NYS Music 20​17

Author: Pete Mason

  • Eric Clapton Keeps the Blues Alive at Madison Square Garden

    With the spirit of Chuck Berry present, church was assembled on Sunday, March 19 at Madison Square Garden, with the legendary Eric Clapton presiding. Over three and a half hours, Clapton performed songs from across his 50 year catalog, particularly the covers he popularized that brought him fame over his career which served as a tribute to legends he has admired, called a friend or, in many cases, both.

    Opening the show was Jimmy Vaughn, brother of Stevie Ray, who performed a 30 minute set that began with Wilson Pickett’s “Midnight Hour” and was capped off by “Tra La La.” Gary Clark, Jr. followed, and shortly after “Travis County” he noted, “That last one would not have been possible without the influence of Chuck Berry,” the founder of rock n roll who passed away a day earlier. Highlights included “Our Love” off Clark Jr.’s The Story of Sonny Boy Slim, which had a painful yearning that only the blues can alleviate, and his signature “Bright Lights Big City.”

    Gary Clark Jr @thegarden. Next up Eric Clapton! #slowhand #msg #nysmusic #legends

    A post shared by pete mason (@phanart) on

    As Eric Clapton arrived to the stage, the room illuminated with projections behind him. “Key to the Highway” and “Badge” kicked off the night with Sharon White and Michelle John on backing vocals. Clapton wore a blue shirt and black vest as he led the band through nearly two hours of surefire rock n’ roll, including “I Shot the Sheriff,” his cover that skyrocketed Bob Marley to fame in 1974.

    eric clapton madison square gardenClapton took a seat for a handful of acoustic songs, including “Driftin’ Blues,” “Nobody Knows You When You’re Down and Out,” “Tears in Heaven” and “Layla,” all the while exhibiting that pained look singing the blues requires you to have. After each song, Clapton gave that short, quick “Thank You” to the audience, a truncated comment that has almost never changed in cadence or elocution and was the extent of his banter with the audience this evening.

    A beautiful “Wonderful Tonight” preceded “Crossroads” and “Queen of Spades,” both tunes by Robert Johnson, the eldest of blues legends, the latter of which found Clapton the most dialed in of the night. Longtime friend and guitarist JJ Cale’s “Cocaine” closed the set with Chris Stainton going to town on the piano. The two song encore featured “Sunshine of Your Love,” the lone Cream song of the night which was as powerful as ever, and “Before You Accuse Me,” with Vaughn and Clark, Jr. each taking solos and rousing the sell out crowd once again.

    Be thankful that bluesmen live long lives, for we have a combined century of living legends in Eric Clapton and Jimmy Vaughn and many more years of Gary Clark, Jr. keeping the tradition of the blues alive.

    Setlist: Key to the Highway, Badge, I’m Your Hoochie Coochie Man, I Shot the Sheriff, Driftin’ Blues*, Nobody Knows You When You’re Down and Out*, Tears in Heaven*, Layla*, Somebody’s Knocking, Wonderful Tonight, Crossroads, Little Queen of Spades, Cocaine
    Encore: Sunshine of Your Love, Before You Accuse Me^
    * acoustic
    ^with Gary Clark, Jr. and Jimmy Vaughn

  • Phish Announces Additional Summer Tour Dates

    Phish has added 8 additional shows to their 2017 Summer Tour in the cities of Chicago, Dayton, Pittsburgh, and Commerce City, CO. In between, Phish has 13 shows lined up for a Baker’s Dozen at Madison Square Garden over the course of July 21 through August 6.
    phish additional summer tour

    The shows in Chicago will be held at Huntington Bank Pavilion at Northerly Island July 14–16. The band then heads east to the historic Nutter Center in Dayton, OH on July 18 and then to Pittsburgh, PA to perform at the Petersen Events Center on July 19.

    After taking a break for a few weeks in August, Phish closes out the summer as they have since 2011 at Dick’s Sporting Goods Park in Commerce City, CO, September 1-3.

    You can Request tickets now through PTBM.

  • Holly Bowling brings Classical Phish and Grateful Dead to the Whisper Dome this Friday

    Holly Bowling is back on the road in March and after hitting Syracuse this week, she heads to a little known venue The Whisper Dome on Friday, March 24. The venue is a unique round room, perfect for jazz performances, and Bowling is excited to revisit the Capital Region as she does quite frequently, bringing with her classical reimaginings of the music of Phish and the Dead. Bowling chatted with NYS Music recently about the integration of Grateful Dead music into her setlists, performing with Everyone Orchestra and the musical handshakes that resulted.

    holly bowling whisper domePete Mason: How has integration of the music of the Grateful Dead and Phish changed since you began integrating the two and since you released Better Left Unsung.

    Holly Bowling: The setlists have gotten a little more Dead heavy. When I introduced Grateful Dead songs, the album wasn’t out yet, and it worked itself into the setlists gradually. The Dead have such a deep and extensive catalog and I continued to dig into that and add things to my repertoire. In general, the shift from playing all Phish and then Phish and The Dead together has opened up a whole new arc to each show and each set. As you know, as much as the two bands get compared to each other and lumped together, the music in truth is really, really different. There are some really touching and beautiful songs in the Dead catalog, and if you juxtapose a Dead song between a Phish song, you have to ease into each song in order to cover more stylistic ground in each show and make room for improvisation and bridging the space between the two bands and the place the music takes you.

    The other change is that adding in the Dead’s music, I’ve noticed the chord progressions are beautiful but they’re not incredibly complex. Some of those have been the hardest ones to work on. Having that in my catalog and adding into sets has taught me the importance of leaving space. Some songs in the Dead’s catalog are truly emotional for me – “Stella Blue,” “Wharf Rat,” stuff like that. There can be these delicate, very emotional moments and you can’t fill up all the space there. I’m really enjoying the variety that is coming with working with these catalogs both at once. It gives the shows more of an ebb and flow and opens the door for a good arc or storyline in each set. I try to put the sets together with a particular shape to it and you end up having more tools to work with in that way. There is still a balance between the two. I love the bands both very deeply.

    PM: In addition to your solo shows, you have been playing with the likes of Joe Marcinek Band and Everyone Orchestra.

    HB: I just played two shows with Everyone Orchestra in Charleston, SC and Asheville, NC. We played a bunch of Dead music together with Oteil Burbridge on bass (Dead and Company), Ian Neville on guitar (Dumpstaphunk), Natalie Cressman (TAB), Claude Coleman Jr. on drums (Ween), Wallace Mullinax (Dead 27’s), Mike Quinn, and Jeff Mosier on banjo (Blueground Undergrass), and we did an afternoon set called Everyone’s Dead with Matt Butler on drums, Anders Osborne, Oteil and myself. It was a great experience all around.

    PM: How have those experiences with Everyone Orchestra challenged you and affected your playing?

    HB: It feels natural. I hadn’t played with anyone in that lineup before. Matt will write a theme on his dry erase board and sometimes one specific instrument gets to lead a tune and make up the theme with Matt’s suggestion. To play a theme and meet these musicians through a musical handshake allows you to get to know people through performance, you start to hear everyone’s voice come through. Whoever starts out the song, you find out ‘This is your style, your voice’ and we find out what we sound like together. Then you hear their voice and you figure out how to add to it or complement it.

    The other things that was really cool about it is that no one is ever announcing what they’re going to do next, the most you can do is telegraph a chord change in a certain progression; if everyone moves to the 5, you know you’ll move back to the 1. It’s kind of a surrender, and instead of a group think and do the same move at the same time, if one person decides to go off in one direction, the group moves in that way. It’s different when you have a conductor and they’re at the controls of going to the B section. It’s unique and with someone calling the shots and conceptualizing where you want the show to go is a very different experience and it was really cool.

    PM: How did you come across The Whisper Dome?

    HB: We are always looking for piano rooms and also looking for unconventional spaces for a show. This happened in Portland at The Old Church and people walked out having never heard of the place and wanting to return. I like venturing outside the usual circuit of rooms that get played within our music scene. The style of music, by necessity, is a hybrid of different sounds so playing in jazz clubs, churches, clubs is reflects the variety of music. I think we found a picture of The Whisper Dome online from a jazz series they help and being called the Whisper Dome, it intrigued me. I think it’s good to change it up and give people an opportunity to have this grounding experience in a real quiet space can be really cool. Spaces like The Whisper Dome and really conducive to that kind of environment and listening atmosphere.

    PM: Todd Stoops (RAQ and Electric Beethoven) recently moved to the West coast and your hilarious airplane photo rivalry…

    HB: We’re gonna open an airline together. It’ll be expensive though, one customer per plane. (laughs)

    PM: Do you see yourself performing more with Todd now that he’s out west?

    HB: I feel like piano players don’t get to play together very often – sometimes there are two guitars in a band but rarely double keys. There’s an amazing movie Piano Players Rarely Ever Play Together that I highly recommend watching. It’s got Tuts Washington, Allen Toussaint, and Professor Longhair. You gotta check it out! But I digress. I’d love to play with Todd. Actually, I have side by side pianos in my living room currently – Todd, if you’re reading this, come over and play one of ’em! Double piano jams!

    Tickets are on sale now for Friday’s show at The Whisper Dome.

  • This Week in Protest Music: Snoop Dogg, Juliana Hatfield, Sex Pistols and Stefan Lessard

    Snoop Dogg released “Lavender” (Nightfall Remix) featuring a clown named Ronald Klump, who wants to deport all doggs, and later Snoop fires a fake pistol at Klump, who later in the video is in chains. Watch the roller coaster video and judge for yourself:

    Boston-based soul/rock band Dan & the Wildfire released their new single, “Nothing But Love” on February 22nd and will donate all proceeds to the ACLU.

    Juliana Hatfield will release a Pussycat, a politically themed album, on April 28. Hatfield said of the release, “I wasn’t planning on making a record … All of these songs just started pouring out of me. And I felt an urgency to record them, to get them down, and get them out there.”

    Tom Maxwell profiles The Hutchinson Family Singers, who were abolitionists with an anti-slavery anthem.

    https://www.youtube.com/watch?v=tyoC-JccYcc

    Katy Perry released “Chained to the Rhythm”, a ‘purposeful pop’ protest song, which was then skewered by the NY Post.

    Protest music towards Trump has taken off globally, and through dance music, as detailed by The National, based in United Arab Emirates.

    Connecticut based saxophonist Noah Preminger released Meditations on Freedom, on Inauguration Day and Mike Hamad at The Hartford Courant breaks down the albums political themes.

    Canadians are getting in on protest music too! Hollerado from Ontario wrote “Grief Money” prior to Trump’s election but it was “It was an unhappy coincidence” the song had a secondary meaning. Blood, Sweat and Tears former singer David Clayton-Thomas wrote “Ode to the Donald” and Wintersleep wrote “Amerika,” tunes that show the interconnectedness of American policy and our Canadian neighbors.

    Jon Lydon of the Sex Pistols, who rebelled against the system with punk in the 70s and 80s sees the bright side in Trump, in a new interview with Vulture.

    Stefan Lessard of Dave Matthews Band spoke out on the inclusion of political themes in the group’s music as a rebuttal to some fans disagreeing with combining politics with music.

    The Colorado Springs Independent takes a look at The Politics of Protest Music.

    Matthew O’Neill released “Louisiana” with all proceeds benefiting Earth Guardians.

    Portland, Oregon’s Jeffery Martin released “What We’re Marching Toward,” and the Worcester Telegram breaks down the song’s message.

  • The Disco Biscuits Announce 3-Night Run at Capitol Theatre

    The Disco Biscuits have just announced a 3-night run at The Capitol Theatre in Port Chester, NY on April 27, 28 & 29.

    Three day passes have already sold out, but single day tickets for all 3 shows will go on sale Friday, March 17 at 12 noon ET through The Capitol Theatre’s website.

    disco biscuits 3-night capitol

  • Matthew O’Neill “Louisiana” to Benefit Earth Guardians

    Matthew O’Neill has released “Louisiana,” the first single from his upcoming album Trophic Cascade, coinciding with the March 10 Native Nations March in Washington D.C.

    matthew o'neill Recorded in Gowanus, Brooklyn, the emotional original song combines elements of Americana, psychedelia, and rock. The single is a pay-what-you-want release with all proceeds benefitting Earth Guardians. The album is due out May 5 from label and environmental coalition Underwater Panther Coalition, who will donate 50% of all profits to frontline earth protection groups, with a focus on indigenous rights and conservation.

    Catch O’Neill at Lantern Inn in Wassaic, NY on April 15 and April 26 at Parkside Lounge in NYC. He heads west on May 13 to perform at Raven Cafe in Prescott, AZ and returns east for a show at Radio Bean in Burlington, VT on May 17.

  • This Weekend in Albany, WEQX Presents Slothrust, Electric Guest and The Band Ice Cream

    WEQX, The Real Alternative, has three big shows in Albany this weekend! Thursday March 2: Slothrust at The Hollow

    This Brooklyn-based trio of graduates from Sarah Lawrence College bring their Indie-grunge rock with influences of jazz and blues to The Hollow on March 2nd. They recently performed at Upstate Concert Hall this past November. Check out their latest album  Everyone Else.

    Friday March 3: Electric Guest at The Hollow

    This pop duo from California hits The Hollow the following night, and will be performing at SXSW Festival later this month. Fun fact: singer Asa Taccone (brother of Lonely Island’s Jorma Taccone) helped Andy Samberg and Akiva Schaffer produce “Dick in a Box,” among other Lonely Island numbers.

    Sunday March 5: The Band Ice Cream at The Low Beat

    Self proclaimed ‘Dairy Rock‘, this San Francisco garage pop rock comes to The Low Beat on Sunday night. Their latest EP, We’re Set, has found them joining the stage with the likes of Hinds, Night Beats, Adult Books, SWMRS, The Aquadolls and many more.

  • Former Assembly Candidate Jesse Calhoun Named GM at School of Rock Albany

    School of Rock Albany has announced that former Assembly candidate, Jesse Calhoun, has been named as General Manager. The position brings Calhoun’s experience as an organizer and musician to a nationally famous program. Thanks to the 2002 Jack Black film, School of Rock has 11 chapters around New York State, expanding in recent years and opening an Albany chapter in 2013. Calhoun spoke to NYS Music about his new role and what he brings to the job, and why we need to save the arts.

    Pete Mason: How did you first get started in music as a kid when you were growing up?

    Jesse Calhoun: I had been involved with vocal music ever since I was a kid, had my first solo thanks to Miss Mescudi in Cleveland Heights, Ohio, (fun fact that’s actually Kid Cudi’s Mom.) But I really dove in my senior year of high school. I asked my mom for a guitar that Christmas, and then spent every waking hour that I wasn’t in school trying to learn riffs from my favorite bands. I learned the little riff from “Come Out and Play” by the Offspring and the riff from “Song 2” by Blur and was hooked forever after that.

    Jesse Calhoun

    PM: How did you start The Ameros?

    JC: I started a band called “Cultural Relativity” in Ohio with my best friend since 5th grade, Charles Pope. We recorded a little 5 song demo CD called The Controlled Demo – which the same night we recorded it and put it up, I was contacted by a DJ from Leaf Pile Radio out of Columbus who loved our song “Name Your Price for Freedom” and wanted to put it into rotation. We were sharing that song all over the country to local activist groups. It was right about the time of the Patriot Act being passed and I was concerned with a swift erosion of liberty that was happening in our country. It wasn’t long before Sean Muniz, a local organizer (who would eventually become our bass player) asked us to come do a benefit concert here in Albany, NY. A few years down the road not only had my view on relativism changed but our moniker had changed as well.

    jesse calhounPM: What can be done to increase access to music and arts education in schools today?

    JC: Great question! To me Paul Green (the guy the School of Rock movie was based off of) in his creation of the School of Rock has found an amazing answer. In the current educational model, what’s the first thing to get cut? The arts. Always. Not only does the current educational model come from a scarcity mindset, meaning that there are very many talented music teachers out there in the world, decreed officially or not, not many of them can find work, they have to wait for the music teacher to retire or die and then fight for that job amongst hundreds of other applicants. The School of Rock Albany not only enables local, active musicians to teach some of the greatest skills that they have learned both on stage and on their instrument, but it provides an outlet for children who are interested in music that might not be getting it otherwise. Here locally we are happy to supplement great local music programs and provide opportunities for children to unleash their inner rock stars, building confidence, teamwork and more.

    PM: Can you tell us about what’s behind the planning for a Blues show and David Bowie tribute this spring?

    JC: We are early in the season right now, so we’ve cast a variety of students into each show. We aim to teach concepts in context of some of the famous songs that many of us have come to love. We try to choose songs for each student that challenge them or help them learn concepts and expand their musical vocabulary. Right now it’s cool to see the students starting to learn both about the blues form and the roots of Rock ‘n’Roll, and also to explore the multifaceted artistry of David Bowie.

    These shows have filled up due to popularity so we are excited to announce that on Thursdays we are starting up a Tribute to Nirvana show rehearsal from 5:30 p.m. – 8:30 p.m. So if you know any young aspiring musicians who are looking to make friends, learn music, and get on stage – let us know!

  • This Week in Protest Music: Debbie Harry, Las Cafeteras and NY Fashion Week

    Winding down African-American history month, The Crows Nest looks at the top protest albums from black artists that you should know, Gothamist looks at NYC Protest songs in their detailed history and Vogue looks at how protest music took over Fashion Week in NYC this month.

    Nelson Jancaterino and Wyatt Edmondson, two singer/songwriters from Montgomery, AL have two different perspectives and paths with their music. Nelson performs protest music that addresses both sides, recalling folk music as a root of protest music:

    “I feel like with the current political climate, not just in America but around the world, there needs to be a new revival of folk music. You had such a big folk genre, such a big folk influence in the ‘50s and ‘60s, and it just kind of died off. Now there’s a void that needs to be filled by people who have something to say.”

    https://www.youtube.com/watch?v=KmRywKktSsw

    The children of immigrants, Las Cafeteras take roots music and remix it while telling modern day stories. The band “wanted to engage people’s imaginations about the future of this country. Everyone knows what’s wrong, but not many know what to do. We hope to push people to think about themselves as presidents of their homes, schools, workplaces and to create the kind of country they would like to see starting from the local and moving outward.” Listen to “If I was President.” below.

    Klezmer music has roots as protest music, as described by Asher Putnam of Bella’s Bartok.

    Columbia, South Carolina’s Free Times spoke with local musicians on the influence of the age of trump on protest music.

    Forbidden Folk, part of the Folk Alliance International conference in Kansas ended last week, with about 1,000 musicians and singers gathered for five days of music, song and mingling with promoters, critics, agents and disc jockeys for a maniacal, magical feast of music that ran almost 24 hours a day.

    Blondie’s Debbie Harry feels that protest music is on the rise: “I don’t want to go backwards in time; I don’t think isolationism is a good thing at this time in history. I think he’s an idiot. “I don’t like the idea of promoting fear to gain popularity. It’s so ugly.” She believes music has a part to play in voicing protest against him, although “no one has written an anthem yet”.

    This playlist by Vijay Iyer looks at the roots of Protest music in jazz.

    And if you were curious if protest music was relegated just to American, here’s a little something from Nigeria, where Timaya’s ‘Pity 4 Us’ “is a clear representation of the mood in the country, and seeks positive changes in the state of affairs.”

  • SPAC 1995 is the Latest Live Phish Release

    The latest release from Live Phish features the band’s June 26, 1995 performance at Saratoga Performing Arts Center (SPAC).

    SPAC 1995 Phish

    This show would be the last time Phish performed at SPAC until June of 2004. The show highlights include a rare cover of “Don’t You Want to Go?,” an extended “Down with Disease” > “Free” (see video below), and a monster “You Enjoy Myself.”

    Setlist via Phish.net:

    Soundcheck: Time Loves A Hero > Dog Log/Time Loves A Hero mashup, Nellie Kane, Santana Instrumental, Rocky Mountain Way

    Set 1: My Friend, My Friend, Don’t You Want To Go?, Bathtub Gin, NICU > The Sloth, My Mind’s Got a Mind of its Own, It’s Ice > Dog Faced Boy > Tela > Possum

    Set 2: Down with Disease [1] -> Free > Poor Heart > You Enjoy Myself , Strange Design > Run Like an Antelope

    Encore: Sleeping Monkey > Rocky Top

    [1] Unfinished.
    My Friend started with a Pomp and Circumstance March No. 1 tease from Trey. Trey teased and quoted Long Tall Glasses in Bathtub Gin. Possum contained a Heartbreaker tease and YEM contained Immigrant Song teases from Trey. Down with Disease was unfinished. This show is available as an archival release on LivePhish.com.

    Read our detailed breakdown of this 1995 live Phish performance at SPAC here.