This is not just a reggae album. This group of Boston, Massachusetts dwellers have created an in depth and diverse Jamaican roots album that stands out miles ahead of most contemporary bands alike. Setting in the West is the fourth album from Spiritual Rez since the birth of the band in 2002 and they’ve really nailed the niche they define themselves. Their sound is heavy on a powerful reggae sound, but it’s garnished with a number of genres, with hints of pop, rock and funk that set the sextet above most other reggae groups.
Each song is diverse and though each song is heavily rooted to a reggae groove, they manage to make the first two songs sound like two different bands. The first track, “Sober,” has the exact recipe for a reggae song, but the drums and bass line gives the song a certain power that isn’t found in most songs in that style. The tonality changes throughout the song so things stay interesting, instead of falling into a drone which some reggae songs tend to do. The sound is still sultry and lazy but a more prominent beat perks up the song while still holding the roots of the genre.
But then, “Red Room” comes on, and the listener is taken to a whole new world of pop beats. Featuring rapper Duddy B and loads of computer generated tones, this track sounds like something that would be played on today’s pop radio stations. There’s a hint of popping, staccato guitar riffs, but an almost complete delete of all other reggae influences. It’s still just as good as any other song in this collection, but might be a deal breaker for some listeners as well as “Tidal Wave” and “Digital Age.” There are still traces of the defining characteristics that made reggae sound the way it does, but the band is obviously trying to reach a greater audience. The producer of the album, Kenny Carkeet, a founding member of AWOLNATION, might explain the more pop based tunes, which was definitely a smart move as Spiritual Rez strives for greater recognition.
For those that may see these tracks as the band selling out, worry not because the majority of the tracks stick to a standard reggae formula, still dropping hints of dance, funk and rock into the mix, with “Bad Girl” and “Square Grouper” show casing the talents of the group. The spice of a reggae group is the horn line, with Quinn Carson (trombone) and Julian Dessler (trumpet) deserving much credit for making this band sound the way it does. Although there are countless reggae bands without such, the duo brings a more cultured and complex sound that helps separate this group from others. Of course, the talents of Toft Willingham (vocals), Ian “Meat” Miller (drums), Jesse Shaternick (bass) and Mohamed Araki (keys) are not to be undersold being the backbone of the group, setting up a solid and groove for every track.
Spiritual Rez will be spending some time in New York this year playing from Canton to New York City all this month. More info is on their website.
Key Tracks: Sober, Bad Girl, Square Grouper, Whisky
Just the Tip is the start of a three day Halloween event at Anthology in Rochester, NY. Kicking off on Thursday, October 27, this ALL AGES show, featuring regional bands and headliners each night for a sensational music experience.
On Thursday, Level 7, Joe Driscoll, Funknut and Subsoil perform sets throughout the night, performing from 8:30 PM until 2 AM. Save money by purchasing the three-night ‘megaticket’ and enjoy PBR specials at Just the Tip.
Friday, October 28 features Thunder Body, Danielle Ponder and the Tomorrow People, with Saturday night performances from The Blind Owl Band, The Honey Smugglers, and Mulberry Soul. Friday tickets are $20 and Saturday tickets are $16.
Thursday schedule:
Doors: 8:00 PM
Level 7: 8:30 PM to 9:00 PM
Joe Driscoll: 9:00 PM to 9:30 PM
Funknut: 9:30 PM to 11:00 PM
Joe Driscoll: 11:00 PM to 11:30 PM
Subsoil: 11:30 PM to 1:00 AM
Joe Driscoll: 1:00 AM – 1:30 AM
Level 7: 1:30 AM to 2:00 AM
Known for their high-energy live shows, Subsoil is lyric-driven live Hip-Hop music. Subsoil’s performance wields a keen edge of razor-sharp lyricism, with equal emphasis on tight grooves and furious improvisations within a funky dance aesthetic.
Funknut formed in 2006 when Tony Gallicchio and Tristan Greene started playing together as a key and drum duo. Since then, Funknut has expanded and has been blessed to play with a rotating cast of talented musicians with Tristan and Tony as the core. In 2009, Sean McLay became a permanent member of the band holding down the low end and making things even funkier than before. In 2010, good friend Paul McArdle joined in on the guitar. Fans of improvisation, each Funknut show is different from the next.
Joe Driscoll was born in Syracuse, New York. He performs solo, and uses recorded loops of his own beatboxing and live looping using a sampler to fuse hip-hop, reggae, soul, folk and roots rock. During 2007 and 2008, Driscoll has toured with Dirty Pretty Things, Regina Spektor, Coldcut, and The Sugar Hill Gang at events in the US and Europe.
Level 7 (Skribe & DJ 2way) are a hip-hop duo who have been blessed to share the stage with bands such as Mosaic Foundation, Giant Panda Guerilla Dub Squad, Thunderbody, Subsoil, Sophistafunk, Danielle Ponder and TheTomorrow People, and Cha Cha & the Ndor Band.
Annie in the Water, with their combination of reggae, rock, funk and jam, is an Albany-based band that originated as a duo with Mike Lashomb and Brad Hester in 2007. This past spring, the duo added three more members, which you can imagine has had significant impact on both the sound and the overall feel to their music. NYS Music spoke with founding member and lead guitarist Mike Lashomb about that change and what fans can expect going forward.
Erin Clary: Before it was just you and Brad, and now you’ve added two more members to Annie in the Water. What brought on the change and how did this happen?
Michael Lashomb: It’s been an interesting learning experience. Brad and I started back in 2007. Back in 2011 we had a drummer play with us and he kind of just up and left when we were starting to get bigger and booking venues and stuff like that. So Brad and I started this looping, jam kind of style. As time went on, just trying to connect with the jam scene and we felt we were kind of in between all these different scenes and we didn’t really connect the way we were hoping to with our style. So as time went on we understood there was definitely a progression that needed to happen. There needed to be some way that we could branch out and diversify our sound and also our personnel and people. We added our bass player, Lucas, three years ago and then we added piano player in the summer of 2014, Dillon. Having Lucas Singleton on bass really added a big low end kind of contribution with a lot of his style. Then Dillon on keys was this different kind of musician oriented but transient, experimental sound. So it was good to have Lucas who brought in a lot of specific playing and structure and Dillon who was outside of the box with his expression and style. And in that time, Brad would constantly update his looping with the four of those guys, having them on and off for shows. Then this past winter we knew we wanted to get a drummer involved and really up the jams so we could switch around grooves, time changes and cues. Josh West was finishing up with Lucid as they decided to tone down the touring and everything and it was just a natural…we met him at Nectar’s as he was playing with his old band, Tar Iguana, and it was just a natural relationship that blossomed into a really cool band relationship. Kind of different evolutions and progressions brought us to now.
EC: Are there different challenges you find when switching from a duo to a full band?
ML: Definitely a change. Brad has pretty much grown musically and matured with me as his counterpoint. I had played in different fusion bands and different guitar bands since I was in 8th grade so when we added the full band together it was definitely a whole new experience for Brad. It’s something that to this day he is totally changing and morphing in such an awesome, progressive way. So yeah there is definitely more personality which calls for more contribution artistically, personally and emotionally. It’s different. We went from having only a few people on the stage to suddenly having a lot more room being filled up. Not only physical space, but sonic space and musical space. A lot of what we had to do too was rehearse as we played shows because we had all the prior engagements set up with Duo shows but moving out of one house, just a lot of different things off the stage we were dealing with. It has been a really interesting transition but a really positive transition because everyone is really open to communication and evolution for sure.
Dillon Goodfriend, Lucas Singleton, Michael Lashomb, Brad Hester- Annie in the Water
EC: So you’re saying you weren’t latching on to a niche?
ML: Yeah, it’s hard to explain because there was a certain amount of people who are looking at what we’re doing with the Annie in the Water Duo acoustic set, that we still play to this day, but we will have some people who really jive with that and think it’s cool, the amount of sound we are able to produce with two people. It’s fun! There’s a certain element to having an absolute kind of experimental but also structured rhythm section. Having the rhythm section be human rather than having a syncopated beat box being looped for X number of measures for a certain amount of time. So Josh will change things up and everyone has been playing music for a long time and everyone has their own interpretation of when that happens. So we’re always creating a different show. When we were the Duo we were always big on experimenting and never having a setlist. Now that we have a full band it kind of brings in a little bit more people who are down to dance. People with a groove looking for a pulsating kind of sound. That’s kind of where we were in the middle of. We had that groove but we were missing the rhythm section. We would self-consciously catch people that normally would be like “oh these guys are really talented,” and suddenly like “I’m dancing and I’m reacting to it.” Then again we have people who like EDM and DJs who would go crazy for our looping stuff, but that’s not necessarily what we wanted to accomplish. To this day it’s an absolute trial and error to see who is reacting, how they’re reacting and why they’re reacting.
EC: What is the goal of Annie in the Water and what is success to you?
ML: It’s tough to say that there’s a finite point where it is success. I know that you aren’t assuming that either. For us, we’ve already achieved certain levels of success personally and musically that we’re really proud of. By having a certain ability to run as a functional business. So that was kind of our first goal. As that went on we had the goal of being a full live stage and live sound production whenever and wherever we were needed. In a long run, wider scope, our success is to just connect with as many people as possible on a human and spiritual level. I know that sounds heavy and I don’t want to say egotistical, but it’s pretty bold in that we feel that we have a responsibility to help in whatever way we can. If we can provide positive music to people than that’s it. I think one of the biggest sources of success for us is the ability to continue being full time musicians, playing wherever. My personal goal is I’d love to headline and have our own show at Blossom Music Center in Cleveland, OH where I was born and raised. Yeah we’d love to headline a festival, that would definitely be a goal but we’d like to just contribute in the most unique way humanly possible. We want to just make whatever Annie in the Water is, an entity that promotes peace and positivity, and inspires people to do whatever they feel they are naturally good at and love and passionate about. So definitely multiple goals and ideas of success but if we can just keep on helping people and along the way while we’re able to keep this boat floating than that’s as much success as we could imagine and be grateful for.
EC: Are there other collaborations you’d like to put together for the future and can you reflect on favorites that may have happened recently?
ML: We’ve been having Jamie Armstrong from Lucid on the saxophone play with us. It’s been a sit-in that we really enjoyed. He’s been playing extended shows a handful of times. It’s not necessarily a side project, he has kind of given us a “Hey mister, what’s up?” and will be down to play a show. There’s a lot of different ideas we have for side projects. It’s kind of up in the air right now. We have our friend Garrett, this kid that we met at Dyken Pond. It was an absolute, random….he’s not even playing in a band he’s just living in New York City and he added this unbelievable style to what we’re doing and we’re having him play with us in New York City next week. He plays lead guitar. We kind of bounce back and forth. We had Gubb from Twiddle sit in for a show with us in Vermont. We’ve always talked about having a little jam session show in Vermont to keep our good friends there happy and dancing. It’s really cool because we got into the jam scene only as of recently having other bands kind of become our friends which is a difficult thing for the first couple of years, just because we didn’t really know what we were doing either. So now it’s like the doors are kind of open to all these different friendships and creative expressions with other bands. It’s exciting because all these other bands are really reaching out and playing with everyone. All we want to do is play with people and put in the frequency and energy that overall contributes to a beautiful experience. So we are open to whatever.
EC: Describe each band member in one sentence.
ML: OK this is fun…
Bradley Hester (Percussion, guitar, vocals, looping) – Hardest working musician and nicest human I’ve ever met.
Joshua West (Percussion, Drums) – A stoic little child who is so much fun to have behind the kit.
Lucas Singleton (Bass) – The dependable groove supplier and overall goof ball.
Dillon Goodfriend (Keys) – A pure musician and absolute music lover.
EC: And what about you?
ML: I’d like to say I just like to have fun when I play.
EC: Should we expect a new album out now that you’re all together?
ML: Yeah. We’re all looking at the overall picture and new music being recorded is absolutely on the radar and very important. What we’re trying to do right now is make sure that we’re choosing the songs that we have from our past that we’re writing down and we’re looking to write. We’re trying to make sure that we’re choosing what works best for the band. So the music will definitely become recorded but at this point we are getting everyone on the same page to decide how we want to move forward musically, personally and band wise. So the album is definitely in the works right now, we just have to decide the next step to make that happen that works best for everybody.
EC: You’ve made your homebaseAlbany.
ML: Yeah, we’ve been in Albany for four years but we haven’t played in Albany as much because we’ve been pursuing different opportunities in different parts of the Northeast.
Trying to do a lot of different hubs and also play at different mountains because snowboarding is a huge part of our culture. It’s been more or less that we’re in the progression of making that happen so seeing us in Albany is going to be more frequent for sure.
EC: The October 13 show with Giant Panda Guerilla Dub Squad in Albany at The Hollow should be a homecoming show with lots of friends and family I presume?
ML: That’s going to be a really interesting show because we have a lot of friends from the Rochester area that have always talked up Giant Panda and I think vice versa. So this show is going to be the first time that we’ve actually ever met those guys. It’s cool because whenever you play a show with the band for the first time there’s a lot of learning and vibing of personalities. So when it comes to that night I would say wait for something interesting but until that night happens, that’s when the magic starts.
Sterling Stage ended the 2016 festival season with Last Daze of Summer, a weekend of laughter, love, and creative expression. If you weren’t able to make it, make sure you check out next years festivals at Sterling Stage Kampitheater, located in Sterling, NY.
Attention anyone who wants to have a good time, put aside the fact that you have never been to a Celtic music festival and not sure if it’s your cup of tea. Do you like music, dancing, good food, beer? Yeah, I had you at beer. It’s time to get your Celtic on this Friday Sept. 9 and Saturday Sept. 10, as we once again gather for the 2016 Syracuse Irish Festival at Clinton Square in Syracuse. This year’s lineup is a spectacular mix of old and new and acts featuring a diverse lineup on two stages. Combine this with Celtic wares, family activities, delicacies, and libations, it’s sure to be a good time for all.
Crowd favorites, Searson return this year. It’s like welcoming home family as Erin, Colleen, Danno, and Fraser take to the Ommegang Stage Saturday evening. Also returning this year are The Elders, Kansas City’s very own superstars, a band who Central New York has adopted as their own personal band. This dynamic group is bound to set the stage on fire once again and get the crowd on their feet singing and dancing both Friday and Saturday nights.
For those smart enough to arrive early both days, they will be treated to the trio of The Moxie Strings, The Flyin Column, The Public House, The Blarney Rebel Band, and Attractive Nuisance, among others. This mix of both traditional and contemporary Celtic music is sure to entertain those attending and garner them some new “likes” and “follows” on social media accounts.
There are many new acts to look forward to this year. The promo shot of The Led Farmers is more than enough to hook the casual observer as their set should prove to be just as fun as their photo. Playing both evenings on both stages, this quartet from Dublin, Ireland are a must-see as they are introduced to Central NY.
Don’t want to miss the football games, no worries. Join The Town Pants on Friday night at the Irish Tailgate Party. Beginning at 4:00 p.m. in the pub area, attendees will find multi-tasking to be a joy. The Syracuse-Louisville game will be broadcast on the big screen in the pub area Friday night.
NYS Music is honered to be a parter for this year’s Syracuse Irish Festival, bringing our readers highlights from the stage and crowds. We hope to see you all there. Please take the time to stop me, I’m the blonde with the camera, as I make my way around the crowd. Say hi and insist I get your photo to prove that you were hanging with the cool crowd at this weekend’s event.
FESTIVAL SCHEDULE
FRIDAY SEPT. 9 – OMMEGANG STAGE
5:00 p.m. Attractive Nuisance
6:00 p.m. The Town Pants
7:30 p.m. Butler-Sheehan Academy
7:50 p.m. The Flyin Column
8:30 p.m. Rince Na Sonas School of Irish Dance
8:50 p.m. The Moxie Strings
9:30 p.m. Johnston School of Irish Dance
9:50 p.m. The Elders
FRIDAY SEPT. 9 – LEMOYNE PUB STAGE
12:00 p.m. Quigsy and the Bird
1:20 p.m. An Ceol
2:40 p.m. Home Slice
4:00 p.m. The Public House
5:10 p.m. Butler-Sheehan Academy of Irish Dance
5:30 p.m. The Flyin Column
6:30 p.m. Rince Na Sonas School of Irish Dance
6:50 p.m. The Led Farmers
8:10 p.m. Johnston School of Irish Dance
8:30 p.m. The Causeway Giants
SATURDAY SEPT. 10 – OMMEGANG STAGE
11:00 a.m. Irish Mass
12:20 p.m. Blarney Rebel Band
1:30 p.m. Dance School (TBA)
1:50 p.m. Moxie Strings
3:00 p.m. The Public House
4:20 p.m. Drumcliffe Arts
4:40 p.m. The Led Farmers
6:00 p.m. Roisin School of Irish Dance
6:20 p.m. Moxie Strings
7:30 p.m. Francis Academy of Irish Dance
8:00 p.m. The Elders
9:25 p.m. McDonald School of Irish Dance
9:45 p.m. Searson
SATURDAY SEPT. 10, 2016 – LEMOYNE PUB STAGE
12:00 p.m. Harrington School of Irish Dance
12:20 p.m. Irish Dance Lessons for Adults
1:30 p.m. Deirdre McCarthy
2:30 p.m. Kilgore McTrouts
3:30 p.m. Syracuse Irish Session
4:30 p.m. Roisin School of Irish Dance
4:50 p.m. Kitty Hoynes Irish Session
5:50 p.m. Drumcliffe Arts
6:10 p.m. Blaithin Loughran & Her Family
7:00 p.m. McDonald School of Irish Dance
7:20 p.m. Joe Devoli & Bob Halligan
8:20 p.m. Francis Academy of Irish Dance
8:40 p.m. Billy Delaney & The Celtic All Stars
Friday night Phish served up an incredible show at LOCKN’ that looked like game, set, match for the Jam ‘Lympics. Saturday, My Morning Jacket volleyed back a set for the ages, with an almost unmatchable rock tour de force. Would Phish be able to continue the rally? In short: Yes!
The first set opened energetically with “Sample in a Jar,” “Martian Monster” and “Axilla.” With few exceptions, the set continued to build in intensity. “AC/DC Bag,” “Possum” and “46 Days” each got about as thrashing a treatment as they’ve ever been given, nearly matching the energy exhibited by My Morning Jacket the night prior. A mid-set “Fuck Your Face” was thrown in to drive the point home (“And this guitar is gonna fuck your face `cause it knows how to scream!”) if it weren’t received loud and clear already. A closing rendition of “First Tube” put an exclamation point or two on one of the most pure-rock-energy Phish sets you will hear. Before exiting the stage, Trey Anastasio held his guitar up ceremoniously, like a sacrificial offering to the Gods of rock. And lo, they were satisfied.
With that off of their chest, the band was free to close out the 4th edition of LOCKN’, Phish style. They continued more along the lines of the brilliant explorations from their show on Friday night. As on Friday, this set flowed together almost seamlessly, no breaks, no banter, just wall-to-wall improvisational mastery. Amongst a set with literally no lulls or duds, a mid-set “Twist” > “Light” combo stood high above the rest. The “Twist” evolved into a jam that saw the entire band locked in to an almost dizzying array of sound that seemed to end too soon. But it didn’t, because the “Light” that followed somehow reached deeper, soared higher and was debatably better even that Friday’s “Ghost.” They still had solid versions of “Tweezer” and it’s most-welcome partner “Tweezer Reprise,” “2001,” “Harry Hood” and one last rocker in Led Zeppelin’s “No Quarter” left in them before ending LOCKN’ with The Rolling Stones’ “Lovin Cup.” The PA blasted another Stones classic, the geographically-appropriate “Sweet Virginia,” as they festival-goers walked off the concert field for the final time of the weekend.
The day began twelve hours earlier with Hampton Road’s The Dharma Initiative and their grooving rock that swirled with flourishing keys and vocals. Doobie Decimal System, featuring Jason Crosby, Roger McNamee, Pete Sears and Jay Lane played a fun early afternoon set heavy on familiar covers like “Being For the Benefit of Mr. Kite” and “Ohio.” Twiddle returned for their second day to bring more blended jams and bopping energy. They were certainly one of the better bands at connecting the spaces between bands, both in and out of their set.
Reggae made appearances throughout the festival, whether in My Morning Jacket’s cover of “Could You Be Loved” or as an influence heard throughout Twiddle’s music. But when The Wailers took the stage, they showcased reggae in it’s purest form. Their set played like a greatest hits collection, “Get Up Stand Up,” “Natural Mystic,” “Buffalo Soldier,” “Three Little Birds,” “Lively Up Yourself,” “Exodus,” and on and on. It was all smiles under the beaming Virginia sun as fans twirled and bobbed in the midday heat.
Chris Robinson Brotherhood’s set started conservatively, with takes on “Let’s Go Let’s Go Let’s Go” and “Leave My Guitar Alone.” They continued to loosen the reins as they progressed, ending with some lengthy and rocking jams on a closing run of Bob Dylan’s “It’s All Over Now Baby Blue,” “Vibration and Light Suite” and “Narcissus Soaking Wet.” In their loosest state, they wear their Grateful Dead influence on their sleeves. Their sets will generally contain some Dead covers even, but not on this day. Which was fine, because after a short break, the stage was reconfigured and they would become the backing band for Phil Lesh.
Lesh‘s second set of the weekend would include a bit more traditional instrumentation than the first, and appropriately with a band that took pride in it’s Dead influence. Chris Robinson even came prepared in his Jerry Garcia t-shirt. After an opening warm-up with “Samson and Delilah,” the band played a bluesy one-two punch of “Good Morning Little Schoolgirl” and “Wang Dang Doodle” in order to showcase the talents of special guest guitarist Gary Clark Jr. After he left, they proceeded into a set-highlighting version of “Hard to Handle” that was both right in Robinson’s wheelhouse as a frontman as well as a great vehicle for some classic Dead jams. “St. Stephen” and a slightly rejiggered “The Wheel” featured more superb playing throughout before they closed their set with “Turn On Your Lovelight.”
The Jam ‘Lympics rightly concentrates on team efforts, though one individual needs to be recognized here. Neal Casal played in four sets over the weekend. As a member of his own Circles Around the Sun, Hard Working Americans, Chris Robinson Brotherhood and finally in Lesh’s band, his lead guitar was a central and dominating force in every instance. Truly deserving of standing on the podium to receive an individual medal.
Gary Clark Jr. finished up the daytime portion of the last day of LOCKN’. After his first solo it was clear he was holding back something during his sit-in with Lesh. He is an enormous talent on the guitar and showcased both his playing and songwriting prowess throughout a set of mostly originals like “Bright Lights,” the soulful “Cold Blooded,” and rocking “When My Train Pulls In.” Despite his skills, amongst the other acts of the weekend, this one fell a little flat as a one-sided effort. His backing band took a bit too much of a backseat with repetitive rhythms resulting in songs feeling worn and dragged out.
About the biggest surprise of the weekend was the lack of surprises. With few exceptions, bands were content to play their own sets without inviting any of the many other musicians on stage for something out of the ordinary. That said, each band seemed to be inspired by the others on the bill, and put forth gargantuan efforts. So many bands played to the top, or nearly so, of their capabilities. Just as athletes push themselves to their limits amongst the best-of-the-best, so too did these musicians. LOCKN’ put the music front and center with almost every decision. The sound system was incredible. The rotating stage was a wonder and allowed for a nearly seamless day of music. It didn’t always work perfectly as some of the bands weren’t quite ready to take the stage on time and the sound had a bit of a hiccup on the changeover. Though the fact that you could ever time a band’s exit with the next band’s entrance is somewhat incredible, and it worked more often than not. Late night and late morning options (including a near-mythical stage set in the middle of the woods) gave fans the opportunity to see music with no downtime for over 16 hours of each day. As some are calling for the festival bubble to burst, LOCKN’ has found a niche in the crowded market that sets itself apart. If they continue to concentrate on the quality and experience of the music, it could be viable for a long time to come.
From the lush green wilderness of Gambia to a Chelsea studio, here’s a story behind a 21st century cross-continental roots song by Holy Forest.
Members: Jon Fine (Guitar, Bass, Keys). Ed “Preachermann” Holley, Sparlha Sparlha Swa, Morley, Tata Din Din Jobarteh, I’kyori Swaby, No Surrender and S.T. (Vocals). Tata Din Din Jobarteh, Youssoupha Sidibe (Kora). Morgan Harris (Guitar). Ebon Moss-Bachrach, I’kyori Swaby, Jesse Hofrichter (Keys). Jordan McLean (Trumpet). Martin Perna, Freddy Deboe (Baritone Sax). Stuart Bogie (Tenor Sax). Pierre Davis, Taagen Swaby, Sean Clete, Steven Heet, Sebastian Bauer (Drums). Matt Hauser, Marcus Burrowes (Percussion). Kristine Kruta (Cello).
Have you seen a list of personnel this long and eclectic since Paul Simon’s Graceland?
Recorded over three years in studios across Africa, New York City, Woodstock and San Francisco, Holy Forest is an ensemble is a melting pot of sonic and cultural abilities. And it adds up, too: only people of different religions, ages, ethnicities, nationalities and professional backgrounds can come together to make genre-bending music so whole, so variegated yet so astonishingly coherent. Unlike Graceland, not even one golden Hollywood party is brought into question. No, Holy Forest stays close to the matter in focus: love and distance.
The genesis of Holy Forest takes you back to the lush green wilderness of mangrove swamps of that line River Gambia. Almost four years ago, musician and documentary filmmaker Jon Fine (the force behind Herbie Hancock’s Possibilities and Still Bill) took a trip down to Makasutu Forest, a woodland reserve in West Africa. Over the course of his visit, Fine connected with Tata Din Din Jobarteh, Gambia’s legendary 21-stringed kora player. When Fine heard Tata Din Din’s modernist approach to the strings, he immediately recognized the potential. Holy Forest was born. Since, John Fine has been the primary guardian of the ensemble, fully immersing himself in production, performance, songwriting and collaboration for their self-titled debut. Fine used his career-long knowledge and connections to reach out to a number of critically acclaimed musicians, including members of Antibalas, singer-songwriter Morley, the Grammy nominated kora master, Youssoupha Sidibe and rising Gambian star ST. Among nontraditional musicians Fine tapped were the Brooklyn-based afro-punk band No Surrender, Bay area singer Sparlha Swa, and Harlem’s resident soul singer Ed “Preachermann” Holley.
Photographer/director Andrew Zuckerman, who had been working with Jon for years, allowed Holy Forest’s live band to rehearse in his Chelsea studio. Andrew then brought old friend, musician and music creative David Hoffman into the picture. Because of Hoffman’s connections in the indie-rock world (Hoffman is also the manager of chart-topping indie/alt rock band Joywave), he proposed the idea of an “Africa Calling” remix. Jacob Asher of Joywave (aka Benjamin Bailey) jumped at the opportunity.
The result? Asher doubles down Preachermann’s vocals to add a near-visual depth to the track. He refines the sound unobtrusively, waxing on a resinous layer that doesn’t detract from the soul of the “Africa Calling.” Instead, the DJ and Joywave keyboardist lets the generous, woody warmth of the holy Gambian forest fall through onto a waterbed of trap beats, sealing it for radio and clubs alike.
“Africa Calling” has traveled the world, filtering through the woods aligning narrow coastlines, to the speakers of boutique vinyl shops of East London only to find its way on to BBC Radio 6. Who knows where the destiny of “Africa Calling” lies? All we know is that it’ll continue breaking musical barriers, diving headfirst into Afrofuturism. And Asher’s remix is only another chapter to the Holy Forest story.
Listen to the Jacob Asher remix of “Africa Calling” below:
NYS Music is once again proud to host Friday nights at Funk N Waffles in August. A stellar lineup of music is on tap all month long, with local and regional bands highlighting the month.
8/5 Mosaic Foundation w/special guest boogie low
With a style as unique as its members are diverse, Mosaic Foundation is forward thinking reggae that stays true to the roots. Formed in 2009 and based in the Finger Lakes region of New York, the band has grown a loyal following, thanks to electric live performances and three studio releases. Blending roots, ska, dub, dance-hall and beyond, Mosaic is an exploration in reggae that is pushed to the limits and sometimes spills over. With lyrics that inspire dancing in the moment, and activate the mind in reflection, the songs encourage positivity, sustainable living and community.
8/12 The Honey Smugglers w/special guest Chris James and Mama G ft. Spittin’ Sirens
The Honey Smugglers, from Rochester, NY, describe their music as “folkrock, jamgrass and acoustic Americana…melted in a pot of honey.” The five members played their first show as a full band in late 2014 and quickly generated a buzz around the Western NY music scene with their energetic live performances. Their fast pickin’, stompin’ rhythms and wild improvisations are sure to get a crowd moving it’s feet, but its the unique instrumentation and catchy vocal harmonies, that make their shows memorable. Look for The Honey Smugglers at clubs and festivals around the Northeast in 2016 as they tour in support of their second, full-length studio album, “When the Fun Begun”.
Chris James and Mama G are a “string pickin, harmony singin, high energy, positive vibe”. The american duo play a multitude of genres in a beat you can dance to.
Voted “Best New Band” in Chicago Reader’s 2016 poll, ESSO (El Sonido Sonic Octopus) performs funky Afro-Latino and roots rock inspired dance music. The ethnically diverse crew of musicians establish driving polyrhythmic grooves, combining biting twang guitar with the strength of brass horns, coro group singing, and urban poetry in an eclectic mix of raw energetic sounds. All members bring a vital contribution to the band’s unique “afrojam funkbeat” style. Inspired by Chicago’s soulful blues, jazzy house, and global fusion heavyweights, the group deliver their performances with purpose and direction; unifying through music, dance and collaboration.
Vocalist/songwriter/harmonica icon Curtis Salgado sings and plays with soulful authority and is the winner of three awards at the 2013 Blues Music Awards, including the coveted B.B. King Entertainer of the Year!
Nestled inside the Legend Valley Concert Venue and Campground, the Werk Out looks to be the sleeper festival of Summer 2016. With a jam packed lineup and the intimacy of a smaller venue, this year’s festival features a variety of musical acts, vendors, craftspeople and activities. Now in it’s seventh year, the festival returns to Thornville, Ohio, August 4 through 6.
Headliners and host band The Werks will perform all three nights, while Twiddle and Dopapod will hit the stages for two nights. STS9 tops the lineup with two sets while funk masters Lettuce and The Motet lead the festival’s late night efforts.
The Werk Out will also play host to several tribute sets including the highly anticipated Twerkapod “Tribute to the 90s” featuring members of The Werks, Dopapod and Twiddle as well as Daft Phunk – a Daft Punk tribute performed by Earphunk.
The festival is also packed with many of Ohio’s finest up and coming festival artists including Broccoli Samauri, reggae rock fusion Tropidelic, and Ghost Gardens.
Other must see non native Ohio see include North Carolina based rock jam fusion Big Something, Maryland-based band Litz, and New York state based bands Mister F and Teddy Midnight.
“Don’t miss the Glostik Willy late night set on Saturday Night/Sunday morning,” noted Grand Haven, MI, native Zachary Burns, a three-year vet of the Werk Out. He also suggests getting to the venue early to take advantage of wooded shady camping, as space in these areas is limited.
“Definitely don’t skip out in the Disc-O-Pizza vendor,” Burns also suggested. “ Some of the best/fairly priced festi food you can get.”
Columbus, Ohio native Jake Ashworth agrees with Burns. “When in need of food, seek out Disc-O-Pizza. And Gilligan’s has the best smoothies.”
Ashworth also mentioned taking advantage of the showers near the stage to stay cool and suggest if you want to post up in your hammock, to get there early because “the trees fill up fast.”
Music begins on Thursday at 4 p.m. Saturday day passes are available at the gate for $80. Weekend passes are still available and can be purchased in advance or at the gate. Camping is included. No alcohol is sold during the festival, however, according to the festival website, “Please bring your own alcohol for the weekend. And some to share.”
Nothing beats a hot summer day like great live music, friends, a beautiful city, and beer. Cold, fresh-brewed beer at that. Utica, NY was certainly hoppin’ as Saranac Brewery hosted Slightly Stoopid, SOJA, and Zion I, The Grouch, & Eligh on July 22 in the outdoor courtyard.
Zion I, The Grouch and Eligh kicked off the summer evening in the brewery district with their bright harmonies, feel-good rhythms, and conscious hip-hop lyrics. Zion I is swiftly attracting fans on this tour promoting his new LP due out in September, titled The Labyrinth.
Humid air from the blistering sun didn’t seem to phase anyone in the audience as the cool, crisp ales flowed from the kegs and moistened the lips of the awaiting patrons. Following a brief refreshment break, SOJA danced onto the stage with instruments in hand and crushed a 45 minute set of their smile-inspiring original reggae-rock music, which included some dread swinging and tasty drum-line solos.
Front man Jacob Hemphill continuously gave props to Utica for their unmatched energy, in between songs from the Virginia-based groups’ most recent Grammy-nominated album, Amid the Noise and Haste. Before exiting the stage, Hemphill again gave praise to the tour headliners for their generosity as well as the crowd and Saranac Brewery, wishing everyone to “Thanks and Have a great … everything!”
Before Slightly Stoopid‘s set, Saranac’s own Fred Matt embraced the stage and took to the microphone to give a slurred thanks to all in attendance and took a traditional selfie, while holding up a fresh brew, stacked with a couple thousand excited fans behind him.
Moments later, a rumbling Star Wars Imperial March pumped from the PA speakers grabbing the crowds attention, making way for another Return of the Red Eye Tour performance. The group kicked into gear with “Champion of the Charles,” as Miles Doughty yelled out “It feels good to be back, Utica!” while fist-pumping his chest. After a few songs, Doughty and Kyle McDonald switched up instruments allowing McDonald to sing a few tunes including “Officer” and “Just Thinking” with special guests The Grouch and Eligh, before beautifully singing “The Prophet.”
Taking turns singing and switching guitars seemed to be of second nature to McDonald and Doughty as they each continuously electrified the audience with energy and inspiration. “Too Little Too Late” provided some fast-paced dancing for fans with it’s up-beat Ska rhythms and horn-play. Doughty playfully asked “Where’s all the good Utica chronic” before hammering out “Rolling Stone” and “Ain’t Got a Lot of Money.” Hard work and extensive touring was surely paying off for the west-coast group as the audience cheered and sang along through a set ending “Anywhere I Go.”
Returning for a solid 4-song encore, the group emerged amongst a dimly-lit stage to “Cantina Song,” further augmenting their semi Star Wars themed tour. While having much appreciation for the Grateful Dead, yet not being a “jam band,” Slightly Stoopid played a rather enjoyable take on “Franklin’s Tower,” sprinkled with some light piano work by Paul Wolstencroft. The group ended the night by staffing every inch of the stage with the help from SOJA on the Dennis Brown tune, “If This World Were Mine.”
Set: Imperial March (Star Wars), Champion of the Charles, Til it Gets Wet, Somebody, Up On a Plane, Hold It Down, Officer, Just Thinking (w/s/g Grouch & Eligh), The Prophet, This Version, Prayer For You, No One Stops Us Now, Collie Man, Too Little Too Late, Del Roy → 2 AM, Serious Man, Closer To the Sun, Stones 1, Bandoz, Ain’t Got A Lot Of Money, Don’t Stop, Don’t Care, Anywhere I Go
Encore: Cantina Song (Stare Wars), Franklin’s Tower, Train, Express Yourself, If This World (w/s/g SOJA)
Each song is diverse and though each song is heavily rooted to a reggae groove, they manage to make the first two songs sound like two different bands. The first track, “Sober,” has the exact recipe for a reggae song, but the drums and bass line gives the song a certain power that isn’t found in most songs in that style. The tonality changes throughout the song so things stay interesting, instead of falling into a drone which some reggae songs tend to do. The sound is still sultry and lazy but a more prominent beat perks up the song while still holding the roots of the genre.
Erin Clary: Before it was just you and Brad, and now you’ve added two more members to Annie in the Water. What brought on the change and how did this happen?
EC: Are there other collaborations you’d like to put together for the future and can you reflect on favorites that may have happened recently?
FRIDAY SEPT. 9 – OMMEGANG STAGE
Members: Jon Fine (Guitar, Bass, Keys). Ed “Preachermann” Holley, Sparlha Sparlha Swa, Morley, Tata Din Din Jobarteh, I’kyori Swaby, No Surrender and S.T. (Vocals). Tata Din Din Jobarteh, Youssoupha Sidibe (Kora). Morgan Harris (Guitar). Ebon Moss-Bachrach, I’kyori Swaby, Jesse Hofrichter (Keys). Jordan McLean (Trumpet). Martin Perna, Freddy Deboe (Baritone Sax). Stuart Bogie (Tenor Sax). Pierre Davis, Taagen Swaby, Sean Clete, Steven Heet, Sebastian Bauer (Drums). Matt Hauser, Marcus Burrowes (Percussion). Kristine Kruta (Cello).
