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Phish Saves the Best for Last on January 2, 2016

And then there was one. One last night of Phish, their last show in the U.S. until June or July, one last night to get down and dance with 20,000 of your best friends in the World’s Most Famous Arena. Bringing the run to a close meant following up from January 1, a disjointed night that was tame compared to the two juggernauts that preceded. Phish picked up on January 2, 2016, where the “Blaze On” > “Carini” > “David Bowie” left off in the early morning of January 1.

When I got into MSG around 8:15 P.M., I heard the opening notes to “AC/DC Bag,” and it seemed like the classic opener had returned to blast us off into the night, but having wrapped things up at the PhanArt show in the hour prior, I missed the Chilling Thrilling Sounds of “Your Pet Cat,” which does the same trick as “Bag” but with a more recent incarnation of adrenaline pumping funk. All the same, walking in for “Bag” and the trio of early 90’s tunes followed – “NICU,” “It’s Ice,” and “Horn,” felt like the show was on track for classic MSG run status.

The gap between halves of the set was bridged by a fluid “Divided Sky,” but it was the “Axilla” that followed that questioned the structural integrity of the Garden, as the crowd jumped up and down, expelling the pent up energy that “Sky” tends to bottle, and shaking the arena throughout the song. “Maze” kept the energy high as Page tore up the organ and had Trey watching intently and parroting off the Chairman of the Boards.

With Fishman gently brushing his drums, a balancing “Train Song” arose, bringing tears to the eyes of those chasing the soft Billy Breathes tune, a rarity these days, but a beautiful one at that. Julius reinvigorated the crowd to close the set, one that started strong and finished out the same. Fans then awaited the final of nine sets that Phish would play this run, ventured around the concourse one last time and saw friends they may not see until Summer Tour or beyond, or perhaps resting their legs and reflecting on a crazy, music-filled weekend in the Mecca of music.

As the lights dropped and Trey softly played the opening notes to “Tweezer”, the second set jam vehicle of legend, the audience exulted. The jam slowly built and never let up, and had some back and forth between Trey and Page for a bit, but the final two minutes of Tweezer really shone in an accelerated “What’s the Use?” jam that brought the 22 minute tour de force to a close before pouring into “Sand.” Even still, after “Tweezer”, there was no let up on this “Sand,” which garnered cheers from the “Flowing through the hourglass” line, now forever intwined with the ‘Hourglass Jam’ that rang in 2016 two nights prior.

“Limb by Limb” and “Suzy Greenberg” were well placed between two heavy duty bookends to the set – “Limb” played safe and standard, while “Suzy” brought MVP Page back to slather some mustard on the piano, New York deli style. While “Harry Hood” was perfectly dropped out of “Suzy,” it felt as if it was cut short by Trey, just before an even more exploratory jam was about to begin. “You Enjoy Myself” capped the set in the way no other song can, carried out with a funk jam and Trey hopping on drums for a bit before closing out with a trippy vocal jam.

Returning to the stage, the buzz was centered on “Fluffhead,” which hadn’t been played since August 2014. What feels like years of waiting will feel a little longer as Phish opted for a combo of “The Lizards” and “Tweezer Reprise,” one that constitutes a single “Fluffhead,” which is one part rarity (The Lizards) and one part energy builder with a huge payoff (Tweezer Reprise). There were no complaints with this set, let alone the entire show. While January 2, 2016 marked the best show of the run, with the Mayan Riviera shows coming up in a week, the bar for the year is set high with this final performance from the New Years run.

Setlist via Phish.net

Set 1: Your Pet Cat, AC/DC Bag > NICU, It’s Ice > Horn > Divided Sky, Axilla >Maze, Train Song > Julius

Set 2: Tweezer > Sand > Limb By Limb > Suzy Greenberg > Harry Hood > You Enjoy Myself^[1]

Encore: The Lizards, Tweezer Reprise

[1] Trey briefly joined Fish on drums.

January 7, 2016
New Year’s Eve at the Palace: moe. Closes Out Year 25 with Rarities

moe. kicked off the end of its 25th anniversary year with a New Year’s run at the Palace Theatre in Albany. The New Year’s Eve show proved memorable in many ways, with several old songs making a return; the debut of a brand new Al Schnier-penned instrumental and an acoustic take on Talking Heads’ “This Must Be the Place (Naive Melody).”

The band has been celebrating its 25th anniversary throughout 2015 and sound as cohesive as they ever have. A relationship this long, no matter what the scenario, is difficult to maintain at any level, yet it seems as if moe. has found new life in this trip around the sun. Onstage smiles were continuous during this run; it’s obvious that this is a band still having fun playing together.

The crowd arrived at the picturesque Palace Theatre for the New Year’s Eve fete dressed the part. Many came in formal attire, while others simply donned the traditional New Year’s headgear and gaudy glasses—all were geared up for a solid performance.

Busting out with a rare “Defrost” (last played Aug. 8, 2008), bassist Rob Derhak smacked everyone in the face with some of his trademark slapping.

The energy remained high throughout the first set both onstage and off as moe. dusted off a few more oldies in the form of “Canned Pastries” and “Po’ Sadie” (last played Dec. 30, 1998) with each drawing knowing glances among long-time fans and cheers from the newer ones.

Though there are distinct differences in Schnier’s and Chuck Garvey’s guitar styles, there is not a more complementary duo in the game today. Evidence of this shone during the instrumental “Pastries.” While Derhak, percussionist Jim Loughlin and drummer Vinnie Amico laid down a smooth funky beat, Schnier and Garvey traded licks back and forth on opposite sides of the stage surely causing slight whiplash among some onlookers.

The lounge jazz intro to “Don’t Fuck With Flo” segued perfectly out of a lengthy run-through of a jazzier than usual “Timmy Tucker,” creating a huge build-up to the sing-along chorus of who not to mess around with. Garvey made heavy use of his effects pedals, combining with the spectacular light show to create a true rock-star experience to cap off the first set.

Following a half-hour break, the band opened the second set with a tribute to the Saranac Brewery for the Hoppy Hour Hero brew many in the house were imbibing in on this night. Naturally, “Happy Hour Hero” followed. Garvey used his talkbox to wish everyone a “Happy New Year.” A long and sweet segue out of “HHH” into the reggae “Seat of My Pants” held the crowd’s attention until Schnier’s opening notes led the way into the moe. classic. The heavy break down part of “Seat” had Schnier in full-on rock god mode. Schnier threw in barre chords, finger tapping, the trademark facial expressions and an on-his-knees serenade to those in the front row.

The brand new and sweeping Schnier instrumental “Montego” was well-received and should prove to be a nice jam vehicle in shows to come. “Four” closed out the second set. Garvey was on fire during this one. Those riding the rail Chuck side were treated to a guitar clinic from the maestro as midnight loomed.

Set three began with what has now become a moe. NYE tradition—the playing of Pink Floyd’s “Time/Breathe” during the countdown to midnight. Once the confetti cannons blew their payload, Derhak broke into an a capella “Auld Lang Syne,” a song that, like most people, Derhak had issues remembering the lyrics to.

This led to the surprise of the night as Loughlin left the confines of his kit at the back of the stage to drop some mad rhymes to House of Pain’s “Jump Around.” The stage soon filled with band and crew family members jumping around as Loughlin had instructed.

moe. continued the set into the wee hours of 2016, dropping in a newer fan favorite “Billy Goat” followed by an intense “Meat” that proved to be unfinished. Garvey again displayed why he’s one of the premier guitarists in the genre throughout the spacey, funky, jam; at times using his microphone stand as a slide for his guitar.

A solid run-through of “Brent Black” featured a stellar jazz-informed solo from Amico and a roaring bass solo from Derhak. “Wind it Up” wrapped up the set, leaving the exhausted audience breathing a sigh of relief.

As the band members took a brief break, microphone stands were brought to the front of the stage for the encore. Schnier played his acoustic, while Garvey plucked on his electric. Amico played the tambourine and Loughlin the maraca, as Derhak, with the assistance of a lyric sheet, sang the Talking Heads’ “This Must Be the Place (Naive Melody)” with help from the crowd on such lyrics as “Home is where I want to be.” As moe.’s adopted hometown, the collaboration was a fitting end to the show capping off the band’s silver anniversary year.

Setlist
Set 1: Defrost> Akimbo, Y.O.Y., Canned Pastries, Po’ Sadie, Timmy Tucker> Don’t Fuck With Flo
Set 2: Happy Hour Hero> Seat Of My Pants, Montego, Four
Set 3: Time> Breathe> Countdown/Happy New Year> Auld Lang Syne, Jump Around*> Auld Lang Syne, Billy Goat> Meat#> Brent Black, Wind it up
Encore: This Must Be the Place (Naive Melody)
*Jim on vocals
#unfinished

January 7, 2016
Donald Fagen of Steely Dan Charged with Assault

Donald Fagen, co-founder of Steely Dan, was arrested on Monday at his home in New York City after an altercation with his wife, Libby Titus.

Donald Fagen was charged with harassment and misdemeanor assault in Manhattan Criminal Court and released Tuesday morning without bail. He was issued a temporary order of protection, requiring he stays away from Titus. According to the criminal complaint, Fagen shoved Titus into a marble window frame. She suffered bruising and swelling.

Steely Dan, formed in 1972, are known for their jazz-based pop/rock on hits such as “Rikki Don’t Lose that Number,” “Hey Nineteen” and “Deacon Blues.” They have recently played several of their classic albums in their entirety at concerts in New York’s Beacon Theatre.

Libby Titus is a singer/songwriter who has collaborated with Phil Ramone, Robbie Robertson, Paul Simon and Carly Simon. She is best known for her song “Love Has No Pride,” written with Eric Kaz. The song was recorded by Titus, Bonnie Raitt and Linda Ronstadt.

Fagen was born in Passaic, NJ, whose mother Elinor was a swing singer in the Catskill Mountains from childhood through her teens. His family moved to the suburb of Fair Lawn, NJ in 1958 and soon after to the Kendall Park section of South Brunswick, NJ, which upset him but his love of late-night radio would inspire the album The Nightfly.

January 7, 2016
Alchemy Rising Festival Presents an Amalgamation of Music, Art and Outdoor Exploration

The Alchemy Rising Music and Arts Festival held at the 160 acre Frontier Ranch in Pataskala, Ohio, offers patrons the freedom to fully immerse themselves in artistic splendor. The weekend of creative saturation, which will be held May 12-14, encourages attendees to revel in a musical lineup headlined by Consider the Source, Broccoli Samurai, Dark Side of the Moon, Tropidelic and Sassafraz.

Marbin, Yosemight, Vibe & Direct, Dixon’s Violin, Pasadena, Ghost Gardens, JoJo Stella, Spacewhale and Steve Sweeney of Ekoostik Hookah will also share the spotlight, with more to be announced.

Alongside the concoction of musical enterprise, festival goers are encouraged to participate in an eclectic array of musical workshops, art installations and outdoor activities including a full frisbee golf course. The hands-on, multi-sensory experience is designed to illuminate the senses, whether manifesting creative output through the tip of a paintbrush, receiving sonic vibrations from the hands of talented musicians, or releasing energy through a calculated frisbee toss.

Pre-sale tickets for Alchemy Rising Festival, which alchemically translate into a three-night, family friendly outdoor extravaganza, are available now.

January 7, 2016
Hearing Aide: Sonic Farm Presents: Aqueous Halloween 2015 – Dark Side of Oz

Aqueous fans that missed out on the band’s sold-out Halloween show this past October won’t be in the dark for much longer. Thanks to Sonic Farm Studios, Aqueous has released Sonic Farm Presents: Aqueous Halloween 2015 – Dark Side of Oz.

The live recording of Aqueous’ Halloween show at Buffalo Iron Works not only includes some of Aqueous’ best original material, but also the band’s stellar performance of Pink Floyd’s Dark Side of the Moon.

In celebration of the mystic connection between the cinematic classic Wizard of Oz and Pink Floyd’s classic album, Aqueous dressed as the Wizard of Oz cast during the evening’s performance. Less than two months later, staffers at NYS Music named the performance as Best Show in Western New York for 2015.

The first seven tracks are loaded with brilliant examples of what Aqueous does right; “Eon Don,” “King for a Day” and a non-stop “Complex Pt. 1” into “Wandering” into “Complex Pt. 2” that took the crowd on a nearly 30-minute groove-rock ride. The first set also features Aqueous’ tribute to the night’s opening band with an edged-out version of Funktional Flow ‘s song “Mulligans.”

The first set also features a mash-up style version of the “MGM Theme” and “Somewhere Over the Rainbow” before fusing into “Kitty Chaser (Explosions in the Sky).” Although the track is one of Aqueous’ more well-known and often-played songs, this version lends itself to a more mellow feel and deeper groove.

In more Oz whimsy, the album also includes Aqueous featuring Matt Harris (saxophone) on a jazzy instrumental version of the film’s classic “If I Only Had a Brain.” The first set of Halloween 2015 closes out with an evocative and beautiful version of “Somewhere Over the Rainbow.”

Gears shift to Dark Side of the Moon at the album’s halfway point. Beyond the sheer technical skill and flawless timing, Aqueous executes pure confidence, while accomplishing a feat that many musicians simply couldn’t execute. The talent and precision it takes to perform Dark Side in its entirety in real time didn’t go unnoticed or unappreciated by anyone in attendance—and it comes through even stronger via the recorded tracks than it did onstage.

The task also highlights that the band shows brilliance in production. A guest appearance from vocalist Sara Jane, who often performs with Pink Talking Phish, delivered both a haunting and flawless performance in “Great Gig in the Sky.” In addition, Harris and Funktional Flow’s Joey Lewis (guitar) returned throughout the second set for various appearances on Dark Side.

What’s most impressive about the Dark Side portion of this release is the band’s attention to detail during the live performance. It’s the small things that add up. The tiny ways they managed to build the layers in a live setting to simulate the studio recordings are so on point that at times you forget that this recording isn’t hours of multiple layer tracking or looping.

Dan Brace from Sonic Farm Studios recorded, produced and engineered the release. As he told NYS Music, getting the stars to align for a releasable recording isn’t an easy task. “With live material we only have one shot at getting a good take,” he said. “We have to be certain every mic and every channel is functioning.”

And in listening to the release (although there is obvious crowd noise and a slight airiness to the vocals) those tend to be the only indication that this is a live recording—a testament to both Brace, who has spent almost two decades mastering this type of audio skill, as well as to the band. Aqueous is so tuned into playing by instinct that they seem to never play live without crystal-clear direction. And although this makes Brace’s job much easier, he mixes the album with studio-quality flare.

In the time since Aqueous released “Cycles” in October 2014, the band has continued to mature and grow as musicians. On the vocal front, lead guitarist and main vocalist Mike Ganzter has gained a smooth, milky richness to his vocal quality; it’s partially vocal maturity but also a nod to vocal exploration and practice. In “Mulligans,” Gantzer handles the vocals as if the song were his own. On guitar, Gantzer continues to be one of the most talked about musicians among his peers. He creates a sound all of his own, as if his guitar is simply weeping with joy.

David Loss not only handles guitar and vocal duties but also keys and synth. In listening to this release, it’s his nuances that bring out the best of the Dark Side recording but also the best of Aqueous’s original material. He seems to always know where he is in regards to complementing his fellow musicians. It’s a mind-numbing skill to have as a musician to be able to understand that sometimes less is more, or that layers are built on levels, but that in order to build a deep sound, the levels can’t all be the same.

Bassist Evan McPhaden works bass lines with an incredibly funky yet steady pace. At the band’s quieter moments, it’s McPhaden’s impish style that often sneaks in sending the music back to an edgier path. A good bass line lays down the grooves that get a crowd moving. Even the most hi-def shred guitar works need solid driving bass behind it to truly make it magical. And in that layer creation, McPhaden always finds a way to keep the music driving forward.

When you talk about Aqueous’ technical skill, it goes beyond musicianship. And their ability to “produce” their music in real-time is most impressive. Even in mid jam, they work out musical nuances that truly reflect the ebb and flow of their moniker. It is in their live show that this technical skill truly shines.

Fans of the band already know that this album is a must-have addition to any music collection. To the casual listener, Sonic Farm Presents: Aqueous Halloween 2015 – Dark Side of Oz is a perfect introduction to the band. Sonic Farm Presents: Aqueous Halloween 2015 – Dark Side of Oz is available for unlimited listener streaming through the Bandcamp app.

Key Tracks: “King for a Day,” “Great Gig in the Sky,” “Mulligans,” “Money”

January 7, 2016
Some Kind of Jam 11 Announces Lineup

Some Kind of Jam 11, which will be taking place April 22-24 in Schuykill Haven, Pennsylvania, has announced its initial lineup.

The three-day event takes place just 20 miles northwest of Reading and will feature four stages and 31 musical acts. Since 2005, Jibberjazz festivals has been hosting the event. Headliners the New Mastersounds will offer their unique blend of funk/soul/jazz fusion, while the recently reunited RAQ brings an added element of excitement to the bill. Buffalo groove rock masters Aqueous were also announced.

The weekend will include a variety of music including jam, funk, bluegrass, folk, blues, rock, reggae and jazz. In addition to live music, festival-goers will have many activities to choose from including various workshops, light shows, fire performances and yoga. The family friendly event will also include a kids’ area and activities.

The weekend event is located on a 60-acre fairground that includes indoor and outdoor stages, camping, permanent restrooms and showers as well as nature trails, trout fishing and electricity access for RVs. Additional information about the festival, venue and tickets is available through Jibberjazz.

Complete Some Kind of Jam 11 Line-Up
THE NEW MASTERSOUNDS
RAQ
JASON RICCI & THE BAD KIND
MIKE DILLON BAND
BANDITOS
AQUEOUS
THE BIG DIRTY
SHOKAZOBA
GANG OF THIEVES
BLACK MASALA
CAPTAIN GREEN
ON THE SPOT TRIO
YOSEMIGHT
DESMOND JONES
THE PLATE SCRAPERS
THE JAKOB’S FERRY STRAGGLERS
STRANGE MECHANICS
THE HAWK OWLS
LOVANOVA
HEXBELT
THIS WAY TO THE EGRESS
APPALACHIAN GYPSY TRIBE
BONZO TERKS
UNCLE JAKE & THE 18 WHEEL GANG
KATE VARGAS & THE RECKLESS DAUGHTERS
COSMIC COWBOY SOWING CIRCLE
HEZEKIAH JONES
MATEO MONK
GILLIAN GROGAN
OLDS SLEEPER
KNITEBITCH

January 7, 2016
Bisco Inferno Returns to Colorado

Fresh off of their celebrated New Year’s run in New York City, the Disco Biscuits are slated to once again descend upon Colorado for four nights of shows with Bisco Inferno, and bring a few special guests in tow.

This summer, the Philadelphia-based four-man jamband — Allen Aucoin (drums), Marc Brownstein (bass, vocals), Jon Gutwillig (guitar, vocals) and Aron Magner (keyboards, vocals) — will play three shows at the Ogden Theatre in Denver on June 1 through 3, followed by a performance at the Morrison, Colorado, venue with Ghostland Observatory and Twiddle on Saturday, June 4.

The Disco Biscuits’ Colorado run last April featured Break Science and Bill Kreutzmann and Mickey Hart of the Grateful Dead (who the band has teamed up with in the past for Gathering of the Vibes) to sold-out crowds who were treated to many collaborations of Dead cover songs.

While other acts might be added to the lineup, Bisco Inferno 2016 guests Ghostland Observatory from Austin and Vermont-based Twiddle currently share the Red Rocks bill with the Disco Biscuits; past guests have included Big Boi of OutKast and Israeli trance band Infected Mushroom. A duo that has been a rare sighting since their 2013 parting, Ghostland Observatory has released four albums to date, with the latest being Codename: Rondo (2010), and they last performed together at Euphoria Festival in April. And the multi-genre jam quartet Twiddle is currently on tour in support of PLUMP and most recently rang in the New Year with three sold-out nights in Burlington.

Pre-sale tickets for this year’s Colorado shows are set to be available at noon on Jan. 6 through the band’s website and on sale to the general public this Friday, Jan. 8; ticket packages must be purchased for the Ogden Theatre shows. Prior to Bisco Inferno, the Disco Biscuits’ current list of dates features stops in Philadelphia and appearances at the Aura Music and Arts Festival in Live Oak, Florida, and Atlanta’s SweetWater 420 Festival.

January 6, 2016
Otis Live Presents: New Paltz’s Upstate Rubdown

Upstate Rubdown, based out of New Paltz, NY, has a new video courtesy of Otis Live. Having performed at Otis Mountain Get Down on September 12, 2015, the group of diverse musicians who combine jazz, gospel, folk, bluegrass and Broadway with soul, Motown and R&B create a unique sound. Their video is from a session in the woods of Baxter Camp at Otis Mountain features three tracks: “How’m I Doin?,” “Jimmy (You Know How To Live),” and “Old Advice.” Read an interview with the group and enjoy the latest from Otis Live.

Credit: Directed & Edited by George Watts, Produced by Quillan George & George Watts, Additional Shots by Kayhl Cooper, Scott Sweitzer & Tazer Landlow, Field Recording Mastered by Eric Maier at Future Fields Recordings

January 6, 2016
Phish Jams Their First Show of 2016

After an energetic night one and spectacular New Year’s Eve show, the boys took the stage for night three at Madison Square Garden. The first Phish song on Jan. 1, 2016 was “Stealing Time From the Faulty Plan.” The lyrics could not have related more to a crowd of people nursing hangovers and wondering what exactly happened last night.

Page McConnell got down to business early in the first set with “Heavy Things.” After a few moments of onstage, private discussion between Trey Anastasio and each other member of the band, they picked back up again with “How Many People Are You?” a Mike Gordon and Scott Murawski original. The song was upbeat and Gordon seemed pleased to be in the spotlight, while Anastasio added flare on guitar. On to “Stash,” the crowd fulfilled its duty to sing the “whoa-ohs” and to double clap right on cue. The song also provided an opportunity for a rather spacey and almost eerie jam in which McConnell and Anastasio played off one another quite well. The “Stash” jam eventually crescendoed into an intense, screaming guitar solo that left the crowd cheering for more.

Like “Stealing Time,” “Undermind” was the perfect chance for McConnell to pounce on the keys, providing the light, playful sound to an already funky tune. Then came the best part with Anastasio circling back to incorporate the riff from “Stash” and then to a “Stealing Time” tease.

A straightforward but near perfect “Rift” and phans were ready to put their wingsuits on. “Wingsuit” allowed both concertgoers and the band to relax if only for a few minutes. Since its release in 2014, the song has solidified itself in their repertoire, beginning with a breezy intro but making its way to an explosive display of instrumental technicality. The pressure from “Wingsuit” subsided with an easy-going “Ocelot.” McConnell the lounge singer stepped up to the mic and delighted fans with “Lawn Boy.” He introduced Gordon who took a few minutes to deliver a bluesy bass solo. “Run Like an Antelope”—an eternally pleasing song—included a scorching solo from Big Red, which hit every single note. “Antelope” returns with teases of “Stash” and “Stealing Time.”

After set break, the boys returned to the stage and captivated the audience with the unmistakable, ominous intro and bass line of “Down with Disease.” The jam provided opportunities for each member to put their best foot forward. It was a perfect second-set opener that seamlessly blended into “Dirt” and then to “Halfway to the Moon,” where McConnell stole the show with a thunderous storm of keys and vocals. “Theme From the Bottom” was passionate and heartfelt, characteristically starting out slow and chill, as it built into an incredible jam (my personal favorite of the evening). This was followed by a 17-minute “Light” that delivered a round-the-world deconstructed jam with ups, downs, space and intensity that was largely led by Anastasio with a “Manteca” tease.

The evening, already speckled with Fuego, led to a strong performance of the album’s title track. Although relatively new, fans sang along enthusiastically—a sure sign of both acceptance and enjoyment. The band then segued into “Slave to the Traffic Light,” a senior song for the quartet, that provided a passionate and emotional close to the second set. After a brief intermission, Phish returned to the stage for “Farmhouse,” the solo encore track that ended the evening.

Night three of Phish’s New Year’s run was filled with some amazing and thoughtfully layered jams, but there was an uncharacteristic lack of band-to-crowd dialogue; they even seemed to leave the stage more abruptly than usual. Perhaps we weren’t the only ones feeling the fatiguing effects of the prior evening that left a blank space where our minds should be.

Setlist via Phish.net

Set 1: Stealing Time From the Faulty Plan, Heavy Things, How Many People Are You, Stash, Undermind > Rift, Wingsuit, Ocelot, Lawn Boy, Run Like an Antelope

Set 2: Down with Disease^[1] > Dirt, Halfway to the Moon > Theme From the Bottom> Light > Fuego > Slave to the Traffic Light

Encore: Farmhouse

[1] Unfinished
· Stash, Stealing Time From the Faulty Plan, and How Many People Are You teases in Undermind
· Stealing Time From the Faulty Plan, Stash, and How Many People Are You teases in Run Like an Antelope · Manteca and Linus and Lucy teases in Light

January 6, 2016
Borg Party Goes Deep at Buffalo Iron Works

When Borg Party converged on Buffalo Iron Works to a packed house, no one really knew what to expect. If you expected the obvious, a simple fusion of the super group’s respective sounds, you would have been slightly disappointed. When Rob Compa (Dopapod), Mike Gantzer (Aqueous), Mickey Carrubba (Turkuaz), James Searl (Giant Guerilla Panda Dub Squad) and Wiley O’Riley (The Niche) took the stage, surprisingly, they offered something very different. Borg Party was a masterclass in improvisational jazz subtly infused with a soulful yet intensive rock union.

The night was about five incredibly talented musicians playing some of their favorite tunes. The evening’s set list included rare, odd and surprising covers and a chance for these musicians to play the music that inspires them . “I was planning on coming home for the week of Christmas to visit my parents,” Compa told NYS Music. “So I figured I would call up some people whose playing I really love, who are from western New York and put together a couple shows just to have some fun and blow off some steam. That is really pretty much the whole point.”

The evening began with “Rise of the Borg”, an original composition written by O’Riley for the evening. Aqueous guitarist Dave Loss sat in during a playful version of Grant Green’s “Flood in Lincoln Park”. Borg Party also opted to play musical tributes to John Scofield, Buddy Miles and The Beatles.

Champagne Brown (The Swooners, The Niche), who has been singing with O’Riley since her teens, joined the band on stage during a rousing cover of Led Zeppelin’s “Since I’ve Been Loving You”. Her stunning yet strong vocals were the perfect complement to the band’s solid and dialed in musical focus. She also lent vocals on the night’s encore of James Brown’s “Sex Machine”.

Despite running a set list of mostly covers, Borg Party never lent itself to sound unrehearsed or unsure – a true testament to their talent as studied musicians. The five members of the super group all prepared on their own. “We’ve had a big e-mail chain of cover ideas,” Compa told NYSMusic before the show, ”We’re all just learning stuff on our own and we’re gonna see how it goes.”

Watching Borg Party play was a fascinating musical classroom. With the five members having only pre-show rehearsal time together, they were more reliant on the purity of improvisational cues showing that improvisational music really is as much about instinct as it is preparation.

The set list and tone of the night was much more mellow than anticipated. The song selection was a history lesson with a majority of the evening’s covers having been originally released before 1980. The deep track set list also reflected that the five members of Borg Party are more than just studied musicians, but also music fans.

Compa and Gantzer, who have previously played together on several occasions including this summer’s Aquapod set at Buffalove, have an incredible on-stage chemistry. It is clear that these two have a deep respect for each other’s talent.

Borg Party was a two night only engagement at Buffalo Iron Works in Buffalo and Flour City Station in Rochester. According to Compa, the group doesn’t have plans for future dates. When asked if Borg Party could surface again, Compa simply stated, “I guess we’ll see how it goes and then take it from there. For now, though, just those two.”

Buffalo Setlist: Rise of the Borg (Willy O’Riley), Them Changes (Buddy Miles), Chank (John Scofield), Since I’ve Been Loving You* (Led Zeppelin), Flood in Franklin Park^ (Grant Green cover), Hey Bulldog (Beatles), Back at the Chicken Shack (Jimmy Smith), Offspring (John Scofield), Circles (Incubus)
E: Sex Machine* (James Brown)

*w/ Champagne Brown on vocals, ^w/ Dave Loss from Aqueous on guitar

January 6, 2016