NYS Music 20​16

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  • Break Science Live Band Barrels Over Brooklyn Bowl

    Borahm Lee and Adam Deitch are two of Brooklyn’s busiest producer/musicians. Just days before embarking on a western U.S. tour as drummer for funk band Lettuce, Deitch and his collaborator Lee, known collectively as Break Science, nailed a pair of back-to-back hometown gigs at Brooklyn Bowl. While night one featured a rare performance by “Manic Science,” a.k.a. Break Science joined by Chicago-based producer Manic Focus, the second night was all Break Science. The Break Science Live Band, to be precise, with members of Lettuce in tow.

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    The music of Break Science is a fusion of much of what you might see and hear over  time if you frequent shows at Brooklyn Bowl. It’s the sonic vision of two producer-musicians whose passion is to mash up elements culled from the broad array of musical projects they have respectively participated in, deeply rooted in hip-hop and spanning the worlds of EDM to funk and dub. Different musical eras and styles are combined in such a way that the only possible reaction for a fan on the floor at a Break Science show is to dance and give up hope of trying to explain the experience. Words were not necessary as the crowd packing the Bowl buzzed and bounced on Friday night, awash in the vibrance of the rich colors and raging music emanating from the stage.

    Hot on the heels of sizzling DJ sets from Marvel Years and Dreamer’s Delight, Break Science broke through the intervening chatter and hum appearing in classic fashion: Deitch on the kit and Lee at the keys, holding it down unaccompanied for the first few songs. While Lee and Deitch are more than capable of rocking crowds for a whole night as an electronica duo, the Live Band situates them in the center of  a cross between an EDM performance and a futuristic funk-rock band.

    After getting their set off to a smoking start, the duo introduced renowned beatboxer Rahzel, who gripped the audience’s attention with an impeccable exposé of technical precision and endurance, keeping the party rocking for a good 15 minutes using only his lungs, mouth and a microphone while Break Science took a short break. Deitch returned to back Rahzel on drums before welcoming back the full band and giving Rahzel a chance to rap.

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    From then on the crowd roiled ecstatically as samples and vocal tracks were interwoven seamlessly with analog instrumentation and live vocalists with a finesse indicative of years of experience both in front of and behind mixing boards on the part of the core duo. The brilliance of the live horns contributed greatly to the immediacy of the band’s vibe and the organic, human warmth that made fans feel immersed in the pulsating anthems rumbling the room. A big highlight came towards the end of the set with an intense unleashing of the spiritually uplifting “Force of Nature,” a single released back in October.

    The Break Science Live Band demonstrated itself to be capable of birthing a vibe and morphing it through various forms. There is nothing like a good drummer laying down an arousing hip-hop beat, and it was Deitch’s role to do just that as the rhythmic center of the band, around which the other musical elements mixed and reacted in mystic alchemical fashion. His kinetically impactful drumming was instrumental in maintaining the sense of infectious excitement that lasted throughout the show. In the midst of the ever-shifting musical tapestry, guitarist Smirnoff would at times strum a groovy rhythm while Lee sent synth melodies snaking through the sonic ether. The Shady Horns would periodically punctuate instrumental passages with fiery harmonized jabs and contribute solos throughout the set. Other times the band would fall in behind Rahzel, CX or Bajah on the mic, or even back a vocal track with such delicacy that it would feel like the singer on the recording was present onstage. Coomes and Smirnoff of Lettuce brought their neo-funk musicality to the bass and guitar parts so that tunes envisioned and composed electronically became the living, breathing reality of the band killing it on the Brooklyn Bowl stage. Lee, the other half of the core duo, occupied center stage somewhat in the manner of an orchestra conductor, except that instead of waving a baton, he led the band by masterfully manipulating his rig of keyboards and electronics to dish out the hooks, harmonies and samples that are the heart and soul of Break Science’s music.

    The cultural cornucopia that is Break Science should prompt a bit of reflection on what it is to be a part of or to bear witness to New York City’s musical traditions. It is truly awe-inspiring to see two guys who have been around the circuit so extensively bring together such a committed and well attuned cast of characters and utterly tear the roof off the sucker. But that’s just what Break Science does.

  • Street Performer Attacked in Saratoga

    Saratoga Springs police are currently in search of a possible street video that shows a street performer being attacked, according to the Times Union. Police are also talking to downtown bar owners about the situation.

    According to the report, street performer Sam Mitchell of Montgomery County was a victim of an unprovoked attack as he came to the city to play his guitar on Putnam Street to entertain people as they walked by.

    Police said that not only was the attack on Mitchell unprovoked, the beating itself was brutal. The attack happened in the parking lot of the Saratoga Springs Public Library sometime after midnight.

    Mitchell, 53, was accused by a man between the ages of 25 and 30, of messing around with another vehicle. According to city police Lt. Robert Jillson, the man punched and kicked Mitchell to the ground as Mitchell tried to protect himself from the assault. Mitchell tried to shield himself with his instrument to no avail as the attacker smashed Mitchell’s guitar on the ground.

    The assailant, who was accompanied by a woman, fled in a dark-color, four-door sedan. As of now, no arrests have been made.

    Mitchell described the man as a short blonde hair and standing about 5-feet, 5-inches tall wearing a light-green hoodie. The woman was described as wearing black boots with maroon pants and black hair.

    After the attack, Mitchell headed to police officers located on Caroline Street and told them about the attack right after it happened. Mitchell then went on to seek his own medical attention.

    Mitchell suffered facial fractures and bruises from the attack. A GoFundMe page has been created to help him raise money for a new guitar. The page has currently surpassed the set goal of $500 almost two times, as the current total for his campaign is at $1,380.

    Anyone with information about the case is asked to call 518-584-1800 or 518-584-TIPS.

  • Railroad Earth, Twiddle to Headline Susquehanna Breakdown

    The initial lineup for the fourth Annual Susquehanna Breakdown has been announced. On May 20-21, the Pavillion at Montage Mountain in Scranton, Pennsylvania, will welcome Railroad Earth, the Infamous Stringdusters, Twiddle, Fruition and of course the gracious hosts themselves, Cabinet.

    Cabinet is bluegrass, country, folk band that is quickly growing in popularity both in the Appalachian region and throughout the country. Also on the lineup is Pappy and Friends featuring Cabinet’s Pappy Biondo.

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    The Infamous String Dusters are set to release their latest album, Ladies and Gentlemen, on Feb. 5. Twiddle also recently released their latest album, Plump.

    Additional bands are expected to be announced.

    In the past few years, Montage Mountain has become a household name for music festivals, catering to various musical tastes. For this one, those wishing to camp will set up inside the venue on the lawn. Previous years have offered a farmers market, concert poster art gallery, kids’ activity area, as well as a slew of vendors.

    Susquehanna Breakdown is a family-friendly festival. According to its website, quiet hours will be enforced from 2 a.m. to 8 a.m.

    Tickets for the Susquehanna Breakdown are currently available and with modest prices. Two-day passes with camping are currently $55 plus fees. Two-day VIP passes with camping are now $125 with fees. RV passes are also available for $100. Kids 10 and under are free with adult ticket purchase.

    Please visit http://www.susquehannabreakdown.com/ for tickets and additional information.

  • Proctors and Capital Rep Announce 2016-17 Series in Grand Fashion

    When is a theater announcement more than just an announcement? When Proctors and Capital Repertory Theatre get together and present their 2016-17 KeyBank Subscription Series to the public in grand fashion.

    This was more than just a presentation of 13 musicals, it was an event and a spectacle featuring performances from some of the shows that will grace stages in Albany and Schenectady in the coming year.

    Presenting the lineups for each venue in a mock debate, Proctors CEO Philip Morris and theREP’s Producing Artistic Director Maggie Mancinelli-Cahill kept the audience laughing and cheering as they rolled out the Broadway shows that will come to the Capital Region for the first time, some on their first national tours. John Gray and Kydia Kulbida from WTEN offered commentary from the stage left upper box and kept the show flowing in between each well received announcement.

    Proctors’ 2016 schedule includes the four-time Tony Award winning production An American in Paris, which will be seen for the first time outside of New York and Paris in October 2016. Dirty Dancing – The Classic Story on Stage arrives in November 2016, followed by The Curious Incident of the Dog in the Night-Time, which tells the tale of an autistic boy accused of a crime and his struggle to communicate his innocence, also in November 2016.

    The first national tour of musical comedy Something Rotten! makes its way to Proctors in January 2017, followed by the Broadway blockbuster Wicked in March. The beloved story The Sound of Music is next in April 2017, while Roundabout Theatre Company brings Cabaret to Proctors in May 2017.

    Among the most anticipated shows, which also received the largest applause, was Beautiful – The Carole King Musical, coming to Proctors in April 2017 for a limited engagement. Sara Sheperd performed two selections from the musical, “Will Your Still Love me Tomorrow” and “(You Make me Feel Like) A Natural Woman” to great fanfare.

    Capital Repertory Theatre will offer a combination of classics, musical biographies and world premieres, including A Night with Janis Joplin, Outside Mullingar, NEXT ACT 5! New Play Summit, Camelot, Reluctant Wingman and An Iliad. By the end, when the stage was festooned with red, white and blue balloons, there was no question that Proctors and Capital Rep will bring a phenomenal lineup of musical theater to The Capital Region well into 2017.

  • A Conversation With New York Blues Hall of Fame Singer Sari Schorr

    New York Blues Hall of Fame singer and Brooklyn resident Sari Schorr is gaining a lot of momentum as a solo artist. After being a member of Joe Louis Walker’s band in 2013 and then Popa Chubby’s band in 2014, Schorr met legendary producer Mike Vernon in 2015, who upon hearing Schorr’s original work came out of retirement to produce her debut solo album coming out later this year.

    Sari SchorrSchorr will be performing at the Lead Belly Festival taking place on February 4 at the fabled Carnegie Hall in New York City, where she will be joining Buddy Guy, Eric Burdon, and many others to pay tribute to renowned New York folk-blues musician Lead Belly. Her other New York performances include shows at The Falcon in Marlboro on February 7, Turing Point in Piermont on February 12, and The Cutting Room in New York City on February 17. NYS Music spoke with Schorr on topics ranging from working with Mike Vernon to performing at Carnegie Hall.

    Nicholas Cho: Before singing the blues, I heard you first started in opera. Is that correct?

    Sari Schorr: Yeah I was studying with a Julliard opera teacher. That was really the best thing that I ever did because it allowed me to learn how to use my voice properly, which is why now I can put a lot of demands on my voice now, and I don’t have a problem with my voice at all. I’ve been really lucky.

    NC: When did you switch to the blues?

    SS: I was doing a lot of jazz singing, and I wanted to make an album for a friend of mine who had a successful label here in New York. He had come to one of my shows and said, “Honey, you’re a blues singer. Why are you fighting this?” And I was, “Because I love the subtlety of jazz and the nuance.” It was kind of like a self-awareness thing—realizing that my voice was just so well-suited for blues and it was really the vehicle to use my voice to its full potential.

    I had always loved the music from my early influences of Ella Fitzgerald and Billie Holiday and Sarah Vaughan. When I went back to discover who were their influences, I discovered Bessie Smith and Ma Rainey and Big Mama Thornton. What I loved about the music that they were singing was that it was very honest, and it was this genre that would allow such honest communication between performer and audience. I loved this dialogue that the blues allowed.

    NC: What was it like having Mike Vernon as your producer for your debut album?

    SS: He’s a legendary producer—a pioneer—and he is the truest form of an artist I’ve ever worked with. He is so generous with his talent and with his energy. Working with him is perfect. I’m doing the next album with him and the one after that. We’ve already agreed to do two albums together.

    We adore each other—he’s family to me. He brings out the best in everybody he works with. The musicians loved being with him in the studio. He’s got boundless energy and enthusiasm, and he has a vision so clear in his head on how to make the best possible album in keeping line with what the artist wants.

    NC: How far into the recording process are you for your debut album?

    SS: Well we just finished mixing, I would say, 80% of the album. There are two new songs on the record that we just added, so those will be getting mixed in the next couple of weeks.

    NC: How did you get involved with the Lead Belly Festival?

    SS: There is a terrific guy from Norway who is the manager of one of the venues I work at, and he talked me up to one of the producers of the show. That producer happened to be at the venue with an artist, and this manager, who is always promoting me in any way he can, told the producer, “There’s this singer, Sari Schorr—you’ve got to see her,” and that was the introduction.

    The thing is, is that this venue is one that usually takes me two hours to get to from Brooklyn, and there were many times where I was exhausted coming back from overseas and jet-lagged, and I still went out there consistently, and that’s how it happened.

    Sari SchorrNC: What influence did Lead Belly have on you?

    SS: Lead Belly was a phenomenal storyteller, and learning how to tell stories through music and use a lot of symbolism and imagery—that’s the influence Lead Belly had on my songwriting—this incredible honesty and simplicity in the lyrics that’s really deceiving. He’s speaking a lot under the surface of the lyrics.

    NC: What is it like for you to be performing at Carnegie Hall?

    SS: It’s an honor because it’s such a historic venue. It’s an honor because of the other artists that are going to be performing—Buddy Guy who I met when I did a co-bill with Joe Louis Walker and him up in Canada, and then with Eric Burdon and Walter Trout, who is going to be on my album. It’s really an honor to be a part of history in this way, and also being able to honor such an important man who contributed so much to blues music.

  • Zuli at Le Poisson Rouge

    Zuli took the stage at Le Poisson Rouge on Monday, January 25th, for their first Manhattan show of the year. The New York City based four-piece played a set involving strong three-part vocal harmonies, a complex instrumental cover and striking dynamic changes. I got the sense that the whole thing was admirably unlabored, despite the highly detailed musical composition, as the band moved between songs with a casual ease. Some thoroughly speedy guitar work, courtesy of frontman Zuli (Ryan Camenzuli), was underpinned by the nord electro keyboard and the bass, which made the songs followable, fun and accessible.

    zuliZuli arrived just in time for their 9.30 slot, having played another set – in another borough, no less – just beforehand. A pretty intense schedule didn’t impede the joyous musical moves that were on display throughout their performance. A large room like LPR, when not-quite-full with the mixed crowd of a Monday night – fans, friends of the other bands, NYU juniors catching up after their Christmas breaks – can create an awkward vibe for some live bands. If Zuli sensed this difficulty at all, they tackled it with jesting stage banter, the settling of a beef about their favorite restaurant (it might, after all, be CJ’s), and a set full of rhythmic surprises emerging like bold rabbits pulled from sonorous hats. I sense that Zuli are not quite at their peak, yet: they’re probably building up momentum for the spring, when they’ll hit SXSW and the West coast. In the meantime, Zuli have a busy March lined up with shows DC, Charlotte, New Orleans and Phoenix.

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  • Hearing Aide: Bruce Horan’s ‘Tigershark’

    Artist-turned-musician, Bruce Horan offers the listener a glimpse into his creative mind on his debut album Tigershark. A graduate of Pratt Institute with a Masters of Fine Arts, and currently based out of Norwalk, CT, this guy has clearly got talent, which comes through on the seemingly careful thinking that went into each step of producing and recording this album. While primarily an artist (he paints in many mediums), Horan courageously ventures into the world of music through this work. Being a solo venture, with every instrument and vocal part recorded individually and then mixed and mastered at 30 Below Recording Studio in New York City, Tigershark is a true work of art.

    Every song offers the listener a poem put to music. The vocals on this album have an almost spoken word-like quality on many of the tunes, putting more emphasis on the lyrics, which are definitely worth giving a listen to. Some of the lyrics even teach lessons, including “Stalactite,” which contains a description of how stalagmites and stalactites are formed, and “Combined,” which features a whole verse of a couple speaking French that sounds like it is sampled from a language learning tape.

    Although tough to categorize, one could consider the first half of the album to be in the family-friendly genre, with some more repetitive and easy to follow instrumental patterns, and goofy lyrics about how Horan likes his eggs cooked on “Eggs,” and what would happen if the poles were reversed on – surprise, surprise – “If the Poles Reversed.” The second half of the album takes a more “emo” turn, with some more melancholy tunes about unrequited love on “Bumble,” and about having eight different worlds going on in his head on “Entropy.” Overall, most of his songs have a very stream of consciousness-like quality to them, with a bit of a perhaps intentionally unpolished sound. Hints of inspiration from bands like Ween and Weezer seem to come through in Horan’s quirky musical stylings.

    If you are interested in giving Tigershark a listen, you can stream or download it for free on Bruce Horan’s website, where you will also find music from his second album Riptide, as well as samples of his impressive artwork. Horan also keeps his Facebook page pretty well up-to-date with music videos as he produces them, so there are plenty of opportunities to check this guy out. While not currently performing live, one can only hold out hope that he will decide to do some shows in the future. In the meantime, you’ll just have to enjoy the listen.

    Key Tracks: Stalactite, Combined, Peregrine’s Wall

  • Update: Thunder Body to Replace GPGDS for Waterhole Reopening Party

    Update 2/11/2016: Due to a member being sick, Giant Panda Guerilla Dub Squad canceled their performance scheduled for the Waterhole’s reopening party Friday night. But never fear, Thunder Body is here!

    The eight-piece Thunder Body, from Rochester, features founding members of Giant Panda Guerilla Dub Squad Matt and Rachel and will headline the Friday night show in place of GPGDS. According to Thunder Body’s Facebook page, the band “dabbles in American roots, funk, soul, dub, afro beat, and more.”

    Local group Painted Sol and Rochester funk/soul four-piece Funknut are still scheduled to open the evening. Doors are at 8 p.m. and the show is scheduled to begin at 9.

    The ‘hole opens at noon Friday, and they’re hinting at some sort of live music surprise at 1 p.m., likely a little taste of Blind Owl! Don’t miss it! It’s gonna be a great Saranac Lake Winter Carnival weekend!

    Update 2/4/2016: The Waterhole has announced that funk/soul group West End Blend will play upstairs directly after the parade. The 10-piece band from Hartford, Connecticut, will start at 2 p.m. on Saturday, Feb. 13, directly after the Saranac Lake Winter Carnival Gala Parade wraps up.

    Original post:

    A local musician plans to revive the currently closed Waterhole for the legendary Saranac Lake Winter Carnival.

    This year’s Saranac Lake Winter Carnival runs Feb. 5-14, and it just wouldn’t be Carnival without music at the Waterhole.

    Luckily, Eric Munley of the Blind Owl Band, along with girlfriend Kiki Sarko, has taken over operations at the hallowed venue, and it will open temporarily Friday and Saturday, Feb. 12 and 13. The Blind Owl Band will headline a show at 10 p.m. that Saturday, which is Parade Day – the biggest day of the Carnival. Everyone comes out for the Winter Carnival Gala Parade, then hits the town and celebrates for the rest of the day.

    The upstairs will be open for free directly after the parade, and Munley is still working on finding an act for that time slot. But later on that day, Maryland-based two-piece band Swampcandy will open for The Blind Owl Band in a show that is set to begin at 10 p.m. and will cost $10.

    On Friday, Giant Panda Guerilla Dub Squad will headline. Funknut and Painted Sol will join them.

    Munley and Sarko will operate the two days during Carnival on a temporary liquor license, then apply for a full one after the Carnival madness subsides. They expect to open the establishment in full sometime in March.

    Due to the temporary license, only the upstairs bar will be operating during Winter Carnival, though the downstairs will be open to customers sans bar.

    The Saranac Lake Winter Carnival began as a one-day event in 1897, put together by patients who had come to the Adirondack village to cure from tuberculosis. It was intended to get a break from the winter’s chill and to promote outdoor sports and games. Today, it’s grown to a 10-day festival that includes sports, games for kids, an ice palace and lots of live music. The whole town comes together and celebrates in one of the best weeks of the year.

    The Winter Carnival theme for 2016 is “Superheroes and Villains,” so start working on your costumes now!

  • Candlebox Acoustic will Rock The Egg on February 2

    Rock band Candlebox made its mark in the 1990s with a self-titled debut featuring multiple singles, including “Far Behind,” “You,” and “Cover Me,” and follow ups Lucy and Happy Pills. Touring throughout the decade and selling over 8 million albums brought the band to a hiatus in 2000, but the reformed band reunited in 2006 for two more albums, Into the Sun and Love Stories & Other Musings. 

    An acoustic performance, featuring Kevin Martin and Adam Kury, will take center stage in Albany on Tuesday, February 2 at The Egg Performing Arts Center in the Swyer Theater at 8pm with Frank Palangi opening. Tickets are available at The Egg box office or online. Candlebox are currently hard at work on their new album, which is set for release on March 11, 2016. Preorder Disappearing in Airports.

    Check out upcoming Tour dates  and visit their Facebook  and Twitter accounts to stay up to date on all things Candlebox.

  • Rick Nelson & Friends – A Priceless Free Show

    By way of a suggestion I stopped at my friend’s restaurant, Nanola, to see Rick Nelson & Friends on my way home from the North Country Thursday, January 28.  The key catch was Rick Nelson from the High Peaks Band.  I’ve always known him to be a talented, well balanced guitarist, so stopping on my way home seemed like a less than daunting task.

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    When I arrived, they were just breaking into their first set with a fan favorite and something I’m never sad to hear, “Up on Cripple Creek,” by The Band.  Rick & Friends moved through the first set as though they had been playing for years, although this was only their second show together.  The sets were completely comprised of covers, but if you closed your eyes during “The Weight” it didn’t matter who you thought you were listening to, your mind and soul were singing along.  The only thing that made my mind jump higher after that was the Ween cover “Roses Are Free.”  From there, the first set moved with smooth measure through the Stones’ “Sneakin’ Sally Through the Alley” and finished with a solid and welcome “I Know You Rider.”

    Rick, Bob McKeon (Garcia Project), Mike Cassels (Stone Revival Band), and Joe Bodden (Antelope), joined the crowd enjoying a free show put on by Shane Spillenger (Sugar Productions) at Nanola, in Malta, NY, between the sets.  They were greeted by a group of people thanking them for such a solid first set.  Their overwhelming response: make sure you stick around for the second set.  They were not wrong.

    They started off with an ever recognizable theme song of the popular show, “Shaft.”  From there they grooved into “Shakedown Street,” which caused even the most skeptical of attendees to start shaking their butts.  Towards the end of the Dead favorite you could start to hear that resounding chord progression of “2001.”  And then it started.

    Suddenly my toes were dug back in the sand in Mexico.  “2001” led back into the hip-wiggling “Shakedown” before the beach came back into full view with “Shine a Light.”  The Friends orchestrated “The Shape I’m In” and “Psycho Killer” before melding “Chalkdust Toruture,” into “Gotta Jibboo,” which led to “Eyes of the World,” and back into “Jibboo.”

    These brazen cover artists finished off their sets with a rendition of “Suzy Greenberg,” which almost made people beg for them to not stop.  By the end of that song there was a full feeling of satisfaction; a feeling always desired at the end of a show.  There is nothing more that can be said other than that the next time these guys play, do not miss them.