NYS Music 20​16

Blog

  • In Memoriam: Elliot Tiber, Playwright with Key Role in Woodstock

    Woodstock as we know it may not have happened if it were not for Elliot Tiber.

    In July 1969, Michael Lang and Artie Kornfeld of Woodstock Ventures found themselves without a venue for a music festival. Described in detail in Robert Stephen Spitz’s “Barefoot in Babylon,” the town of Wallkill had just revoked their permit, and Lang and Kornfeld turned to Sullivan County for an alternate location. Elliot Tiber happened upon the news that they were in search of a location, and while the backyard of the family’s El Monaco Hotel in White Lake, NY would not suffice, the farmland belonging to his friend Max Yasgur was available.

    More importantly, Tiber was the President of the local Chamber of Commerce, and had a permit in hand for an arts festival that summer, an annual event held at the motel. But Woodstock would be well beyond what Tiber could have expected when he first met Michael Lang.

    Elliot Tiber passed away on August 3 in Boca Raton, FL from complications from a stroke. He was 81.

    elliot tiberBorn in Bensonhurst on April 15, 1935, Tiber was a graduate of Hunter College, attended the Pratt Institute and taught creative writing at New School University, fine art at Hunter College, and art design history at the New York Institute of Technology.

    A gay rights activist and playwright, Tiber wrote the screenplay for the 1976 film “Rue Haute”, which was nominated for Best Foreign Language Film (Belguim) at the Oscars the next year. He was a critical component to the original Woodstock, sharing his life story, and detailed recollection of August, 1969 in Taking Woodstock, later a 2009 movie of the same name by Ang Lee. Tiber wrote also wrote two memoirs, Knock on Woodstock and After Woodstock.

    His book Taking Woodstock is part journey through growing up in Brooklyn during the school year and heading to White Lake to the El Monaco Hotel his family ran in the summer. This was following the heyday of the Catskills, and business was far from optimal. Back at home, Elliot came of age during the Stonewall Riots in Greenwich Village, leading him to come out while at the center of the largest music gathering in history at that point.

    elliot tiberTiber told Publishers Weekly in 2011 “Coming out in the summer of 1969 was the most dangerous yet liberating thing that ever happened to me.”

    The second half of “Taking Woodstock” focuses on Elliot and the small arts festivals he held in town each summer, and as head of the local Chamber of Commerce, he held a permit that Woodstock Ventures would later use to shift their festival from the planned location in Wallkill, NY to Bethel, NY.

    Michael Lang said to the New York Times: “Elliot was part of the magic of Woodstock. Without his phone call bringing me to Bethel, Woodstock might never have happened, and for that I am eternally grateful.”

    Mr. Tiber told The Miami Herald “When I talk about Woodstock, or when I talk to my friends, it’s like time hasn’t passed … Then yesterday I got out of the shower and thought, ‘My God, I look like my mother.’”

  • LOCKN’ Opens With Scorching Performances

    Last week the world’s greatest athletes wrapped up their quadrennial competition competing on the world stage in Rio de Janeiro. The Olympics showcased the greatest talent humans have to offer in achievements of physical performance.

    This weekend, on a farm in the middle of the Blue Ridge Mountains in central Virginia, the most talented musicians in rock are gathering to showcase the greatest talent humans have to offer in achievements of aural performances – it truly is like the Olympics of jam, or in LOCKN’ parlance, the Jam ‘Lympics.

    LOCKN’ pushed the festival into late August this year, up from early-mid September previously. If the move was made to ensure better weather, it is paying off, with hot and dry conditions that allowed for efficient entry to the festival grounds for the 25,000 fans arriving from Wednesday through Thursday.

    Who better than Umphrey’s McGee, back for their third straight LOCKN’ appearance, to carry the torch in to kick off this year’s festivities. Like any good opening ceremonies, Umphrey’s set provided a feast for the eyes, with sprays and splashes of lights constantly bathing the stage in a kaleidoscope of color. This year LOCKN’ is featuring a rotating main stage. So, as opening act Vulfpeck played the last notes of their set, Umphrey’s two guitar attack blasted immediately before the band was even visible. The stage fully rotated, and just like that, Vulfpeck had transitioned seamlessly into Umphrey’s McGee, without a wasted second of silence.

    Sometimes it is fun and games. #Umphreys #Lockn

    A photo posted by LOCKN’ Music Festival (@locknfestival) on

    Between the opening notes of “Nipple Trix” and the closing sounds of “All In Time,” Umphrey’s set featured explosive guitar work and bombastic full band improvisations, a relentless assault of over-the-top rock theatrics. Like a DJ scratching on the turntable, the next band to turn around the table, Ween, got remixed into Umphrey’s set, as Gene Ween sat in for a cover of Billy Joel’s “The Stranger.”

    The opening ceremonies provided by Umphrey’s McGee was sandwiched between qualifying rounds by Vulfpeck and Ween. Both bands advanced to the medal rounds, and continued with sets Friday.

    Who’s ready for Ween? #WeenMe ?: @jayblakesberg #LOCKN #ween #theboognishrises

    A photo posted by LOCKN’ Music Festival (@locknfestival) on

    Relative newcomers to the scene, and riding high over a year that has seen their popularity skyrocket, Vulfpeck properly opened up the performances for the 2016 edition of LOCKN’ with their infectious and slinky funk. At a festival that is sure to feature many sit-ins and a good share of covers, they delivered on both counts, with Antwain Stanley sitting in for a few tunes and secondly with their nifty cover of Steely Dan’s “Peg.” Bassist Joe Dart showed off his gymnastic skills quite literally as he cartwheeled across the stage while getting the crowd involved in a “Christmas in LA” singalong.

    Ween closed the main stage Thursday with a career ­spanning set that in typical Ween fashion completely disregarded rock convention. When at the Jam ‘Lympics, its best to show off your jamming chops, and Ween delivered with a whacked out free form romp through “Poopship Destroyer” that had the band completely bathed in red, with some perfect trippy echoed images being displayed on the big screens and Gene Ween’s voice getting spookily modulated. They segued right into a more spritely “Zoloft” before ending after midnight unceremoniously with “Pandy Fackler.” But as Ween reminded the crowd, “Tomorrow is game day.”  Even after the over two hour set, it felt like the show wouldn’t be complete without their impending Friday night set.

    The day’s competition may have concluded, but back at the ‘Lympic village the party was just getting started. In the secluded Woods stage EOTO was digging into their electronic groove while the forest flashed hypnotically in reds, greens and blues. Behind a wood door that bore Jerry Garcia’s unique hand print, Garcia’s Forest featured an endless stream of historic Grateful Dead jams. While at the Blue Ridge Bowl, Joe Russo’s Almost Dead reinterpreted the very same music to a packed audience of blissed-out groovers. The music never stops.

    Like a two-sport wonder, Dave Dreiwitz, who had just performed with Ween on the main stage, pulled off the magnificient multi-band feat as he immediately appeared on stage with JRAD,the first on stage in fact. JRAD’s set opened with a spacey jam that dissolved into a long drawn out take on “Truckin’,” and then the set just spiraled into a tie-dyed blend of Grateful Dead colors, mixing and remixing the Dead catalog to thrilling effect, with takes on “St. Stephen,” “The Eleven,” “The Wheel” and “Estimated Prophet” peppering the set before a night closing “Terrpain Station.” The band served as the bridge between the ancient Gods of jam and the more modern styles and techniques of today. A perfect summary of what the celebration continuing at LOCKN’ is all about; the perfect way to end the first night and a look forward to the next three jam packed days.

    JRAD #LOCKN

    A video posted by pete mason (@phanart) on

  • Hearing Aide: Kiefer Sutherland ‘Down in a Hole’

    We all know Kiefer Sutherland from his starring roles in major motion pictures and tenured television career and on August 12, he joined the singer-songwriter realm with the release of his debut album, Down in a Hole.  Owning an independent record label with his friend and fellow musician, Jude Cole, has allowed Kiefer to work at close range with up and coming L.A. musicians for years.  Combine that with his life-long passion for music and good old fashioned Western country culture, and you’ve got a formula that takes us straight to the proverbial promised land.

    kiefer sutherland down in a hole“Can’t Stay Away” sees the album begin with a classic upbeat country theme that any lost boy can relate to; being hung up on another lover.  The female harmonization is immediately utilized, bringing a refreshing angle to a few of the 3 to 5 minute tracks that make up Hole.  Lugubrious slide guitar can be heard on “Not Enough Whiskey,” taking us away from the hustle and bustle of our usual bright lights, big city drag. “Going Home” provides a defiant edge for any young guns listening.

    “Shirley Jean” continues the ambulating pace of the album, perhaps referring to a past break up.  The production value is relatively high, and lyrically the songs manage to avoid some of the cliches that pigeonhole most popular country music today.  The title track leaves me personally with a true desire to cowboy up.  The coming weeks will tell whether or not Kiefer will be as big a hit in the studio as he is on the silver screen, but one thing is certain; he has staked a unique claim in the midst of desert saints, walking straight passed the phone booth and into the wild of country music.

    Key Tracks: Not Enough Whiskey, All She Wrote, Down in a Hole

    http://www.youtube.com/watch?v=BrHcMwKCtNw

  • Ladies Sing the Blues: The 24th Annual Chenango Blues Festival

    In 1956, Billie Holiday wrote her autobiography, Lady Sings the Blues. Sixty years later, Holiday would be pleased to know that ladies still sing the blues most impressively, as four female band leaders wowed the crowd at the 24th Annual Chenango Blues Festival, held August 19-20 in Norwich, New York. Davina Sowers of Davina and the Vagabonds, singer/saxophonist Vanessa Collier, sisters Tierinii and Tikyra Jackson of Southern Avenue, and Carolyn Wonderland all displayed powerful vocals and musicianship, as well as overwhelming stage presence that was met by thunderous applause from more than five thousand fans in attendance over two days.

    24th annual chenango blues festivalFestival attendees enjoyed perfect weather in a comfortable outdoor setting, and were treated to a variety of roots and blues music styles from more than a half dozen other outstanding acts, leading up to the headliner, New Orleans’ Anders Osborne.

    The festival began Friday evening, with the traditional free performances on the tent stage. The crowd grew quickly, with hundreds of fans setting up chairs and pop up tents on the lawn for the following day, as Central New York’s Funky Blu Roots played the fest’s first notes. Fronted by the husband and wife team of guitarist Mikal Serafim and bass player Nancy Giannone, the group included Tom Townsley on harmonica and vocals, drummer Phil Leone, and special guest George Rossi on keyboards. Serafim and Townsley traded lead vocals, backed by Rossi, on primarily original material of blues, light rock, and up-tempo numbers.

    Flying in from London the night before the show, exuberant Englishman Laurence Jones next took the stage for his first performance in the United States with his own band. Just twenty-four years old, Jones led his power trio, including bassist Roger Inniss and drummer Phil Wilson, through a high energy seventy-five minute set, featuring his brand new Ruf Records release, Take Me High, produced by the legendary Mike Vernon. Yet again, the Chenango Blues Festival secures its reputation for presenting the very best emerging artists for their Central New York debuts.

    Returning to the Chenango Blues Festival was Friday’s featured act, Davina and the Vagabonds. The group was a smash hit on the main stage in 2012. Due to return last year for Norwich’s Thursday Summer Music Series, that performance was canceled after the band was involved in a tragic accident on the day of the show. A man named John lost his life in that incident, and an emotional Davina Sowers dedicated her set Friday night to his memory. Piano, stand-up bass, trombone, trumpet, drums and four vocalists combine for rollicking, barrel house piano songs, a show-stopping cover of “I’d Rather Go Blind,” and her own crowd favorite tunes, including “Pocket,” “Start Running,” and “LipsticknChrome,” all from her release Black Cloud.

    Following the tent stage show Friday evening, fans were treated to a jaw-dropping preview performance by Saturday’s opening act, Noah Wotherspoon, at a small local tavern.

    At high noon on the main stage, Noah Wotherspoon, the 2015 International Blues Challenge Best Guitarist winner, led his trio through a set that included “Going to Mississippi” from his debut release Mystic Mud, and a handful of cover tunes. The diminutive Wotherspoon, who appears to be much younger than thirty-four, proved that a small band and a small guitarist sure can make a mighty big sound. In addition to gaining new followers, Wotherspoon and bandmates Rob Thaxton (bass) and Brian Aylor (drums) were unabashed fans of the other musicians, chatting up old friends and making new ones. Thaxton commented that he couldn’t believe all the talent he got to hear, and Wotherspoon had a smile a mile wide while talking to Carolyn Wonderland following her set.

    Acts alternated between the main stage and the tent stage throughout Saturday’s schedule, and first up under the big top was Berklee College of Music trained singer/saxophonist Vanessa Collier. She started off with a funky tune that easily won the crowd over, and toward the end of the set, had one of the festival’s highlights, a walk through the crowd during an extended rendition of Joe Zawinul’s “Mercy, Mercy, Mercy,” made famous by his bandleader, Cannonball Adderley. Collier made a point of making eye contact with members of the audience, a very effective technique to keep fans engaged. It is up-and-coming debut acts like Collier, Jones, and the next act, Southern Avenue, that made the 24th Annual Chenango Blues Festival so special to its fans. Collier’s sax, vocals, and award-winning songwriting can be heard on heart soul & saxophone.

    Immediately following Collier’s set, Southern Avenue took to the main stage. Sisters Tierinii (vocals) and Tikyra Jackson (drums, backing vocals) along with Ori Naftaly (guitar) and Daniel McKee (bass) showed tremendous versatility playing blues, gospel, soul, funk, and more. Tierinii Jackson is a compelling vocalist, as showcased on a slinky tempo-changing cover of Prince’s “Kiss,” and accompanying McKee’s infectious bass on Bill Withers’ “Use Me.” The band spent time last month recording at the Zebra Ranch in Independence, Missouri, in anticipation of their debut release in 2017 on the prestigious Stax Records label.

    24th annual chenango blues festivalBen Hunter and Joe Seamons presented a unique glimpse of much older musical songs and styles, as the duo explained the origin of many of the songs, performed with combinations of guitars, banjo, fiddle, and harmonica, performed with a vintage microphone. Under the tent, the IBC award winners made listeners feel as though they were transported back to the early twentieth century.

    Curtis Salgado is a favorite vocalist of many blues/soul aficionados, and his voice paired wonderfully with the Hammond B3 organ handled masterfully by his keyboard player. The 2013 Blues Music Award Entertainer of the Year, singing to his ex in the time-honored blues theme of love gone wrong, explained “I learned more about the blues in two weeks with you than twenty years of B. B. King.” His latest recording, The Beautiful Lowdown featuring “Walk a Mile in My Blues,” is available from Alligator Records.

    Duke Robillard played a stripped down set of semi-acoustic material, accompanied by Bruce Bears on keyboard, and Brad Hallen on stand-up bass, in support of his 2016 Blues Music Award winning album, The Acoustic Blues and Roots of Duke Robillard. He will release Blues Full Circle, with special guests Jimmy Vaughan, Sugar Ray Norcia, and Kelley Hunt in September 2016.

    Canned Heat hit the main stage and got the crowd boogieing to the familiar strains of “Goin’ Up the Country.” Original members Fito de la Parra (drums) and Larry “The Mole” Taylor (bass, guitar) were joined by John Paulus (guitar, vocals, bass) and Dale Spalding (vocals, harmonica, guitar.) The band is touring in celebration of their fiftieth anniversary, and concluded with an extended version of their hit “Let’s Work Together.”

    Although she has played several times throughout New York State, Carolyn Wonderland’s first appearance at Chenango was eagerly anticipated, and she delivered a dynamic set to a raucous, sweaty, appreciative crowd. Backed by Bobby Perkins on bass and Kevin Lance on drums, Wonderland blew the roof off the tent early in her set with “Judgement Day Blues.” She was demonstrably thrilled to have guitarist Eric McFadden from Anders Osborne’s band (who sported a pink daisy shaped small scale guitar) join her for a couple of tunes, including “Two Trains.” The Austin, Texas based Wonderland paid tribute to her home state’s Freddie King, concluding her evening’s show with an incendiary version of his “Palace of the King.” I will go, and I have gone, a long, long way to hear this woman play guitar and sing. You should too.

    Anders Osborne stalks the stage like a party looking for a place to happen. Expressive, energetic, and engaging, it’s hard not to feel good when Osborne and his top notch band start making noise. Carl Dufrene on bass and vocals, Eric McFadden on guitar, and Tony Leone on drums are all renowned musicians with impressive resumes. Highlights of Osborne’s set included “Different Drum,” “Flowerbox,” “Fools Gold,” “Mind of a Junkie,” “Higher Ground,” “Lafayette,” “Back To Mississippi,” and “Louisiana Gold.”

    Two days, twelve acts, thousands of fans, a small army of critically important volunteers, and tremendous community support add up to twenty-four years of “Keeping the Blues Alive.” Congratulations to the 24th Annual Chenango Blues Festival for another unsurpassed success! I can’t wait ‘til next year.

  • Claypool Lennon Go To Bat for Local Artists at Canalside Buffalo

    The decision to pull two popular local bands scheduled to open for the free Claypool Lennon Delirium show tonight at Canalside has caused a lot of uproar and negative attention for the popular duo. The news first surfaced on Facebook yesterday, when Kickstart Rumble & Randle and the Late Night Scandals addressed their fans to apologize for the cancellation of their performances. After the surge of responses online, the local acts have now been added back to the bill for the evening.

    According to All WNY News, both bands attributed Claypool and Lennon’s “refusal to share the stage with local acts” as the reason for this last minute change.

    Kickstart Rumble first informed their fans via Facebook with a message shortly before 8 p.m. that said “BAD NEWS: Even though we won the Canalside/Public Battle of the Bands, due to a contract/booking/talent issue, the headlining act refuses to share the stage with a local act, so Kickstart Rumble will NOT be the opening act at tomorrows final Canalside Thursday concert. We thank everyone who voted for us. We really had a special show planned for you for the big stage…. #winnersturnedlosers”

    Randle and the Late Night Scandals confirmed the rumor shortly thereafter with their own Facebook announcement: “Sorry Fandals. With less then 24hrs notice we have just been informed that our scheduled opening for Claypool Lennon at Canalside this Thursday has been canceled due to the headlining act “refusing” to share the same stage with local opening acts. We were offered a small stage to the side of the venue, with no rain cover but we declined and stand in solidarity with Kick Start Rumble. The Scandals had planned a special show for our fans, and feel this substitution would only compromise the quality of performance we wanted to share with the public. Thank you to all of those that took part in The Public Choice online voting and those who supported us.”

    However, the announcement of their return to the schedule is indicating that Les Claypool and Sean Lennon heard of the incident, and personally contacted their management to request the local bands to get their spots back.

    Canalside Buffalo UPDATE on tonight’s Free Thursday Canalside Concert!: After all the social media comments, Les Claypool and Sean Lennon themselves went to their management teams and made the decision to let the local bands play tonight! The new set times for tonights last concert will be:

    Randle and the Late Night Scandals: 6:00 p.m.
    Kickstart Rumble: 6:45 p.m.
    JJUUJJUU: 7:35 p.m.
    The Claypool Lennon Delirium: 8:30 p.m.

    Both local bands have posted an update to reflect their gratitude for being back on the schedule, and to Claypool and Lennon for standing up for local talent.

  • STS9 Announce 2016 Fall Tour, Include Terminal 5 Date

    STS9 has announced a 2016 fall headlining tour in support of The Universe Inside, their first studio album in more than seven years. The tour kicks of Oct. 20 in Minneapolis and finishes Nov. 12 at Terminal 5 in NYC.

    The newly announced headlining dates are interspersed by festival appearances, including sets on Halloween weekend at the Voodoo Music + Arts Experience in New Orleans and Suwannee Hulaween in Live Oak, Florida.

    The group is also playing two back-to-back shows this weekend, Friday Aug. 26 and Saturday Aug. 27 in Georgia in “acoustic form,” followed by two dates at Red Rocks Amphitheater Sept. 9 and 10.

    The Universe Inside will be released Friday Sept. 2.

    Fri 8/26 Atlanta, GA, The Tabernacle
    Sat 8/27, Alpharetta, GA, Verizon Wireless Amphitheatre
    Fri 9/9, Morrison, CO, Red Rocks Amphitheatre
    Sat 9/10, Morrison, CO, Red Rocks Amphitheatre
    Thu 10/20, Minneapolis, MN, Skyway Theater
    Fri 10/21, Madison, WI, Orpheum Theater
    Sat 10/22, Detroit, MI, The Fillmore
    Sun 10/23, Columbus, OH, Express Live! Indoor Pavilion
    Wed 10/26, Louisville, KY, Mercury Ballroom
    Thu 10/27, Memphis, TN, New Daisy Theatre
    October 28-30, New Orleans, LA, Voodoo Music + Arts Experience
    October 28-30, Live Oak, FL, Suwannee Hulaween
    Mon 10/31, Athens, GA, Georgia Theater
    Thu 11/3, Nashville, TN, War Memorial Auditorium
    Fri 11/4, Knoxville, TN, Tennessee Theatre
    Sat 11/5, Asheville, NC, Thomas Wolfe Auditorium
    Sun 11/6, Charlottesville, VA, Jefferson Theater
    Wed 11/9, Norfolk, VA, The Norva
    Thu 11/10, Silver Spring, MD, The Fillmore
    Fri 11/11, Philadelphia, PA, The Fillmore
    Sat 11/12, New York, NY, Terminal 5

  • Corey Taylor Speaks About Fan Cell Phone Incident; Would Do It Again

    Slipknot/Stone Sour frontman Corey Taylor, was interviewed recently by Las Vegas Review-Journal freelance writer Melina Robinson. Robinson asked Taylor various questions from what the weirdest thing about Las Vegas is to what its like to be Corey Taylor. She also asked Corey Taylor about when he recently slapped a cell phone out of a fans hand who was on Facebook, Twitter, Instagram, or playing Pokémon Go, instead of paying attention to the show.

    https://youtu.be/NbI-gcnmPVk

    A video went viral of the incident on social media and YouTube, which made fans who attended future shows standing up close on the rail or inside the pit, think twice about pulling their phone out at a Slipknot show. Taylor does clear up some of those phone issues in the interview.

    Robinson mentioned the recent controversy involving Taylor smacking the phone out of a fans hand at a show. Robinson then asked, “What is your personal take of the connectivity/disconnectivity of cell phone usage?”

    Taylor replied:

    You watch people walk down the street, and they can’t get their beaks out of their stupid phones to cross the street. I love watching people get buried in their tiny little technological worlds, and then reality comes and smacks them in the face.

    I don’t mind people who take pictures. I don’t even mind people who shoot video. I love that because you’re still engaged in the show. A lot of people get the wrong idea, they think that if I just see someone on their phone, I’m trying to rage quit their fun. I’m not trying to do that at all.

    But if I see someone, and it’s so obvious they’re not even there, you’ve got to poke them with a stick to get their attention sometimes. Sometimes that means smacking the phone out of their hands. You can hate me all you want. It’s not going to stop me from smacking those things out of people’s hands.

    Slipknot/Stone Sour fans, consider yourself duly warned.

  • The Disco Biscuits Tear Up New Amphitheater at Coney Island Boardwalk

    After putting the run on hold last year, The Disco Biscuits revamped City Bisco this summer and relocated to the biggest and brightest city of them all, New York City.  On April 18 and 19 the band performed at Irving Plaza in downtown Manhattan, playing back to back heaters that included fan favorites “Therapy,” “Confrontation,” and “Kitchen Mitts.”  Friday the 19th also saw the band debuting a new original, “The Champions.”  Switching locations but losing no momentum, the Disco Biscuits moved the party to the new Ford Amphitheater on the Coney Island Boardwalk for the final night of the run, Saturday August 20.

    disco biscuits coney islandIt was an interesting scene, seeing Disco Biscuits heads mingle among the usual weekend patrons of Coney Island.  Roller coasters whipping past, the wafting smell of the salt water battling for dominance with the odor of the famous boardwalk hot dog, and good ol’ White Castle Express.  It reminds you of a time past, but the New York City energy is still unmistakably crackling up and down the worn boards just as much as in the asphalt a few boroughs away.  The Ford Amphitheater opened its doors at 6PM, revealing state of the art facilities and high quality monitors flanking the stage.

    The Hungry March Band provided a nice introduction for the Biscuits, with members of the headlining act slowly joining as the March proceeded into a familiar melody.  Both acts broke into “Spectacle,” and as the Biscuits began to take over the groove the Hungry Marchers exited stage left.  Jon “The Barber” Gutwillig seemed to have some intonation issues during the opener, stopping abruptly to re-tune during the noodley 11/8 time section.  He wasted no time getting his mojo right back in line however, as his solo during “¿Donde?” melted more than a few faces.  The song was extremely put together considering the last time they played it live was September of 2010.  Keyboardist Aron Magner provided a surreal acoustic piano introduction for a stunningly tight “The Very Moon,” which gave way to an absolutely raging “Tempest.”  The segment transitioned into a flawless inverted “Digital Buddha,” continuing seamlessly into the funk section of “The Very Moon.”  Seguing into the end of “And the Ladies Were the Rest of the Night” would complete the unfinished version from the previous evening, as well as bring the set to a dramatic close.

    The Biscuits chose the Beastie Boys classic “No Sleep Till Brooklyn” as a perfectly apt opener for the second set, giving a nod to the Hip Hop titans as well as the location of the evening’s show.  Having only played it out one other time in October of 2009, bassist Marc Brownstein seemed positively giddy to play an anthem from one of his childhood influences.  “Run Like Hell” provided back to back covers for the last set of City Bisco.  Without a single standalone song the entire set, the boys seemed to get into the pocket and stay there for a few songs after “Run Like Hell,” playing off of each other effortlessly but effectively.  “Cyclone” seemed an obvious choice considering the name of the local minor league baseball team who’s stadium was about a quarter mile down the board walk and was a complete shredder.

    Allen Aucoin’s drum rolls were so pristine that it actually hurt a little.  An inverted version of “Crickets” got everyone on their feet, but an inverted “Aquatic Ape” sort of quelled the vibrations building from the previous jams.  Some thought it was a strange choice considering the previous and forthcoming compositions: the end of “Bernstein and Chasnoff” seemed to lack following such a down tempo diddly.  Coming back out for the encore with “Highwire” was sort of a slap in the face for some fans after a weekend of song choices that left us on our toes; “Highwire” being the epitome of the opposite concept.

    After yet another weekend of unexpected bust outs and crazy set list arrangements, Bisconauts both tenured and amateur have a lot to look forward to.  The Biscuits have proved that they’re back on the right track, 2016 seeming their comeback year.  They’ll be headlining this upcoming Saturday, August 27 at Imagine Festival in Atlanta, as well as two nights in September at the Great North festival in Maine.  This should give curious jam fans plenty of time to relax with the Disco Biscuits.  And remember…they nasty, but they good.

  • Around the World in One Song: The Cross-Continental Story Behind Holy Forest “Africa Calling”

    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.

    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:

  • Cortland’s First Porchfest Arrives on August 28

    Nestled within seven beautiful valleys lies Cortland County, known mostly for their top-tier college and booming agriculture. But for those outside of Cortland, it is often just a city to pass through on their way to Ithaca or Syracuse. Molly Andrejko (of Molly and the Badly Bent Bluegrass Boys) and several other key community members and neighbors are trying to change that.

    Molly and the Badly Bent Bluegrass Boys

    The first Cortland Porchfest will be held Sunday, August 28 from Noon to 5pm on Van Hoesen between Chestnut and Harrison Streets in Cortland.  Attendees will be able to visit 13 porches throughout the day, with activities and music running continuously. Organizers of the event encourage people to bring their kids, family members and friends to an event in which they hope to see grow in years to come.

    The idea of a Porchfest isn’t new. Ithaca started their own years ago, spawning into a thriving day of local music and community activities. Cortland has even had their own share of success with local festival Seedstock, which this year had grown from one to three days with camping, local food vendors and artists. Cortland Porchfest is trying to do something different, however; a free event, focusing on giving the younger generation access to an audience they may otherwise not have is just one of the goals in which Andrejko and others are aiming for.

    porchfest logo

    Organizers will be taking donations to give to the Cortland City Youth Bureau’s music program, in hopes of giving children access to instruments and music. It is important to keep the youth interested in activities that could, in the long run, substantially benefit the community. Donations will also be going toward a yet-to-be-determined local parks initiative in an effort to lend a hand to the beautification and safety of local parks.

    The Local Farmers Union
    The Local Farmers Union

    In a celebration of past and future, Porchfest hopes to show the community exactly how lucky they are to have an abundance of talent in their backyard. Many participants had parents who grew up in the neighborhood, and on any night of the week you could take a walk around the block and hear a band practicing. It’s just the way it has always been. Cortland is a musical hot spot, and maybe with the help of Porchfest, younger bands and artists can get the exposure they deserve but don’t normally get.

    “I chose to come back here,” says Andrejko. “I want to raise my children in a community that continues to give back and inspire the youth.” And she isn’t the only one. Cortland Junior High music teacher Jen Rafferty has been giving her all to give children access to information and music that they may otherwise not have. In addition to starting a rock guitar class, she is constantly seeking ways to keep kids energized and interested.  A few high school bands will be performing at Porchfest, including the band Epoch. In a world where children are exposed to the arts less and less, it is a blessing that there are people trying to change that.

    Austin MacRae and Casey Widger

    In addition to many musicians donating their time to the event, there will also be a handful of children’s activities including face painting, crafts and storytelling. Nate the Great will be showcasing his juggling skills, Lime Hollow Nature Center will be tie-dying, and Uncorked Creations will also be in the mix. Studio Z Dance Troupe will also be showcasing their talent. To say there is a little something for everyone is an understatement.

    sched

    Performers: Molly and the Badly Bent Bluegrass Boys, Horsepurse, Jimmy Lawler, Clint Bush, Rachel Beverly, Sanderson Swingtet, Rosie & Mary, Colleen Kattau, The Purple Valley, ForkWad, Homer Brass Ensemble, Steve Morgan, Dana Twigg & Stephen Bradley, Rocky Bottom Trio, Amanda Nauseef, Dry Glaize Creek, Austin & Casey, The Unknown Woodsmen, jazzhappensband, The Local Farmers Union, and Ben & Jen.