NYS Music 20​17

Category: Blues/Jazz

  • Juggling Day Jobs Takes Time away from the Music, but Holly & Evan Keep an Eye on the Big Picture

    Holly Taormina rushes into the quaint side room set behind the bar at The Orchard Tavern where her bandmates are waiting to order lunch.

    “Words cannot describe how much I hate driving a car,” she exclaims through clinched teeth, as she takes her seat. The Holly to Holly & Evan can be as tempestuous as the energy she exhibits on stage. Especially if she’s caught behind someone driving too slowly. “I have no tolerance or patience for people who don’t know how to put their foot on the gas pedal.”

    Between raising a family, logging in 40-plus hours at the U.S. Postal Service Honors Pete Seeger with New StampU.S. Postal Service where she works, and the precious little time spent with the band, Taormina is a woman with places to go and too much in her way. It’s a feeling shared by the rest of the band. There are obstacles standing in the way, and they’re itching to move past. A local radio station continues to play a single the band released a few years ago. It’s the only one they have. Despite having enough songs to cut a CD, finding the money and time to get together to record is a challenge in itself — something to which all bands juggling day jobs can relate.

    “It’s one of those things we want to get to,” said Evan Conway. “It’s tough to get everybody together to get this thing out. It’s been like that for a while.” As with most bands, musicians juggle their time between the day jobs that pay the bills, and the nightlife that satiates their dreams to play music. No one is living off music alone. Except, maybe, Josh Greenberg, the band’s sax player. He’s a retired music teacher.

    “Josh plays with, I don’t know how many different bands, a good number of them. That goes into figuring out when we can play. But, Bob [Morris, the band’s drummer] also plays in a number of different bands. Holly has a job that she works six days a week, [with] overnights…”

    Around the table, there is a sense of family. Greenberg helps Taormina’s daughter out with picking from the tavern’s menu. Once the food arrives, everyone gives Morris a hard time for stealing a chicken finger from Taormina’s son. The band’s been together for more than five years. In the case of Morris and Conway, they’ve played together since the two were in high school more than a decade ago. So, when everyone mentions Taormina’s demanding job schedule, it’s all out of respect. On top of her obligations as a mother of two and her pursuit of a supervisor’s position at the post office, she continues to write songs. Some of which, Greenberg describes as “hip-hop” in origin. A description she greets with a smile, though she jokes, her songs sound like that because she’s angry.

    “I think the insane work schedule that Holly works has created this situation over the past year, where we play fewer performances, but we knock ‘em dead,” said Greenberg. “I think there is something that is just beginning to change. With Holly being the songwriter, and with Holly and Evan being the music arrangers. I think the music is brilliant. It’s meaningful, it’s original and it absolutely deserves to get out there.”

    Holly and Evan is a self-described “blues based Alt Rock” band that’s “tinged with jazz and soul.” The band’s Facebook page lists off Skip James and Robert Johnson among its influences, old-school blues performers with no earthly ties to the Capital District. Johnson died in Mississippi in 1938 at the age of 27. His life story was the inspiration behind the 1986 Ralph Macchio film “Crossroads.” Legend says he sold his soul to the devil. A gifted guitar player, he was inducted into the Rock and Roll Hall of Fame in 1986. Conway, too, is a gifted guitar player. His father, Ed, said he has the unnatural ability to pick up a song by ear and play it. As a kid, he’d play before gatherings at the Hibernian Hall. His first taste at playing in front of a crowd.

    “I think this band is poised to have a product and a presence, there’s no doubt about it,” said Greenberg. “I think the live performances have just come alive. I think Holly’s performances are phenomenal. I think all of us are performing at a very high level. We know the material. We’ve been playing together for a number of years, so it’s very intuitive. And, we just absolutely have a great time playing.”

    The band works without the aid of a manager to book gigs or maintain social media channels. Some of those duties fall on Evan’s mother, Kathy. Nonetheless, it’s Evan’s responsibility to update Facebook. He admits, months can go by between posts. Despite the relative quiet internet chatter, the band has gained a larger audience. Gigs outside the Tri-City area have been more frequent, including a near regular appearance at The Red Lion Inn in Stockbridge, Mass. The inn, that dates back before the American Revolution, has hosted Leonard Cohen and James Taylor.

    Taormina believes it’s the band’s penchant for original work, instead of a “jukebox full of covers,” the audience appreciates most. She believes musicians are artists, and should obligate themselves to not just the instrument they play, but to apply thought towards stage presence.

    “That’s what really bothers me about music nowadays,” said Taormina. “I mean, I look at The Beatles, and Led Zeppelin and Jimi Hendrix, and I look at them as artwork. The way they dressed and the way they performed. Nowadays it’s just plastic. Not to put anybody down. It’s just not visually stimulating. It doesn’t do anything for me visually or mentally. The clothes, you know? Fashion and music, it all goes together. Nobody is grasping that now.”

    [A scornful stare.] “It’s like watching a play. Like a high school play,” said Taormina. “Not to put her down. It’s great for her, but I miss the seriousness of it. I took my kids to see 21 Pilots at the Times Union [Center]. They were unbelievable. One of the best shows I’ve ever seen. I’ve seen a lot of shows. … Two people on stage. The set was all art. He did a backflip off the drum platform. They lifted the drum platform, and he played the drums on top of the audience. The coolest thing I’ve ever seen. There’s a band that is innovative, and thinking, and trying to get people to think. That’s important. We can do it on a small-scale. I mean, it’s as simple as thinking about what I’m going to wear before I walk on the stage. It’s how I’m going to do my hair.”

    This weekend Holly and Evan play the main stage at Albany’s Tulip Fest. That, too, shows another evolution to the band’s growing popularity. It will be the band’s second time at the annual Mother’s Day festival. Its first appearance was relegated to the local stage.

    “We’re getting to that point,” said Greenberg. “So, I think that somebody’s got to come along and produce it. Somebody’s got to come in and take care of that business. Promotion. Promotion. Promotion. It would have to be somebody who is willing to invest a lot….”

    “Someone willing to work with four cranky people,” said Evan.

    As Greenberg said, there appears to be a light at the end of the tunnel. Things are beginning to open up for a band juggling daytime obligations with nighttime dreams. Short of making a deal with the devil, Evan said there’s always a need to strive towards the big picture.

    “You have to have the big picture goal,” said Evan. “You have to have that picture where you’re sitting on the beach in Tahiti in the middle of winter. To say, I can afford anything I want. You’ve got that dream.”

    “I don’t even care about that,” said Taormina. “I just want my Grammy.”

    This article was originally published by The Spot 518. is property of Spotlight Newspapers in Albany, N.Y., and appears as a special to NYS Music. TheSpot518 and NYS Music work in partnership to provide readers with in-depth coverage on the local music scene in the Capital District and New York state, respectively. For more, visit TheSpot518.com.

  • Hearing Aide: Yoko Miwa newest album ‘Pathways’

    Without a word, after reviewing jazz pianist Yoko Miwa and her longstanding trio’s newest album Pathways waltz you from the dance floor to the back alley with hints of everything from standards to show tunes and a few surprising renditions in between.

    Released by Ocean Blue Tear Music on May 12, the album features pianist Yoko Miwa, Bassist Will Slater (with Brad Barrett stepping in for one track), and drummer Scott Goulding (Miwa’s husband). A highly affable experience featuring three seasoned and spectacularly attuned musicians, Pathways is a timeless album that goes down smooth from start to finish.

    Things get rolling with a rare reprisal of Bill Evans Trio Bassist Marc Johnson’s “Log O’Rythm” which is also joined by another one of Johnson’s songs, “After You” on Pathways. Miwa also borrows from a page of Joni Mitchell’s songbook with a rendition of “Court and Spark.”

    “Lickety Split” takes listeners on a spin across the dance floor with fast-paced crescendos, spiraling into spontaneous jazz riffs. Like a rollercoaster ride, the song has peaks and valleys, with appropriately placed drum and bass solos building anticipation which Miwa rises to meet.

    Pathways’ finale, a heartfelt rendition of the Beatle’s “Dear Prudence” could not be a more appropriate ending to a gorgeous piece of musicianship. A perfect blend of simplicity and beauty, the eight-plus minute track unfolds gradually and deliberately, with some sections of improvisation dispersed among this familiar classic.

    Yahama Pianos Artist, JVC Victor Entertainment recording artist, and an assistant professor at the Berklee College of Music, Miwa came from Japan to Boston to attend Berklee in the late-1990s on a full scholarship and never left. With more than a decade and a half together, the jazz threesome holds down weekly residencies at several renowned Boston venues. This is Miwa’s sixth album. Give it a listen and let Pathways bring pure beauty into your world.

    Key tracks: Lickety Split, Dear Prudence

  • Westcott Theater to Feature Grammy Nominee The Record Company

    What a difference a year makes. Los Angeles based trio The Record Company released their Concord Records debut album, Give It Back to You, on February 12, 2016. Exactly one year later, they were among the nominees for Best Contemporary Blues Album at the 2017 Grammy Awards.

    “Off the Ground” and “Rita Mae Young” are infectious songs showcasing Chris Vos’ gritty vocals and greasy slide guitar, as well as the rhythm section of bass player Alex Stiff and drummer Mark Cazorla.

    “I always think of any performance as one less time, not one more time.” says Vos, “Nobody can say how many shows you get to play in your life. So we try to play our guts out, leave it all on the table, and have fun doing it”.

    The Record Company with special guest, Smooth Hound Smith, will appear at The Westcott Theater in Syracuse, New York, on Saturday May 20th, along with opening act Smooth Hound Smith. Doors open at 8:00, show begins at 9:00. Tickets are still available.

  • Hearing Aide: Jocelyn & Chris Arndt ‘Go’

    As much as we’ve seen styles change over the past few decades within our current blues genre, it’s frustrating that many of the blues creators we see don’t vary in general characteristics. In an older, mostly male-dominated blues world, there seems to be few oddball types of pioneers that redefine the ‘modern’ blues genre, that possess elements of instrumental mastery as well as superb songwriting chops. More specifically, there just doesn’t seem to be enough young people in the blues genre whatsoever.

    As early adults and siblings, Jocelyn and Chris share a creative blood. They are unapologetic with their entrance into listener’s speakers in their recently-released sophomore album, Go. Chris Arndt is a powerful songwriting force on all twelve tracks of the album, delivering piercing guitar riffs that are precise, yet purposefully sluggish as a means to flirt with his listeners. Many of his melodic lines are the forefront of song creation, that can be especially noticeable in songs like “History” and “Red Stops Traffic.”

    Only to balance the sound (without overshadowing the existing space) is Jocelyn Arndt, whose lyrics paint several pictures we can all relate to, in tracks such as their uplifting ode to dreams “Footprints on the Moon,” and desolate lullaby “Bad Business.” More apparent than her story is Jocelyn’s extroverted voice, that commands the room by presenting listeners with a delicate, soothing head voice to contrast an assertive, powerful chest voice, and then back, with a complete sense of ease and elegance.

    While they have the support of a full band on this album (occasionally featuring members of Gov’t Mule and Kung Fu), Jocelyn and Chris maintain a unified sound that doesn’t need any backing. They have the freedom to do this by choice, and only being in their early stages speaks volumes as to what their future may bring for blues music, both as performers and songwriters.

    While their tour is nearing its final stops, Jocelyn and Chris will make one more visit to New York on July 6 at the Mercury Lounge. You can buy tickets and follow their happenings on the artist website.

    Key Tracks: Footprints on the Moon, Red Stops Traffic, History

  • Hearing Aide: Julia Felice and The Whiskey Crisis ‘Devil On Your Back’

    Julia Felice and The Whiskey Crisis, a rock group from Ithaca, have just released their second album Devil On Your Back. The album contains 11 tracks, and has a listening time of 44 minutes. Their tunes have an alternative, bluesy sound, and the album as a whole is more focused than their first, titled “Diving For Falls.” The group’s individual style is more refined on this record, as well, but the tone of their music can get repetitive.

    Julia FeliceThat being said, the tracks on Devil On Your Back do feature some variety.

    “Help Me Break,” the 6th song on the album, is sultry, soulful, and holds a slower rhythm than some of the other tunes. Julia Felice, the lead singer of The Whiskey Crisis, has a deep, raspy voice that is well complimented by the instrumentals this group puts out. “Help Me Break” showcases that factor in a different light. “Denim,” the shortest song on the album, exudes a funky, old school vibe, while “Waste” is one of the few upbeat tunes on the record, holding lots of feeling and spirit.

    The classic sounds that Julia Felice and The Whiskey Crisis produce are strong, much like the stage presence the members hold, which can be demonstrated below. Julia Felice and the others exude focus and passion when performing, which is magnetic. They seem to be an entertaining group to watch if looking for an entertaining night of live music, producing Devil On Your Back for those who enjoy timeless tunes.

    Key Tracks: Help Me Break, Denim, Waste

  • Rochester Music Hall of Fame Honors 2017 Inductees

    Last week Rochester honored six people who contributed to the local music legacy. In a ceremony held at the iconic Eastman Theatre, The Rochester Music Hall of Fame 2017 inducted blues man Joe Beard, classical composer Samuel Adler, pop star Gary Lewis, jazz trumpeter Lewis Soloff, radio DJ Roger McCall, and Penny Arcade owner Greg Sullivan. Highlights of the evening included spectacular performances by honorees and distinguished guests David Clayton-Thomas and Paul Shaffer.

    The first inductee was the legendary Joe Beard, born in the 1930’s to sharecroppers in Mississippi, he grew up immersed in the musical heritage of the delta blues. He migrated north and settled in Rochester, where he married and raised four children. In his lifetime, he has played with the likes of Muddy Waters, BB King, and Son House. On this occasion, he performed with his sons, Chris and Duane. They played a trio of songs from his extensive catalog of music, including “Don’t Know Why.” Joe stood center stage, his cherry red guitar a stark contrast to his dark suit, while his sons stood behind. At one point, they took turns soloing on their guitars, playing with as much comfort and ease as a friendly conversation.

    Next up for an award was Samuel Adler, a distinguished composer and teacher, with more than 400 published works to his name. Adler taught at the Eastman School of Music for three decades before relocating to New York City to teach at Julliard. His “Piano Quintet for Piano and String Quartet” was performed by Upton String Quartet with Yi-Yang Chen on Piano. The piece starts slow and lamenting, bursts into discordant notes, then finds triumphant harmony. It is a shining example of Adler’s adept skill as a composer, and why he is highly sought after for commissions.

    Gary Lewis took the stage, sidestepping his way to the mic. His natural ability at showmanship comes from growing up in the entertainment industry, taking the stage at an early age with his father, Jerry Lewis. Gary made a name for himself in the 60’s with his band, Gary Lewis and the Playboys, with rapid-fire hits that bumped bands like The Beatles down on the charts. Gary Lewis met his wife at the Eastman Theatre twenty years ago, and has lived here since. They still tour actively around the world. Tonight, they performed rousing renditions of their greatest hits, including “This Diamond Ring,” which had audience members dancing in their seats.

    The intermission was also a to-do, with performers and local music legends like Lou Gramm meeting with attendees in the hallways to chat, sign autographs, and share a “Kodak moment” with their fans. The second half of the night was more somber, with posthumous awards given to members of the local music community who we have lost.

    Lew Soloff, most notably known for his work with the band Blood, Sweat & Tears, spent part of his career teaching at the Eastman School of Music. His daughters accepted the award on his behalf. Paul Shaffer and David Clayton-Thomas also made the trip to Rochester to help honor their longtime friend. Paul carried out Jimi Hendrix’s “Little Wing” on piano, then took to the organ to accompany as David Clayton-Thomas played a trio of Blood, Sweat & Tears songs, starting with “Spinning Wheel.” He also sang “God Bless the Child,” a song originally done by Billie Holiday, which he said Lew had encouraged him to tackle. He ended with “You Make Me So Very Happy.”

    Roger McCall, the beloved radio DJ known by the alias “Unkle Rog,” worked for over 30 years at WCMF, making him the longest-running DJ at a single station. He worked the graveyard shift, and featured local artists, helping to cultivate the local music scene. Unkle Rog was taken from us in 2003 in a tragic act of violence. His wife and his son accepted the award. A tribute song “All Night DJ” was composed by John Akers. The jazzy number was performed by Akers on vocals and piano, Paul Akers on Bass, Erik Welsh on drums, Andy Calabrese on Keyboards, and James Richmond on Saxophone.

    The final inductee was Greg Sullivan, owner of local venue The Penny Arcade. The nightclub featured live music, bringing in major rock stars like Iggy Pop, Greg Allman, and Huey Lewis & The News. Sullivan also mentored local musicians, providing a place for them to hone their craft and grow a following. The club has been closed for seven years now, and Sullivan passed away in 2014. Sullivan’s wife accepted the award. A tribute song “We’re Rockin’ at the Penny Arcade,” was composed by James Richmond, Mike Gladstone, and Rob Smith. The rocking number was played by Smith and Phil Naro on vocals, David Cohen on drums, Ron France on Bass, Gladstone and Donnie Mancuso on guitars, Will O’Riley on keyboard, and Richmond on saxophone.

    The finale of the night was a tribute song “You Shine,” written by Jeff Cosco in memory of Greg Sullivan and Unkle Rog, and played in homage to the legends by Cosco on vocals, Mancuso, Gladstone, and Joe Chiappone on guitars, Bobby Bond on drums, France on bass, and Andy Calabrese on keyboards.

    All of the performances of the night were supported by the Hall of Fame’s house band, Prime Time Funk. The Rochester Music Hall of Fame is a non-profit agency, and this program was made possible by a host of local patrons and advertisers. For more information about the Rochester Music Hall of Fame and past inductees, visit www.rochestermusic.org.

    Photos by Battista Photography

  • 2017 Saranac Thursday Acts Announced

    Saranac Brewery in Utica announced the 2017 lineup for its annual summer music series, Saranac Thursdays, on Tuesday. The kick-off event takes place May 18 with a 25th anniversary show from local show band Classified. The 19th year of the series continues throughout the summer, with hard rock act the Bomb closing it out Aug. 31.

    Syracuse-based groove rockers, Barroom Philosophers make their Utica debut on the Saranac stage July 13 and local favorites, the Canadian Celt-Rockers Enter the Haggis make their annual return to the courtyard the final Thursday in July. Other popular regional acts slated to play include the Old Main, Annie in the Water, Chris Eves and the New Normal and Gridley-Paige and 3 Inch Fury presenting “Rock of Ages.”

    The series features local and regional acts from 6-9 p.m. each Thursday. Cover charge for each 21 and over show is $5, which includes your first drink. A portion of the proceeds from the series is donated to the local United Way. The events raised $41,000 for the organization last year.

    2017 Saranac Thursday Series

    May 18 – Classified (25th anniversary show)
    May 25 – Soundbarrier
    June 1 – Showtime
    June 8 – The Crazy Fools
    June 15 – Ladies Drink Free
    June 22 – Last Left
    June 29 – Gridley Paige and 3 Inch Fury Present: ROCK OF AGES
    July 6 – Sir Cadian Rhythm
    July 13 – Barroom Philosophers
    July 20 – Annie in the Water
    July 27 – Enter the Haggis
    Aug. 3 – The Matt Lomeo Band
    Aug. 10 – The Old Main
    Aug. 17 – Lonesome Dove
    Aug. 24 – Chris Eves and the New Normal
    Aug. 31 – The Bomb

    See Enter the Haggis’ official video for “One Last Drink” shot partially at last summer’s Saranac Thursday performance below.

  • Carolyn Wonderland Heats Up the Dinosaur

    Carolyn Wonderland returned to Central New York April 14, performing a benefit for the NYS Blues Fest in a night of raucous blues at the Dinosaur Bar-B-Que in Syracuse. The Austin-based performer showcased her powerful voice and mastery of the lap steel and Telecaster to the faithful gathered upstairs at the famed Willow Street venue.

    carolyn wonderlandWhether belting out blues standards like Blind Willie Johnson’s “Nobody’s Fault But Mine” or her own soulful original, “Only God Knows When,” Wonderland proved that she is one of the genre’s most dynamic acts. Her Joplin-esque rasp held the crowd’s attention while her six-string prowess had jaws on the floor.

    Wonderland (Her real name is Carolyn Bradford.) and her band, Kevin Lance (drums), Bobby Perkins (bass) and special guest Shelley King (guitars/vocals) turned in a 15 song set mixed with classics and originals. The rhythm section kept the time with an understated tone while Wonderland and King stood front and center, beautifully harmonizing and joking with each other throughout the set.

    To say the crowd was appreciative would be an understatement. Throughout the set, fans jockeyed for position to get a glimpse of Wonderland’s furious fretwork. Wonderland has garnered a loyal Upstate New York following since she opened an impromptu Midnight Ramble at Levon Helm’s studio in Woodstock in 2009. She has since performed in that hallowed room at least a dozen times. Performances at Rochester’s Lilac Festival in 2010, the 2012 NYS Blues Fest in Syracuse and the 2016 Chenango Blues Festival in Norwich have provided strong word of mouth recommendations most artists can only dream of.

    Watching Wonderland perform, it is obvious that the stage is her place. She becomes the music, whether it’s her song or somebody else’s. This was especially obvious during her solo in the King-penned “Welcome Home.” The sound coming from her Telecaster was a mix of emotion and intensity. At one point, as she reared her auburn mane back, her eyes rolled back in her head, lost in the song. Wonderland never goes through the motions. When she’s strapped in, the audience better as well because she’s taking you on a trip from South Texas through the Delta, straight up to Chicago.

    The show opened with an acoustic set from Syracuse’s Colin Aberdeen. He has been working the Central New York music scene for more than 25 years and has become somewhat of a godfather to Syracuse musicians. Aberdeen is well steeped in everything from the blues to all forms of Americana.  Joining Aberdeen for several songs was young harmonica player Max Eyle. He and Aberdeen goaded the crowd into some call and response and the crowd eagerly responded. Aberdeen, a member of Los Blancos, the Barking Loungers and the Westcott Jugsuckers, is one of Central New York’s hardest working musicians and was a perfect fit to open this show.

    Following Wonderland’s show, the party continued on the main floor of the juke joint as the Carolyn Kelly Blues Band took the baton on Carolyn night. Kelly’s soul, especially in the Roosevelt Dean song, “Somebody Told Me,” brought tears not only to her eyes but to many of those in attendance as well.  Todd Fitzsimmons’ stellar guitar work kept the blues going well into the night, capping off yet another terrific night of music in the Salt City.

    The 2017 NYS Blues Festival lineup was announced at this show. You can find more information about this free downtown festival, taking place July 7-8 here.

  • Hearing Aide: Big Mean Sound Machine ‘Runnin’ for the Ghost’

    Big Mean Sound Machine is an instrumental funk group which has been evolving since the summer of 2009.  The adjectives in the band’s name are normally used to describe a Godzilla-like monster and this 9-piece out of Ithaca, NY has a sound that is far from gorgeous.  While members have come and gone to aid in the experimental efforts, their urge to grow creatively never ceases to amaze their loyal fan base.  Known for throwing some of the sweatiest dance parties in the Northeast, Big Mean Sound Machine has been ambitiously touring and working hard to welcome new followers with no plans of slowing down.  The new fan-funded album, Runnin’ for the Ghost, is just one example of how relentless experimentation on the road can lead to something positive and fruitful in the studio.

    The opening track, “Return of the March” begins with sound effects reminiscent of spaceship maintenance from a galaxy far away.  The futuristic afro-beat introduction to the album peppers in the perfect amount of brass giving it a relaxing hookah lounge feel.  “Runnin’ for the Ghost” features haunting synthesizer-bass interplay with a worldly drumbeat acting as the powerful nucleus.  The title track is the longest on the album, inviting listeners to embark on the meanest, craziest and biggest journey of all and is sure to become a staple of their already bustling live music repertoire.  “Hired Guns” takes to the streets of New Orleans for a straight forward funk piece that would mix well with any Mardi Gras influenced cocktail.  Extremely danceable and groovy, the track exits on the other side of the Earth with a tribal, West African percussion section.

    Big Mean Sound Machine attempts to travel to all parts of the globe in terms of musical influences and in “Burning Van” they cover the slums of Latin America.  The tenor sax and trombone combine forces as other band members delicately weave in and out of the track to create a perfect theme song for any 1970’s police detective TV montage.  Every band has a song that can attract attention simply based on the name.  On their newest release, “Triple Bacon” is that song.  While the title may induce hunger for one of our planet’s finest meat products, the gritty jazz will help you get your ass on the floor and burn some calories.  The 11 tracks come to an end with “Another Grain of Sand” returning to the afro-beat and Jamaican dancehall influence that has appeared throughout the 44-minute album.  An Epcot-like adventure through many different cultures and influences proves that these talented musicians have studied the encyclohpedias of sound.  From James Brown to Fela Kuti, the ghosts of artists that have come before them are sure to be dancing wherever they may be.

    Check out Big Mean Sound Machine on tour and pick up Runnin’ for the Ghost now!

    Key Tracks: Runnin’ for the Ghost, Hired Guns, Triple Bacon

  • J. Geils, Guitarist and Founder of J. Geils Band, Dead at 71

    J. Geils, founding member of the popular blues-rock band that bore his name, was found dead in his Groton, MA home Tuesday after Groton police responded to a welfare check. The guitarist was 71 years old. Initial police reports indicate that Geils died of natural causes.

    J GeilsBorn and raised in the greater New York City area, John Warren Geils, Jr. formed the band in 1967, then known as the J. Geils Blues Band, while a student at Worcester Polytechnic Institute. Along with vocalist Peter Wolf, harmonica player Richard “Magic Dick” Salwitz, drummer Stephen Bladd, keyboardist Seth Justman and bassist Danny Klein, the band gigged around the Boston area for several years before landing a record deal with Atlantic in 1970. J. Geils Band rose to prominence once it transitioned from a strictly blues-based band to a rock band with a blues foundation, behind such hits as “Love Stinks,” “Musta Got Lost,” “Freeze Frame” and “Centerfold.”

    In a quote from the New York Times obituary, Geils spoke of the band’s rise to fame, “I founded the band as a Chicago-style blues band, and it evolved into a bluesy rock band. I don’t care what any recording artist says; they all want a No. 1 gold single, and we have two.” The 1981 breakthrough album Freeze Frame is what put the band at the top of the charts.

    The fame brought by the Freeze Frame album seemed to be the band’s ticket to stardom. Unfortunately, this didn’t happen. Wolf left the band prior to the follow-up album, You’re Gettin’ Even While I’m Gettin’ Odd.” The resulting disharmony eventually led to the band breaking up in 1985. They did reunite several times since, most notably at the opening of the Boston House of Blues in 2009 and as Aerosmith’s opening act at Fenway Park in 2010.

    J GeilsGeils was born February 20, 1946 in New York and grew up in Morris Plains, NJ. He cut his musical teeth listening to his father’s jazz records and the blues of Howlin’ Wolf and Muddy Waters. A renaissance man, Geils dipped his toes in many waters. He played trumpet in the marching band while attending Northeastern University and studied mechanical engineering at Worcester. Following the breakup of the band, he focused on auto restoration and music production.

    Peter Wolf offered his condolences via Facebook page Tuesday.

    Bear witness to this full perfomance at Winterland in 1977 and question why the J. Geils Band is not yet in the Rock and Roll Hall of Fame.