NYS Music 20​17

Category: Funk/Soul/R&B

  • The Motet and West End Blend at The Fairfield Theatre Company

    Although the mid-week blues were in full swing, West End Blend (WEB) and The Motet managed to put a pep in the step of almost every single attendee at The Warehouse in Fairfield, Connecticut. WEB set the scene and style of the night, something that needed to be done due to the lack of enthusiasm that filled the building. Then The Motet capped it all off and blew away the audience with their relentless energy and zealous attitude. Once again, a very wide array of people attended due to the location of the up-and-coming venue, but everyone was able to find some aspect of the show they loved.

    West End Blend is based out of Hartford and showcased their funk and soul styles, but didn’t show much else. Their show was well performed and obviously well rehearsed, but the music wasn’t anything that would revolutionize the idea of funk -rather it just solidified it, which isn’t necessarily a bad thing. They had the formula: A solid drummer, funky horn line, groovy bassist, talented but reserved guitarist and an eye/ear catching lead singer. But it’s all been done before. They did not come short of a great performance by any means, but they didn’t knock the socks off most people there. That may have been because they were seen as the opening band or maybe it was because they only performed in front of a handful of people. The crowd just didn’t respond very well – they barely even welcomed them to the stage. Hopefully, and more than likely, they will headline a venue and get some well deserved recognition instead of being seen as just the opening band.

    Some of their most memorable tracks were “Say Hey!” which featured one of the most iconic parts of the band, 27-year-old trumpeter Mike Bafundo and his fascinating ability to sound like a funky Louis Armstrong. He and lead singer Erica Bryan have two very contrasting voices which made for a unique sound that the crowed looked forward to for the remainder of their performance. “Get Bye’ was another highlight, featured as one of their most popular songs on Spotify and was one of the only one that ventured outside of the stream line funk sound. The lazy tempo and an even lazier horn line resulted in a danceable but reggae feel. Other songs did not stray far from the funk band formula like “Attitude,” “Too Heavy” and “The Scene” which were plenty of fun and soon to be released on an upcoming album – the date is TBA.

    The Motet on the other hand had a more memorable performance.  Most of the credit goes towards the front man Lyle Divinsky. In a funk band, the lead singer needs to be like a conductor. He/she needs to draw attention to separate parts of the group because they are all required to be in unison to make the iconic sound. The horns stay reserved for the majority of the song but make a big pop during breakdowns and chorus’ – the same applies for the strings and synths. So he/she needs to work the whole stage and keep everyone’s eyes and ears moving – something Lyle has mastered and something that would change the whole attitude of WEB if Bryan were to follow in his footsteps. The Motet came out strong with “Damn!” which has been a favorite to open with for the majority of their shows including their prior Warehouse show and their first time Headlining the Red Rocks Amphitheater. It’s a perfect, straightforward ice breaker with a great funk formula that can easily flaunt their ability to build and climax flawlessly. “Damn!” is off their 7th studio album, Totem, and shows that the group is nowhere near out of ideas for funky tracks. Their sound is very familiar but manages to be unique, something that might only be true to their live performances, as their studio recordings are a little less impactful.

    They moved on to, “Like We Own It,” “Rynodub,” and “The Truth,” all of which were well received. “So High” came up and The Warehouse saw some incredible solo’s from the hornline. The crowd responded really well to Drew Sayers on saxophone. He had plenty of emotion and was able to work his way through the solo in an abstract but palatable way. He was smooth and well thought out and wasn’t afraid to take some risks. Trumpeter Gabe Mervine eventually came out of his shell after some sound board complications. He seemed concerned he wasn’t coming through clearly, but was able to focus after the problem was resolved. Keys player Joey Porter also had a few astounding and greatly appreciated solos, one of which was during “So High” where he played through a vocorder. It fit flawlessly into the songs style and got one of the biggest reactions out of the crowd.

    Drummer and founder Dave Watts never really had a moment to shine unfortunately, nor did bassist Garrett Sayers. Granted both of them have a very important role to play and not a lot of time so flaunt their abilities, but they both deserved a little more limelight than they were given. Garrett had a small chance to solo but he is such an entertaining musician and it would have been nice to see him a bit closer to the audience both literally and musically.

    The music was all incredible, but it all seemed more like an act or play because of Devinsky’s energy and charisma. He is best described as an actor but his personality comes off as genuine. He was so grateful for everyone’s enthusiasm, for being able to play at The Warehouse and was very appreciative of his band mates and their talents. Not only was he appreciative, he was sweating bullets and showed no signs of fatigue. His personality was just charming to everyone and a good part of the bands demeanor stems from Devinsky’s actions. They closed out with a cover of “Getten to Know You” by Parliament and “I Feel For You” by Prince and finished on their own “Closed Mouth Don’t Get Fed.”

    This show was definitely a highlight for The Warehouse and one would hope and expect this won’t be the last time The Motet performs there. They will unfortunately be heading South and West for the first part of the summer, but will be seen at Disc Jam 2017.

  • 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

  • Big Takeover Releases Throwback Music Video for “Love Understands”

    The Big Takeover, the funky roots and reggae group out of the Hudson Valley, have released the music video for “Love Understands,” off their recent album Silly Girl. The 80s throwback video features singer NeeNee Rushie, Chas Montrose (saxaphone), Rob Kissner (bass), Andy Vogt (trombone) and Kerry Shaw (guitar) and was directed by Crazy Gringo, Liz Paradise and Zach Thomson. The track is now available now on iTunes and on .

  • Hearing Aide: Julia Felice and the Whiskey Crisis ‘Devil on Your Back’

    Nestled in the foothills of the Finger Lakes is the college town of Ithaca, a community rich in the arts with a vibrant indie music scene. It was there six years ago when Julia Felice and Harry Nichols set out to record a few songs. Rather than release them on an EP, they held out until they had enough for a full-length album. Diving for Falls was released in 2014, with Felice on vocals and keys, Nichols on guitar, and Julian Dalton on drums. For the release show, they enlisted the help of Samuel B. Lupowitz on bass guitar and Joe Massa on lead guitar. This lineup eventually became known as The Whiskey Crisis.

    Over the past couple years, Julia Felice and The Whiskey Crisis have distilled their sound. Devil on Your Back has a more distinctive flavor than its predecessor. Felice’s deep and sultry vocals are complimented by the band’s jazzy blues stylings. The sound is full and robust, and the instrumental breakdowns give the musicians an opportunity to flaunt their skills.

    Over the course of 11 tracks, Julia Felice and the Whiskey Crisis demonstrate that they can perform a range of R&B songs – from the spirited numbers “Waste” and “Count Stacks” to the slow, soulful songs “Help Me Break” and “Come Over.” The song “Denim” has a funky 70’s vibe, but overall the entire album seems timeless and classic – with songs which could fit in as easily on a playlist with Joss Stone and Amy Winehouse as with Carole King or Janis Joplin.

    The band is celebrating the release on April 1 with a hometown show in Ithaca at The Range. Follow Julia Felice and the Whiskey Crisis on Facebook for upcoming shows and purchase information for Devil on Your Back.

    Key Tracks: Help Me Break, Count Stacks, Albatross

  • How Sweet It Is: Melvin Seals at The Westcott Theater

    On Wednesday, March 8, Syracuse celebrated the spirit of Jerry Garcia in spectacular fashion with help from Melvin Seals & JGB at the Westcott Theater.  The intimate evening began with the Upstate NY native band, Los New Yorkers.  The four-piece consisted of three middle aged men and one woman that hopped from one instrument to the next.  The feel-good and upbeat originals reminded me of something that might get chosen as the theme song for a 90’s sitcom on TGIF.  Members not only switched back and forth from guitars, washboard, drums, keys and bass but each member also brought their own original song to the table.  While most lyrics consisted of life-changing events, their love for New York State and generic happy moments, Los New Yorkers did not ignite that Jerry spark that many Deadheads in the crowd were seeking.  If I ever hear this band again, it will probably be while I am buying cotton candy at the New York State Fair because that is exactly how it made me feel.

    Melvin Seals Westcott TheaterWord has spread up and down I-81 about a Scranton-based bluegrass group known as The Dishonest Fiddlers, and the quartet did not disappoint.  This collection of traveling ramblers were chosen by Dave Brown, founder of the band, who swaps artists for every show, making the “About Page” on their Facebook profile dishonest.  The unique idea of taking musicians from different parts of the country allows Brown the freedom to mix it up at the drop of the hat and the pluck of a string. One downfall of never having the same band twice is that practice time is limited, therefore they are often forced to fight for space backstage.

    At The Westcott Theater, the foursome found themselves practicing in front of the men’s bathroom line, which welcomed them with clinched legs and open arms.  The first song of their actual set was dedicated to the “new friends in the bathroom line” as they channeled the folkie side of Garcia with a beautiful, “Rosa Lee McFall.”  The remainder of the seven-song set consisted of all originals and the crowd seem to genuinely enjoy every minute of it.  As the room began to fill up for Seals and JGB, Brown was hoping to elicit some crowd participation during “There Ain’t Enough Water in the Water” which was minimally responded to, at best!  As couples locked arms and rowdily stomped their feet, The Dishonest Fiddlers’ time was up and Brown thanked the Central NY crowd for their support during the band’s first ever visit to Syracuse.  For the sake of bluegrass music, I hope they return to the Empire State very soon.

    Melvin Seals Westcott TheaterNow past 11:00pm, fans were finally ready to embrace Melvin Seals & JGB and it was well worth the wait!  Aware of the time, the crowd let it all hang out as the group opened with a funky jam sequence leading into “After Midnight.”  While the famous Eric Clapton version of the classic fast-paced hit clocks in under three minutes, Seals kept this monster jamming for over 15 minutes!  While on the topic of iconic rock-n-roll, The Beatles were gently sandwiched in the middle of the Jerry-influenced “Midnight” jam as “Eleanor Rigby” made its appearance as it regularly did in the late-70’s and early-80’s.  The “Fab Four” from England were also covered during the next song of the evening, “I Want to Tell You,” which once again featured Zach Nugent filling in for Jerry on vocals.

    After the smoking hot start to the show, “When I Paint My Masterpeice” peacefully calmed the audience down and was highlighted by Nugent paying tribute to Garcia with his delicate and passionate playing.  “Neighbor, Neighbor” featured strong backing vocals from Cheryl Rucker and Shirley Starks, and on the night of International Woman’s Day 2017, the crowd was thoroughly glad to have these lovely ladies in their lives.  In the heart of the set list, the Garcia/ Hunter gem, “Mission In The Rain,” somberly described a lost soul searching for redemption and where Nugent’s vocal abilities fell below Garcia standards, his guitar solo was sorrowful and spot on.  The playful and gospel-influenced “Evangeline” lifted everyone’s spirits after the emotional “Mission” before the bluesy “Think” featured yet another powerful vocal collaboration.

    Melvin Seals Westcott TheaterBassist, John-Paul McLean, exchanged smiles and notes with Seals during the classic R&B cover of “Everybody Needs Somebody to Love” and to the delight of Deadheads in the room, Starks and Rucker pointed to the audience while they sang the chorus.  Love had captivated the audience throughout the entire show, but especially at the end of the evening when they transitioned from “Somebody to Love” to “How Sweet It Is To Be Loved By You.”  Seals introduced the band and gave one more stellar B-3 organ solo during the extra sweet version.  Although the show ended past 1:00AM on Thursday morning, the band was not ready to say goodbye to their loyal fan base as Seals & JGB hung out by the merchandise table to chit chat with ticket holders.

    Seals has spent over 30 years in the spotlight mesmerizing audiences with his swirling keyboard-synth magic, but he is still the humble, welcoming, and sincere man he was when he first met Garcia.  As a child of the 90’s I have never gotten to see Garcia play live. Although I have listened to thousands of hours of recorded material, read numerous books and stared at videos on Youtube until my eyes were blood shot, I never had the opportunity to be a part of the touring community that was cherished by millions.  Thanks to bands like Melvin Seals and JGB, fans like myself and long-time fans alike can come together and share love, smiles and gratitude with their sisters and their brothers.

    Melvin Seals Westcott TheaterThe Dishonest Fiddlers Setlist: Rosa Lee McFall, My Brand New Jalopy, There Ain’t Enough Water in the Water, Steve, Sam’s Cigar, The TV Store, Steamtown Blues

    Melvin Seals and JGB Setlist: Jam, After Midnight*, I Want to Tell You, When I Paint My Masterpiece, Neighbor, Neighbor, Mission In the Rain, Evangeline, Think, Everybody Needs Somebody To Love, How Sweet It Is To Be Loved By You

    *w/ Eleanor Rigby jam

  • March Fourth and Pimps of Joytime Booty Shake with Swagger at the Fox Theatre, February 25, 2017

    They put their socks on one at time like the rest of us, but that pretty much is where the resemblance to ordinary folks like us ends. Some have speculated that they could be aliens from another planet-perhaps set on this planet as interstellar ambassadors of a higher universal groove. They, on occasion, have referred to themselves, quite cheerfully, as freak of nature.

    The official nomenclature  for this merry band of mischief-makers is March Fourth, a band of about 20 irrepressible pied-pipers of carnival gypsy funk, that stuff themselves, along with trunks of outlandishly colorful, handmade costumes, stilts, mountainous cases of brass and percussion instruments, props, and hats into a well-worn bus with the creaky metaphysics of a vintage World War II submarine, who, then, somehow tumble, flip, shimmy and shake their way across the country determined to blast the lid off every venue they enter as if their music was the equivalent of a giant rainbow confetti cannon.

    And, appropriately during the season of Carnivale, Boulder, Colorado fans once again packed the Fox Theatre to experience their unique blend of steampunk celebration staged with the sweaty, gospel fervor of a Mardi Gras revival tent. Throughout the set, acrobats, and stilt-walkers performed a wild series of athletic backflips, jumps, and balancing feats that were as risky as they were eye-popping.

    Joining March Fourth on the winter tour, the Pimps of Joytime opened with a soulful set of R&B influenced-funk and acoustic tunes. With the booty-shaking swagger of Sly and the Family Stone, the five-piece band delivered an infectiously energetic set of tunes from their new album, Jukestone Paradise.

    So, however one may label this jubilant roadshow or its people, it was, no doubt, a remarkable experience. On second thought, perhaps they don’t put their socks on one at a time. (When they do wear them.) We, mere mortals, may never know for sure.

  • 2017 Syracuse Area Music Awards Weekend Concludes with Sold Out Ceremony

    The Syracuse Area Music Awards, affectionately known as the SAMMYS, wrapped up its 25th edition Friday, March 3, 2017 at the Palace Theater in Syracuse with a brief performance from freshly inducted Hall of Famers moe.

    Ahead of Saturday night’s show at the F Shed, moe. closed out the two-night affair with a three song set of “Tailspin,” “Spine of a Dog” and “Buster.” Friday night’s awards ceremony, hosted by veteran Syracuse DJ and staunch supporter of the local scene, Dave Frisina, featured awards in 18 categories, including three People’s Choice categories, and performances by four Syracuse area bands, reflecting the broad range of styles and talent found in and around the Salt City.

    The SAMMYS is the brainchild of Frank Malfitano and now under the care of Liz Nowak. In 1993 Malfitano created the celebration of area music for an event at the Landmark Theatre. The event changed venues several times over the years before finally settling on the grand old Palace Theater on James Street in the Eastwood district.

    The festivities began with the Hall of Fame dinner Thursday night, upstairs at the Dinosaur Bar-B-Que. The Dinosaur has been one of Syracuse’s premier music venues since opening on Willow Street in 1990 and was a fitting venue for the honors and stories that filled the room.

    This year’s inductees were Mohawk Valley via Buffalo jamband moe., pioneering new wave singer/guitarist Meegan Voss, 70s blues rock artists Jukin’ Bone and singer-songwriter Paul Case. Also being honored were Anthony and Patricia DeAngelis for Music Educators of the Year and Lifetime Achievement Award recipient Vincent Falcone. It was a night that had the feel of a class reunion. Hugs and excited shouts from people who haven’t seen each other in years mingled with stories of years’ past in venues no longer around.

    The inductions and awards ceremonies were hosted by Dave Frisina, a 1994 SAMMYS Hall of Fame inductee, long-time Syracuse radio personality, champion of local music and self-professed band dad. His son, Mike is a member of Syracuse-based band Simplelife. Most, if not all, of those in the room have dealt with him in some way throughout their career. A man like Frisina is what every music town needs. He is local music’s strongest advocate and has the platform for it at his current station 105.9 The Rebel.

    Induction and acceptance speeches were filled with anecdotes and inside jokes. Though, most in attendance, were on the inside of those jokes. Memories of broken down vans, vanished venues and bad decisions peppered the speeches. It was the talk of well-worn musicians who have dedicated their craft not to become famous, but simply to play. To the outsider, it was a look at a scarcely seen side of the working musician.

    The first honor of the night was for Educators of the Year. Husband and wife, Anthony and Patricia DeAngelis, two area music teachers were honored for their decades of influence on local musicians at Syracuse University, Colgate University, LeMoyne College, the Lyncourt School and Onondaga Community College. They were inducted by their well-spoken and surprisingly laid-back granddaughter Olivia.

    Voss was inducted by her husband and band-mate in the Verbs, drummer Steve Jordan. In her acceptance speech, she pleaded to “Save the clubs.” Case, visibly touched at the recognition for his long career avoided revealing too much of past days on the road, “My kids are in the room.” He lavished praise on fellow musicians in the room, including Jukin’ Bone member Joe Whiting as well as the master of ceremonies.

    Case, sporting a black tux and pronounced the Best Dressed in the Room by Frisina, closed his acceptance speech saying, “You get up. You drive to the gig. You set up. You play your ass off.  You tear down.  You drive a million miles home, week after week, month after month, decade after decade. You do it for the music.” He then dedicated his award to the late Bob Fleming of the Mossback Mule Band, who passed away in September.

    Accepting for Jukin’ Bone was Whiting, Mark Doyle and John DeMaso. Discussing the problems of being a young band, Whiting offered a piece of advice, “I would recommend not signing contracts under the influence of anything distilled or brewed, made in a laboratory or passed around and smoked,” eliciting loud laughter from the audience.

    The final inductee of the night was moe. Al Schnier spoke first in accepting the honor, speaking of all the Syracuse area venues spent taking in shows as a fledgling musician. Schnier lauded promoters such as Chuck Chao of Creative Concerts, who inducted the band, thanking them for shaping who they became as musicians:

    We came here as kids to see concerts Chuck (Chao) was promoting. They made us fans. Whether it was Driving Sideways or the Todd Hobin Band or the New York Flyers or 805; these were the bands we looked up to as kids. They could have been the Allman Brothers or the Grateful Dead; they were the same to us. You guys were rock stars.

    Drummer Vinnie Amico attributed the band’s style to its Upstate New York roots, “We all wear our hearts on our sleeves. We all kind of have this style, this thing we do, because of where we’re from. We’re blue collar, baby. We work hard, we play our music that way. There’s an edge to our music and that’s a testament to Upstate New York.”

    “The Oddities of the World” – the SAMMYS Hall of Fame Class of 2017

    On Friday, 54 artists were nominated among 13 Syracuse Area Music Awards categories. Sprinkled in among the awards were performances by several of the Syracuse area’s finest musicians, representing genres ranging from blues rock to country, rap, alt-rock and jam. There is definitely a varied and vibrant scene in Central New York.

    Emcee Dave Frisina kept the event lively and loose, often interacting with presenters and winners as they approached the microphone. Best Jam Band winner, Joe Driscoll, affectionately referred to the host as a jedi to laughter from the crowd.

    The performances throughout the night revealed the depth of talent in the area. The Ripcords opened the night accompanied by the Boneyard Horns. They ripped through three bluesy/tex-mex style songs, kicking off the night in a celebratory fashion. Unfortunately, just as they seemed to be letting loose, their set was over. You can get a taste of what the Ripcords have to offer at their ReverbNation page here.

    Best R&B recipient Alani Skye had several family members in attendance and received perhaps the most vocal and joyous reception to a win. Her win for Don’t Forget About Me was never in question for the vocalist as she accepted the award.

    A performance by rap artist Curtis “Tall Bucks” McDowell and the Brownskin Band followed. The rhythm section of the Brownskin band mixed equal parts jazz and funk behind McDowell’s rhymes. A guest appearance by Syracuse rapper Real Tall for the song “Solar Radiation” had elements of early ’90s era Leaders of the New School collective.

    The reality of life as a working musician came to light when Lauren Mettler was awarded the SAMMY for Best Folk. After an awkward pause waiting for the recipient to make her way to the stage, her brother made his way up to accept. In his speech, he stated how he had just texted her and she was still on her way to the theater. So, as any good brother would do, he stalled for time as she made her way down the aisle, peeling her coat off as she ran towards the stage.

    Mettler mentioned how she had just gotten out of work and was trying to get to the theater as quickly as possible, even though she never thought she’d win. Such is life for those looking to make a go of it in the music industry. Everyday jobs sometimes throw hurdles at you along the way. Mettler was genuinely surprised and pleased with her award.

    One of the night’s cutest moments came when the award for Best Hip Hop/Rap was awarded to World Be Free for the album Nigg@$ to Gods. He was on the West Coast touring and couldn’t attend the ceremony. As his family accepted the award on his behalf, his young son took a turn on the microphone as his dad’s public relations manager, exclaiming, “My dad has CDs for ten dollars!”

    Country artists Chris Taylor of the Custom Taylor Band plead with the audience to get up and dance along to their performance. A funky “Keep Me in Mind” slowly drew the audience to its feet and a rousing rendition of the Charlie Daniels Band’s “The Devil Went Down to Georgia” easily won over the crowd.

    The Brian Bourke Award for Best New Artist was awarded to Funk ‘n Waffles regulars, reggae-soul band Root Shock. This presentation seemed to be the biggest crowd pleaser of the night as fellow musicians and fans alike rose to cheer their win.

    Previous Bourke Award winner, the Spring Street Family Band took over the Palace with their high energy alt-rock performance that even had a band member’s dad jumping up on stage to take video with his phone. Their performance brought the audience to the stage, turning what was a somber awards ceremony into a full-fledged rawk show with a funk-metal-alt sound reminiscent of Rage Against the Machine or Faith No More.

    The ceremonies concluded with the awarding of the People’s Choice SAMMYS. Over 110,000 online votes were tallied in categories of Best Band, Best Live Venue and Best Festival or Music Series. The New York State Fair wrapped up the venue and festival categories with their representative thanking all of the venues in the area for supporting the live music that becomes a part of the fair each year.

    The award for Best Band went to Cortland-area country band, Small Town Shade, who also won the SAMMY for Best Country Performance for the EP Ring it Up. 

    moe. wrapped the SAMMYS with a lively three-song set that included “Tailspin,” “Spine of a Dog” > “Buster.” Schnier commented about the lack of curfew at the venue and suggested they keep playing until they are thrown off the stage. To the disappointment of many, Schnier apparently as well, the lights came on at the end of “Buster,” bringing a close to the two-day celebration of Syracuse area music for another year.

    Best Jazz: Second Line Syracuse, Second Line Syracuse
    Best Other Category: Syracuse Society for New Music, Music Here & Now
    Best Folk: Lauren Mettler, Patchwork
    Best Jam Band: Joe Driscoll & Sekou Kouyate, Monistic Theory
    Best R & B: Alani Skye, Don’t Forget About Me
    Best Pop: The Jess Novak Band, Inches From The Sun
    Best Americana: Driftwood, City Lights
    Best Blues: Tas Cru, Simmered and Stewed
    Best Hard Rock: Breaking Solace – Shatter the Silence
    Best Alternative: Bell & Sgroi, Bell & Sgroi
    Best Rock: King Chro and the Talismen, King Chro and the Talismen
    Best Hip-Hop/Rap: World Be Free, Nigg@$ To Gods
    Best Singer/Songwriter: Alanna Boudreau, Champion
    Best Country: Small Town Shade, Ring It Up EP

    Brian Bourke Award for Best New Artist: Root Shock

    People’s Choice Awards were conducted in an online poll for three categories. Over 110,000 votes were tallied. The winners were:

    Favorite Band: Small Town Shade
    Favorite venue to see live music: Chevy Court at the New York State Fair
    Favorite festival or music series: The Great New York State Fair

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  • Hearing Aide: Barika ‘When The Time Comes’

    When is it time to take a step back and reflect? At what point amidst the violence, protest, argument, and confusion perpetuated by the media is it ok for twenty-first century human beings to come to halt from information absorption? Barika, a psychedelic West African influenced band from Burlington, Vermont, aims to satisfy those questions with their album, When the Time Comes.

    Immediately from the beginning of the project, time seems to slow and the reflection begins. Each song in the album is different from the next which at first listen seems disjointed, only connected by the reoccurring horn lines, however when listened to more than once, it is easy to see what Barika is trying to accomplish within this forty-three minute album. Instead of a chronological storyline, as many albums try to convey, When the Time Comes has the aim to come at listeners from all angles with instrumental tracks mixed in with R&B flavored ones and even songs completely comprised of African drumming. There are also strong messages within the album.

    In “Find My Way”, instances of police brutality are highlighted by using examples of Eric Garner’s words “I can’t breathe” said over and over. In addition, Craig Myers, the leader of the band cites Ferguson Missouri and the fatal shooting of native Michael Brown. As the track in the center of the album, Barika chooses to focus on issues that are the most important. This symbolizes the need for society to reflect while at the same time remaining conscious enough to keep a grasp on the harsh and unjust realities that are plaguing society.

    In When the Time Comes, Barika transforms the traditional model of an album by keeping each track different from the one before and after but still tying them all together in the end. It is not music that can be casually listened to but needs to be thoroughly digested to understand what the motives behind it are. Catch them at Funk n Waffles in Syracuse on March 10. Check out additional shows here.

    Key Tracks: When The Time Comes, Find My Way, There For You

  • St. Paul and The Broken Bones Flow Like a Mighty River in Albany

    The eight-piece powerhouse that is St. Paul & The Broken Bones took the stage at The Egg in Albany on Sunday, March 5 in classic soul – R&B fashion, with the lights dimmed and front man Paul Janeway cloaked in a cape. As the sound of “Crumbling Light Posts, Part 1” built to a crescendo, he shed the cape as the band exploded into their next number, in which Janeway sang “Just flow with it.” It was good advice. Janeway and the Broken Bones took the audience on quite a journey, from funk to earth shaking shouts to heartbreaking soul music, changing tempo and dynamics while the attendees’ enthusiasm continued to build.

    The group consists of Chad Fisher on trombone, Allen Branstetter on trumpet, Jason Mingledorff on saxophone and flute, drummer Andrew Lee, bassist Jesse Phillips, guitarist Browan Lollar, and Al Gamble on organ and piano, with Paul Janeway on lead vocals. A consummate showman clad in a leopard print jacket and pants with gold shoes, Janeway pulled out all the stops, dropping to his knees, rolling on the floor, shimmying and sliding all over the stage, and doing a crowd walk halfway up and across the theater during the emotionally wrenching “Broken Bones and Pocket Change.” The band changed gears once again, following up with the crowd singing and dancing to “Call Me.” The bulk of the set was from 2016’s Sea of Noise, but there were a few remarkable cover songs. During the encore, a fan called out for some Otis Redding. Janeway responded that the band hadn’t played the song yet on this tour, but led them into a showstopping rendition of “I’ve Been Loving You Too Long.” Despite over ninety minutes of music and a four song encore, St. Paul & The Broken Bones adhered to one more bit of showmanship – always leave the audience wanting more.

    Opening act Aaron Lee Tasjan captured the audience’s attention before he even played a note, taking the stage bedecked in a black and white star-spangled suit, silver boots, and a wide brimmed cowboy hat.

    He led his trio through an eight song set peppered with humor and story telling between songs. The songs were from his 2016 album Silver Tears, released on the New West Records label. Describing him as alt-country, or folk rock with a gritty undertone, doesn’t completely tell the story. Some songs, including “Little Movies” had an ethereal Brian Ferry / Electric Light Orchestra vibe, and Tasjan certainly showed his considerable guitar skills on “Ready to Die” and also when he was invited onstage for an encore with the headliners for a cover of David Bowie’s “Moonage Daydream.” You should put both of these acts on your list of artists to listen to and go see live.

    Set Lists:

    Aaron Lee Tasjan: Out of My Mind, Little Movies, Memphis Rain, Lucinda’s Room, 12 Bar Blues, Where the Road Begins and Ends, Ready to Die, Success

    St. Paul & The Broken Bones: Crumbling Light Posts, Pt. 1, Flow With It (You Got Me Feeling Like), Like a Mighty River, I’ll Be Your Woman, Tears in the Diamond, All I Ever Wonder, I’m Torn Up, Unknown (band instrumental), Brain Matter, Waves, Midnight on the Earth, I’ve Been Working (Van Morrison cover), Broken Bones & Pocket Change, Call Me, Sanctify

    Encore: Is It Me?, I’ve Been Loving You Too Long (Otis Redding cover), Moonage Daydream (David Bowie cover, joined by Aaron Lee Tasjan), Burning Rome

  • Catskill Chill Takes Hiatus in 2017

    Catskill Chill festival lovers received a disappointing announcement that the fest is going on hiatus for 2017. Fans have been waiting for an announcement on 2017’s Catskill Chill Festival since the stage lights extinguished on 2016’s festival Sept. 25. Hoping for a lineup and date announcement for 2017, fans received the opposite news instead. Festival lovers can only hope the festival returns in 2018.

    After seven years, Catskill Chill will take a hiatus in 2017. In a post to fans on social media, the Chillfam team reflected on how the festival brought people together and the one of a kind atmosphere that the festival created. The Chillfam team also thanked everyone from fans, vendors, bands/artist, volunteers, venues, promoters and media, who have supported the festival since its inception in September 2010.

    One thing the festival promoters did not state in the post was why the festival would not take place, just stating that they needed to take a step back and that they will be be announcing Chillfam parties throughout the northeast real soon.

    Many jamband favorites have played the festival throughout the years including Mike Gordon, George Clinton & Parliamant/Funkadelic, Greensky Bluegrass, Lettuce, moe., Twiddle, Dopapod, Kung Fu, Nth Power, Papadosio, and Pink Talking Fish to name a few.

    Below is the festival’s statement issued through Facebook regarding the hiatus:

    https://www.facebook.com/CatskillChill/posts/1592016847493442