NYS Music 20​16

Category: News Desk

  • Greg Lake, Prog Pioneer, Dies at 69

    Greg Lake, founder of progressive rock pioneers King Crimson and founding member of Emerson, Lake and Palmer has died at the age of 69.

    greg lakeLake, a founding member of both King Crimson and Emerson, Lake and Palmer, was one of the progenitors of the progressive rock movement in the late 1960s through the mid 1970s. His vocal style propelled ELP to FM radio stardom in the U.S. on songs such as “Lucky Man” and his solo Christmas song “I Believe in Father Christmas,” a constant on FM radio this time of year.

    Bandmate, and lone surviving member of ELP (Keith Emerson passed earlier this year.), drummer Carl Palmer told the Los Angeles Times:

    We have a lot to thank him for. If you look at the musical landscape of Emerson, Lake & Palmer, he wrote most of the songs that got played on American radio. What he brought was a uniqueness that the music business didn’t have at that time. We weren’t an out-and-out rock band, and we didn’t play the blues. He was a choir-boy kind of singer, a very angelic sounding voice.

    ELP carried popular rock music beyond the blues-based sounds that had been coming from British bands such as the Rolling Stones and the Faces, creating a more theatrical and symphonic style of rock music based in the sounds of classical musicians such as Mussorgsky, Bach, Copland and Bartok.

    Lake balanced the bombastic keyboard work of Emerson with acoustic songs such as “Lucky Man,” a song he wrote at the age of 12, and “From the Beginning.” He recorded his first solo piece in 1975, the perennial Christmas favorite, “I Believe in Father Christmas,” but continued recording with ELP until their break up in 1979.

    greg lakeLake’s career began in 1965 as a member of Unit Four and Time Checks, cover bands that gave him exposure in the Dorset, UK scene. His time in Unit Four led to a relationship with Robert Fripp, who recruited Lake to sing and play bass for his new band, King Crimson.

    Lake performed on King Crimson’s seminal debut In the Court of the Crimson King and the follow-up In the Wake of Poseidon before parting ways after striking up a friendship with The Nice’s Emerson in 1970. The two recruited drummer Palmer from The Crazy World of Arthur Brown to form what became the prog-rock supergroup ELP.

    Lake was born Nov. 10, 1947 in Bournemouth, England, to an engineer father and housewife mother. He is survived by his wife, Regina and their daughter, Natasha.

  • Phil Finger Death Punch, a Possible Glimpse Into The Future

    All That Remains frontman Phil Labonte has come up from the “Righteous Side Of Hell,” to help save the boys in Five Finger Death Punch from being on the “Wrong Side Of Heaven,” due to the band’s erratic troubled frontman Ivan Moody, to save the rest of the band’s co-headlining tour with Shinedown, a tour that also features Sixx: A.M., and As Lions.

    phil finger death punchLabonte, who is good friends with Moody, stepped up and filled in on Dec. 1 at the Wells Fargo Center in Philadelphia, PA, doing a tremendous job in the process. Joining Labonte in helping save the tour for FFDP and their fans were Sixx: A.M. frontman James Michael and As Lions singer Austin Dickinson (son of Iron Maiden’s Bruce Dickinson), lending their vocals during FFDP’s set. Phil will continue the vocal duties for Five Finger Death Punch for the remainder of the tour. There has been speculation that this could be an audition for Labonte to replace Moody for an extended period of time or even permanently.

    Moody stated on Nov. 29 to Syracuse, NY fans inside the Oncenter, that they would see the real Ivan Moody tonight. He went on and said that with all the social media outlets out there, that his life is exposed, and can’t seem to get away from people fabricating stories about him.

    One of those “fabricated” stories came days earlier in Worcester, MA, when Moody stated to the crowd that his mother was passing away as he was onstage, and cut the concert short. Bassist Chris Kael was left with the mop up duties, apologizing to the crowd for the early departure. In an odd twist, Moody’s sister stated that their mother was not ailing nor anyone else in their family, for that matter. This prompted Moody’s statement at the band’s Newark, NJ show that the mother he was referring to was his “House Mother” from rehab.

    During the same show, Moody, who has revealed his thoughts about Kanye West in the past, compared himself to the hip hop star, stating that he now “Get’s it” when it comes to the “mental breakdown” that West is has currently been hospitalized for, after West went on various verbal tirades during his live shows and cutting concerts short. Two days later, Ivan Moody is on the shelf due to illness and off the rest of the tour.

    Moody had his famous Memphis meltdown back in May of 2015, where he apparently angered drummer Jeremy Spencer with a comment he made over the mic about Spencer’s book, prompting Spencer and the rest of the band to leave Moody by himself on stage. Days later, the band stated that there was nothing wrong with Moody, or the band, and blamed poor sound equipment as the reason why they had cut their set short.

    It has been no secret, as reported previously by NYS Music, that the band is being sued by their record label, Prospect Park. Some of the reasons stated in the lawsuit include that the band doesn’t care for Moody’s well-being and that they are trying to cash in before Moody has a complete meltdown, or even worse, dies. With his past and recent actions, Prospect Park could be onto something when it comes to Moody’s well-being.

    Fans, music insiders and music executives believe that, without Moody, there is no FFDP, and with all his recent  seemingly “I’m untouchable” behavior over the past couple of years, Moody must feel the same.  Moody’s recent behaviors suggest a desperate need for an extended break from touring, the music industry, and the limelight.

    Eventually, the band will have to draw the line with Moody’s recent actions and do what’s best for FFDP moving forward. Whether they move on with Labonte or someone else, or force Moody to take a break.

    With all that being said, Labonte has the goods to deliver the songs in FFDP fashion on stage, but does he has the raw charismatic edgy appeal that Moody possess, and that fans crave and love about Moody?

    When it come’s to what’s next in the Ivan Moody/FFDP saga”All That Remains” is, wait and see.

    https://youtu.be/OdOqi03fbds

    Remaining Five Finger Death Punch/Shinedown Tour Dates:

    12-08 – Amway Arena – Orlando, FL
    12-09 – Amalie Arena – Tampa, FL
    12-10 – Infinite Energy Center – Duluth, GA

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

    David Grisman, the Dawg of Del & Dawg

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

    Watch Del and Dawg from Oriental Theater in Denver below.

  • Cuomo Signs Ticket Bot Bill Into Law

    New York Governor Andrew Cuomo signed a bill this week that calls for harsher punishments for those using automated ‘Ticket Bot’ software to purchase large blocs of tickets for concerts and other events. These tickets often turn up on third party ticket resale sites such as Stub Hub minutes after purchase at a much higher markup.

    The new law, sponsored by Assemblyman Marcos Crespo (D-Bronx) and Senator Andrew Lanza (R-Staten Island), makes using ticket “bots,” or willingly reselling tickets purchased using the software illegal in New York State.

    The use of ticket bots was already illegal in New York but this law toughens penalties beyond the civil level. It carries with it a civil penalty of a $500-$1500 fine and forfeiture of any profit made for anyone reselling tickets purchased using “bots” and rises to the level of class A misdemeanor if the person knowingly uses “bot” software to purchase tickets with the intent to resell for profit.  In a statement, Governor Cuomo said:

     These unscrupulous speculators and their underhanded tactics have manipulated the marketplace and often leave New Yorkers and visitors alike with little choice but to buy tickets on the secondary market at an exorbitant mark-up. It’s predatory, it’s wrong and, with this legislation, we are taking an important step towards restoring fairness and equity back to this multi-billion dollar industry.

    As reported by NYS Music in January, the issue of ticketing “bots” gained widespread attention when New York’s Attorney General Eric Schneiderman issued a report critical of the industry. Several states have anti-scalping laws on the books, but this new law provides the harshest penalties thus far.

    Hamilton creator Lin-Manuel Miranda issued a call this July, via a New York Times editorial, to get tough on ticket “bots.” In it, he praised the efforts of the AG and sponsoring legislators in pushing the bill through and called on Governor Cuomo to quickly sign the bill into law, which he did Wednesday.

    At the federal level, Tuesday the Senate, passed the BOTS (Better Online Ticket Sales) Act of 2016. The bill now moves to the House of Representatives for consideration before it can be signed into law.

  • Long Island’s Bête Noire Offers a Ska Twist on Christmas

    Desmond Dekker, Dandy Livingston, The Clash, The Specials. These artists aren’t typically associated with Christmas. Long Island‘s Bête Noire is out to change that perception with the release of its new Christmas single, “A Message to Rudolph.”

    bete noireThe song is heavily influenced by The Specials’ 2 tone remake of Dandy Livingstone’s reggae classic “Rudy, A Message to You,” recalling the infamous rude boy reindeer’s tale of one foggy Christmas Eve in a campy video.

    Bête Noire is a music collective based in Long Island. Members of the collective appearing in the video play with the bands Oogee Wawa, Aqua Cherry, Radio 4 and Hot and Ugly.

    Now that December has arrived, add a new carol to your playlist. You can download the single at Bête Noire’s Bandcamp page or through iTunes. Check the video below.

  • Tony Markellis Keeping Busy

    Bassist Tony Markellis, best known for his work with the Trey Anastasio Band, The Mamas and the Papas, Paul Butterfield, David Bromberg, and his own group, the jazz ensemble Kilimanjaro, will be playing a host of local shows in the Northeast to close out 2016.

    tony markellis

    On Sunday, Dec. 4, Markellis will join the Burns Sisters, a folk duo from Binghamton, performing their holiday show at Caffe Lena in Saratoga Springs. Then, on Friday, Dec. 9, he will return to Caffe Lena with Jeanne O’ Connor and the New Standard to treat Saratoga Springs to fresh renditions of classic hits from the 1960s and 70s. Next, performing with moe. drummer Vinnie Amico’s side-project, the progressive newgrass outfit Floodwood, Markellis will travel to Wilkes-Barre, PA for stops at the Jazz Café on Saturday, Dec. 10, and for a private concert on Sunday, Dec. 11.

    Markellis returns to New York, rejoining the Burns Sisters for their holiday shows at the Hangar Theater in Ithaca on Friday and Saturday, Dec. 16 and 17, and at Six on the Square in Oxford on Sunday, Dec. 18. Lastly, in bringing 2016 to a close, Markellis will reunite with his longtime running mates in Kilimanjaro for a New Year’s Eve performance at the First Night Burlington festival.

    And don’t miss a chance to see Markellis with the Trey Anastasio Band this upcoming spring. New York fans will get first crack at TAB tour with two Capitol Theatre shows on April 14 and 15.

  • ‘Deep Listening’ Pioneer and Experimental Music Composer Pauline Oliveros Passes Away at 84

    Pauline Oliveros, experimental composer, electronic music innovator, accordionist, pioneer of the Deep Listening philosophy and Distinguished Research Professor of Music at Rensselaer Polytechnic Institute, passed away Thanksgiving Day at the age of 84.

    Pauline Oliveros composerDuring my own time as a student at RPI studying soil mechanics and structural analysis of steel and concrete I somehow found the time to add an electronic arts minor to my transcript. I had heard of a class called ‘Deep Listening’ and it seemed to this then-junior engineering student like a curious subject to help round out the arts minor. It wasn’t until my senior year – when it was too late to reconfigure course schedules – that I had a taste of this subject when my advanced computer music class sat in on a session happening two floors above in West Hall.

    Near one side of the room a dozen or so students was Pauline Oliveros, deeply immersed in the multi-channel surround soundscape created with her cherry red accordion and numerous effects processing. Seeing the focus of those students in a music setting unfamiliar to me was incredible and proved an importance to her course.

    Oliveros was interested in music from a young age, learning accordion from her mother in Texas at age nine and learning the French horn and tuba later on. Her education took her through music programs at the University of Houston and San Francisco State College where she obtained a Bachelor of Fine Arts degree in composition. She remained in academia for several years, teaching at Mills College and UCSD. In 1981 she left UCSD to come to the Hudson Valley, where a less restrictive creative environment allowed her to further explore performance and composition where she later founded the Deep Listening Institute.

    She introduced herself to the idea of deep listening in the early 1950s when she got her first tape recorder. “I immediately recorded from my apartment window in San Francisco,” she recalls in a 2012 interview on WRPI in Troy, NY. “I listened as I recorded but when I listened back to the tape I heard things that I hadn’t heard when I recorded. So, I realized that I hadn’t really been listening. Since then my mantra has been listen to everything all the time and remind yourself when you’re not.”

    The term “Deep Listening” hadn’t been coined for many years after her early experiments with tape recordings and work with the San Francisco Tape Music Center, though the ideas and teachings were there in Oliveros’ early academic career in experimental music and composition. “Deep Listening” as a term was a coincidence of pun associated with recordings made in the Dan Harpole underground cistern in Washington State in 1988 with two of her musical partners Stuart Dempster and Panaiotis who then donned the name for the group of Deep Listening Band.

    Deep listening, in brief, is about treating listening as an active rather than passive process, a process that takes some effort. “Deep Listening is listening in every possible way to everything possible to hear no matter what you are doing,” Oliveros described. “Such intense listening includes the sounds of daily life, of nature, or one’s own thoughts as well as musical sounds. Deep Listening represents a heightened state of awareness and connects to all that there is.” That philosophy has led her to have a profound influence on music through improvisation, meditation, and use of electronic music.

    Oliveros’ extensive fifty-year career as a leader in avante-garde and experimental music included numerous recordings under her own name and with the Deep Listening Band. Along with these recordings, Oliveros has many publications, videos and has given many lectures and workshops out of the classroom setting. She received several awards in her career, including the most recent biennial John Cage Award in 2012, given by the Foundation for Contemporary Arts in New York City to individuals who have made outstanding achievements in contemporary performing arts.

    From 2001 until her passing, Oliveros had been teaching Deep Listening and conducting research at RPI in Troy. Her collaborative research at the university included the Adaptive Use Musical Instrument (AUMI) – a development of adaptive musical instruments through computer interfaces for those with mobility restrictions – and others including artificial intelligence programming for improvised music and data science research with the university’s School of Science.

    In 2012 a celebration of Oliveros’ 80th birthday was held at the university’s Experimental Media and Performing Arts Center (EMPAC). Oliveros, along with the Deep Listening Band, gave a performance utilizing computer simulations, developed by architecture acoustics professor Jonas Braasch, of the acoustics of the cistern in which the band recorded in 1988, implemented using technology within the theater.

    While Oliveros had an extensive career as a composer and performer, many people who have worked with her have been remembering her as a compassionate mentor, brilliant until her passing. Former student Blair Neal recalls of her impact, “Technology was never at the core of [class] discussions though, it was always the power of the human and how we communicated and listened to each other. That kind of teaching is something I try to carry with me always.” Another former student, Alex Bulazel shares simple words of gratitude, “Pauline was always an inspiration to her students, reminding them of the importance of creativity, artistic self-expression, humor, and most importantly, listening.”

  • Jam for Tots Benefit Shows Kick off November 25 in Tannersville

    Jam for Tots returns to the Capital Region of New York for the 10th year in a row, with a series of performances that bring the live music community together in supporting children in need this holiday season.

    jam for totsHosted by Luke Weiler of Positive Mental Trip, the event started as a way to help make less fortunate children happy and doing so through music for a positive cause. Working with The Marines Corps, who run Toys for Tots, the events grew from one in 2007 to nine in 2013, while keeping a focus on the Northeast as an area of need.

    “Our goal for 2016 is to make as many children happy on Christmas Day and make sure that every person that comes to Jam for Tots leaves happy and glad that they took the time to come,” said Weiler. “We go to great lengths every year to make sure people have a blast at Jam for Tots with raffles, giveaways, great bands and all around good vibes. When a town and a good promoter get behind these events, there is really nothing that can stop them from being successful. This year all four shows are in places that love Jam for Tots and are all about it so they are all gonna rock.”

    The four Jam for Tots events kick off on Friday, November 25 in Tannersville at The Spinning Room. Bring a toy for a child as your cover charge for the shows.

    November 25, The Spinning Room, Tannersville, NY

    Bands include Positive Mental Trip (band), The Vicious Knishes, and In Good Company. Doors 8:30pm, Music goes from 9pm-1 am. Event link

    December 2, The Stewart House, Athens, NY

    Bands include Positive Mental Trip (band), For the Grateful and DUBB Agents. Doors 6:15pm, Music from 7-10pm. Event link

    December 10, Putnam Den, Saratoga Springs, NY

    Bands include Dr. Jah and the Love Prophets, Positive Mental Trip (band), The North and South Dakotas, Too Much Too Fast, and Dustin Sawyer. Doors at 7pm with live music until 2am. Event link

    December 17, Aaron’s Irish Pub, Gloversville, NY

    Bands are Too Much Too Fast, Positive Mental Trip -Band, Our Secret Love Society, Noise Between Stations and Memory of Me. Doors at 6pm with live music from 7pm – 2am. Event link

  • The Jesus and Mary Chain Announce First New Studio Release Since 1998

    Post-punk sensations The Jesus and Mary Chain have been getting back up to speed of late. In 2014 and 2015 they played several tour dates in the run up to last year’s release of Live from Barrowlands, and now longtime Jesus and Mary Chain handler Alan McGee, of Creation Records, has announced that the band is set to release a new studio album in March 2017 on Warner Brothers Records. In an interview with CBC Music, McGee exclaimed, “they’ve made another album. It’s a big deal! It’s unbelievable.”

    While the Jesus and Mary Chain, led by brothers Jim and William Reid, released a compilation record, 21 Singles, in 2002, the upcoming release will give fans their first dose of new material since 1998’s Munky. Eighteen years is a long time to wait, but this announcement comes as a taste of candy for all the devoted fans who feared this day would never arrive.

    No tour dates have been announced in support of the new release as of yet, however, there remain three chances to catch The Jesus and Mary Chain live in the act before the year ends. The brothers Reid, who are now joined by Scott Van Ryper on guitar, Mark Crozer on bass, and Brian Young on drums, will take the stage at the Georgia Theatre in Athens on December 13, 2016, followed by a performance at The Masquerade in Atlanta, GA on December 14, and then a trip to New Orleans for a show at The Joy Theater on December 16.

    Click here for further details, including tickets, and check out the official video for “You Trip Me Up,” from 1985’s landmark release Psychocandy.

  • Cross Country Interview with the One and Only Zach Deputy

    Talents in the music world like Zach Deputy are a rare breed. The multi-instrumentalist singer and songwriter is from Savannah, Georgia ( I thought he told ya?) He is currently  on tour to support his newest album Wash It In The Water. With his upcoming show November 29 at Buffalo Iron Works he recently took the time to talk with me about tour life, our great state of New York and much more.

    gsfdsfdsdfsd

    Tim Merrill: Where in the world is Zach Deputy today on this fifth day of November?

    Zach Deputy: That’s today I’m assuming (haha)? I just crossed the California border into Arizona. We are in Tempe, AZ right now. I’ve got a show in Tempe tonight at the Marquee Theater

    TM: You’ve got a show later this month in Buffalo. The show is five days after Thanksgiving. How do you plan on spending your Thanksgiving?

    ZD: What am I doing for Thanksgiving? Probably hanging out with the Worm. A bunch of Wormtown Family. I’ve spent Thanksgiving there two or three times over the past few years.

    TM: You’re no stranger to playing in Buffalo. Is there anything you like to do when you pass through town?

    ZD: I’m always down to play disc golf. I love the wings at the Anchor Bar. Some people claim they’re the best. Some people don’t. But yea, that place is awesome. Those wings are legit!

    TM: When you’re  on tour traveling through the rest of the great state of New York how do you like to spend your time off stage?

    ZD: I love Keuka Lake. Swimming in that lake is awesome! I’ve been sick before and jumped in and felt instantly better. I love New York. Lake George, tons of places upstate. Except for the winters. I’m a Southern boy

    TM: You’re latest album Wash It In The Water was released a few months ago. What song(s) are you having fun playing on tour off the album?

    ZD: I’ve been playing a few different versions of “Put It In The Boogie.” Maybe four different versions but they are always different.  I’ve had a lot of fun opening up the jam on that song, especially the solo.

    TM: At what age did you pick up your first instrument?

    ZD: I’ve always told people that I played my voice first. Before my recollection it was there. But I picked up the guitar at 13. Got one for my 13th birthday.

    TM: Whats in store for Zach Deputy in 2017?

    ZD: I’m always trying to work on my craft. I’m always trying to give back the love that was so freely given to me. Just trying to make this thing bigger and better. You know, onward and upward. Wherever that takes me!

    Doors are at 7 PM and the show starts at 8 PM Tuesday November 29 at Buffalo Iron Works. Tickets are available here. Bring your dancing shoes. See you there!