NYS Music 20​17

Category: Jam/Progressive

  • 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

  • Funktional Flow Releases Video for “Trouble”

    Funktional Flow has released the video for the original “Trouble,” off their latest album Time Will Tell. The video was filmed at King’s Rook in Erie, PA and was edited by Nick Sonricker. Read the NYS Music review of Time Will Tell. Funktional Flow performs next at The Armor Inn Tap Room in Hamburg, NY on March 18.

  • Everyone Orchestra at Warren Station

    The eclectic Everyone Orchestra performed a three-night run in Colorado, with the first night of the small tour at Warren Station in Keystone on January 12. The intimate venue positioned at the base of the ski resort was the perfect place for the group to host their jam filled night. This show’s all star line up conducted by Matt Butler, included Shira Elias and Josh Schwartz of Turkuaz, Chuck Jones and Eli Winderman of Dopapod, Eddie Roberts of the New Mastersounds, Michael Travis of the String Cheese Incident, and Mihali Savoulidis of Twiddle.
    The enthusiastic crowd danced the night away and sang along as the super group performed many jams guided by the project’s creator, Matt Butler.  The lively night ended with a reggae tune which got the whole crowd singing “Keystone let the snow fall.” The group performed the next two nights in Denver and Fort Collins.

    Everyone Orchestra Warren Station

  • Celebrate the 2017 Saranac Lake Winter Carnival at the Waterhole

    The 120th annual Saranac Lake Winter Carnival will take place this year on Feb. 3-12. NYS Music is proud to present the 10 day line-up for The Waterhole Upstairs Music Lounge, which will feature 16 acts of both local artists and national touring acts.

    The Saranac Lake Winter Carnival is the longest-running event of its kind in the eastern U.S. Originally established in 1897, the event has since grown into the 10-day celebration that it is today.

    February 3– Primate Fiasco & Annie in the Water

    The Primate Fiasco uses instruments that are loud without electricity, giving them the opportunity to attack at any moment, in any location, with or without permission. No one is safe, not even an elevator or city bus. If the Primate Fiasco sees a dull moment somewhere, they will pop out of the nearest sewer drain or trash can to lead an irresistible dance party.

    On stage, the sound is different. This band has pioneered what is possible with mind-bending accordion, funky pockets of a hyperactive Sousaphone player, and banjo that thinks it’s a Fender Strat. Add lyrics that grab hold of even the most inattentive audience and beats that channel surf like a remote that’s been sat upon. The music is always high energy and extremely imaginative. Most importantly, this is fun. People smile from the first beat to the last smoldering ash of what was previously a dance floor.

    Annie in the Water’s music is a groovy combination of reggae, funk, rock, blues and jam, written with a conscious dose of positive vibes, unique melodies and intelligent lyrics.  With the ability to fill an entire night with original music and also render well-known covers into a signature style, fans share extraordinary experiences that can’t be seen anywhere else.

    After nine years performing more than 600 shows in over 13 states, the original duo of founding members Brad Hester and Michael Lashomb also lead a full band that will shock your soul into euphoria. The full band line-up includes featured members Joshua West (formerly of Lucid) on drums/percussion, Dillon Goodfriend (Fox Richardson) on keys/backing and Anthony Leombruno (Capital Zen) on Bass.  Occasionally the lineup may feature percussionist Bill Bentz (Exit 30) and various woodwind or brass members.

    February 4– Lucid & Eastbound Jesus

    Lucid decided to take a hiatus from touring in early 2016, after 13 years on the road. The band’s culminating performance in April captivated a sold out crowd at the newly renovated Strand Theater, in their hometown of Plattsburgh NY. Lucid’s only other appearance last year was at their home festival Backwoods Pondfest in Peru, NY.  One of the reasons the band wanted to take a break from touring was so they could slow down and be more deliberate in their choice of venues and events. When asked about playing Winter Carnival in Saranac Lake, Lowell Wurster said “All the guys were really excited at the idea. We have been playing the Waterhole for many years, and we love Saranac Lake and the people who live there. We always have a blast up in the mountains; it truly is our second home.”  In addition to a genuine love for the Adirondacks, the Waterhole has special meaning to Lucid because of its proprietors, Eric & Kiki. “They have done a stellar job keeping the music alive up there. The bands they are bringing in have raised the bar in the North Country music scene, and we are so excited to be a part of what they are creating. We want to help them keep the momentum building, ”

    Eastbound Jesus draws on a mix of diverse influences from the worlds of bluegrass, country and rock and roll to develop their own sound that is at the same time distinctly familiar and completely original, one that they have dubbed “Northern Rock,” These six friends from the rural upstate New York town of Greenwich have released four studio albums and a live album over the past five years, all while packing venues across the northeast with an infectious energy that gets people smiling, dancing, and hollerin’!

    February 7 – Joe Driscoll

    Joe Driscoll is a musician/rapper/beatboxer from Syracuse who uses different styles and instruments while performing.

    February 8– Donna the Buffalo & Bess Greenberg

    Donna the Buffalo just celebrated their 25th year as a band and have proven to be a consistent purveyor of American music. What’s the recipe? To be sure, it’s infused with more spices than you’ll find at a Cajun cookout by way of a southern-fried, rockin’ country old-time jamboree. “For the dizzying array of styles and genres with which they work, Donna The Buffalo maintain a surprising level of consistency. The New York-based band has played around with folk, zydeco, and many other musical ideas over the course of their 25-year career, but they retain a sharp focus that has helped them create some truly lasting music,” writes Elmore Magazine.

    Bess Greenberg is a singer-songwriter & visual artist from Binghamton, NY.

    February 9– Moon Hooch & Honeycomb + Jiggawaltz


    If any band is a poster child for turning the power of positive thoughts and intention into reality, it’s the explosive horn-and-percussion trio Moon Hooch. In just a few short years, the group—Wilbur, fellow horn player Wenzl McGowen, and drummer James Muschler—has gone from playing on New York City subway platforms to touring with the likes of Beats Antique, They Might Be Giants, and Lotus, as well as selling out their own headline shows in major venues around the country. On Red Sky, their third and most adventurous album to date, the band uses everything they’ve learned from their whirlwind journey to push their sound to new heights, bringing together the raw, transcendent energy of their live performances and the sleek sophistication of their studio work into a singular, intoxicating brew that blends elements of virtuoso jazz, groovy funk, and pulse-pounding electronic dance music.

    Currently based out of Massachusetts, the vocal cord conductor known as Honeycomb has quickly risen to the top of the food chain of northeast beatboxers, placing 13th in the 2015 American Beatbox Championships. With a unique approach as an equally versed music producer, and a frequent collaborator in both the live and studio settings, Honeycomb has built a sound fan base for himself through original productions and ear popping performances.

    Jiggawaltz is a six piece band hailing from Burlington, VT and Upstate NY focused on performance, engaging their audience with tightly woven compositions and elegant sections of improvisation. Fusing together many influences including classic rock, funk, electronic dance music, Latin jazz, soul, disco, and metal to create a unique pallet of sounds sure to entertain audiences from all walks of life. With original songs that uniquely decorate time with melody and harmony and a large repertoire of covers, Jiggawaltz often blends songs together to create a rich collage of sound.

    February 10– Spirit Family Reunion & Folkfaces + Swampcandy

    Spirit Family Reunion is a touring band based out of New York that aims to deliver raw, high-energy honest music. They have self-produced and self-released two full-length albums (No Separation in 2012 and Hands Together in 2015) as well as multiple songbooks and other collections of recordings.

    Folkfaces is a group out of Buffalo, NY that plays a rowdy blend of rootsy folk, jazz, and blues, fusing classic forms with contemporary feelings and irresistibly danceable energy. Their inspiration comes from the mountains of Appalachia to the deltas of Mississippi, the swamps of Louisiana to the concrete jungle of the Rustbelt. Specializing in merriment and sticking it to the system, Folkfaces make the crowd dance and the hierarchy shatter.

    Swampcandy is an internationally touring, primitive blues influenced Americana duo. Ruben Dobbs’ aggressive finger-picking and rhythmic style (which often adds up to sounding like more than one guitar) combined with Joey Mitchell’s bass playing, pounding kick drum and percussive bass throttling (representing the presence of a full drum kit) easily fill up the sonic space normally created by a trio or even a four-piece. Dobbs’ soulful, passionate vocals are the glue that holds it all together and makes the band tick.

     February 11– West End Blend and Bella’s Bartok

    Since their conception, ten piece funk/soul band West End Blend has been playing their version of funk and soul in venues all over the Northeast. Fronted by vocalist Erica Bryan, the band pays homage to classic throwback sounds while adding their own distinct vibe and flair. Behind her, the Blend packs a four-piece horn section, two guitars, bass, keyboards and drums onto stages every night. From humble beginnings in an epic sweaty funky basement dance party, the Blend’s goal has always been to bring that same atmosphere to every show.

    To understand Bella’s Bartok, imagine what you would get if Salvador Dali and Toulouse Lautrec were fronting the Moulin Rouge’s house band, and you have the exuberant spectacle that is Bella’s Bartok. Described as “about as much fun as you can have with your pants on” (Dan Wolovick, Two Way Monologues), this six-piece powerhouse melds Bohemian Klezmer punk with pop sensibilities into an eminently danceable party. The diversity of musicians that make up Bella’s Bartok, combined with their boundless energy on stage, has been known to break a dance floor, or two (or three, but who’s counting?). Their sound moves way beyond labels, pushing the envelope towards the darker side of Eastern European music, referencing Vaudeville and 20th century eclecticism.

    February 12– Folkfaces

    Folkfaces is a group out of Buffalo, NY that plays a rowdy blend of rootsy Folk, Jazz, and Blues – fusing classic forms with contemporary feelings and irresistibly danceable energy. Their inspiration comes from the mountains of Appalachia to the deltas of Mississippi, the swamps of Louisiana to the Concrete Jungle of the Rustbelt. Specializing in merriment and sticking it to the system, Folkfaces make the crowd dance and the hierarchy shatter.

    For more information and tickets, please visit the Waterhole’s website.

  • The Tribe Returns: MMW at Le Poisson Rouge

    On Tuesday night in the historic Greenwich Village, Medeski Martin and Wood returned for the second night of their sold-out Le Poisson Rouge run. The room was damp from the weather outside and the lights were dimmed as The Thunderclouds welcomed the audience to the ceremony with a Native American chant. John Medeski, Chris Wood, and Billy Martin joined behind the three tribal drummers from Wisconsin, as the two trios became one on stage, igniting the crowd in an almost euphoric fashion.

    The slow building jam picked up as the Thunderclouds exited the stage and morphed into an extended rendition of “Where’s Sly” off their second album It’s A Jungle In Here. Each member got their time in the spotlight as the crowd shook off the winter chill with a variety of dance moves. Up next was “Amber Gris” from Radiolarians II. The beginning of that track would serve as an excellent hip-hop beat and as much as I wanted to attempt to freestyle in front of my friends, I was able to contain myself in a room full of MMW veterans armed to give a solid “STFU” at any moment.

    MMW Le Poisson RougeThe first set came to a fantastic finish as the trio embraced the spirit of New Orleans with the danceable “Coconut Boogaloo” from the Combustication album. Bleecker Street in Manhattan felt a lot like Bourbon Street in Louisiana after a Mardi Gras parade as the packed room grooved to the Creole-influenced jam. While New Orleans is considered the birthplace of jazz, NYC is the birthplace of MMW and as set break began, longtime fans reminisced about seeing their baby all grown up after all these years.

    MMW Le Poisson RougeSet two brought us back to the Bayou with a swampy “Seven Deadlies,” most recognized from the live album, Tonic. The mesmerizing bass solo by Wood had the crowd in a trance before handing the baton over to Medeski to work his magic. There were moments when Herbie Hancock’s Chameleon album came to life during the 15-minute plus jam and the crowd adapted to every minute of it. A loose version of “Undone” off Radiolarians III created space for the most soulful tune of the night, “Everyday People,” which is the second one played from Combustication. Medeski has spent a lot of time taking the crowd to church with his super-group, The Word, and the gospel influenced tune transformed the room into a sanctuary for a peaceful ten minutes of bliss. A haunting drum solo by the master, Billy Martin, quickly turned into “Nostalgia in Times Square/ Angel Race” where the golden oldies “On Broadway” can be heard teased throughout. Medeski went back and forth from the organ to the keys and despite no psychedelic influence, I am fairly certain he had four arms during that jam much like Goro from Mortal Kombat.

    The always funky “Pappy Check” and “Partido Alto” got the blood flowing as this one-two punch ended the second set. The legendary band definitely didn’t need any introduction, but Martin announced the group anyway. When they returned for a much deserved encore, Billy remarked how right next door, the venue that was once the Village Gate was where they played their first ever show. Fans, friends and family of the band rejoiced as they launched into one of their most well known grooves, “Bubblehouse,” off the iconic Shack-man album. The trio shifted into high gear and revved the engine for an extended encore that left the crowd more than satisfied.

    The 3-show January residency in their old stomping grounds came about because Chris Wood was hospitalized during the originally scheduled October dates. It was amazing to see the band sonically tight and physically healthy after the brief scare last fall. While the band does not tour as much as they once had, the spirit of experimental jazz is stronger thanks to 25 years of MMW. Cheers to another 25.

    Set 1: Thunderbird Chanting>Jam, LPR Jam, Where’s Sly?, Amber Gris, Coconut Boogaloo> Jam

    Set 2: Seven Deadlies, Undone, Everyday People*, Drum/ Percussion Solo, Nostalgia in Times Square/ Angel Race!, Pappy Check, Partido Alto

    Encore: Bubblehouse

    *w/ Amazing Grace tease

    ! w/ “On Broadway” & “Lively Up Yourself” teases

  • Hearing Aide: Creamery Station ‘Creamery Station EP’

    Connecticut isn’t known to pump out world renowned musicians like New York, Seattle and California do, so it’s refreshing to see a group of guys emerge from the backwoods of the state with some true talent and passion for the art. Over the past three years, Creamery Station has been cooking up a collection that’s surprisingly good.

    Creamery says they’re a combination of the Grateful Dead, Allman Brothers, The Band, Little Feat, Railroad Earth, David Grisman, Doc Watson, Jimi Hendrix, Stevie Ray Vaughan and their first album is a fantastic representation of all these legendary groups. They manage to sound unique while giving glimpses of the defining characteristics of their inspiration rather than a copy of them. Some songs sound more familiar than others, but this is their  first compilation and it’s thoroughly impressive.

    They started from humble beginnings as a small band playing for a few house parties and slowly grew to a full seven-man group that brings a classic and a universally enjoyable country/ jam sound to the stage. They are based in CT but are making their way to New York City for the very first time and are definitely worth checking out.

    A lot of the inspiration came from the adventures some members endured, as well as a love for playing and performing music. All of the tracks were written and contributed to by every member of the band, which makes the connection between the musicians something truly exceptional, says singer and mandolin player Dylan Kader. “The energy between us when we play is something special and the crowd can feel that and they respond to it,” said Kader.

    This album is a bit all over the place, and that’s meant in the best way possible. Every song has a tie to country music with most of the tracks being based in that genre. But then some can, arguably, even have a reggae feel to it which is a combination that works surprisingly well.

    Things start off with “Ramblers Delight” and it’s about as country as it gets. It has a pretty straightforward chord progression with spices of mandolin a violin/ fiddle and relatable lyrical content. The feel of the song changes a bit when a very bluesy and fairly distorted guitar solo rings over the group that reminds listeners that a lot more is in store for the rest of the album. Country sounds are the basis of their musical content but that’s just the ground floor, and it’s a sturdy and simple one to build upon, giving Creamery free range to experiment with all sorts of genres.

    “Kansas City Blues” is appropriately named and placed at a  slower pace and even more like the typical melancholy country song. It’s the same sound as “Ramblers Delight” in terms of country sounding instruments, but the pace and chord progressions and lyrics make it a little more somber with just a few hints of uplifting major chords.

    “Walking for miles just to get a drink, then resting when we could find the shade, it’s hard to find the time for this poor boy to think, when he only eats if he sings and plays.” It’s still a well done song but this isn’t something that changes the minds of people who don’t like country.

    “Railroad Blues” is another very well-performed and professional sounding track. It’s comparably more upbeat and will definitely hit home with anyone willing to give Creamery Station a shot. There are light hints of country style instruments and it is based on a 12 bar blues chord progression which makes this one feel more rock and roll than anything else.

    Now “Sam the Clam” is where things get interesting. Harmonica player Don DeStefano dreamt up this song years ago in a separate band of his own while rehearsing backstage of a blues club called “Sam the Clam’s.” John Coltrane and Miles Davis were a big part of the inspiration behind this track as well as renowned harmonica virtuosos like Toots Thielmans and Little Walter. The combination makes for a jazzy, bluesy and damned smooth recording. It’s all instrumental to give keyboardist Jon Truelson, guitarist Jim Kader and DeStefano a chance to strut their stuff. The guitar is set to a perfectly smooth and warm tone, Truelson nails his time in the limelight and DeStefano absolutely kills his solo. It’s definitely the most fascinating song on the album and should be the go-to for first time listeners and those not soon keen on getting into the country scene.

    And just like that, “You Did Me Wrong” jumps on and the listener is thrown back into the world of country. Unfortunately, like the first three songs, it blends into the rest of the old-school country scene, but they still absolutely nail the style.

    “Out of Reach” is one of the most interesting songs on the album being that a country group created a pretty in-depth reggae sounding song. Everything about it is quintessentially reggae; a down beat, loads of percussion and funky guitar but a little hint of blues with a flavor of harmonica that sets this track apart from other songs of the same style. The best part of this song has to be the guitar solo. It’s a little dissonant and very similar to the styling of Carlos Santana. It’s a phenomenal track considering the roots of the band

    The album ends on a bit of a bittersweet note with “Sleep Late,” a very lazy country sound that leaves a little bit of an odd taste in the mouth of the listener, but again, as far as EP’s go, this one was really, really well done.

    Again, Creamery Station is coming to New York for the very first time and is going to blow the socks off of anyone that attends. This is a band that will be appreciated most in a live  setting, so see them on Friday, January 20th at American Beauty in Manhattan, find their free first album online, and keep an eye out for their soon to be released full length album, Pastures of Plenty.

    Key Tracks: Sam the Clam, Out of My Reach, Railroad Blues, Rambler’s Delight

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

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

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

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

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

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

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

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

  • 6th Annual Wintercourse at the Knitting Factory in Brooklyn

    On Friday, Jan. 20, the 6th Annual Wintercourse will be held at the Knitting Factory in Brooklyn for an evening with some of the area’s top acts, known as The Brooklyn Jam Syndicate: Teddy Midnight, Cousin Earth, Space Bacon and Chromatropic.

    wintercourseThe evening will kick off with Teddy Midnight taking the stage at 8:30 p.m. Teddy Midnight delivers a mix of progressive rock, drum and bass, jazz and downtempo at their shows; a self-titled genre they term as “Electro-Dance-Funk.” They’ve played sold out shows at other prominent NYC establishments like Irving Plaza, Brooklyn Bowl, Gramercy Theater and Bowery Ballroom. They’ve shared the stage with Dopapod, Consider the Source, The Werks, Twiddle and other successful touring acts.

    Cousin Earth will take the stage at 9:45 p.m. Cousin Earth is a progressive ukulele rock band, and you can expect anything from bluegrass to electronica from this Brooklyn act with a wide repertoire of both original and cover songs. They have played over 170 shows throughout the Northeast United States, from Maine to Pennsylvania, and have shared the stage with other acts like Melvin Seals and the Jerry Garcia Band, Sister Sparrow and the Dirty Birds, Future Folk, Andy Frasco, Rustic Overtones, and many more. Their full-length album is set to be released sometime this year.

    Space Bacon will take over at 11 p.m. to keep the evening going. This local four-piece act will bring their own version of progressive electronica & funk rock. The name “Space Bacon” emerged from the love of Kevin Bacon and Kevin Spacey. At the end of 2016, the group released a “Best of 2016” digital album of their best performances of the year.

    Rounding off the evening, Chromatropic will be the last act at 12:15 a.m. Their sound is described as “live organic neo-psychedelia,” and they deliver a truly original show that you don’t want to miss.

    Tickets are $12 and available through Ticketweb.

  • My First Phish Show

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

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

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

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

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

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

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

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

    Encore: Rock and Roll, Tweezer Reprise

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

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

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

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

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

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

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