NYS Music 20​17

Category: Reviews

  • Talking Under Water Treats Audience to Songs from Upcoming Album

    Talking Under Water has emerged from the studio, where they recorded their first full-length album, which will be available in April. On Friday, January 13, the five-piece indie rock band performed some of those new songs to a live audience for the first time.

    Talking Under Water - C. Cummings (1)

    Talking Under Water played to an intimate audience at one of their favorite hometown venues, the Little Theatre Café in Rochester. Situated in Rochester’s East End district, the café is located inside the Little Theatre. This cozy spot seats 70 people, and was relatively full with friends, fans, and café patrons. However, it wasn’t long before it became standing room only, as the theater-going crowd was drawn in by the music.

    The set started with a new tune, “Lost,” with singer Dave Chisholm on guitar, Elise Hughey on cello, Sam Thomas on vocals, Matt Bevan-Perkins on drums and Colin Gordon on keyboard. The heartfelt song is typical of the band’s ability to morph elements of rock, jazz, and blues into their own contemporary style.

    Chisholm introduced the songs, and talked a little about them. “Rubber Band,” is about distractibility. “Window to Witness” is about having compassion despite differences. And as the name suggests, “5 am” was written on a sleepless morning.

    They also played tunes from their EP’s, which are notable not only for the music but also the lyrical storytelling. Chisholm spun a tale of an unrequited love triangle in the anthemic “Tossing and Turning.”  In the breathtakingly melancholy “First Act,” Chisholm sang the lines, “You try to breathe her in/ To always have a part of her contained within/ ‘Cause any day she’ll walk away/ You still can’t help it/ It’s a sin.”

    The melodies swelled and crested in artful arrangement, as Chisholm sung in his soulful voice and Thomas harmonized. Bevan-Perkins used a small drum kit for this performance, but pulled out some interesting tools like drum brushes. Gordon’s played the keys with heart, but would have had a fuller sound if he had access to a piano. The overall depth of the music was enhanced by the prominent use of the cello. Conservatory-trained cellist Hughey played with equal measures of skill and emotional expression.

    Talking Under Water - C. Cummings (3)

    A cover of Taylor Swift’s “Blank Space” was also thrown in for fun. The other songs they covered mid-set reflected their musical influences – “Jealous Guy” by John Lennon, “Don’t Think Twice, It’s All Right” by Bob Dylan, and “Lua” by Bright Eyes. Some more original songs rounded out the two-hour set. On “Hopeful,” the audience was invited to stomp and clap along. The night ended with the final song off the forthcoming album, “If My Body Freezes.”

    Talking Under Water’s yet-to-be-titled debut album will be released April 28, 2017. In the meantime, their current body of work can be streamed on Spotify or purchased on Bandcamp or on iTunes. Follow the band on Facebook or Twitter for updates on the album and plans for an album release party.

    Set list: Lost, We Used to Dream, Nomad, The Truth, Tossing & Turning, Only the Strong Survive, Days Like Today, Gravity, Window to Witness, Blank Space (Taylor Swift), 5 am, Space, Time Machine, Horizon, Rubber Band, First Act, Jealous Guy (John Lennon), Don’t Think Twice It’s All Right (Bob Dylan) Luna (Bright Eyes), The Boxer, Hopeful, If My Body Freezes

    [embedyt] http://www.youtube.com/watch?v=KGMoz6YQEg4[/embedyt]

  • Hearing Aide: Dave Fields ‘Unleashed’

    This coming Valentine’s Day, New York City-based blues guitar player Dave Fields will release his seventh studio album, Unleashed. In a career that spans writing jingles for the likes of IBM and Publishers Clearing House, working with legendary British bluesman John Mayall, and getting inducted into the NY Blues Hall of Fame in 2012, Fields is definitely making the most of his musical talents. And with an album title like Unleashed, he’s certainly building up some kind of anticipation. And I must say, Unleashed is a fitting title.

    The album opens with “Anticipating You,” an instrumental jam more on the jazz side of things. It also starts what’s a regular occurrence on the album. Though he bills himself as a blues player, Fields goes on long shredding passages like he’s an 80’s hair metal guitarist.

    If you want an idea about what kind of lyricist Fields is, look no further than “Child of the World.” The song is about having to deal with all the bad things currently happening in the world, like terrorists and people who have extremist thinking. And Fields says he’s on a “love crusade” to try and right these wrongs. It’s the kind of lyrics you’d hear from a 1960’s artist, but trying to specifically address modern day topics in that exact way sounds odd.

    The blues aspects really come out on songs like “My Mama’s got the Blues” and “The Boy Wants to Play,” the former sounding like it comes straight from Memphis and the latter having backing singers and more of a soul/gospel feel, even if it is about a boy wanting sex. Meanwhile, the two-parter “Jagged Line” probably gives the best example of Field’s attempt to blend these varying styles together. The rock guitar, backing organ sounds, and blues lyrics about growing up with a hard life, gives any passive listener a good idea of where modern blues music is heading or what it’s trying to be.

    Starting at “Better Be Good,” another song about trying to love one another in the face of terrorism and corrupt governments, the album suddenly transitions to a live set at a NYC blues club. From there, he makes his Jimi Hendrix influences bright as day with a faithful cover of “Hey Joe” and his own rendition of the Star-Spangled Banner. It wasn’t a note-for-note recreation of the Hendrix version (I don’t think that’s possible), but he does make some impressive runs that leave any fan of shredding pleased.

    The two songs that end the album couldn’t be further from the rest of the album. “New York City Nights” is the only real ballad here, with Fields switching to acoustic guitar and backed by synth strings. Meanwhile, “Les Hoedown” is easily the fastest song here. An instrumental featuring very fast guitar plucking that sounds like Jeff Beck doing rockabilly, with the drum fills and bass managing to keep up.

    I have no doubt an audience for this music exists, for those who like frequenting establishments who play blues, roots, or Americana music. And if you do appreciate shredding and fretting guitar playing, Fields is worth a listen.

    Key Tracks: Jagged Line (Pts. 1 & 2), The Boy Wants to Play, Pocket Full of Dust (live)

    [embedyt] http://www.youtube.com/watch?v=fd3zvlvoLuo[/embedyt]

  • Moon Hooch, Karma Darwin, and Honeycomb Get Geared Up For New Year’s At Daryl’s House

    Just before the New Year’s weekend began, Daryl’s House Club welcomed three local/regional acts on December 29 for a uniquely fun night of music to help get warmed up for the weekend. The night started with a set of homegrown Hudson Valley rock from just down the road in Brewster courtesy of  Karma Darwin. After hearing their live set it was fairly obvious why they make frequent appearances at Daryl’s House. Their sound was solid, built off a nice blend of rock, jam, and rhythm.

    Stepping over the Massachusetts border we arrived at a unique five-song set from freestyle beatboxer Honeycomb. His set was composed entirely from his beatboxing, each tune and freestyle consisting of percussion, melody and even some apparent harmony all at once. The beats were seamless and clean to the point where he would be a direct competitor side-by-side against any drum-and-bass DJ. As a common collaborator with the night’s headliner, Honeycomb was joined by members of Moon Hooch on his final song.

    Hailing from Brooklyn with a NYC subway busking origin, Moon Hooch’s Wenzl McGowen (sax/contrabass clarinet/EWI) , Mike Wilbur (sax), and James Muschler (drums) quickly turned Daryl’s House into a Union Square station dance session with “Something Else” from their recent 2016 album Red Sky. Through the set they touched upon their other two albums as well, This Is Cave Music (2014) and Moon Hooch (2013) and brought Honeycomb back out for some help during their encore.

    Using only tenor and bari saxes, a contrabass clarinet, drums and some electronic effects/processing, Moon Hooch approaches the conventional sounds somewhat unconventionally and turns them into rhythmic hooks and lures – the embodiment of exploring sound and its interaction with other sounds and the ears absorbing it. That was the driving force behind a sustained level of energy that gripped their set from start to finish, from the hyped-up “Number 8” through the entrancing arpeggios of “St. Louis” and extended sustained notes that require a level of mastery to achieve on the sax.

    Moon Hooch’s sound on their four albums, including their latest free EP release Joshua Tree (check out NYS Music’s review of that album here) is incredibly fun to listen to, but remarkably infectious in their live performance. While most of their live show is composed, there is plenty of improv and room for surprises different from the CD version of their songs that make it a must-see performance for fans who have only heard their CDs, vinyl, or videos.

    Aside from the arrangement and composition of the songs in the live setting, Moon Hooch has a tight-knit energy driven stage presence that the audience thrived from, and even vice-versa. The cozy setting of Daryl’s House lets the audience get right up close with the band, which got everyone in the room (Moon Hooch included) chewing into the experience of the show.

    Moon Hooch is back in New York at Buffalo Iron Works on Feb. 8, Waterhole in Saranac Lake on Feb. 9, and Brooklyn Bowl on Feb. 18 as well as several other shows around the Northeast in the next month.

  • Hearing Aide: The Wood Brothers ‘Live At The Barn’

    Over the years, The Wood Brothers repeatedly visited Levon Helm at his barn in Woodstock, New York for the popular Midnight Ramble. These visits eventually led to a cherished friendship between the trio and Helm. The group made a trek back to the barn on August 19, 2016, for their first Ramble since the passing of Helm, where they recorded their latest album, Live At The Barn. Helms’ influence reached well beyond the notes of a song. Guitarist Oliver Wood named his son after the late Levon, adding that “since we actually got to know him, his influence was more than musical—it was personal. He was one of those unique and powerful personalities, and I’ll always remember how gracious he was.”

    Live At The Barn revisits 9 songs that run the gamut of The Wood Brothers’ musical catalog. The trio also consists of bassist Chris Wood, and drummer Jano Rix. The opening track, “Mary Anna,” gracefully eases listeners into the album. The deep, rich tones fill the barn with warmth and purity, as whoops and hollers are chimed in from the audience. Right away the song brings you into the barn among the crowd sitting alongside the band. With eyes closed, the faintly familiar smell of barn wood and slight chimney smoke in the air also teases at the senses.

    A spirited “I Got Loaded” captures the electrified audience as lyrics are playfully sung back and forth with enthusiasm. Mystifying tones gently tiptoe into “Tried & Tempted” before the melody curves into a head swaying blues jam. The vibe in the room can only be envisioned with a dancing crowd to this melody.

    A crisp guitar cools off the barn with a gentle “Trouble In Mind.” Resonating with heavy, psychedelic undertones, this delicate melody keeps the ears filled with colorful imagery. Picking up the pace, “Who The Devil” is tightly stacked with thick bass, vigorous drums, and guitar that rocks the hell out of this soaker of a tune.

    In your face bass bombs stealthily glide into “Wastin’ My Mind,” before picking up hitchhiking guitar and drums. The song builds with increasing intensity and mischievous rhythm, creating a musical ambiance filled with empty whiskey bottles and lingering cigar smoke. A massive fan favorite, “Postcards From Hell,” is fittingly dedicated to the memory of Levon Helm. This track takes its time building. Midway through it explodes with massive energy, pumping the live audience, as well as the listener, with shake your bones vibes. It’s impossible not to react to the intensity of this song, as swinging arms, bobbing heads, and dancing legs instinctively react to the beat. Expect to hit the repeat button over and over.

    “Honey Jar” twists around funky rhythms to bluesy tones and back again. Crunchy guitar and full bodied bass envelop the melody, as drums keep the pace, creating a lush and smooth ride for the eardrums. Wrapping up the album, “Ophelia” takes the live experience at the barn to a close. This dynamic track strides along, with the notes practically high-fiving each audience member before closing out the music for the evening.

    If you’ve never seen The Wood Brothers perform, this is the perfect album to capture their energy in a live setting.  It’s highly suggested to throw on the headphones, crank the volume, and soak in the songs with eyes closed. Within the first few minutes, don’t be surprised to be tapping and shaking along to the beats. This is one album that will fit perfectly in any musical collection.

    The Wood Brothers will be kicking off a U.S. tour in Philadelphia shortly following the release of their new album.  Full tour dates and information can be found on their official website.

    Key Tracks: I Got Loaded, Who The Devil, Postcards From Hell

    https://soundcloud.com/thewoodbrothers/ophelia/s-VMAu3

  • Hearing Aide: Phantom Chemistry “Everything’s Great!”

    Local Syracuse, NY group Phantom Chemistry release their fourth full-length album, “Everything’s Great!” on Friday, January 13. This rock band stays true to their genre with the prominent use of electrical guitar and drums in most every song. The 13-track album includes songs such as “Waste” and “Hospital” that build on the very real subject matter the band tackles in previous albums.

    The album opens with “Dream in the Dark” portraying a darker tone seen in some of the latter songs on the album. It ends with “Come Watch TV,” a noticeably longer song that carries a melodious feel.

    Scattered throughout the album are songs including “Extension 23” being an interesting and upbeat take sung from the perspective of a male prostitute as well as an “Ode to Die Hard” – yes, the movie. It also features “Shades of Blue,” a song that carries a different mood from the others. The audible harmonies at the beginning of this song in addition to its lighter feel help to juxtapose the heavy material expressed lyrically.

    Throughout this album, Phantom Chemistry takes their listeners on a musical journey that reflects day-to-day realities as they embrace even the ugly bumps in the road we ca
    ll life. The band is excited to showcase their new music at their upcoming album release show this Friday, January 13 at Funk N Waffles (Clinton St).

    Key Tracks: Hospital, Shades of Blue, Come Watch TV

  • ‘Get Folked’ House Party With Adam Ezra

    If you have never been to a house concert, you definitely must go at least one time.  This past weekend, Syracuse Fleet Feet owners Ed and Ellen Griffin opened their home to folk rock artist Adam Ezra as he makes his trek across the country on his “Get Folked” tour.  The concept for this tour began last year as a way to raise money to give his band a month off from their extremely busy schedules.  It was well received as fans graciously opened their homes to Adam and locals flocked in to these sell out shows.

    The concept for a house show is not one that’s new at all.  In fact, as Adam pointed out, this was how artists first began to play for audiences centuries ago.  The acoustic show is up close and personal, like a family gathering of sorts.  Sharing stories behind the music, Adam narrates how these concepts for the songs came about, giving audience members even more substance to the already thought provoking music and an insight to his personal life.

    Adam’s songwriting ability is phenomenal. His story telling abilities are of the highest caliber.  As I sat there listening to his music, it reminded me of the feeling I get when listening to Jackson Brown’s music, one of my all time favorite song writers. Although similar, it’s unique.  It inflicts his wit, his insight and his soul into tunes that are diverse and not repetitive in the least, bringing awareness to relevant topics and situations.  His talents have been recognized by those in the industry as well.  He recently took a trek to Nashville to collaborate with Grammy Award winning artist John Oates on a series of songs for movies.  Singing some of those tunes as well as many from his extensive catalog of music, attendees were treated to songs they requests and a few new ones as well that have yet to be recorded.

    Adam’s philosophy of music is refreshing.  He believes that music is created to be shared.  Found on the merch table along with his latest CDs and t-shirts, is an “I Love You” box .  He encourages all to help themselves to his music and if they wish they can throw some love into the box.  Whether it’s $20, $10, or a million, he won’t price his work as he writes it to share with others.  In fact, Adam and his band currently have a Pledgemusic campaign underway to produce and share an album with and by his fans.  This campaign is unique as the packages created are to help create a fan produced album to give away to all. Listing all possible tracks, fans will choose all songs to be included. Take a peek as Adam explains more about the campaign below.

    [embedyt] http://www.youtube.com/watch?v=nyvgmqsg-OA[/embedyt]

    The “Get Folked” tour is well under way so take a peek at the schedule on Adam’s page to see if they will be coming to a town close by, and don’t hesitate to see if tickets are still available as many are already sold out.

    Setlist: Basement Song, Chelsea You’re Alright, You Speak Girl, Time After Time (Cyndi Lauper cover), I Believe, The Toast, Steal Your Daughter, All I Am, Chasin, Thunder Road (Bruce Springsteen cover), Cover Man, Hippie Girl, Sprig, Hallelujah (Leonard Cohen cover), The Devil Came Up to Boston, Let It Be (Beatles cover)

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  • My First Phish Show

    Picture a sold out show at Madison Square Garden on the night before New Year’s Eve. For Phish concert-goers, this was an average Friday night in New York City! For me, it was my first Phish show.

    my first phish showI watched the show alongside dedicated Phish fans who have traveled all over the US to see the band 100+ times. Sharing that it was my first show almost felt silly in comparison, but I was excited to join the community.  I didn’t know a lot before going to the show; I wanted to approach the experience with an open mind. Clearly, this band has something extraordinarily special that brings loyal and new fans alike to their shows.  So by virtue of it being my first show, I can’t say that I’m too well-versed, but certainly a real fan in the making.

    This was the third show of a four-night run from December 28 to the 31st.  We walked in right as the show was starting, and the fans were cheering in unison.  If you’ve never been to a Phish show, it’s one of the best crowds you’ll ever be part of. Everyone was grooving and swaying along to every song; not a single person could be found standing still nor having a bad time.  I felt like I was instantly welcomed into the community as people were exchanging comments about the music and checking in to see how I was enjoying everything. I was thrilled when a glowstick landed in front of my seat so, that when the music kicked up, I could join the glow stick tossing and launch it into the crowd. I wasn’t prepared for the amount of smoke around me, but that’s the only complaint I had. All part of the experience!

    The band opened with “Carolina,” which I learned they hadn’t done since 2003 – 378 shows ago. It was a treat to be serenaded by an acapella rendition of the song.  The vocals were authentic and raw, which was quite refreshing. The band members resumed their spots on stage, and I finally saw the unique Fishman dress with the red donuts that are found on Phish-inspired merch.  They then jumped into “Blaze On” which was a cool way to kick off the set – a slower-paced jam.  “The Moma Dance” was cool and funky; I loved the keyboard timbre and the wah-wah pedal on the guitar.  I’m told the second set was a great series of selections with “Tweezer,” into “Sparks,” into “Ghost.” The crowd went absolutely wild and I loved the transitions.  It seemed like everyone knew each song from the first couple notes and they cheered at the start of each one!  I can’t pick a favorite song just yet, but I have to say that the improvisation all around was amazing. I would get blissfully lost in each chasm of music.

    With this band, visual effects bring them to another level of excellence.  I was a big fan of Anastasio (guitar) and Gordon (bass) on the mini trampolines bouncing in unison. Apparently, it’s not a new bit, but I thought it was great. Outside of the band’s movements, the accompanying lights were spectacular!  There were numerous colored light beams illuminating the stage.  It reminded me of lights at a Trans-Siberian Orchestra show, but I think the lights at Phish were more tasteful.

    Overall, I really enjoyed the show. The musical experience and all of the Phish lovers in the Garden really sold me. I’d love to see more of Phish in the future.

    Set 1: Carolina, Blaze On, The Moma Dance > Gumbo > Cities, The Old Home Place, Bathtub Gin, Things People Do, My Friend, My Friend, Wilson, Sugar Shack, You Enjoy Myself

    Set 2: Tweezer > Sparks > Ghost > Light -> Party Time Jam, Wading in the Velvet Sea > Rocky Top

    Encore: Rock and Roll, Tweezer Reprise

  • Higher Society Lifts Spirits in Denver for New Year’s Eve

    Fuck, 2016! That was the prevailing feeling for many people in our country as we lurched toward year’s end. So many beloved musicians died. There were bombings, searing police confrontations and there was the near apocalyptic collapse of democracies around the world. Many pundits included our country in that post-mortem.

    But, I had personal reasons to feel disheartened to reflect on the year that was. My father’s memorial service was on my birthday. He died of brain cancer while my sister struggled with the awful pain and physical indignities of chemotherapy due to her diagnosis of cancer. Fuck 2016, indeed, I thought.

    But sometimes better angels descend on us to reflect the better parts of our nature, bringing hope, laughter, and perhaps a little magic. And that is precisely what happened on New Year’s Eve in Denver, Colorado in a tucked away corner of the downtown business district. Sensi Mag, SOCO Nightlife and The Fantastic Hosts organization presented a dream-like reverie of music, dance, art, and joy at the year-end event, dubbed Higher Society at the City Hall venue.

    The evening, intended as an ode to the medicinal quality of marijuana, community and creativity, quickly lifted spirits with an opening speaking/meet and greet with visionary artists Alex and Allyson Grey.  Self-reflection quickly turned to celebration with a jolt of tribal rock rhythms and searing guitar jams from the Tierro Lee Band. The lilting melodies of Elephant Revival fiddler, Bridget Law gave an ethereal quality to the percussive jams. That joyful set alone quickly dispensed any lingering bittersweet feeling or antipathy regarding the passing year. Still the evening was only beginning.

    Following on the main stage was the expansive beauty of Quixotic an impressive group that combines an astounding mix of aerialist/ fire/ music performances. Throughout the venue numerous other visual artists, and DJs performed, including  Stööki Sound, Androcell,  and Johnathan Singer. 

    The Grey duo led the New Year countdown as Random Rab began his crowd-pleasing bass-thumping set. Without the spectacle of confetti, balloons or champagne salutes, a group of musicians, performers, and artists offered a night to recall that even in the most troubled of moments there is always reason for hope. And there is always beauty, even in dimly-lit corners of reality.

  • Joe Louis Walker Serves Up a Savory Taste of Blues at Funk ‘n Waffles

    Funk ‘n Waffles Downtown is one of the few Central New York venues that offers live music seven days a week. The unique location on Clinton Street in Syracuse hosts everything from open mics to national touring acts of all genres in addition to serving up some fantastic waffles. Thursday featured the blues stylings of Grammy-nominated guitarist Joe Louis Walker and his band.

    The intimacy of the room was felt even before walking in the door. The headliner himself was standing outside the front door on this snowy evening, making time to speak with patrons and thanking them for coming out. Members of his band (Syracuse natives Byron Cage – drums and Will Gorman – keyboard and bassist Lenny Bradford) mingled about the crowd pre-show as a Chicago blues soundtrack provided the atmosphere over the PA.

    Walker and his solid backing band set the tone early with a funky Walker original “I’m Not Messin’ Around” from his 1998 album Preacher and the President. Walker’s soloing quickly heated up the room, displaying the skills he’s honed since the age of eight.

    Taking in a Walker show is experiencing a lesson in the history of American blues. The Blues Hall of Famer has performed with Willie Dixon, Muddy Waters, John Lee Hooker, B.B. King – name a late 20th century blues legend, Walker has played with them.  All of these influences are revealed in his style of play and singing yet he is able to channel the sounds of the Chicago style, Delta blues and Texas blues to make his own sound. The man is an encyclopedia of musical knowledge who turns that knowledge into the sounds he creates on stage.

    One of several highlights of the night came when Walker began plucking the opening notes to the Beatles’ “While My Guitar Gently Weeps.” Those in the crowd who were passively paying attention quickly turned their eyes to the stage for an emotional and powerful rendition of the classic. Walker’s solo mid-song proved that this was no mere runthrough of an oft-played cover. He made this song his – a combination of force and finesse that had the near sellout crowd eating out of his hand.

    As the night wore on, the windows began to fog up and the smell of waffles mingled with the tight sounds coming from the band. Each member was featured prominently in the new song “Black and Blue,” one from Walker’s latest, Everybody Wants a Piece, a Grammy nominee for Best Contemporary Blues Album this year. The song began with a tribal beat led by native son Cage and carried along by Bradford. Over the course of the song, Walker and band straddled genres with ease. His soulful vocals mixed with great backing vocals from his bandmates, creating a sound that can be classified as contemporary soul.

    Walker is a story teller and at each show he makes sure to pay tribute to those who came before him who may have not gotten recognition for their talents. On this night, he chose to regale the crowd with a tale of Earl Zebedee Hooker, “a guitar player’s guitar player,” as Walker put it. Hooker, a highly respected disciple of the Chicago style, was a contemporary of Muddy Waters and Junior Wells. He recorded an instrumental for London Records titled “Blue Guitar” that quickly became a favorite among the bluesmen on the Chicago circuit. Chess Records acquired the song to use for Muddy Waters’ 1962 album, using Willie Dixon penned lyrics and Waters’ overdubbed vocals for a song that would become “You Shook Me,” a song that was made even more famous by Led Zeppelin later on.

    Following a humorous introduction by Walker, proper tribute was paid with his rendition of “Blue Guitar,” making full use of the slide techniques often employed by Hooker.

    Each band member took turns soloing, a particularly blistering solo by another Syracuse native, Gorman, had the audience singing his praises during a funky and stomping take on “Hornets Nest” from the 2014 album of the same name. Walker also took this opportunity to switch guitars, retiring his gorgeous Zemaitis for the blue hollow-bodied D’Angelico. Walker teased the Ohio Players’ “Rollercoaster of Love” during this one, perking up some of the Red Hot Chili Peppers fans in the crowd.

    After nearly two straight hours, the band wrapped up its set with the Hellfire track “Too Drunk to Drive Drunk.” This gritty number had a bit of a Double Trouble vibe to it and many teases from Walker, including “All Day and All of the Night” and “You Really Got Me” from the Kinks and the Monkees’ “I’m a Believer.”

    A brief break preceded the encore, a straight-forward cover of Chuck Berry’s “Reelin’ and Rockin’” followed by the Walker original “Aint That Cold.”

    It was a night well worth the drive through lake effect snow. Syracuse is blessed with a knowledgeable blues fan base and they were treated to a world-class performance in an intimate venue on this night.

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  • Hearing Aide: Moon Hooch ‘Joshua Tree’

    Joshua Tree will be the fourth album from Moon Hooch, the jazz-fusion-dance group born out of the subway systems of New York City. Their sound is unique but it’s been heard before, especially to anyone that has lived in or spent time in a city.

    Unfortunately, their newest album won’t be something listeners will be fighting to get their hands on. On their website, Moon Hooch  themselves admitted that they could not think of what they wanted the album to sound like, so they just improvised and “somehow the process created 8 songs.” Their original intent was to seclude themselves for a few days in the Mojave Desert, just outside of the Joshua Tree National Park. They rented a house and turned it into a studio but no inspiration came to them, so they played whatever came to their minds. The idea sounds like a lot of fun for any musician and his or her friends, but as a third party it’s a bit hard to find enjoyment in it.

    Although it is good to see such talented street musicians make their way to the studio, their voice isn’t necessarily studio appropriate and sounds better in the echoing subway system of the big apple. They sound much more epic in a vast open area while in the studio, their sound is too empty and spacious. There is the opportunity to fill in those gaps, though. Granted, the three of them are astounding musicians that have a near mastery of their instruments, but there just isn’t enough of them to make a big enough sound. The drummer can be heard trying to compensate for that lack of power which can be overbearing in itself, never mind the fairly frequent squeals coming from the saxophones as well as other sounds that no one ever expected to come out of a reed instrument.

    Hearing this collection is shocking considering their prior studio works are pretty well done and  well known, such as “Number Nine,” a track off the Billboard Jazz Album Chart that allegedly peaked at the number nine spot, according to Wikipedia. The musicians are highly trained but they’re starting to get a little avant-garde and highly improvised. But when a group is limited to only three instruments, players will tend to stretch that voice out as much as possible, and the voices of the baritone, alto sax and drums have been maxed out and it’s time to move onto bigger things.

    The attractive part of a street band was that literally almost anyone could enjoy it. New York City, obviously, has one of the most diverse populations in the world and that means street performers need to appeal to a larger, more general crowd. Right now they’re only appealing to a small majority of the entire U.S. population. But bands need to experiment before they become widely recognized and this album will undoubtedly yield some interesting results, both positive and negative.

    Now, most people can enjoy a decent amount of wild improvisation, even though it gets a little unintelligible, but this is a new level. The track titled “Improv” really opens a door into what was on their mind when creating this. Before the song starts, there is an intro with one of the members describing how he wanted the rest of the band to go about creating the song “Improv.” He says, “Hit it as hard as possible…everything we do is intentional…literally no mistakes…mean every f*****g thing we do… zero hesitation.”

    It seems this technique is applied to almost every song and can be a little overbearing at times. It’s usually evened out by melodic tones and organized songwriting, but all of that can be very easily overpowered by improvisation and a very odd sounding baritone sax.

    If listeners can look past the odd parts of the album they will find some enjoyment in it. “Sandstorm” comes first and it starts out on a promising tone, but is quickly overshadowed by the baritone sax. “Jiggle” is pretty refreshing- still a little out there, but it’s comparably more upbeat and tight. It’s definitely a fun a get-up-and-go groove with loads of technical percussion and catchy sax licks. It’s one of the less complex tracks but definitely one of the most fun, which is the goal of street music.

    But just as quickly as it came, it’s gone when “Criminals” comes on and one begins to wonder if they’re just screwing around behind those microphones. They’re trying to accomplish this incredibly heavy tone that just doesn’t work. “Mountain Lion” is a more successful attempt at creating a heavy sound. It’s more organized but still has a sense of improvisation.

    It would be great to see these guys expand into a group with more people. They have the confidence and talent to be great band leaders and create something spectacular, they need to move past what they were raised to do but keep some of the attributes that make street bands so great. They’ve reached the limits of what they can do with the three of them and it most likely explains why they drew a blank out in the desert. The have put out an album almost every year so hopefully next year will bring something truly amazing from these very talented New York natives.

    The album is up for free download on their website.

    Key Tracks: Sandstorm, Jiggle, Mountain Lion, Outer Urge