NYS Music 20​17

Category: Blues/Jazz

  • Albert Cummings Brings Best the of the Blues to Stage One

    The best performances of the blues will always be in an intimate venue. Singing the blues, contrary to it’s name, is about having fun and make the best of sticky situations. Lyrically, artists talk about woes, troubles and sorrows, but the instrumentals are mostly uplifting and emotional.  And when musicians can belt out these feelings to a smaller audience, it feels like a conversation with good friends. Granted, seeing B.B. King play a 10,000 person venue would be a once in a lifetime experience, but it doesn’t compare to paying 20 bucks to sit 20 feet away from a few talented musicians playing some of the most important and influential musical styles ever created. Stage One at the Fairfield Theater Company in Connecticut is just the place to hold concerts like this and fit the bill perfectly for the Albert Cummings band.

    The best way to describe Cummings is a mix between Vaughan and Hendrix. They had the power and modern blues sound of Stevie but with the musical and visual flair of Hendrix. Their recordings are immaculate and unique but seeing them perform live gave their music a bit more magic. They were well rehearsed, energetic, relentless and without these characteristics the show would not have been the same. Causal listeners of the blues may have a notion that blues music is slow or depressing, but it’s not all like that. The patterns were the same, they mostly stuck with a 12 bar blues sound, but managed to make each one interesting and unpredictable.

    There weren’t too many theatrics to the show, but just enough to keep things visually interesting. Stage One just isn’t that type of venue. The light work was mild, no spotlights or grand entrances. Most of the pizzazz came from a very animated drummer and from Cummings himself, who did everything Jimi would have done on stage just short of playing the guitar with his teeth. He would dance around the stage during his solos, swing his arms around and even bowed the neck of his guitar against his mic stand.

    They warmed up with a few of their own compositions like “The Blues Makes Me Feel So Good” which all had a very aggressive attitude and high energy. Drummer Warren Grant gave the performance the energy it needed to keep people energized and interested. Without Grant, the show would have had a completely different attitude. He was a fun character to watch when he got his turn to flaunt during drum fills and the crowd loved it. His aggression is what gave the Stevie Ray vibe to it with his brash but precise style. Bassist Scott Spray gave the low end of the sound a great character as well. He was able to hold the beat and groove effortlessly while still having his own fun.

    The crowd of 60-70 people immediately felt a connection with the band and began shouting out requests and telling Cummings where they came from and how much they love him. The worked their way through the set to a classic B.B. King tune “Three o’clock Blues” to which the crowd reacted very positively too. One woman almost stopped the performance as she screamed out, “getting wetter over here!” The look on Cummings’ face was absolutely priceless.

    One 12 bar blues song after another can get a little monotonous so they were sure to throw in some good old American rock. A steady drum chop from Grant gave the songs a powerful feel, Spray laid low and let Cummings have his fun with his wide array of floor pedal that gave his guitar a nice variety of voices to choose from. He stuck to a few covers including “Hoochie Coochie Man” among others which got a rise out of the crowd. Unfortunately, it was hard to differentiate what was a cover and what was an original recording because there was no set list. When asked what Cummings played that night, he replied, “I have no idea what I played. I don’t use a set list.” That’s not what’s important, though. The groups  attitude and good spirits made for a fantastic show that left the crowd on their feet cheering for an encore.

    Sadly, Cummings won’t spend anymore time in New England and is headed south to finish his tour, but he has a plethora of music to enjoy on multiple platforms including iTunes, Spotify, Soundcloud and physical CD’s available for purchase on his website.

  • Hearing Aide: John Ginty ‘Rockers’

    John Ginty has recently released a new album titled, Rockers, featuring his band’s new lead vocalist, Aster Pheonyx. This is his fourth studio effort, which was set into motion following his discovery of Pheonyx’s powerhouse vocals when she opened for his band at the Wonder Bar in Asbury Park. Following some backstage conversation and jamming, he invited her to perform with his band and the chemistry during the unplanned performance was what led to the birth of this swell new line-up and album.

    Ginty is a celebrated performer and recording artist, known not only for his mastery on organ and keys, but also his extensive catalog of performances as a session musician. His career kicked off in the mid-1990’s following his contribution on Neal Casal’s “Fade Away Diamond Time,” which opened a number of doors for him. He joined Jewel’s touring band soon after, and then, went on to perform on records by Citizen Cope, Matthew Sweet and Shannon McNally. Ginty joined Robert Randolf in 2000, as a founding member of Robert Randolf & the Family Band. He has performed with nationally acclaimed artists such as, Warren Haynes, Albert Castiglia, Cris Jacobs, Alecia Chakour, Todd Wolfe and more.

    His band also features Justine Gardner on bass, Maurice “Moe” Watson on drums and BKG vocals, and Mike Buckman on guitar. Special guests on the album include Jimmy Bennett (guitar), Paul Gerdts (BKG vocals), Josh Gannet (guitar, percussion, backwoods), Paul Kuzik (bass) and Reggie Noble as DJ.

    Aster Pheonyx certainly brings her own flair to the table, bringing spice to Ginty’s expertise with her compelling vocals. Pheonyx, a three-time winner of the Top Female Vocalist from the Elephant Talk Indie Music Awards, is influenced by artists like Beth Hart, Susan Tedeschi and Amy Helm, which is undeniable in the way her sound ripped through the 12-track album that she co-wrote with Ginty.

    https://www.youtube.com/watch?v=WZgPXVv1Z5o

    The first track, “The Shark,” doesn’t feature vocals, and instead eases you in with a funky melody that has Ginty rip-roaring the organ. “Lucky 13,” a hard rocking blues number that features the full band and Aster’s raging vocals that fit the music like a glove, was released as a single prior to the album release, with an accompanying music video. It has an urgent tone that shows right off the bat the power of Pheonyx’s vocals, underlined by the band’s rock fusion. “Believe in Smoke” is a great track, because it showcases the successful combination of Ginty’s sound buttered by Aster’s vocals, before diving into a great jam at the end of the song. “WKYA” breaks up the music a bit with an amusing skit featuring Reggie Noble as a radio DJ interviewing Ginty.

    Another favorite was “Mountains Have My Name,” which is where one can really hear the Susan Tedeschi influence on Aster’s voice, while the keys in this track add a special element. This beautiful soulful number features Ginty on piano and is about a woman who is called away from her man by the mountains. The instrumental title track, “Rockers,” is the last track, and it is a great way to close the album, because it leaves the audience with a full lick of their musical capacity.

    John Ginty is currently on tour in the south. He returns to the Northeast for an album release party on Feb. 17 at Revolution in Morristown, New Jersey. He also plays the Fountain House in Newton, New Jersey on Feb. 24. Rockers will be released on Friday, Feb. 17. For tickets and more information visit here.

    Key tracks: Lucky 13, Believe in Smoke, Mountains Have My Name, Target on the Ground, Captain Hook

  • Mountain Jam Lineup Finalized, SCI Joins Petty, Miller as Headliner

    The field for the 13th edition of Mountain Jam is set. The annual Catskills festival, held at Hunter Mountain, announced its lineup and headliners, Tom Petty and the Heartbreakers and the Steve Miller Band back in November. Friday, the full line up was announced, including additional headliner String Cheese Incident.

    Also added to the June 16-18 bill are indie folk artists the Head and the Heart, reggae rapper Matisyahu, Brooklyn-based sax buskers Moon Hooch, Sudanese pop, krautrock, free jazz artist Sinkane, country legend Marty Stuart and his Fabulous Superlatives and “hometown” girl Amy Helm and the Handsome Strangers.

    Helm is the daughter of the late Band drummer Levon Helm, whose studio, affectionately known as “the Barn,” is located in nearby Woodstock.

    Matisyahu, Moon Hooch and Sinkane will participate in the Late Night Jam. The full lineup is available here.

    Noticeably absent from this year’s bill are festival hosts Govt Mule and Mountain Jam regular Grace Potter. However, festival mainstays Michael Franti and Spearhead and Gary Clark, Jr. will appear. Also appearing is Peter Frampton, St. Paul and the Broken Bones, Holly Bowling, TAUK, White Denim and the Big Takeover.

    Mountain Jam prides itself on its family inclusive environment and the kids can expect to see sets from the Paul Green Rock Academy and Ratboy Jr. along with kid friendly activities in the Kozy Kids area.

    Three-day general admission tickets, camping and parking passes as well as several VIP packages are available at the festival’s website.

  • Rock ‘n Roll Resort Returns to the Hudson Valley

    Rock n Roll Resort: v7 returns this year Friday, March 31 to Sunday, April 2 at the Hudson Valley Resort in Kenhonkson, NY.

    The weekend will feature three full sets from New Orleans trio, the Nth Power, and two full sets from Pink Talking Fish. Additional artists on the bill include Beau Sasser Trio, Madaila, the Primate Fiasco, Gang of Thieves, Cousin Earth, Goose and SkyDaddy.

    Orchard Lounge’s Ben Silver has been announced as the special late-night VIP act, or “Lounge Set.”

    More acts, special guests and roaming artists are yet to be announced. Stay tuned for updates.

    Event planner and organizer, Shannon Plaquet has high hopes for this year’s event.

    We’re on our seventh year, and we’ve really fine-tuned things more and more with each successive event. Last year’s ‘Low Key’ event showed us how much our guests truly care about the family atmosphere and the intimate environment.  It’s absolutely about the music, but rekindling with your peers seems to be how our guests truly want to start off the festival season.  Rock n Roll Resort isn’t a festival, and we never had a playbook for ‘Throwing an indoor resort-party.’

    For more information on rooms and packages, activities and directions, please visit the event’s webiste here.

  • ‘The Last Waltz’ Looks Great on 40th anniversary

    The impetus was a one-off tribute to The Last Waltz during last spring’s New Orleans Jazz and Heritage Festival, and Warren Haynes and Don Was put together an all-star cast of musicians to celebrate the 40th anniversary of the Band’s all-star farewell concert at San Francisco’s Winterland Ballroom on Thanksgiving Night, 1976.

    That performance spiraled into yet another tribute during Haynes’ annual Christmas Jam featuring many of the same musicians. All involved agreed that it was too good and too fun not to continue. The Last Waltz 40 Tour was born.

    Upon entering the picturesque Palace Theatre, attendees were treated to a full scale reproduction of the original Waltz stage, chandeliers and all.  With the stage aglow in indigo, the mood was set before the musicians even set foot on stage.

    While billed as a tribute to the now 40-year-old classic concert, this show felt fresh, more of a celebration of this great slice of Americana. Those in the know understand that what was originally released in the film and the three-LP album in 1978 was far short of the actual four hour-plus long show back in 1976. Thursday’s show was closer in length to that evening, clocking in at three hours and 20 minutes.

    The “Band” for this tour was fronted by Warren Haynes, founder of Govt Mule and former Allman Brothers Band guitarist. There isn’t much Haynes hasn’t had a hand in. Among his unlikely group of merrymakers was former Doobie, Michael McDonald, outlaw country artist Jamey Johnson, avant-jazz keyboardist and virtual mad scientist of the keys, John Medeski, of Medeski, Martin and Wood, Dirty Dozen Brass Band drummer Terence Higgins and uber-producer and bassist Don Was. The four-piece horn section, anchored by Bonerama trombonist Mark Mullins, performed the late Allen Toussaint‘s arrangements throughout the night, adding just perfect punch of authenticity to the classic songs of the Band.

    The night began with the PA pumping in the introductory theme from the movie, bringing the capacity crowd to its feet. Johnson took the lead vocals on “Up on Cripple Creek,” giving proper reverence to Levon Helm while maintaining his Nashville twang. Each time Johnson took the lead throughout the night was a pleasure, particularly during his performance of “Georgia on My Mind.” Johnson channeled the legendary Ray Charles with a touch of Willie Nelson in a soulful country-fied take of this classic that had the audience cheering throughout. McDonald’s piano solo and Haynes’ guitar solo complemented Johnson’s vocals perfectly.

    The music of the Band is the music of America (despite four of the original five members being Canadian). In their productive years, this group defied classification as they waded through the waters of blues, country, New Orleans-style funk and classic rock. At their peak, they were lauded by such legends as Eric Clapton and George Harrison, the former even expressed an interest in becoming a member at one point. There is a direct line that can be drawn from the Band through the Eagles, Tom Petty, Big Star, R.E.M., Wilco, My Morning Jacket to Blitzen Trapper. They compiled the best of American music into one package and launched the careers of a hundred bands. That is what this tour was all about. The fact that Haynes and Was could gather musicians of different genres and generations to pay tribute to this band attests to that truth.

    Late in the first set, New Orleans royalty, Ivan and Cyril Neville, joined the festivities for a funky version of Bobby Charles’ classic “Down South in New Orleans,” a song performed with Dr. John in the original show. Medeski displayed his virtuosity on the keys here as Cyril and Ivan provided the vocals. This was followed by the biggest curve ball of the night, a slinky, slowed-down, funky version of the classic blues song “Who Do You Love.” Cyril drove home the beat on the congas accompanied by Higgins in the pocket, while Ivan joined Medeski on the keys. The contrast from the original, performed by Ronnie Hawkins, couldn’t be more pronounced, yet it fit the setlist perfectly. Haynes worked the pedals, Medeski and Ivan worked the keys and everyone with a microphone in front of them harmonized the chorus to a T. Mullins tossed in a muted trombone solo to cap off a true highlight of the night.

    The first set concluded with Johnson leading a sing-along to the Band classic “The Night They Drove Old Dixie Down.” Johnson’s contributions to this show cannot be overstated. The man has the vocal chops to handle anything in the Band’s repertoire.

    Following a quick 20 minute intermission, the band jumped feet first into the second set with a stellar horn intro to the classic “Ophelia.” Johnson again took the lead singing as Don Was kept the back end with a huge smile on his face. Haynes contributed one of his trademark solos and the stage was set for a second set that somehow ended up overshadowing the first.

    At the original, a maroon jump-suited Van Morrison appeared to perform his classic “Caravan” with the Band backing. On this night, Haynes played the role of Van the Man. Morrison’s voice is difficult to replicate. Haynes made it sound effortless on his turn at the mic. His soulfulness combined with the horn section made it seem as if one was back at the Winterland in 1976.

    Michael McDonald took center stage for Neil Young’s “Helpless,” tossing in a bit of his blue-eyed soul that gave his own imprint on the song. McDonald is still at the top of his vocal game and his unique cover of Young’s classic was a welcome addition to the setlist. McDonald was the wild card of this lineup. While he’s contributed keys and vocals to many classics throughout his career, covering someone like Neil Young isn’t something one would expect from him. He made it his own while still keeping true to Young’s original.

    As if the night couldn’t get more exciting, John Medeski took over McDonald’s keyboard while the Doobie sat aside him playing banjo for the Johnson-led “Rag Mama Rag.” Medeski put on one of the performances of the night with his assault on the keys, putting the audience’s feet in motion and the keyboard on notice. His performance on this song alone cemented his status as one of the best keyboardists in the game today. One could not help but focus on him as he played.

    Following this run-through, the Palace crowd was treated to an appearance from the first of two original The Last Waltz performers in “Steady Rollin’” Bob Margolin. Accompanied on harp by Chris O’Leary from Levon’s Barn Burners, Margolin introduced himself as someone who performed with blues legend Muddy Waters at the original. He told a story of an after-show jam session at the hotel with Ronnie Wood, Levon Helm, Eric Clapton and Bob Dylan, where they performed a series of Robert Johnson songs. O’Leary then broke into his harp intro to Robert Johnson’s “Kindhearted Woman Blues” as Margolin laid some old school blues on the Palace crowd. He then broke into a stomping version of “Further on Up the Road,” performed by Clapton in the original, with Haynes on vocals. The 68 year old Margolin displayed more energy than just about anyone on stage during this performance, frog-hopping towards the front row while wailing away. Those who didn’t know him prior, took note this night.

    Following Margolin’s electric performance was the part of the night everyone was anticipating. Original member of the Band, Garth Hudson gingerly approached the stage to a standing ovation, decked in a wide-brimmed black hat to hit the keys for “The Weight.” Johnson kicked off the vocals, followed by Haynes and then McDonald, providing that Doobie bounce to one of the Band’s signature songs. O’Leary and Margolin remained onstage for this one.  O’Leary provided the “Wait a minute, Chester” portion with a bouncing spirit that had the crowd bouncing along as well.

    A soulful rendition of “I Shall Be Released” was delivered with aplomb by Johnson accompanied by a classic Hudson keys solo. Unfortunately, he wasn’t very visible behind the keyboards, aside from his wide-brimmed hat, however the sounds coming from the keys were unmistakably Hudson.

    The entire band left the stage following “Released,” leaving Hudson alone at the keys with the spotlight on as he performed his signature improv “The Genetic Method,” a nearly five minute piece inspired by Bach’s “Toccata and Fugue in D Minor” that accompanies “Chest Fever.” This one featured vocals by all the leads including an especially soulful take from McDonald. Each musician on stage was admiring Hudson’s work throughout smiling at the legend as they performed. Haynes’ solo was particularly inspired in this one.

    “Don’t Do It” closed the night on a high note with inspired vocals from O’Leary and McDonald with a pop from the horns that left the audience dancing in the aisles with smiles on their faces.

    The Last Waltz and the Band are American (and Canadian) treasures. Forty years on and the music that was created is still celebrated and inspirational. The audience in attendance was a mix of those who saw the Band in their heyday as well as those who have been influenced by the artists influenced by them. The music is still as relevant today as it was when it was originally performed and yet sheds a light on the history of American music. This tour was a celebration of that legacy but also a continuation of it. As the years go by musicians will still perform these songs and the legacy will still be celebrated. Here’s to more of that. Thank you to Don Was and Warren Haynes for providing us with this celebration, which will no doubt continue at least until the 40th anniversary of the movie’s release in 2018.

  • Hearing Aide: Popa Chubby “The Catfish”

    “Going downtown to meet my old girl Mary, her legs are long and her lip is hairy.” This is one of the lyrics from the opening song “Going Downtown” on Popa Chubby and his newest album to date, The Catfish. Popa Chubby, hailing from the Bronx, is a blues rock veteran with a remarkable discography to his name that is also a hilarious play on words. My initial impression of Popa Chubby through his music is cemented by the literature found in the inserts of his CD; a humble and experienced artist who pours his soul into creations.

    Popa Chubby The CatfishMusic isn’t music if it does not evoke and inspire some sort of feeling in your heart. As I listen through “The Catfish”, I feel as though this is the soundtrack to driving through the countryside or mountains upstate in a drop-top Chevelle or low-riding Harley-Davidson. Popa Chubby brings clean and driving blues guitar (with great choice of tones, by the way) coupled with rock n’ roll vocals that have a hint of that iconic guttural 90s alt rock feel. Throughout the album, there is a fairly balanced trade-off between vocals and lead guitar, as though the guitar tells a story that words simply cannot. As for the story being told, it is the simple yet widely relatable message of embracing life through love, lust, pain and freedom.

    It’s my personal thought that music, like food, can be made even better when paired with the right choice of drink. I would pair something grungy like Nirvana with a tall pint of stout, or something smooth and jazzy like Amy Winehouse with a glass of cherry wine. I feel like hearing the songs on this album live at a bar or club would be best enjoyed with a glass of bourbon poured neat. And live, I can’t even imagine how enjoyable the songs off of The Catfish would be. Popa Chubby shows his versatility and songwriting skill by fusing multiple styles of music on a number of tracks. For example, the song “Bye Bye Love” features a reggae inspired rhythm section with Jimi Hendrix-esque lead guitar. “Wes Is More” is jazz to the max, and features solos from all instruments on the track. One of my personal favorites, “Slow Down Sugar” features a drum beat and trumpet that any hip hop producer would sample quick, fast, and in a hurry, and there’s even Red Hot Chili Pepper-style rapping on the song too.

    Overall, “The Catfish” from Popa Chubby is an enjoyable experience that you can lose yourself if you are looking to drive around without purpose or get your mind off of stressful thought. The solos are memorable while not overbearing, and the instrumentation is top notch. Kudos to Popa Chubby for being the multi-instrumentalist that he is, as well as the musicians he credited for the studio recordings. The lyrics capture the humble, experienced yet larger than life personality I imagine Popa Chubby to have and his voice captures the soul he’s got. The album takes you through ups and downs, like any good record should.

    Popa Chubby is currently touring the U.K. and Europe, and if you are on the other side of the pond you’ll be able to catch through Mid-February. He returns for several state-side shows starting in Schenectady, February 17 2017 at the Van Dyke Lounge. If you’re in town, get a taste of his blues rocker stylings with that glass of bourbon I was talking about. Order the album here.

    Key Tracks: Going Downtown, Bye Bye Love, Wes is More

  • Hearing Aide: Peter Karp ‘Alabama Town’

    New Jersey native Peter Karp has returned to the studio realm with his latest effort, Alabama Town. Beginning his career as a teenager in the blues band They Came From Houses, Karp has been musically inclined from a young age.  Growing up near New York City and later moving to backwoods Alabama left him with a unique perspective of the sounds of folk and blues, hearing acts such as James Brown, the Beatles, the Animals, and the Temptations live at a young age. After a foray into the film industry in the 90’s, Peter officially returned to the music world with the independently released Live At The American Roadhouse in 1998 with his band Peter Karp and the Roadhouse band. It’s been many years and many releases since then, including 2004’s The Turning Point with Mick Taylor of the Rolling Stones, but Karp’s old school blues-oriented folk rock still forces reminiscence of the founding fathers of American roots music.

    The album begins with the title track, “Alabama Town,” which immediately transports the listener to the slow moving pace of Southern living with an ambling blues riff and lyrical imagery that includes grits and grandpa drinking Jack Daniels out back. “Blues In Mind” also sounds as though it’s from an earlier time while maintaining a modern edge. One could almost imagine it coming from the radio of a ’59 Chevy Impala as it comfortably cruises through town on a warm Sunday afternoon. The other half of the sound that comprises the album is a bit softer, a slide guitar kind of folk music that exemplifies how the less is more concept can sometimes work in the musical world. “Lost Highway” has a poetic rhythm to it, with more of a story telling vocal performance. “Beautiful Girl” wraps it up with a mournful harmonica whine in a tale about a lost love.

    Anyone interested in celebrating the album release with Peter and his Roadshow Band can do so at the release party at Roy’s Hall in Blairstown, New Jersey on February 4.

    Key Tracks: Alabama Town, Blues In Mind, I Walk Alone

  • Butch Trucks, Founding Member of the Allman Brothers Band, Dead at 69

    Butch Trucks, founding member of the Allman Brothers Band, died on the evening of Tuesday, January 24 in West Palm Beach, Florida. He was 69 years old.

    Butch Trucks
    Jason Merritt/Getty Images

    Born Claude Hudson Trucks on May 11, 1947 in Jacksonville, Florida, Butch refined his craft playing in several ensembles at Florida State University and in the Jacksonville Symphony Orchestra before cutting his rock ‘n roll teeth in local bands such as the Vikings, the Echoes, and the Bitter Ind.

    It was the suggestion of Jai “Jaimoe” Johnny Johanson that led Duane Allman to recruit Trucks into the fold back in 1964 as he was forming the original Allman Brothers Band. Jaimoe and Trucks would go on to play drums alongside one another on and off for 46 years as members of the Brothers. Trucks is the third member of the original ABB lineup to pass away, joining Duane Allman, who died in 1971, and Berry Oakley, who died the next year. Trucks was inducted into the Rock and Roll Hall of Fame as a member of the Allman Brothers Band in 1994.

    The cause of death is unknown and comes as a surprise, as Trucks had remained active on the music scene of late. Upon the Allman Brothers Band breakup in 2014, Trucks founded Les Brers with fellow former Allmans Jaimoe, Marc Quiñones, Oteil Burbridge, and Jack Pearson in an effort to keep the ABB catalog alive. His latest act, Butch Trucks and the Freight Train Band, had recently been touring in the southeast.

    Trucks is survived by his wife Melinda, four children, and four grandchildren, plus a number of family members who are active musicians in their own right, nephews Derek and Duane Trucks, the guitarist of Tedeschi-Trucks Band and drummer of Widespread Panic/Hard Working Americans respectively, and his son Vaylor Trucks, who plays with the Yeti Trio.

    At this time the Trucks and Allman Brothers Band families request “friends and fans to please respect our privacy at this time of sadness for our loss. Butch will play on in our hearts forever.”

    Check out footage of Butch discussing the early days of the Allman Brothers Band below.

  • Engaging in Wintercourse: Friday Night @ the Knitting Factory

    On Friday night in Brooklyn, the sixth annual “Wintercourse” took place at the Knitting Factory.  All four bands on the bill had shared practice space and admiration for one another over the years which created a love filled environment on the gloomy Inauguration Day.  Fans young and old packed the small venue before the first band entered the stage, proving that time placement had nothing to do with crowd preference or popularity.

    Teddy Midnight performed first and instead of simply warming the crowd up, they hot boxed the room!  Glow sticks began lighting their way into the crowd during the first song of the evening, “Veni Veni Veni,” off their 2016 release, Velvet Blue.  In fact, the set list was heavily layered with songs off the same album, which happens to be their meatiest and most recent release.  The four members sonically tasered their fans during the nucleus of the set list when the “Primordial> Velvet Show Jam>Velvet Mist> Tree-O-Tree” combination was played for the first time.  Adam Magnan on drums teamed up with Sean McAuley on keys to recreate my childhood in what I can only describe as the theme music from Crusin’ USA for Nintendo 64.  Sean Silva added some fuzzy textures by means of the bass and synth throughout the notable jam that lasted for the better half of the set.   Guitarist Wiley Griffin announced their final song to the dismay of the audience as “Air BND” followed them off the stage.

    The “Ukulele progressive rock band,” Cousin Earth, was the group that I was most excited to see on the bill solely based on the genre description posted on the website.  The five-piece consists of Joey Calfa on ukulele, Nate Searing on drums, Corey J. Feldman on Ubass, Tara Lawton on melodica and keys and Terry Brennan on percussion.  All of the members handled vocals during the gender blending set that consisted of originals and well-known covers.  “Point of No Return” off the 2015 self-titled EP started the set and acted as the padding for the first cover of the night, “Yellow Submarine” by an English band called The Beatles.  The spacey “Alive” was up next followed by the reggae-influenced “Train Luck> Inspector Gadget Theme.”  Only a handful of songs had been executed and I could already tell that their eclectic sound mixed with the funny, yet thought-provoking lyrics had abducted the room for the duration of their time on stage.  My favorite part of the set was the appropriately placed “Another Brick In The Immigration Wall” which mashed up iconic Pink Floyd and Led Zeppelin songs into a sing-a-long for the entire venue.  Earlier in the day, an unmasked Darth Vader was sworn into the Oval Office, leaving me with a pit in my stomach that only comedy and good music could remedy. Thanks to Cousin Earth, I was able to leave our solar system for a while.  As a first time Earthling follower, the group reminded me of a new creation from Taco Bell… it may not have been what I was expecting, but I ate it up and would absolutely order it again.

    Voted the “Top 10 Best” AND “Top 10 Worst Names for a Band” in 2016 by CMJ, the jamtronica quartet, Space Bacon, hit the ground running with an almost 20-minute “Wolves” and even with minor technical difficulties, I was shocked to learn that this was their first time performing this beast live.  In fact, three of the four songs in their Wintercourse performance were Space Bacon virgins, which made the performance an instant classic set for the up-and-coming funky-electronica group.  They transitioned into the commonly played “Jupiter” as Sam Crespo on drums sped up the tempo and created a rave inside the tiny Factory.   “Ice Planet” contained elements of trance and hard rock as the band seamlessly segued from one genre to the other. Kevin LeGall’s bass joined paths with Chris Gironda’s keys to knit together a labyrinth of danceable delight.  Guitarist Jack Willard asked, “Do you guys want to hear new shit or old shit?”  The crowd began calling out for different fan favorites before Willard pronounced, “F*ck you guys, we are doing new shit,”  as they launched into “Prologue.” By far the wordiest tune they played on Friday, this new track was welcomed by the cult-like Baconators and at times had a complex Phishy vibe to it.  Don’t let the short and sweet set list fool you on paper; this thing had fangs, horns and some kick-ass moves.

    Chromatropic finished off the festivities with a unique jazz-fusion jam session spanning their career and highlighting their newest release, Abundance.  The frequently played “Bloom” was tackled early on after transitioning out of a crowd-pleasing intro jam.  One day when they release a Greatest Hits album, this track will make the cut due to its smooth sailing peaks and valleys.  “Habanero” was the first song from the new album and one of my favorites considering I’m all about that bass that Moses Margel is slapping.  Each member gets his time to shine during this spicy instrumental capped off by a Danny Caridi keyboard solo that will leave you in search of water.  Just as it seemed the band couldn’t get any hotter, they segued into the second half of “The Abundance of Elements” where Andrew Carton showed off his impressive and intricate guitar skills.  Mark Potter on midi and drums peppered in samples during the third one off Abundance entitled “Glove.”  The soulful and funky jazz piece is part-Vulpeck, part-Thievery Corporation and part The Chainsmokers?  You read that correctly.  While a high school cheerleader may call “Closer” by The Chainsmokers, “so 2016,” Chromatropic was able to incorporate the cover right into their music and it fit like a glove.

    The Brooklyn jam band scene is currently growing at an alarmingly satisfying rate and Friday night in the funkiest of boroughs, I was reminded that America continues to get greater every day.  While these four bands may be fighting for the same cause, to make people dance, they are in no way clones of each other.  Through their diversity and gender bending identities, they were able to come together and turn a surreal day into a sublime night.

    Teddy Midnight Setlist: Veni Veni Veni, Turkish Silva, Trap Haus, Primordial > Velvet Slow Jam > Velvet Mist > Tree-O-Tree*, Air DNB

    *Primordial through Tree-0-Tree first time played segue

    Cousin Earth Setlist: Point of No Return>Yellow Submarine@>Point of No Return, Alive, Train Luck>Inspector Gadget, When the Dinosaurs Come Back from Outer-space!, Super Fun Laser Beams, I Got This, Another Brick in the Immigrant Wall$, Capricorn on the Cob

    @ Beatles cover, ! BELT original, $ Led Zeppelin & Pink Floyd mash-up

    Space Bacon Setlist: Wolves*^> Jupiter (end), Ice Planet*, Prologue*

    *First time played, ^ bass malfunction, audible’d trio jam

    Chromatropic Setlist: Intro> Bloom, Habanero > The Abundance of Elements@>Gaia, Glove> Closer*> Glove

    @ Second half only, * The Chainsmokers cover

  • Mike Powell and the Black River Create Joyful Noise at Funk ‘n Waffles

    Mike Powell rolled into Downtown Syracuse Saturday night at Funk n Waffles with his new band, the Black River (John Hanus – guitar, Joe Bell – bass, Dom Scicchitano – drums, Shane Kelsen – keyboards). The packed crowd was treated to a night of originals from Powell’s solo releases, including his latest, Tied to the Rail, as well as songs from the forthcoming Black River debut, due in March.

    The evening was originally billed as Powell opening the show with his solo material followed by the full band. Instead, the band took the stage straight away, ramping up with a slow bluesy groove punctuated by soulful breaks from guitarist Hanus. This flowed into the first performance of a Powell solo piece with the whole band.

    Powell’s songs tell stories and sometimes these stories need an introduction. The song, “Moonlight, Sunshine and Rain” is the result of an encounter Powell had at a farmer’s market. He prefaced the song describing a near perfect zucchini he found. He asked the farmer how he is able to cultivate such beauty. The farmer simply replied, “Moonlight, sunshine and rain.” The band, particularly Shane Kelsen’s keys, compliments Powell’s blue-eyed soul perfectly on this piece.

    Continuing with the stories, Powell introduced the next song, “Tell Me Why,” as one about witnessing a friend spiral into the depths of addiction. His first-person account of an old college friend captivated those in the front of the house. Unfortunately, crowd chatter from the back of the room took away from some of the intimacy the song commands.

    Hanus and Powell drew the audience in with a new song, “Alchemy” featuring a Hanus solo reminiscent of Warren Haynes. Powell had his well-worn Gretsch and effects pedal creating haunting sounds as the crowd began to take notice of the talent on stage.

    While this band is relatively new, it’s clear that they are all seasoned. They’ve been holed up in the Big Blue North Recording Studio in Utica, putting the finishing touches on their debut album. It is clear that a true chemistry has developed among the members and they are truly a band, not Mike Powell and Friends.

    That said, Powell was front and center all night. As the band exited, one of the audience members asked jokingly, “Were they that bad?” eliciting a smile from the front man. Powell’s short solo set was next. All throughout, he demonstrated his versatility as a vocalist and instrumentalist, vacillating among the doo-wop sounds of “Go Back” to the heartfelt, soulful delivery of his Jeff Buckley-styled cover of the late Leonard Cohen’s “Hallelujah.”

    A Mike Powell performance is an exhibit in honest talent. He’s humble to a fault, often admitting in interviews that he’s uncomfortable hearing his own voice, yet he’s unafraid to put that to the test in front of an audience. This came to light in Powell’s final song of his solo set, “21 Rounds.” This song was his contribution to the Acoustic Guitar Project. According to the website, the project is a global one with a mission of inspiring creativity. Several cities are chosen and one guitar is passed among five musicians in that city. They have one week to come up with an original song using that guitar and record it live. Each musician signs the guitar and takes a picture with it to upload to the site. Once all five musicians in the given city complete their project, a concert is held.  Powell came up with this heart-wrenching song about fallen soldiers on the final night of his turn in the Acoustic Guitar Project.

    Hanus and Kelsen rejoined Powell onstage for a roll through of “Empire Line,” a song about taking the train from Syracuse to New York City and were joined by the rhythm section of Bell and Scicchitano to finish up the night. “Gone Too Far” was the finale of the set. Beginning with a jazzy piano intro from Kelsen, the song slowly gained steam with Powell and Bell harmonizing on the chorus and Hanus providing understated yet solid leads. Kelsen’s keys are the highlight on this one.

    As Powell gave his salutations, several in the crowd chanted for an encore. Unfortunately, another band was due to perform later in the night, preventing that from happening. Those wishing to catch more of the Black River, can do so at a hometown gig in Watertown on Feb. 10 at the Savory Downtown. Tickets for that all-ages show are $12 and available through Ticketfly.

    Powell has been working his way through the bar and art center scene since making the decision to concentrate on music after a highly successful lacrosse career at Syracuse University. His balance of honest and raw songwriting have helped him to gain a strong following among the Central New York faithful and the addition of this powerful and talented band will only serve to catapult all of them to the next level. See them in the small venues while you can. They won’t be playing them much longer.