are on a two-week run, slowly moving their way west to Colorado to play the Telluride Bluegrass Festival. He talked about being back in Albany for the first time in four years and how he’s “always thrilled to be back at The Egg.” He then turned the crowd’s attention to his right and introduced Howard, who made mention of being a New York native, specifically from Brooklyn. Howard then introduced Victor who then introduced his older brother, Futureman.

The drummer extraordinaire gave some insight into the formation of The Flecktones. He mentioned that Béla called him one day and started talking to him about a project. Futureman urged Béla not to pigeonhole himself in bluegrass and told him how playing jazz on a banjo isn’t just a possibility—it’s already been done, but had fallen out of style. He talked about how back in the 1920s Louis Armstrong and His Hot Five, a New Orleans jazz band, had a banjo as a main instrument. Futureman elaborated further after the show saying that Béla playing banjo in a jazz band would be like bringing that instrument full circle in a genre from which it had escaped years ago, likely due to the instillation of the guitar.

The show was not only loaded with truly fulfilling music, but it was clear that these four longtime bandmates were having some fun performing on the road again. Howard was using every bit of every instrument to make the sound he wanted the audience to hear, like reaching into the open top of the grand piano and strumming on the high octave strings. Victor played his nearly patented slap-and-tap, which always gets the crowd cheering. Béla continued to tear up the banjo with precision and Futureman was taking drum solos while not even sitting at a drum set. They finished up the first set with “Kayto,” during which they crowded together so all four could help play the bass and banjo slung over Victor and Béla’s shoulders.

The Flecktones came back from set break and ignited the second set with “Zenergy,” in which Victor played a monster bass solo. He told a fan after the show that a vast majority of any show he plays is him playing bass lines and not playing with more complicated technique; the band benefits much more from a solid bass line than constant soloing. (Either way, when people think of Victor Wooten, they think of one of the best bassists in the history of music and hearing him perform one of his solos is almost worth the price of admission by itself.)

The second set was going as could be expected—everyone dancing in their seat and giving little shout outs, cheering on these four gentlemen. One fan pointed it out the best, noting that it was simply amazing that what everyone was watching is a group of four guys who are all very talented musicians, quite unique in their own fashion, yet still manage to play symbiotically, as though they were one musical organism.

Toward the end of the second set, Béla gave the crowd some instructions, which included some “ooos” and “aaahs.” What came next was the crowd favorite, “Flight of the Cosmic Hippo.” The set was capped off with another hit, “Stomping Grounds,” and then this incredibly unique band exited the stage, only to return moments later for their encore. Béla and his fellow minstrels finished the show with sincere thanks for everyone attending and then they broke into an electrifying “Sinister Minister.”

As the house lights came on, the audience started to file out toward the venue’s exit. However, some fans remained and started to congregate near the stage. These people knew something those who were already departing didn’t know; Béla, Victor, Howard and Futureman would be back out to do an unannounced meet-and-greet. They proved to be incredibly gracious and humble people who were more than happy to take pictures with fans and sign autographs, even for one gentleman who had the better part of a dozen CDs to sign. The evening left Flecktones’ fans fully satisfied, knowing that it was worth the four-year wait. The only hope was that the amount of time between this show and the next will be much shorter.

Check out the photo gallery below taken by NYS Music photographer, Frankie Cavone.

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June 10, 2016
Mountain Jam 2016: Day 3

Saturday, the main day of Mountain Jam 2016 had arrived. Attendees stepped out into a brand new day of the weekend. The warmth started to set in as the fog fully broke at about 9 a.m. It was easy to tell the day ahead of music and festivities would be glorious, sun-filled and containing an item that many people would be crossing off of their musical bucket lists after nightfall.

The day started off with an act in Healey Hall that has helped bridge the parent-child festival gap at Mountain Jam for multiple years. Ratboy Jr., comprised of Timmy Sutton (rhythm acoustic, electric guitar, vocals) and Matty Senzatimore (drums, keyboards, bells, vocals) provide families with a friendly place to bring their children first thing in the morning. As we all know, the children get up early and must be entertained. Described as “Ween-esque,” whose “intergalactic folk music is paired with curious subject matter like eating clouds, high five-ing shadows, big-headed Mexican wrestling hopefuls, space fuzz and guitar pickin’ chickens,” by Out With The Kids, Ratboy Jr. has become just as important of an act at Mountain Jam as most other supporting acts the core attendees arrive to see.

Once the children had their fill of silliness to hold them over until after nap time, the rest of the spectacular and diverse schedule of music, events and workshops started to unfold. Next up in Healey Hall was the Paul Green Rock Academy, a school in Saugerties, NY, that is driven to show kids a path to success onstage through interactive performance-based lessons, with the goal of creating genuine music through creativity and experience. While the kids were rocking out the Hall, Rochester-based Mikaela Davis was performing on the Valley Stage. Mikaela was a late addition to the bill when Gary Clark Jr. had to suddenly back out. Shortly after, Darlingside, a Cambridge, MA, indie-folk band, hit the Mountain Stage. NYS Music was fortunate enough to be nearby when Darlingside stopped by Radio Woodstock’s live broadcast area for a quick set and captured a clip on Instagram.

The Mountain and Valley Stages’ next acts were dynamite, to say the least. After Mikaela Davis played, Con Brio, Son Little, Lettuce and Houndmouth finished out the Saturday music on the Valley Stage. Alternating from those acts on the Mountain Stage were Sister Sparrow and the Dirty Birds, the Record Company, a Warren Haynes solo set (another addition from the Gary Clark Jr. cancellation) and Nathaniel Rateliff and the Night Sweats. Each of the last acts on the two concert field stages played to the audience as dusk turned to night.

While those bands played their sets, Healey Hall was home to a couple of workshops, one by Jay Blakesberg, in which he gave an abridged version of his book tour presentations he gives all over the country. Jay told NYS Music that he normally talks a lot longer about his books, but since he only had 45 minutes he chose to dedicate more time to a question-and-answer session and signing books for fans. There was also a documentary on Lettuce follow by an opportunity for participants’ questions, and then another documentary called A History of Cannabis in America. These events helped many attendees get more out of this mountain festival by allowing an in-depth view into portions of the music industry.

Once the sun was down, the face of the mountain filled to the point that a nine-year veteran attendee exclaimed that the crowd was the largest he’s ever seen on a Saturday night. He hypothesized that it could be attributed to large single-day ticket sales sparked by the 9:30 p.m. act, Beck. Unlike most acts at festivals, Beck came out late, but no one was upset once he hit the stage.

Beck opened up his set with “Devil’s Haircut” and naturally, the crowd erupted with cheers. Anyone who has seen one of his shows knows just how amazing the next hour and a half went. The set list of Beck’s performance was equally as eclectic as his history of songwriting and production. Aside from the opener, he played hits like “Loser,” “Que Onda Guero” and “E-Pro.” He also paid homage to the late artists Prince and David Bowie by covering “Raspberry Beret” in the latter half of his set and by playing part of “China Girl” during his band introductions in the middle of the encore, “Where It’s At.” Once Beck’s set was over, no one could stop talking about how electrifying he was. However, there wasn’t a soul who was worried about a lull in the fun, since the late-night acts to come were certain to keep people’s ears filled with topnotch music and help their feet continue to kick the dust around with a variety of impromptu dance moves.

The first act of the late night was Con Brio, playing their second set of the night, but this time in Healey Hall, which due to the last-minute schedule changes overlapped Beck’s set by a half hour. Next up was Thievery Corporation on the Mountain Stage. Lettuce finished off Saturday’s music in Healey Hall and played to a packed house, while the oh-so-common Mountain Jam rain finally made its first appearance of the weekend.

Slowly, but surely, people made their way back to their campsites to ensure everything was watertight in anticipation of any increased precipitation. The biggest hope on everyone’s mind was that the rain would move in and out while everyone was sleeping so Sunday’s big acts like Michael Franti, Brandi Carlisle and the Avett Brothers would be able to perform under clear skies. Little did they know the weather had different plans for Sunday.

Check out the photos below taken by our staff photographer, Steve Malinski, throughout Day Three of Mountain Jam.

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June 7, 2016
Mountain Jam 2016: Day 2

On June 3, festival-goers awoke in their tents, RVs, and hotel rooms to a beautiful day ahead. The temperature was in the low 60s, there was some light comfortable wind blowing through the mesh of tents, and some clouds in the sky, which kept the sun from waking people up hot and sweaty. Most importantly, there was the first full day of Mountain Jam 2016 ahead.

The day of music got underway on the Valley Stage with The Suitcase Junket, a one-man-band out of Amherst, MA. Matt Lorenz entertained the crowd with his adaptation of a music man, crooning out sweet lyrics, while smoothly playing a combination of a variety of instruments to accentuate those heartfelt vocals.

The next couple of acts to hit the Valley Stage were Marcus King Band and Love Canon. Marcus King and his band proved to be a crowd favorite and was invited to play a small acoustic set live on Radio Woodstock, which is broadcasting on-site all weekend. NYS Music captured a moment of that radio set on Instagram. Love Canon, a fast-paced bluegrass band with a keen ability to cover Top 100 songs got the late-afternoon crowd fired up for the evening to come. Their covers of J. Geils Band’s “Centerfold” and Africa’s “Toto” ensured that as few butts were on the grass or in chairs as possible.

The Mountain Stage had its first act early in the afternoon, with And The Kids, a band based in Northampton, MA, who labels themselves as not just indie rock, but as an existential and accessible form of music. After this unique and subtle yet powerful trio was a band who has worked hard to be thought provoking with the depth to assist generations with escaping the ease of apathy. That band with such an intense charge is Nahko and Medicine for the People. NYS Music was fortunate enough to catch a few minutes with Nahko, an artist with a great heart and his mind truly in an enlightened state.

“A lot of the music that I eventually opened up to that fueled my own style of writing came from [the Sixties]. The old story-telling of a time when there was a very strong movement, as far as a social movement goes, to become aware of yourself and to be involved in your political structure and to be involved in making democracy work for the people.” He goes on to explain that he doesn’t see his music having a political drive. Instead he prefers to label it as having political content and some non-fictional history lessons, which is ultimately positioned to open fans’ minds in order to do their part in shaping a better world.

The Santa Monica, CA based band was here playing their first Mountain Jam and were excited to say the least. The only disappointment was that they had to leave almost directly after their set. However, the reason was nothing short of incredible: they are performing at a Bernie Sanders rally in San Diego, CA.

The Mountain Stage then welcomed Courtney Barnett, the Melbourne, Australia-based singer, song writer, guitarist and all-around bad-ass performer. Courtney brought her attitude-filled full-bodied sound to the Catskill Mountains, introducing many to her music and galvanizing the crowd when she played The Grateful Dead’s “New Speedway Boogie” for her first time ever in front of an audience. NYS Music posted a clip of that excellent cover on Instagram as it happened.

Immediately after the Australian indie-rocker finished her set, Brooklyn’s own Turkuaz got things started on the Valley Stage. Anyone who has seen this power funk ensemble knows that the impending set they stand anxiously waiting to see will fill everyone’s ears with a ground shaking orchestration. Turkuaz shows everyone why this relatively young band has started to gain the momentum that is likely to carry them to very high places in the national music scene and possibly beyond.

As the evening led into night, Mountain Jam 2016 was captivated by the music of Jason Isbell and Chris Robinson Brotherhood, who was making their return after having been on the Mountain Jam X billing in 2014. By the time CRB was wrapping up their ever-soul-filled set, dusk had settled in nicely and the previously anticipated rain had decided to issue a stay of aquatic festival execution.

The soon to be chilly night was then taken over by an incredible pair of Mountain Stage acts. Wilco was tasked with firing up the crowd for the historical host of Mountain Jam, Warren Haynes. The veteran band completed their assignment with mastery, giving a massive crowd of long-time Wilco fans and first-timers alike the 90’s alternative rock fix they’d been seeking, whether they knew it or not.

After Wilco, there was a 30 minute lull. That gave people enough time to run and prepare for the host to present his musical bounty. Gov’t Mule took the stage just before 11:00 pm to a crowd itching to hear the drawl of that Southern rock. It’s not easy to forget how breathtaking of a show the Mule gives its fans, but if someone in that crowd had forgotten, they were immediately reminded when the band opened up with the Black Sabbath cover “Sweet Leaf.” They proceeded to give the audience some of their favorites, including “Thorazine Shuffle” and “Funny Little Tragedy,” which finished with a “Thorazine” reprise, Traffic’s “Dear Mr. Fantasy,” “Mule,” in which the festival was teased with riffs of “Shakedown Street,” and then finished with a “Soulshine” encore.

When Warren and his crew of troubadours left the Mountain Stage the crowd was split in two. Those who filed toward Healey Hall for The New Mastersounds and those who sought the comfort of their camp sites, RVs and hotels after a long first full day of Mountain Jam 2016. For the latter, rest was needed to ensure the best experience of the Saturday of music and events to come, while the former knew that it would take a powerful force to stop their momentum.

Today, the third day of the 12th annual Mountain Jam, the festival-goers are in store for a day filled with amazing music and other incredible events. Sister Sparrow & The Dirty Birds, Beck and Thievery Corporation have Mountain Stage duties. Son Little, Lettuce and Houndmouth will be playing their sets on the Valley Stage. All the while there will be workshops, documentaries and Q&As from the likes of Jay Blakesberg and Lettuce. Late night will be covered by the sounds of Con Brio and then Lettuce. Whether you haven’t yet streamed Mountain Jam 2016 or if you have all along, be sure to visit Tourpedo to stream all of these great artists. In the meantime, check out these galleries from yesterday by our staff photographer, Steve Malinski.

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June 4, 2016
Hearing Aide: The Broadcast ‘From the Horizon’

Within a flashy realm of brass interludes, conventional chord structures and foot-tapping rhythmic changes, the Broadcast will soon release their third studio album, entitled From the Horizon.

As every grassroots band from Asheville, North Carolina, faces in their early stages, the eagerness to record, sell and play often sidetracks the artist from the bigger picture: the feeling of security in their sound. And after three initial releases of Days Like Dreams (2010), Live (2012) and Dodge the Arrow (2013), the Broadcast’s upcoming record From the Horizon is a sonic gearshift from classic funk-rock to Americana roots-rock that offers listeners a soulful soundscape of influences. As the band’s sound continues to mature, so does their self-confidence, and it is here that we learn what defines the Broadcast musically, at least for now.

From the Horizon is declarative in its intentions, and has enough variety to please all ears. Frequent festival-goers who prefer a more summer-in-your-backyard tune will most likely gravitate toward “Double Down” and “Eyes of A Woman,” embodying illustrious riffs from guitarist Aaron Austin and a Grace Potter-like writing style delivered by powerhouse vocalist Caitlin Krisko. For others who thrive in the stomping and hollering kind of rush, jump right to “Every Step” and “Bring It On Home” with the on-target rhythm section featuring bassist E’Lon Jordan-Dunlap and percussionists Jaze Uries and Tyler Housholder. The most contrasting part of the album sits on the slide of Austin’s guitar in the bluesy twang of “Battle Cry,” which boasts an equally rebellious lyrical message to match.

There’s no doubt that the Broadcast has finally found their sound in From the Horizon, being that they were able to land Grammy Award-winning producer Jim Scott (Wilco, Tedeschi Trucks Band, Sting) in their control room and have already secured several festival dates sure to draw in new crowds this summer. With a variety of folk-timbred instrumentation, aux percussion and soulful growls, this is a band that has potential for great success in the live music sphere. However, their musical vision quest is hardly over, and they’ll need a little more development before taking on the world of recorded rock and Americana, but we’re happy to follow along.

From the Horizon officially drops on June 17, but a selection of the album’s tracks can be sampled on soundcloud. Keep up-to-date with the Broadcast on their website and Facebook page.

Key Tracks: Every Step, Bring It On Home, Battle Cry

https://www.youtube.com/watch?v=p3tqkBoQ35c&feature=youtu.be

June 3, 2016