The reggae scene in Woodstock, NY is strong. The Bearsville Theater in Woodstock, NY hosted a packed house for Chronixx, Kelissa, and Woodstock native D.J. Max Glazer on April 29.
The crowd hung on every word and beat put down by Max Glazer as he led the audience through samples of the reggae greats, before introducing Kelissa. A native of St. Andrew, Jamaica, Kelissa is known for her positive lyrics that reflect the experiences of her life. She sang with power and energy that the crowd picked up on and fed off of. Chronixx hit the stage and continued to lift the crowd with his positive words. Coming off a string of sold out shows, I don’t imagine the Hudson Valley disappointed.
The Bearsville Theater will host a few other highly anticipated reggae shows this summer. Jesse Royal stops by July 7, and Maxi Priest will play the theater August 11.
Saranac Brewery has booked some exciting jams and shows this summer. American Reggae bands Dirty Heads and SOJA will be taking the stage on Tuesday, June 20. Zeppelin tribute band Get the Led Out will perform Friday, July 21. Grateful Dead tribute band Dark Star Orchestra will be playing on Tuesday, Aug. 1. Alternative rockers Taking Back Sunday are slated to play alongside Every Time I Die and All Get Out on Friday, Aug. 18.
Saranac Brewery, located at 830 Varick Street in Utica, offers summer music events, a tavern on site, tours, and a gift shop. See the website for more information and hours of operation.
Saranac Jams Lineup
June 20 – Dirty Heads & Soja with the Green, RDGLDGRN July 21 – Get The Led Out Aug. 1 – Dark Star Orchestra Aug. 18 – Taking Back Sunday with Every Time I Die, All Get Out
Off the grid sustainable community, Woodhenge, has announced its first Woodhenge Music, Art, and Sustainability Festival, located in Adams Center near the Adirondacks, the community will host the festival on June 23-25, 2017.
The three day event features a diverse mix of music genres including rock, jam, jazz, reggae, bluegrass, electronic, and funk, and features over 20 artist including Formula 5, Space Carnival, Root Shock, Intrepid Travelers, Lord Electro, Jiggawaltz and Drumadics.
Fans will have the privilege to explore each morning the 60+ acres of nature and trails the area has to offer, along with yoga and workshops focused on how to live mortgage free, creating a sustainable lifestyle, optimal nutrition, and how to build with recycled materials. The event itself will be held in a field, between the village’s garden and orchard.
In 1997, James and Krista Juczak, created the eco/self reliance village known as Woodhenge. The mortgage free community is set in the foothills of the Adirondack Mountains along the outskirts of a large forest, complete with a stream and waterfall set between a pond and an orchard. The off the grid solar and wind powered sustainable community practices upcycling, using environmentally friendly materials along with alternative building techniques.
The village grows and cans most of their own fruits, berries, nuts and vegetables in their community garden and raises their own ducks and honey bees for honey and eggs. The community also hosts several workshops throughout the year on building a tiny house, living off the grid, and renewable energy.
Known as the “King of Scrounge,” Juczak took 5 years to build his 3000 square foot home, set on 50 acres, out of recycled material including beams salvaged from an old bowling alley, and a two-story concrete column made out of scrapped manholes. Windows, doors, sinks, tubs, and other items were bought cheap, or salvaged for free from renovated buildings. The mortar holding the walls is made from 80% paper sludge waste from a nearby mill. The other 20% is made of masonry cement. Juczak has also buried a 10,000 gallon fuel tank used as a guest home buried into the side of a hill.
Woodhenge has also hosted other music festivals in the past including Summer Solstice Campout in 2016, and the Halloween Costume Fiesta.
Fans who purchase full weekend passes to the festival online will save some cash. The online pass costs $50 for all three days, and $60 at the gate on Friday, June 23. Other passes range between $20-$40. Camping is available in the field, and in the forest close by.
June 2 & 3, Strange Machines will host the very first Strange Days Festival at The Stone Church in Newmarket, NH. The guys are bringing a jam-heavy lineup to one of their favorite venues. An intimate Friday night includes an opening set from Litz and the first of many from the Strange Train. Saturday is an all day affair that ends with a double dose from the hosts, including a Doors tribute set. Single-day passes are available and a two-day pass is only $20 and worth every penny. Check out the event on Facebook and catch the band as they head south this week on a short tour before playing at Domefest this weekend.
Matisyahu may have found a unique niche in the Jewish reggae and hip hop scenes, and with the 2017 release of his sixth studio album Undercurrent, his religious convictions are woven into a stream of consciousness that flows between genres throughout the album. The album was described in a recent press release stating, “The vulnerability felt throughout the lyrical narrative comes from acceptance in uncertainty. “Step out into the Light” sets the tone for the record, as Matisyahu delves into a musical reframing of the Jewish philosophical differences between the constant of faith and the immediacy of trust.”
Matisyahu completed the album with a team of esteemed collaborators including some who have a long history working with Matisyahu on past projects. Aaron Dugan (guitarist), Stu Brooks (bassist), Joe Tomino (drums), Tim Keiper (drums) Cyro Baptista (percussion) and Big Yuki (keys) serve as the vehicle through which Marisyahu delivers his rhythmic remarks.
Undercurrent serves as the musical checkpoint along Matisyahu’s continued journey of seeking greater truth within himself and the world around him. “Step out into the Light” opens the album with a modern hip hop vibe. Matisyahu quickly entangles the album with religion, mentioning a dreidel in the first few lines. The lyrics are at times ambiguous but flow well. Matisyahu offers some seemingly deep philosophical musings but leaves it to the listener to fully unpack their meaning
“Coming up Empty,” is more heavily produced than much of Matisyahu’s work and may catch fans off guard. “Blue Sky Playground” is heavy on the hip hop and is the first song on the album worth a head bob or two. Halfway through, the nasty hip hop groove fades to a mellow jam which rounds out the eight-minute track. “Forest of Faith” is easygoing and pleasant on the ears with instrumentation that sounds like a tropical xylophone. “Head Right” tricks the listener into thinking its a heavy rock tune, but quickly morphs into a hip hop/reggae hybrid and flips back and forth to the rock realm. “Driftin” concludes the eight-track album with a song that could almost be split into tow separate tracks. The first half serves as a low key hip hop track akin to Dirty Heads before the last seven minutes resort to minimalist instrumentation with Matisyahu displaying his beatboxing ability. This album will certainly keep listeners on their toes.
Key Tracks: Blue Sky Playground, Forest of Faith, Head Right
“Do you remember who you were before they told you who to be?” Morgan Bolender asks the world during her demo track “Mary Oliver.” She is a self-taught musician from the Empire State that has traveled the globe and currently calls Oakland, CA home.
During her travels, she found her sacred path as an artist and after hundreds of thousands of Youtube views, she realized that her compassionate lyrics and beautiful voice was echoing throughout the world. Her debut album, Recordings From My Living Room, has gained popularity among her open minded and globally conscious followers and while the music may be too emotional for some, others find refuge in its soulful tranquility.
Self-proclaimed “freak folk” artist Scott Ferreter calls his music “Deep Pools.” Ferreter spends his time in the spotlight attempting to engage the members of the audience mentally and emotionally. He uses his music to tell stories of his life and experiences. Musical influences such as Radiohead, Neil Young, and The Band can be heard in his stirring tales of death, birth, peace and seasons. After decades of practice, Ferreter has formed a bond with his guitar, allowing him the confidence and comfort to explore many different sounds and genres. His most recent LP, See You In The Morning Light, has been described as “an ecosystem of emotion” by Sacramento News and Review. It was no coincidence that Bolender and Ferreter found each other and formed a musical communion that has been strengthened through love, respect and admiration for one another.
After their first sonic pilgrimage through the country called the Come As You Are Tour, Bolender posted on her Instagram, “Tour’s over. 10,512 miles. 34 cities. 70 days. I have so many feelings.” These feelings were planted inside of Ferreter and Bolender in the beginning of the Fall of 2016, and much like a tulip bulb, they are finally ready to bloom this Spring. They will embark on yet another house concert tour entitled The Feelings Parade. After the spiritual, emotional, creative and musical success of their 2016 travels, they have decided to do it all over again on an even bigger and more ambitious trail. Their live shows feature the two playing together as well as solo before an audience of all different backgrounds and interests. In reference to last year’s adventure, Ferreter writes, “We played over 35 shows, saw parts of the country we had never seen, and made deep-feeling community in places where we used to be strangers. We miss you already.”
The truly dynamic duo is currently calling on their friends new and old to host house concerts for their upcoming gigs. No town is too big or small. No mansion is too sparkly and no barn is too dirty. No swamp lands are too filled with alligators and no desert is to dry. Based on their Instagram feed from last year, they are willing to do basically all the work except building the venue itself. If you or someone you know is interested in helping with the tour efforts, send an email to the performers and express interest. I caught up with Bolender and Ferreter after their last tour to hear more about what they learned, what they liked, and what the future holds for them.
Ben Boivin: What covers did you play most frequently?
Morgan Bolender: “Hallelujah” by MaMuse, and “Old Before Your Time” by Ray LaMontagne. When playing MaMuse’s “Hallelujah,” I invited the crowd to sing along, which was almost always an overwhelmingly beautiful experience. There’s nothing quite like singing my heart out with a room full of people. My favorite times were when the crowd started out singing with quiet trepidation and finished with wholehearted gusto. Due to my own trepidation, I didn’t sing at all (not even in the shower!) until about 5 years ago, so it’s one of my missions to create a safe place for people to open up the channel that has enriched my life so much.
Scott Ferreter: I hardly played any covers this tour, because I have so many new songs I’m excited about. It was hard enough to decide which originals to play. One cover-playing memory that really sticks out is playing “Traveling Song” by Bright Eyes in Omaha, Nebraska, because that’s where Conor Oberst (of Bright Eyes) is from. He’s one of my favorite songwriters, and it was quite the experience playing it on my first visit to his hometown and having several people in the crowd passionately singing along.
BB: Did you switch up the sets or add more to a set based on where you were and the experiences you had during your travels before the shows?
MB: Our sets varied from let-it-all-hang out, no-holds-barred-wild-fun, to playing for a garage full of conservative Christian corn and soy farming seniors on a farm in South Dakota who all brought their own lawn chairs. Part of the beauty of the intimate house concert setting is having the opportunity to really feel and connect with the audience – to experience them as a living body and try to tap into what would be most nourishing for that body.
SF: The set changed almost every night, based on the feeling of the place and the feeling of the crowd. Also, a lot of my songs are very vulnerable and they often push at different social norms that I find myself bumping up against in my struggle to be my full self. For that reason, some of them were entirely inappropriate for certain shows and certain crowds. I have no interest in shoving anything in anyone’s face–my intention is to stretch boundaries, not break trust. For that reason, I found myself changing the set quite a bit.
BB: What was your worst show of the tour?
MB: New Orleans. For sure.
SF: Absolutely, New Orleans. Heiress to a fortune. Old school classism and elitism. Small turnout plus pretension equals a terrible show. I’m amazed that we played over 35 shows and only had one that I wouldn’t want to do again!
BB: What was one of the best shows of the tour?
MB: That’s a really tough one, as I’m still processing the experience. My heart feels warm when I think about Kim’s living room in Blue Springs, Missouri, who Jodi filled with a lively, funny, loving crowd. Then I think of Jen’s show in West Bend, Wisconsin, which happened on gorgeous, magical land where, if there are fairies, fairies lived. That show was so sweet and tender, the people so open and ready to receive what we came to share. And the, Paonia! In a castle, and then a community house! And San Diego! Then the Dakota’s – a beautiful yard along the Missouri River, a sweet farm with Alice’s epic flower garden! Nicole’s overflowing yard in Nunica, Michigan! Playing for family and friends in NY, many of who’d never seen me play. Flagstaff, AZ, where they created an ornate backyard festival for us! There was a tea tent! I didn’t answer this question very well, but truly – there were so many magical shows. Oh! The squawking baby eagles that accompanied our show on Whidbey Island! The Heartson’s in Vermont, where we not only got to play a great show, but got to teach a songwriting workshop! Like I said – magic, magic, magic.
SF: There were so many great ones, and they were all great for different reasons. I had a particularly connected-feeling set in Paonia, Colorado. It was one of the few places where I felt no need to bring people into the right headspace for the music. It felt like we were all there together from the beginning, and it was so sweet to be able to just drop into the music and feelings. Wisconsin was a very meaningful set for me because I showed up incredibly sad, and decided to be vulnerable and play the set I needed (instead of the set I imagined the crowd wanting). As it turned out, sadness must’ve been in the air, because it seemed like the perfect set for the people there, too. I left that show feeling very held.
BB: If you had to spend two weeks at one venue you played, where would it be?
MB: Hmmm. Possibly New Orleans. That place feels like an entirely different universe, and I feel like in order to really drop in and explore it, I need some time. Or Portland, because there are so many people there I love and want to hang out and make music with.
SF: Great fucking question! I feel like Ashville, North Carolina and I have some catching up to do. I’d never been before, and yet I’ve had many great friends live there over the years. I felt deeply connected to the land there, and could easily see myself putting in some weeks barefoot in Asheville.
BB: What did you learn during your travels and would you do it all over again?
MB: If you’re going to buy high quality, American made, ethically sourced and produced merchandise, be sure to let people know, because ethical and conscious consumption is really important for our people and planet, and I want more people to consider where their things come from. Also, ethically sourced and produced merchandise is more expensive.
Humans are extremely capable of adapting. For the first 2 weeks of tour, I was a wreck. My body was falling apart, my emotions raw, and my nerves fried. The pace of tour, the emotional expenditure, and the sheer amount of work was breaking me down. Once we got into a rhythm and once I made a strict “I need 8 hours of sleep per night” rule, things changed dramatically. I was amazed and inspired by how much my limits could be extended.
It’s okay to need people. Okay, fine, I’m still learning that one, but tour helped a lot. I was very stubborn about my independence, and was sure to let Scott know, many times, that I could have done this on my own. But the truth is, I couldn’t have. Not this exact tour. I could have done some version, sure, but not what we did. Doing it together made so much more possible. And just because I can do something by myself doesn’t mean that I have to. I learned so much about how to trust and work as a team.
I can set out to do something huge, and make it happen. Even if I don’t really, really know what I’m doing, I can learn as I go. [There are] so many more things that I don’t know yet. I would absolutely do this again, and intend to. I realized after a few weeks of the Come As You Are Tour that, though we were already reaping harvest, much of our work was seed planting. Meeting new people who became part of our community. Refining our model for producing house concerts. Creating systems. Walking first-time hosts through how to put on a concert. The tour was enough, just as it was, and, it’d be a shame to not put all we learned to use!
SF: I learned that I’m supposed to be touring and sharing my music! I learned that you don’t eat passionfruit by biting it directly in half. I learned that it’s better to play the songs I want than play the songs I think the crowd wants. I learned that just because the east-coasters don’t show their love as freely doesn’t mean they aren’t loving it. I learned that nobody wants to buy totes. I learned that there are fewer medium-sized people listening to our music than there are small and large people listening to our music. I learned that I’ve still got a lot to learn from Morgan. I learned that Morgan has still got a lot to learn from me. I learned that I’m making music on behalf of all of the people who are nourished by it, not just for myself. I would do it again tomorrow!
In a dark world, Bolendar and Ferreter use their music as the guiding light. Their compassion for the human race is powerful and their creative approach to going on tour is refreshing. The Feelings Parade of 2017 is sure to see these couch-surfing companions on an entirely new wave of energy and bliss. Two old souls living their own version of the American Dream with a trunk full of instruments and heads full of sound will hopefully inspire a new generation to get in their cars and cruise the land of the brave and free.
The 9-Piece powerhouse brought their album-release tour to The Root Cellar in Greenfield, MA on Saturday, April 15. Big Mean Sound Machine played their hearts out for two incredible sets for a crowd of locals ready to dance. They’re taking their groove back for a hometown throw-down in Ithaca, NY this Friday before taking a short trip down the east coast in early May.
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.
Roots of Creation is known to sing of its love for the “603.”
That’s the area code for New Hampshire, of which the reggae-jam fusion band calls home. Its 2012 video “Summertime in the 603” (a homage to Sublime’s 1995 “Summertime”) remains a colorful sight for those recently wishing winter away. Just a day after returning from the warmth of sunny Costa Rica, Brett Wilson continues to defend his love for the “Live Free or Die” state. This, after snowstorm Stella dumped more than 20 inches of the white stuff across the region.
“Well, a lot of us here like to ski and snowboard and stuff,” said Wilson, in a phone interview from his home. He admits to feeling out of place with the heat and sun of the coastal vacation spot, from which he just left. With his “pale skin,” he said he found himself retreating more often to the evening hours to avoid being burned. “I like having all the seasons. Costa Rica was great. It was nice and warm, but man. I was not built for 100 degrees, everyday.”
The popularity of a band that envelopes the offbeat rhythms and staccato chords of reggae initially seems just as out of place in New England as Wilson is in the Caribbean sun. But, that’s not the case. Wilson explained he was introduced to the Jamaican music through his mother at an early age. She would provide him with mixtapes of the popular bands that, too, called New England home. When she took him to a reggae fest to hear the music live, he was hooked.
Flash forward 20 years later, Roots of Creation is a Billboard chart topping band. The band’s latest release “Livin Free” debuted on the Billboard Reggae Chart last April. The success follows a cultivated reputation of making each live show a unique gem for the audience’s experience. Wilson recalls Phish and The Grateful Dead, two of some of his favorite bands whose fans often trade recordings of individual shows throughout the years, each with a different line-up of songs, possessing its own unique experience. Today, it’s not uncommon for those who follow Roots of Creation to do the same thing.
“We never really saw any of those bands play the same shows once,” said Wilson. “That was cool, because it built kind of a culture around the band. People wanted to follow them around, collect set lists and tape the shows. Also, the bands never got tired of it. So, we definitely adopted that kind of mentality.”
Whether on the festival circuit, performing at jam favorites like Gathering of The Vibes, Wakarusa, Camp Bisco and Closer to the Sun, or sharing the stage at sold out shows with some of their diverse influences including Slightly Stoopid, The Wailers, Fishbone, and Michael Franti, Roots of Creation has been recognized as a Top 20 artist on the Relix/Jamband radio chart as a festival staple.
Roots of Creation’s fan base played a substantial role with last year’s release of “Livin Free.” The CD, and subsequent three-CD set, was released from the band’s own label, Bombshelter Records, and distributed by ILS/Caroline/Universal Music Group. The record was funded with a crowdsourcing initiative through PledgeMusic.
“We could not have done this without everyone who was a part of our PledgeMusic campaign, those who purchased the album, our fans who come out to the shows, and our team behind the scenes,” said Wilson. “It was a really huge team effort. The RoC family is just amazing, and we thank everyone for their support.”
“Livin Free” features guest performances by Melvin Seals (Jerry Garcia Band), Marshall “Ras MG” Goodman (Sublime, Long Beach Dub Allstars), the Rubblebucket horn section, Billy Kottage (Reel Big Fish), Bill Carbone (Zach Deputy, Max Creek), Grammy-nominated Pato Banton (Sting, UB40), and Mighty Mystic.
This article was originally published by The Spot 518.
Root SHOCK takes the crown as the winner of NYS Music’s 2017 March Madness. Over 6 rounds, Root SHOCK brought their fanbase together to propel them to the top, holding off Buffalo’s Intrepid Travelers in the finals.
NYS Music talked to bassist Bill Eppel this weekend about winning March Madness:
Pete Mason: Congrats on winning NYS Music’s 2017 March Madness! How does it feel to win?
Bill Eppel: It’s a total blast! March Madness has been a great experience all along the way. Checking out all the bands represented underlines the diversity of music in the region. It’s definitely opened our eyes to some bands we weren’t aware of. The support we’ve received from our fans (what we think of as our family) along the way has reinforced that we’re on the right track and connecting with people in a positive way with our music and our lyrics. We’re blown away by the outpouring of votes and positive vibes from everyone, it’s humbling for us.
PM: For those who aren’t familiar with the reggae sounds of Root Shock, what influences do you draw on and what can fans expect from your live performances?
BE: We always refer to ourselves as ‘high energy reggae soul.’ While we have great respect and draw musical and spiritual inspiration from the wide range of reggae styles (roots, dub, dancehall and more), we color that with the classic soul, modern neo-soul, funk, American rock and roots that we grew up with. All that aside, the first thing most first time listeners notice is the powerful vocals, presence and will of our lead singer, Jessica Brown. She’s an overwhelming force of nature on stage and the embodiment of the positive uplifting lyrics that she and guitarist/singer Phil Grajko pen. Hopefully the listener can feel the sincerity of what we do, and walks away with our message of empowerment, equality, respect and love.
PM: How has growing up and performing in CNY impacted the group’s growth?
BE: This band probably couldn’t have happened somewhere else. When we came together about 5 years ago, we’d all been involved in the wider CNY music scene and connected with the modern reggae scene in some way previously. Seeing regional bands (John Brown’s Body, Thunderbody, and many others) that had been creating reggae related music but weren’t copying classic Jamaican and world reggae; synthesizing something new with it felt like there was positive artistic and spiritual motion that was furthering the genre. But more importantly the greater CNY area was so obviously supportive and accepting of stretching the genre that we felt comfortable putting ourselves out there stylistically even if we weren’t doing the traditional thing. We don’t write songs to ‘fit in’ to a specific niche, we write them to express ourselves, we’ve thrown lots of stuff at the audience and are consistently surprised with the reaction. It’s given us a freedom to explore. It turns out that the listeners, bands, clubs, pretty much everyone, has been really receptive and supportive. Luckily we also live in an area with a vibrant music scene these days, so we’ve been able to play such a cool and wide variety of places. It’s funny, living in a place that’s so cold and hostile environmentally for so much of the year is obviously difficult…but it’s balanced by the warmth of the people here and how really enthusiastic music fans are once you get them in front of a stage.
Stream Root Shock’s self titled album and read the NYS Music review of the breakout release.
NYS Music talked to bassist Bill Eppel this weekend about winning March Madness:
PM: For those who aren’t familiar with the reggae sounds of Root Shock, what influences do you draw on and what can fans expect from your live performances?