NYS Music 20​16

Category: Ithaca

  • 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.

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    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.

  • Sturgill Simpson Simply Stuns the State

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

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

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

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

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

  • Marco Benevento Bringing Fred Short to Upstate New York

    Marco Benevento, touring in support of his recently released half-concept/half dance-inflicted rock anthems album The Story of Fred Short, will make a run through upstate New York this week. Of the new album, the LA Times says, Marco “continues a rewarding effort to straighten his twisted sound into the guise of an indie-rock singer-songwriter, harnessing his inventive sonic palette into rewardingly bite-size pop songs that touch on disco and soul” while Boulder Weekly calls it “a swirling pastiche of deep grooves, buoyant pop filigrees and grinding old-school psychedelic reveries.”

    fred shortBenevento has been keeping busy with sporadic dates in Joe Russo’s Almost Dead, playing with The Arcs and The Barr Brothers, and gearing up for the long-awaited reunion of the Duo. But his main focus has been his solo band, which features fellow JRAD-ian Dave Dreiwitz on bass and Andy Borger on drums. Seeing Benevento’s solo performances is to catch him in his element.

    Starting on Thursday at the Montage Music Hall in Rochester, the band will continue to Hector at the Stonecat on Friday the 13th (watch out!) before hitting the Tralf Music Hall in Buffalo on Saturday night. Rochester’s own Mikaela Davis will open the shows with her gorgeous and unique harp-lead indie folk rock. And who knows, maybe she’ll even sit in with Benevento for a song or two, like she did recently in Brooklyn.

  • Twiddle Impresses in Plumpty Dumpty Tour Finale in Ithaca

    It had been a decade since I’d been to Ithaca. The final show of Twiddle‘s Plumpty Dumpty tour was more than enough reason to make the drive from Buffalo. I’m sure glad I did.

    Plumpty Dumpty TourIt was my first time being at The Haunt. It’s a great intimate venue. The security and staff there were nothing but “frendly” and helpful. The Haunt is historic in its own right. Seeing some of the bands pictures hung on the wall it just felt right that Twiddle was closing their spring tour there.

    Space Carnival opened up the night. They brought high energy to the stage and the crowd loved it. Their final song for the night was a cover of Lionel Richie’s “All Night Long.” Keep an eye and an ear out for these up-and-comers.

    Twiddle opened  with a great “Polluted Beauty,” one of my favorite songs off their latest Plump Chapter 1. Some of the guys were not feeling 100 percent healthy after spending a month on the road but you couldn’t tell with the way they hit the stage.

    Mihali Sauvolidis took flight from the start, shredding apart the 20-minute “Polluted Beauty.” Twiddle is on fire right now. In my eyes the sky really is the limit for these guys.

    My favorite part of the night was hearing the instrumental “Wasabi Eruption” > “The Box.” The set list for the night was very plump with Plump. We look forward to what Twiddle has in store with Plump Chapter 2.

    Twiddle ended the night with the crowd-pleaser “Lost In The Cold.” All in all it was a beautiful night. The crowd was nothing but friendly, especially to my pregnant girlfriend. With this upward trajectory, don’t expect to see Twiddle playing at such intimate venues for much longer.

    Next up for Twiddle is their May 7 date at the historic The Capitol Theater in Port Chester. If you are planning on attending, get your tickets soon. It will sell out.

    Space Carnival: Rango >Regal Krad , Entree The Giant, Pilb, Uh Oh, I slipped My Disco, Cyberia, Moon Boots, All Night Long (Lionel Richie cover)

    Twiddle: Polluted Beauty, Wasabi Eruption> The Box, Syncopated Healing, Amydst The Midst, White Light
    Encore : Lost In The Cold

    Setlist provided by uTwiddle

  • Woods are Gorgeous in Ithaca

    Hot on the heels of the release of their new critically-acclaimed and fan-approved new album,  City Sun Eater in the River of Light, Brooklyn-based Woods opened their tour in Ithaca at The Haunt. The quintet peppered their set with the newly minted tunes, all of which were being played for the first time.IMG_3725

    The album pushes the band’s sound deeper into psychedelic grooves, heavily influenced by Ethiopian jazz. There was a fairly clear distinction between the new songs and the older material based on the advancement of their sound. Despite being opened fresh out of the box, they were masterfully tight and sounding like well-worn classics.

    Fans had a couple of weeks to absorb the new tunes, and many in the crowd were singing along. But more than that, there was a familiarity with the new music, and each song was greeted with a smile as if to say, “Oh yeah, this is a good one.” As each successive new one was added into the mix, it became obvious, if it wasn’t already prior, that this new album was a keeper. as solid as anything in Woods’ catalog.

    Lead singer and guitarist Jeremy Earl, guitarist Jarvis Taveniere, drummer Aaron Neveu, and bassist John Andrews were joined by new keyboard/sax/tambourine/backing vocalist Kyle Forester. He may have been playing his first show, but his presence was immediately felt as he aptly rounded out the sonic landscapes.

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    Their highlight-worthy take on “The Take,” had Neveu getting dense beats with mallets, while Earl and Taveniere worked through some syncopated melodies. Eventually Neveu switched to sticks, pounding the song into a long trippy ride featuring some nice sax and guitar interplay that was reminiscent of some classic Traffic jams.

    Their older material made strong appearances as well. They showcased their folksier side with “Cali in a Cup” and “Shepherd,” while a set-closing take on “With Light and With Love” gave a glimpse into the evolution that occured to arrive at their current sound. It was an adventure in rock and groove that wrapped up the evening perfectly.

    Setlist:
    Morning Light, Politics of Free, Leaves Like Glass, Hollow Home, Sun City Creeps, The Take, New Light, Cali in a Cup, Shepherd, Can’t See At All, Creature Comforts, With Light and with Love
    E: Blood Dries Darker, Moving to the Left

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  • Big Mean Sound Machine Shakes B-Side Ballroom

    On March 11, Big Mean Sound Machine blew multiple minds away on a groovy Friday night at B-Side Ballroom in Oneonta, NY. A collection of nine talented souls graced the little nook of a stage that night, and gave it their all. It was evident that this group loves what they do, and are extremely cheerful about it. Throughout the night, they brought funkadelic afro-dance madness, with hints of worldly, succulent, jammy beats full of jazz and wonder. It can really get the best of someone in the best possible way, and I know it got the best of me.

    big mean sound machine B-Side BallroomHaving been the first time seeing Big Mean perform, my breath journeyed its way up through my esophagus and exited only to create electrical gasps. Smiles filled the air as each musical build up was brought to the attention of the B-Side audience; it was impossible to look away. It channeled energies and was not only mesmerizing, but jaw-dropping and awe-inspiring.

    To put the night into perspective, envision a tiny stage within a restaurant/bar, packed with assorted instruments and intense skill. Everyone was hanging out at first, but the next thing you know, the floor was filled with dedicated dancers who yearned to experience the largest and meanest sounds that this machine created. ‘Twas a machine indeed, and it lit up the floor and crowd, as if fanciful fireworks were exploding into thin air.

    The show commenced, and the performers wooed the audience with a song called “Whoa Gosh,” one of many various fresh tracks from Big Mean’s most recent album, Contraband (2014). The Ithaca, NY, band has the power to gather the vibes that instruments generate and transform sound waves into jiggy, psychedelic beauty. With their unique sense of musical style, Big Mean raises the bar with their originality and feel-good atmosphere.

    Angelo Peters rocked out on the bass, whileto his right Bobby Spellman owned the trumpet. Andrew Klein beat the drums to death, as Lucas Ashby brought the congas to life. Dan Barker and Ray McNamara created rhythm and movement with every jam from their guitars. Rob Tate hit up the audience with some electric rhythms, as Tyler Burchfield soothed souls with his baritone saxophone and Alicia Aubin danced the night away with her trombone.

    big mean sound machine B-Side BallroomThe fans handled every sound the band threw at them; the rhythms made each soul move and each body shake that night, bringing a sense of euphoria and enlightenment. Throughout the show, Big Mean rocked the stage with even more hits from their newest album, some of which included “In the Name of What,” “Contraband,” “Sweet Tooth” and “Wolfpack.” They also threw in “Marauders,” a classic from 2012, that brought a different sense of style and flair to the set.

    Big Mean Sound Machine is more than just a group; they are a beautiful arrangement and outstanding collective that brings life to every stage they perform on. Their jiggy style makes you want to move all night and it will resonate with you, as it is quite contagious my friends.

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  • Hearing Aide: Record New Highs Debut EP

    RNH EP Front CoverIn the years 1998 and 2003 a collaboration of musicians assembled to record 3 songs.  Lead by David “Solid” Gould, formerly of John Brown’s Body, Record New Highs features artists such as Brian Wilson (Anna Koogan, Johnny Dowd), Nate “Silas” Richardson (10 Ft Ganja Plant, Black Castle, Sim Redmond Band), Mark Berney (Itzhak Perlman, formerly of the Skatalites), Jhakeem Haltom (Thousands of One), and Craig Akira Fujita (Pressure Cooker, 10 Ft. Ganja Plant).

    The EP’s 3 songs, “Unity,” “Duva Duva,” and “Rebirth” are explored inside and out; they are first displayed in their original form and then represented with slight variation with either a dub style or with a DJ to give a subtly different tone.  When these songs were created and recorded Gould didn’t feel that it was the right time to bring them to bear.  Instead, he waited 13 years to finally give the public a taste of his and Record New Highs’ eclectic and jazzy ambient tones.  According to the collaborative’s website, Gould had “been patiently waiting for the right time to release this debut EP.”  He decided that in January the time had finally come. Keep an ear out for more innovative sounds from Record New Highs, as there are plans of fresh releases in the near future featuring the melodic and percussive sounds of the West African inspired tongue drum.

    This EP is available on Bandcamp to listen to and purchase, and is available for streaming on Spotify.  To get a taste of these “new” eclectic recordings check out both “Unity” and “Unity DJ Style” below.

    [embedyt] http://www.youtube.com/watch?v=Bu2k7gJi7VM[/embedyt]

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  • Hearing Aide: LYON “Trinity”

    LYON TrinityWhat does a music-monger love more than great weather on Shakedown Street? The answer is a solo project from a member of a favorite band.

    SOLARiS drummer Dan Lyons has released Trinity, the third studio album from the New York City producer, recording as LYON. As a member of Ithaca’s electro-rock band SOLARiS and touring for years at smaller venues around the Northeast and at festivals such as Catskill Chill, LYON brought together numerous contemporaries for this compilation, including guitarist Wiley Griffin and producers Binary Bits and Digital Davy. Members from Horizon Wireless and SOLARiS also guest starred. Trinity was mastered by Disco Biscuits‘ archivist and sound engineer Rich Steele.

    Each of the 11 songs on this album is seamlessly put together and downright smooth; and each tune features unique euphoric sounds with steady drum beats that seduce a perpetual head bob. The first key track on the record,”When I Was Young,” is a bouncy collaboration between Lyons and Horizon Wireless, while “Hydrocuff” flows as an alluring trance with touches of Caribbean steel drums mid-song.

    “Midnite Society” offers listeners a surprising and fun mixture of disco and pile-driving guitar jams, and it lead my mind to start jamming into LOTUS shortly after. The title of “Clock Strikes 12’” nicely closes out the collection, as Trinity is the perfect soundtrack for those impromptu after-hour dance parties. Or for listening to as the western sun floated down through the window and left me bouncing and grooving in my chair, feeling completely relaxed and at home in myself.

    LYON’s beautiful new release, Trinity, can be streamed in full via the artist’s Bandcamp page, and if you find yourself impressed, there is no shortage of live SOLARiS documentation to check out.

    Key Tracks: “When I Was Young,” “Hydrocuff,” “Midnite Society,” “Clock Strikes 12′”

  • Hearing Aide: Jimkata ‘In Motion’

    After a short hiatus that took the band off the road and included a change in the band’s line-up, Ithaca based jamtronica/indie rock band Jimkata is back with their much anticipated release In Motion. The album marks the band’s second fan funded album and is packed full of mellow grooves, driving beats and captivating lyrics.

    Simply stated: Welcome to Jimkata 2.0.

    Jimkata In Motion

    If Jimkata lives by its own musical mantra’s, In Motion is best described by a single line from the band’s 2012 release Die Digital –“All the best things seem to surface after the worst times.” The group’s latest release is a revealing composition that celebrates living in the moment and the gripping realities of love, life and loss.

    Musically, In Motion is a varied departure from Jimkata’s signature driving, dance beats and swirling, glaring guitar. There’s a warmer, more peaceful groove infused throughout the entire album, different from some of the band’s harder and edgier releases. But what the band does successfully is create songs that you can lose yourself in. In Motion is full of inviting, listener friendly ear worms; songs that you want to hear constantly on repeat.

    There is a world of musical discovery to this album – like a musical onion. Almost undetectable layers to the band’s sounds that present themselves differently every time you listen to a song. Technically, it may be Jimkata’s most successful album to date. You are forced to listen to the album’s production value, because that’s what the album really is about. Yet, In Motion succeeds at sounding sleek but never over-produced.

    What’s missing from In Motion is the musical push and pull that has become synonymous with previous Jimkata releases. At times, the album teeters into more ambient territory, but despite less edge, the album never borders on sleepy. There is always something to keep your ear listening. And although the album isn’t full of mind altering guitar solos or face melting jams, In Motion showcases a completely different side to the band.

    In a time where bands are incorporating the glory of 80s snyth and new wave technology, Jimkata is exploring it. Whereas the band’s last few releases simply infused the era driven sounds into their mix of catchy guitar riffs and hooky lyrical mantras, In Motion delves deeper into that already established aspect of the band’s sound.

    The album’s first single “In the Moment” captures the essence of Jimkata past and present. It is the one single that feels like it could have fit on albums past, yet In Motion would somehow be incomplete without it. Perfectly timed drums from Packy Lunn create a mellow yet focused disco beat while layers of snyth and keys cascade around vocalist/guitarist Evan Friedell’s comforting vocal style.

    The true gem of In Motion is the album’s lyrical experience.   Friedell creates a haunting familiarity that is personal and connective. In several songs, like “Wild Ride” and “In the Moment,” it feels that he is singing directly to the listener. And it’s that quality that makes this album so special. It takes a confident and self-aware lyricist to create the kind of moments that feel connected and relatable. At times, the album feels like a movie soundtrack without a movie. If you listen close enough, the story is perfectly laid out for the listener to discover.

    As the band launches a late winter tour in support of the album, it will be interesting to see how these songs will fit into the live, high energy performances that Jimkata is known for. Of the albums nine tracks, “Innocence” has the most intriguing live performance potential. “Ride the Wave” and “Build Me Up” have already seen stage time during the last year and fit neatly into the Jimkata live show.

    In Motion drops on February 12, but is still available for pre-sale through the band’s Pledgemusic campaign. Jimkata kicks off their In Motion Release tour on Feb 19 in Burlington, Vermont.

    Key Tracks: Ride the Wave, In the Moment, Wild Ride