NYS Music 20​16

Category: Blues/Jazz

  • Mountain Jam 2016: Day 1

    On the first day of the 2016 Mountain Jam at Hunter Mountain, there was a much expected buzz throughout the festival grounds. Thursdays of a four-day festival can be one of the greatest days; it’s the kick-off to the annual celebration of music and arts. Attendees, staff and volunteers are just gaining their bearings for the weekend to come, but most notably, Thursdays tend to be a bit more exclusive. Not everyone has a schedule that allows for them to arrive so early, making attendance on the first day much lighter than the rest. This was the case in Hunter on June 2.

    Mountain Jam 2016 kicked off on the Valley Stage with a quartet of consecutive acts who were not only the musical welcoming committee as the first wave of fans poured in, but they were the catalyst for a day and evening of incredible music. Jane Lee Hooker, a New York City-based blues quintet, were first to play. The all-female blues band brought fervor and soul to the stage, which proved their respect to the blues craft and their namesake, John Lee Hooker. Next up was the Capital Region’s own Wild Adriatic; they lived up to expectation and performed an amazing set, which only substantiated the next act, Cabinet, a Pennsylvania bluegrass band that always makes the crowd shake and stomp.

    The fourth band of the initial quartet was Donna the Buffalo, a Central New York-based band riddled with Americana influence from old-time Appalachian music to modern rock and country; this was the group’s first Mountain Jam billing. NYS Music sat down with Tara Nevins and Jeb Puryear, who founded the band in 1989. When asked how they came to be, Jeb said, “We’re both old-time fiddle players, and in that form of music, a lot of people jam with each other.  All you have is acoustic instruments, so you can just meet easily.” He added that Tara was the first person he’d met that wrote songs like the ones heard on the radio.  A smile instantly hit her face when he paid her that compliment.

    Over the course of time, Donna the Buffalo, comprised of these old-time players Tara and Jeb, met back in the ’80s and evolved from acoustic fiddle and banjo music to a more modernized, electric bluegrass. “The music [Appalachian music] kind of predates bluegrass; the kind that bluegrass grew out of,” Tara added.  “I started writing songs that were more pop-oriented and then Jeb started writing songs. Then we [started to] transfer to electric instruments, and thus, was the formation of Donna the Buffalo.”  Although they evolved into a more modern sound, they still stick close to their roots, continuing to play bluegrass festivals around the country, including their own called the Finger Lakes Grassroots Festival of Music and Dance in their hometown of Trumansburg.

    As the evening progressed, the heavy hitters started to come out. The first Mountain Stage act was Train Play Led Zeppelin II. Festival-goers throughout the grounds were hypothesizing how the performance would go. Only those who had heard Train play Zeppelin tunes on Howard Stern’s Sirius/XM radio show knew just how amazing it was going to be. The band’s frontman, Pat Monahan, was a true embodiment of a young Robert Plant. The band masterfully moved through the entirety of Led Zeppelin II and finished off their set with a crowd-pleasing reprise of  “Stairway to Heaven.”

    After Train finished their jaw-dropping performance, an amazing duel between Marco Benevento and Superhuman Happiness on the Valley Stage and Umphrey’s McGee on the Mountain Stage commenced.  Marco and his collaboration of astounding musicians and singers paid homage to the late David Bowie by covering a vast amount of his catalog, including legendary hits like “Oh You Pretty Things,” “Let’s Dance” and “Life on Mars.” Chills were brought to many spines in the audience as this well-orchestrated performance not only gave everyone a live listen of Bowie tunes, but paid breathtaking amounts of respect to Ziggy Stardust—a face, voice and mind that the music world and its fans miss very much.

    The echos of Bowie off of Hunter Mountain were responded to by a true fan favorite, Umphrey’s McGee.  Although the Thursday crowd was light, it seemed every soul in Hunter was on the concert field. The boys from Chicago started their set off with “Similar Skin,” after which Brendan Bayliss delivered the message that instead of everyone pacing themselves for the weekend to come, a full-on party should take place since they were only around for the one night. After that public service announcement, Umphrey’s kicked into “Rocker (Part II),” and it didn’t slow down much from there. As is often a staple at Mountain Jam, Warren Haynes came out to jam during the first set, helping to breakup “Higgins” with a mid-song jam of southern rock and blues.

    Another guest hit the Mountain Stage to make an appearance. Dressed in his eye-grabbing garb for the Bowie tribute set, Marco Benevento sat with Joel Cummins during the adapted and absolute monster cover of Pink Floyd’s “Breath.” After the first set was over, the crowd was filled with electricity. Marco played his second set of Bowie music, which made way for the second set of Umphrey’s; this second set seemed to step-up from the groundwork laid out in the first. Starting off with “40’s Theme,” the band moved through their second set making head-banging and fist-throwing and, of course, the Ryan Stasik-patented style of rock horns, explode throughout the crowd.

    The boys finished their set with a line of “Educated Guess, “Conduit” and “Relax, Have a Thunderkiss.” Surprisingly, the crowd didn’t chant out the so-often-heard “We want the Umph!” chant, but they came back onstage with a certain vengeance, encoring with “Hajimemeshite” into “Bridgeless” to end the night; the perfect bookend to a perfect first night of Mountain Jam 2016.

    Today’s lineup has some much anticipated acts throughout the day. Jay Blakesberg is personally looking forward to Courtney Barnett and Jason Isbell, both hitting the Mountain Stage in the late afternoon. Also playing today are favorites Chris Robinson Brotherhood, Wilco and Warren Haynes’ own Gov’t Mule. Be sure to log into the live stream, so you don’t miss any part of the Mountain Jam 2016 weekend.

  • Hearing Aide: Eric Clapton “I Still Do”

    Eric Clapton released his twenty-third studio album, I Still Do, on Friday, May 19, in what may be a farewell to a storied career as the blues and rock legend interprets his own musical heroes and peers across 12 well placed tracks. If this is goodbye to a 50+ year musical legacy, it is a fitting tribute to his career and those of friends who have passed in recent years and given him food for thought as he retired from the road in recent years.

    The songs selected by Slowhand on I Still Do read like a life reflection, opening with youthful, bluesy and upbeat numbers “Alabama Woman Blues” (Leroy Carr) and “Can’t Let You Do It” (JJ Cale), and wrapping up with songs that reference aging quite bluntly: “I Dreamed I saw St. Augustine” (Bob Dylan), “I’ll Be Alright” (traditional) “Somebody’s Knockin’” (JJ Cale) and “I’ll Be Seeing You” (best known by Billie Holiday). Overall, the album is about as good as studio Clapton gets, bringing together originals, songs from familiar influence Cale and Johnson, as well as deeper cuts from Skip James and Carr. With producer Glyn Johns, whom Clapton worked with on 1977’s Slowhand, this possibly final album is one of Clapton’s best.

    “I Will Be There” (Paul Brady) is the good vibes sing along of the album, with supportive lyrics “If you need someone to help you through, just call my name, and I will come running to your side. Don’t be afraid, I will be there,” one that gives casual fans a connection to the many sounds of Clapton, a combination of “Tears in Heaven” and “Change the World.” Of note is the credit to Angelo Mysterioso, denied by Clapton as being a posthumous George Harrison cameo but speculation that it may be the late Beatles’ son Dhani Harrison.

    Two originals, “Spiral” and “Catch the Blues,” are the meat of the album, the former grittier and the latter smoother with a shade of Bossa Nova mixed in. Skip James’ “Cypress Grove” is a fierce number, true Delta blues style. A lullabye, “Little Man, You’ve Had a Busy Day” changes the tempo of the album to a more calm, acoustic, before Robert Johnson’s “Stones in My Passway” reflects on losing power over body and soul. The cover art to I Still Do brings to mind Robert Johnson’s classic image, one legend paying tribute to another: a straightforward, no frills bluesman looking right at you.

    There is a lot of life left in Clapton, make no mistake, and a smattering of shows each year will be a staple of his as old bluesman are wont to do – they never seem to go out quietly, nor fade away slowly, but instead be ever present even as performances decrease in number.

    Key Tracks: Can’t Let You Do It, Cypress Grove, Stones in my Passway, Somebody’s Knockin’

  • A Night Of Smooth Jazz and So Much More in New Haven

    The Lilly’s Pad was low-key but very much alive with Rohn Lawrence and Friends lighting up the intimate venue as they do every Monday night. The venue, found above Toad’s Place in New Haven is the epitome of a jazz lounge; soft lighting, a few tables and sectional couches lining the walls of the room, drinks in hand and people enjoying a relaxing night of incredible music

    Lawrence on guitar, Jay Rowe on keys and Trever Somerville on drums brought a huge sound to the small venue that captured the whole audience. It was a diverse crowd, a few students, a family or two, some regulars and good friends of the band members, and they loved every second of the show.

    Smooth yes, but just jazz? No. This was a night of everything smooth: jazz, funk, blues, soul. They had it and mastered it all.

    All of these genres require one to pour plenty of emotion and feeling into the songs and everyone on stage was obviously lost in their sound. Lawrence was perched on a stool for the night but by no means was he stagnant. Every note he hit was an emotional decision and you could see it in his face. His eyes shut,  head rolling and bobbing on his shoulders and body twisting.

    Somerville was in the same seated predicament but that didn’t stop him from moving around in his throne and pumping out some intriguing and driving grooves off of his four piece set. He was tight, technical throughout the whole night and brought a big sound from the tiny set.

    Rowe was just as into it as the others while managing to play bass on his upper board and mess around with his lower synthesizer to add a unique color to the already gripping performance.  All of the band members were working double time like Rowe, with Lawrence singing and working a plethora of pedals below him and Somervillie accompanying the band with backup vocals.

    The night started out with an energetic piece “This Is Where You Belong” off his second album Hangin’ On a String. It instantly drew the crowd in from the bar with Lawrence’s unique guitar tone and the intricate drumming from Somerville. It had a very jazzy tone to it but managed to be fairly aggressive and that was very prominent when Rohn soloed. One could even say it he was shredding away, not an adjective associated with smooth jazz. The night continued with a variety of smooth tones and took a shift when Rohn introduced his guest star, Wallace Gary.

    Lawrence brings on a guest musician every Monday, and this week the venue was treated to a very emotional Gary who fit the sound of Rohn and friends flawlessly. With his bright red leather jacket and acid wash jeans, Gary brought more than one type of color to the stage. His voice was very fitting and diverse, singing a few covers from Chaka Kahn’s “Tell Me Something Good” to Prince’s “Kiss” and absolutely nailing every note.

    The four of them made for a unique, powerhouse team that had everyone in awe at the unexpectedly big sound from a small band in an even smaller room. Rohn Lawrence and Friends play every Monday night for five bucks at the door and is definitely a friendly and inviting place for anyone to try once.

  • Dopapod Brings Spring Tour to a Close with Three Nights in Cambridge

    Dopapod spring tour came to a satiating conclusion this weekend, April 28, 29, and 30 at the prestigious Sinclair in Cambridge, Massachusetts, the band would be returning to the venue for the first time since April 17, 18, and 19 of last year. Having a different opening act to look forward to on each night attracted familiar faces from the previous year, as well as plenty of patrons unacquainted with the headlining act.

    dopapod cambridgeAqueous began the weekend at 9 o’clock sharp on Thursday the 28th. Hailing from Buffalo, New York, the band’s old school groove rock sound served as a perfect appetizer for the heavier energy of the evening. Guitarists Mike Gantzer and Dave Loss provided inspiring technical tandem guitar lines; extremely refreshing in a scene full of one-guitar bands. With pleasant vocal harmonies to match, the opening set provided foresight into the stunning musicianship that would recur throughout the weekend.

    Dopapod left the starting line with their spin on the “Donkey Kong Country Theme”, which saw us into a newer composition called “Super Bowl.” Keyboardist/vocalist Eli Winderman turned up the heat as they continued with “Turnin’ Knobs,” providing the perfect counterpoint to guitarist/vocalist Rob Compa’s ice cold leads which teased us out and into the next track, “Vol. 3 #86.” Aqueous guitarists Mike and Dave then returned to the stage to join Dopapod in giving us a special treat, The Eagles‘ legendary “Hotel California.” You’d think that that would be a track best left to its originators, but this cover did more than justice. Rob’s pitch perfect vocals accompanied Aqueous’ chilling guitar harmonies perfectly in a display that would’ve impressed Joe Walsh. A brief “Bubblebrain” jam directed us to the end of the set, an even briefer return to “Turnin’ Knobs”. The second set began with a jam and a “Weird Charlie”, which met its moniker perfectly in a flurry of teases that might seem weird on paper. Rage Against the Machine‘s unmistakable “Killing in the Name” began the onslaught. The familiar power chords of Green Day‘s “Brain Stew” then progressed surprisingly well into the chorus of “While My Guitar Gently Weeps.” All the while teasing their own “French Bowling,” a French flag was projected with the stage lights as the boys settled on a uniquely arranged version of this masterpiece. Moving right along with “Braindead” and “Sonic”, bassist Chuck Jones and drummer Scott Zwang’s firm rhythm kept the energy in the room brimming. The band chose a couple of tracks off of their latest album ‘Never Odd or Even’ to bring the second set to an end, “Like a Ball” and fan favorite “Present Ghosts.” The second part of “Weird Charlie” fulfilled the call for encore, and left the crowd almost anxious to return to the venue for the next evening’s show.

    4-28-2016
    Set I: Donkey Kong Country Theme, Super Bowl, Turnin’ Knobs [1], Vol. 3 #86 [2], Hotel California [3], Bubblebrain [4], Turnin’ Knobs
    Set II: Jam, Weird Charlie [5], French Bowling, Braindead, Sonic [6], Like a Ball, Present Ghosts
    Encore: Weird Charlie pt. 2 [7]

    [1] (Contained Vol. 3 tease)
    [2] (Contained Turnin’ Knobs, Donkey Kong, Escort – Cocaine Blues teases)
    [3] w/ Mike and Dave from Aqueous (Eagles cover)
    [4] unfinished (Contained Turnin’ Knobs tease)
    [5] included Green Day Brain Stew jam (Contained French Bowling, Killing in the Name, Jack’s Lament, While My Guitar Gently Weeps teases)
    [6] contained FIGHT and FATALITY Mortal Combat samples (Contained Fly Like an Eagle tease)
    [7] contained FATALITY Mortal Combat sample

    Boston’s own Hayley Jane and the Primates started the night with a bang on Friday the 29th. Combining elements of American folk, early rock, and a plethora of other popular genres, they create a sound that captivates in a way that the mere sum of its parts cannot. Vocalist Hayley Jane’s stage presence is something that can be matched only by her sheer range and overall vocal prowess. Guitarist/vocalist Justin Hancock and keyboardist/vocalist Jeff King provide clean three part vocal harmonies, as well as the base of a sound which diverse doesn’t begin to describe. With dates scheduled through spring and straight into the festival season, fans in New York and all over New England should certainly keep an eye out for the strikingly gorgeous Ms. Jane and her wonderful Primates.

    “Nuggy Jawson” drew the crowd’s attention like a tractor beam as soon as the lights went down. Dopapod was all smiles at the sold out friday night crowd, going into the fourth “Priorities” they’ve played this year. A menacing “Black and White” got everyone moving, with bassist Chuck Jones’ gut busting grooves truly allowing the rhythm section to cut through the mix. Next we got an insight into where exactly he might’ve honed his nearly sensual plucking skills, welcoming his former bass instructor Dan Morris to the stage. Frank Zappa’s crushing “Apostrophe” would serve as the backdrop for a dual bass solo that was emotionally fulfilling to say the least. It was moving to see a musician invite his mentor to the stage to show him the true reverence from both the crowd and the pupil. As ‘D-Mo’ waved goodbye, everyone concurred that nary a dual bass solo had been heard since Spinal Tap’s Derek Smalls played one with himself back in ’88. The more relaxing “Cure” continued the set, which saw it’s live debut on the third show of the tour in Colorado. The third track of the evening off of the ‘Drawn Onward’ album, “Flipped”, brought us to intermission. After a long and arduous TSA style search upon reentry, the Sinclair was gracious enough to allow Dopapod in continuing to be the only thing tighter than their security. “Nerds” had everyone who knew them singing along to no words. A dreamy intro from lead us into “FABA”, next driving the set in a heavier direction with “Give It a Name”. “Freight Train Filled With Dynamite” was actually filled with a finger pickin’ good bluegrass jam, exemplifying Dopapod’s propensity for true cross-genre fusion. The second night concluded with “Cloud World” and “Dracula’s Monk”. Rob Compa returned to the stage for a one man encore, playing right up until curfew to the crowd’s dismay. We would all have to wait until the final evening to see a complete return.

    4-29-2016
    Set I: Nuggy Jawson, Priorities, Black and White, Apostrophe [1], Cure, Flipped
    Set II: Nerds [2], FABA, Give It A Name [3], Freight Train Filled With Dynamite [4], Cloud World, Dracula’s Monk

    [1] w/ Chucks bass teacher Danny Morris (Frank Zappa cover)
    [2] (Contained Flipped tease)
    [3] (Contained Kung Fu Fighting tease) (Contained FABA teases)
    [4] Bluegrass

    Another Boston based band, Strange Machines, warmed the engine for the final drive of the weekend on Saturday the 30th. The spirit was high in another sold out crowd, as we received an early surprise when Dopapod’s Rob came out to join for the haunting “Little Monster”. Guitarist/vocalist Mike MacDonald upped the ante and busted out his falsetto for a funky cover of Escort’s “Cocaine Blues” that everyone related well with. All three opening acts of the weekend related to and prepared us for Dopapod’s sound perfectly, and that theme culminated in Strange Machines.

    “Onionhead” was actually the song that introduced me to the prog rock princes who are Dopapod, so it was a perfect coincidence that they would open this Saturday night tour finisher with the track. “Off the Cuff” provided a window into the previous evening, teasing tracks “Black and White” and “Give It a Name”. Another song which they debuted in early April, “November”, transitioned in and out of the next song “Bahbi”, which turned back into “November”. “Whale (I am)” was the next selection, with the jam seeming a bit directionless as Dopapod played it live for the third time in their career. “Psycho Nature” left us with another explanation of Friday night’s set, teasing “FABA” on its way into the end of the first set, “Weedie”. Feeling in a jammier mood than usual, the boys decided to begin the end with a bouncy “Piazole”, which rang excitedly into the soon to be classic “Trapper Keeper”. The jams and transitions throughout the run and the tour in general were far and above anything that Dopapod has played live thus far, and this last three song set exemplified that fact. At the end of “Picture in Picture” Rob told us exactly who’s to blame for the spectacular spring tour finale that we had just witnessed, thanking each and every one of the road, lighting, and sound crew members by name. The encore began with yet more new songs from the repertoire, beginning with “Made A Design”, which debuted on the 6th of April. “8 Years Ended” looped briefly back into “Picture”, then ending the night, the run, and the entire tour on “Bluetooth”.

    Set I: Onionhead, Off the Cuff [1], November [2], Bahbi, November, Whale (I Am), Psycho Nature [3], Weedie
    Set II: Piazole, Trapper Keeper [4], Picture in Picture [5]
    Encore: Made A Design, 8 Years Ended [6], Bluetooth

    [1] contained Black and White jam (Contained Give It A Name tease)
    [2] (Contained Bahbi tease)
    [3] (Contained FABA tease)
    [4] Extended Jam; Tim and Eric samples
    [5] Extended Jam; crew introductions
    [6] (Contained Picture in Picture tease)

    It’s interesting to wonder who will be the forerunners of rock and roll when the present day torch holders are forced to make their pass. Unique song structure, improvisation, seamless transitions, and iconic stage presence are all requirements on the checklist. They are all traits that Dopapod commands like old pros as well. This three night run proved that the band is more than just another act on the bill. They compose well. They rehearse as they should. And they executed their sound with more vim and vigor than ever before this weekend in Cambridge.

  • The New Stew Stirs Up Brooklyn Bowl

    On Monday night in Brooklyn, recently-formed supergroup The New Stew, recreated the underappreciated live album Bill Withers: Live from Carnegie Hall. Walking onto the unusually danceable floor of the Bowl during the opening classic “Use Me”, you had the sense that those in attendance were not only there to hear Withers’ tunes, but also to see these well practiced musicians cook up something special.

    “Friend of Mine” concluded with Yonrico Scott (longtime member of The Derek Trucks Band) abandoning his percussion kit, grabbing a bongo, and joining lead singer Corey Glover (Living Colour/ Galactic) at the front of the stage while he beat the drum so hard that the audience could see wood chips flying off the seemingly handmade mallet. As a side note, this band was not a cover band, but a tribute band, and these sizzling improvisations continued to come to life all night while staying true to the set list created by Mr. Withers over 40 years prior.   Wither’s first hit, “Ain’t No Sunshine” found Glover pouring his heart out over the microphone while Roosevelt Collier closed his eyes and sent Withers a “thank you” in the form of “sacred steel” lap guitar notes. After the song faded away, Glover asked the room, “Why these songs so old and still so relevant,” which felt like the theme of the evening.

    On the day after Mother’s Day, “Grandma’s Hands” felt appropriately placed and gave the audience one more slow groove before jumping into “World Keeps Going Around.” Dave Yoke (Susan Tedeschi Band) on the 6-string, provided some friendly soloing competition with Collier on lap steel. The crowd ate it up during the uplifting rendition, which led to the first true love song of the night, “Let Me in Your Life.” In any great set list, the artist develops peaks and valleys from slow songs to barn-burners (or Bowl burners in this case). “Better Off Dead” out of the aforementioned song was definitely the transition piece missing from this beautiful puzzle. In the 15 years of the songwriter’s performing career, Withers became know as the “Troubadour of Soul,” covering many different genres. This one can definitely be filed as “F” for FUNK! Kevin Scott’s (Col. Bruce Hampton’s Pharaoh Gummit) bass spiced up the stew while Jared Stone (Stone’s Stew) added flavor from behind the drum kit.

    One thing missing from the original live recording was the witty banter provided by Withers in regards to his band and what influenced the writing of many of the tracks. In true tribute fashion, Glover connected with the audience in the same way when he stated “I wish I was down there watching that” in reference to Collier’s boiling hot solo during “For My Friend.” “I Can’t Write Left Handed” is like an R&B version of a wartime Johnny Cash song, which makes sense considering Withers shared some similarities in terms of the songwriters’ backgrounds. The two were humble, had a unique sense of humor and were proud to fight for independence and entertain the country they served (coincidentally Withers was born of the fourth of July). Another similarity between the two icons is their respect for their fellow man and few tunes cover that topic better than “Lean On Me.” After so many magical moments in the evening, it is hard to pick one highlight, but “Lean On Me” appeared to be the most anticipated song of the night as Withers fans new and old hugged it out during this spirit-lifter. The extended “call me” refrain was repeated almost a dozen times as the audience and band came together to complete a touching duo of slower tunes.

    Matt Slocum (Oteil and the Peacemakers) displayed his talent on the keys while teaming up with Collier and Scott during “Lonely Town, Lonely Street” to get the Bowl shaking again. Glover grinned from ear to ear after crushing “Hope She’ll Be Happier” and the room let him know it. The New Stew took us to church for the “Let Us Love” set closer which left the guests hungry for more as they returned for the medley encore of “Harlem/Cold Boloney.” The night ended with a Glover led call/response of “Do you feel good? Yes, yes, yes. Do you want to go home? No, no, no!”

    In a world where cover bands, Youtube and Spotify are the most prevalent means of listening to the sounds of yesteryear, rare supergroup tribute bands like The New Stew come along to not only bring us back in time, but to bring us back in spirit. While Bill Withers and his band provided the musicians with a soulful framework and influence, each member added their own special sauce to the dish making it a special that we hope to see on the Brooklyn Bowl menu again.

  • Snarky Puppy and Sophistafunk Drop Jaws at the Landmark Theatre

    A fitted crew neck sweater and scarf might evoke an air of jazzy inclination, but Snarky Puppy’s Michael League can also adeptly discuss his intricate technical knowledge of music composition like an old pro. During an intimate pre-show mentoring session at the Landmark Theatre Thursday May 5, the composer and bassist divulged snippets of his process for composing to a group of drooling fans and fellow musicians, including members from local funk group Casaroja. Cherie Yurco, editor of both Making Music Magazine and International Musician launched the session with a few questions before opening the floor to the young audience.

    Jim Houle Photography - Michael League - Snarky Puppy - Landmark Syracuse - NYSMusic Watermark-1

    The clattering of equipment echoed throughout the extravagant, high ceiling theater, muffling League’s voice as he discussed the complexities of collaborating in a collective of over twenty rotating musicians. “It’s a lot of personalities,” he divulged with a thoughtful smile. But Snarky Puppy has a knack for attracting talented, down-to-earth musicians who are easy to work with, something League doesn’t take for granted. Regarding the success of Snarky Puppy, League paraphrased a Malcolm Gladwell quote suggesting, success is based not just on talent, but on circumstances, which for League breaks down to an assemblage of the right people at the right time. Despite an abundance of talent, Snarky Puppy was not an overnight success, spending nearly the first decade of its existence in the red. League explained humbly, “It’s hard to go to bed every night knowing you’re failing.” But a love of experimenting and playing with sound kept an ember glowing, which eventually ignited into the international success the band is today.

    Aside from good chemistry, producing quality music is a function of truly understanding methodology of music composition. When asked about his writing process for “Flood,” League referred to himself as a “concept fiend,” offering a textbook response in the truest sense of the word. Where some musicians might disregard the cliched, blanket question with a humdrum and vague reply, League got real technical, real quick. Discussing dividing whole tones and cord progressions with no roots, he began to sound more like a mathematician than a musician. The explanation left many audience members wide eyed, mouths agape and reaching into their pockets for pen and paper to take note, an omen of things to come for Snarky Puppy’s impending performance.

    Local funk group Sophistafunk opened the show, the four members aligned stage left on the vast platform, producing a heavy, heart pounding sound bigger than the sum of its parts. The recent addition of Tommy Weeks on saxophone heightened the sophistication of their grooves beyond what Jack Brown (vocals) Adam Gold (keys/bass/vocals) and Emanuel Washington (drums) have done in the past.

    Jim Houle Photography - Sophistafunk - Landmark Syracuse - NYSMusic Watermark-3

    Gold took a moment between songs to praise the headliner, relishing in the honor of opening for the renowned group, beaming “We remember getting our faces melted right off our faces by Snarky Puppy.” Towards the end of their set, percussionist Nate Werth joined Sophistafunk with a snappy cowbell performance over Washington’s shoulder, who every so often glanced back at Werth, exchanging wide smiles.

    The compelling, non-circular momentum of Snarky Puppy’s brand immediately took hold of the room as soon as the first notes were struck. Werth, relocated to the left rear, conjured his percussive effects from a vast arsenal of noise-making tools, keeping rhythm on a glistening metallic setup wobbling on stage with every beat. Joined by fellow percussionist Jason “JT” Thomas, Caleb McCampbell and Shaun Martin (keys), Justin Stanton (keys/trumpet), Jay Jennings and Michael “Maz” Maher (trumpet), Chris Bullock (sax/flute) and Bob Lanzetti (guitar), the ten-man lineup littered the room with musicianship that didn’t clutter the sound despite the hefty crew. Every instrument retained a right to be on stage, emitting purposeful sound and adding style. Even amidst the medley of notes, disciplined silences punctuated songs with a finessed restraint, demonstrating mastery of navigating crucial white space, allowing the audience short moments to catch their breath.

    Leading the musical expedition, League remained hyper aware of every musician around him, maintaining eye contact with his peers, and smiling throughout the entire performance. His hearty grin exhibited not only a true pride for the talent of his band mates, but also the sheer joy of honing a craft and getting to do what he loves every single day. With two encores, both met with a standing ovation, it’s clear Snarky Puppy has made it.

  • Tedeschi Trucks Band Pulls Into Syracuse and Leaves It All On Stage

    As the buses made their way down Montgomery Street towards the Crouse Hinds Theater, The Tedeschi Trucks Band began to prepare for an evening of what would become an epic night of music to a sold out venue in Syracuse.

    Opening the evening to the packed crowd was Amy Helm.  Amy hails from Woodstock and with music in her bloodline, from the moment she took the stage, she began to play and sing and own the crowd.  With her trio of Handsome Strangers, made up of guitarist Daniel Littleton, bassist Byron Isaacs and drummer David Berger, this most talented group of musicians played and sang like a well oiled machine.

    Amy’s style of music can best be described as contagious.  As you watch her perform, it’s as though the music is progressing from her toes, making its way through her body and pouring out with full emotion and electricity.  The versatility of sound she displays is also noteworthy.  Her music fluctuates from soulful and moody to a rockabilly jive with a seamless transition, providing a tantalizing variety of tastes pleasing to everyone. As Helm’s delivery drew the audience in, the rest of the band delivered a one-two punch of a percussive background beat, a funkadelic bass line and sick guitar solos that brought the audience to their feet.  Just as they finished their solos, Amy stepped back up to the mic and hit everyone with a knockout vocal punch, sealing people’s fates as fans forever. To say she is amazing doesn’t seem like quite enough.

    It was the moment she dedicated “Gloryland”, a song taught to her by her father who passed in 2012, to those waiting on the other side that really moved me most.  This acoustic number, in perfect harmony with her Handsome Strangers, sent chills down my spine and left not a dry eye in the audience.  Levon Helm, your daughter is amazing and you taught her well.

    As Helm exited the stage for the main act to appear, the audience grew with anticipation before the lights dimmed and Tedeschi Trucks Band (TTB) took the stage.  This large ensemble took up the whole stage and, although a large production, each member is a specific ingredient within a recipe of musical genius.  With the husband and wife team of Derek Trucks on guitar and Susan Tedeschi on guitar and vocals out in front, they surrounded themselves with some of the most talented musicians in the business.  On keyboards and flute was Kofi Burbridge, drums and percussion featured Tyler Greenwell and J.J. Johnson, bass guitar work was provided by Tim Lefebvre and on harmony vocals was the trio of Mike Mattison, Mark Rivers, and Alecia Chakour.  The horns rounded out the team with Kebbi Williams on saxophone, Elizabeth Lea on trombone and Ephraim Owens on trumpet. This amazing group of musicians are one in themselves talented and together they blended seamlessly, but not overpoweringly, as they accompanied Tedeschi and Trucks on their play out front.

    Never having seen this amazing band before, the bar had been set high from all the hype I’ve heard.  Although eager to see what all the fuss was about, I wasn’t sure what to expect.  I purposely didn’t listen to any music beforehand so that my initial response was pure and in the moment.  As they began to play, I was mesmerized by Susan’s voice.  Her no nonsense approach to attacking each note was confident and strong.  She was a woman that knew what she wanted to sing and play and that she did.  As her husband Derek accompanied her on his guitar, the strings would sing.  Together they melded into one sound.

    I would classify TTB as a multi-genre act.  They were funky, bluesy, rocking, and soulful.  They encompassed sounds and transitioned from one sound to the next without effort or pause.  I found Susan Tedeschi’s vocals real and raw. She has the ability to reach in and grab your soul while she sings and plays. As they played “Sky Is Crying” , it was as though she and Derek were making love with their guitars right in front of you.  They matched note for note with a fervor that grew and exploded into one of the most moving pieces of the evening.  I almost felt as though I was intruding on their moment and witnessing something meant for just the two of them. It was spectacular.

    It was apparent all night that as they played, these fans in the audience were just as in love with them as I was.  My favorite moment of the night was when Tedeschi asked her singer Alecia Chakour and Amy Helm to join her onstage for “Color of the Blues”, an amazing acoustic number.  There was so much talent in that group that it blew me away.

    It was an honor to cover this show and now I get it.  I get the hype, the build up and the all the legends I had heard.  The show was amazing and definitely lived up and surpassed my expectations.

    Setlist Tedeschi Trucks Band: Laugh About It, Anyhow, I Want More, Midnight in Harlem, Just As Strange, Right on Time, Let Me Get By, Sky is Crying, Color of the Blues (joined by Amy Helm and Alecia Chakour), Keep on Growing, Going Down to Mexico, Bound for Glory, Idle Wind. Encore: Don’t Let Me Slide, I Cannot Make It

  • The Show Goes On: WRPI’s Steve Daub Bids Farewell to ‘Stormy Monday Blues’ This Week

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

    SMalinski - Steve Daub - WRPI-1

    Steve Daub in the studio, May 2016

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

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

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

    Steve_Daub_Great_Blues_DJ_Albany_11-11-12WEB

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

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

    SMalinski - Professor Louie - Paramount Hudson Valley-1Prof. Louie, a frequent “Stormy Monday Blues” guest, performing at Paramount Hudson Valley in Peekskill, Oct. 29 2015

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

    Sonny Speed WRPISonny Speed at the keyboards

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

    As Sonny recalls:

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

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

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

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

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

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

  • Larkin Square Announces 2016 Summer Concert Series in Buffalo

    Music lovers in Buffalo have more options for free music this summer. Larkin Square will return for a fifth summer season showcasing 38 Buffalo-bred musical acts including Aqueous and Savannah & the Kings during their weekly 2016 Wednesday night concert series.

    Live at Larkin offers a free, family-friendly event packed with music, food trucks and community groups. The concert series will run through Aug. 31. The free series is made possible through sponsorship with First Niagara and Independent Health.

    The series will kick off on June 1 with a six-act opening night headlined by annual favorites John and Mary & the Valkyries, with each of the acts representing at least one local music nonprofit organization.

    The series also host theme nights. This year will include an evening titled “Buffalo ’66: Cash & Stones Revisited,” marking the 50th anniversary of the week in which both legends performed in Buffalo. “Latin at Larkin” will feature complete dance lessons before each band, while “Sinatra’s Second Century” will feature music from Frank Sinatra.

    “We’re excited to welcome the public to a new chapter of Live at Larkin with this most ambitious lineup to date for our original flagship event,” said Larkin Square Director of Fun Leslie Zemsky in a press release. “We continue to be amazed at the depth and quality of the Buffalo music scene – We can’t wait to hula hoop to these sounds of summer!”

    Live At Larkin

    June 1 John and Mary & the Valkyries w/ Fredtown Stompers, Freightrain, Verve Dance Studio, Carol McLaughlin & Magnitude, French Quarter Hounds

    June 8 Aqueous w/ Jettison

    June 15 Outer Circle Orchestra w/ Tiger Chung Lee

    June 22 Unity Band w/ Will Holton, 4 B-Lo, Buffalo Concertina All Stars

    June 29 Stoneflower w/ A Band Named Sue ft. Ring of Fire Cast Members

    July 6 La Krema w/ Sol y Sombra, Salsa Sarah Dance Lessons

    July 13 Tom Stahl & the Dangerfields w/ Savannah & the Kings

    July 20 Miller & The Other Sinners w/ Preach Freedom & Connect

    July 27 Reign of Kindo w/ The Tins

    August 3 Brian Higgins & The Exchange Street Band w/ The Stone Bridge Band, Keith Shuskie ft. John Higgins

    August 10 Dive House Union w/ Jony James Band

    August 17 Rear View Ramblers w/ Uncle Ben’s Remedy

    August 24 Nelson Starr & The Franciscans w/ Joey Giambra Jazz Orchestra

    August 31 The Buffalovebirds w/ The New Good Neighbors

  • Canalside Announces Annual Summer Concert Series 2016

    The free summer concert announcements are keeping music fans in Buffalo excited. The city’s popular and free Canalside series announced its Thursday night concert series this week. Canalside is hosting 12 concerts starting June 9 and running through August 25, 2016.

    canalside 2016This year’s lineup includes a variety of acts that span over a wide variety of musical genres. The Buffalo Philaharmonic Orchestra will take the stage once again in “A Tribute to David Bowie.” Other highlights of the lineup include Public Enemy, Zappa Plays Zappa, and Claypool Lennon Delirium.

    Canalside‘s weekly events will include a variety of food trucks and vendors. All of the concerts are free and open to the public, and all start at 6 p.m. VIP packages are available.

    Event organizers will be offering local area musicians the chance to open this summer’s concerts through a Battle of the Band contest held in conjunction with local arts magazine The Public.

    Canalside Thursday concert series lineup:

    • June 9: Charles Bradley & His Extraordinaries
    • June 16: Frank Turner with special guest July Talk
    • June 23: Public Enemy
    • June 30: Frankie Ballard
    • July 7: Dweezil Zappa Plays Frank Zappa
    • July 14: Shakey Graves and Preservation Hall Jazz Band & Wild Child
    • July 21: The Arcs and Mariachi Flor De Toloache
    • July 28: BPO “A Tribute to David Bowie”
    • August 4: Tritonal
    • August 11: Lowest of the Low and Serena Ryder
    • August 18: Coolio
    • August 25: Claypool Lennon Delirium