Upstate New York rock band Iüdica just got out of the studio after recording their first album entitled Brain Carvings and debuted it in proper fashion. Earlier this month, the band held an album release party at Gug’s in Glens Falls, NY with Paradox Saints, Chestnut Grove, Dustin Sawyer and Germy Cats supporting them. NYS Music spoke to frontman Brian Alvarado, drummer Nate Fidd and bassist Chris Walker about their recent rise in the scene.
Frank Cavone: First of all, I would like to congratulate you guys on the new EP Brain Carvings. What was the process like writing the album all the way to mixing?
Brian Alvarado: Recording and mixing this EP with Jason Brown at Starling Studios was a great experience. I had the worst feeling in my stomach the days leading up to the recording session. The band had practiced every week several times a week for months leading up to the recording session though, and we all managed to talk ourselves into a point of calm collected mindsets.
After about an hour of setup, we recorded these songs in one take. Everything, the vocals, drums, guitars at once – but through separate tracks of course. It was amazingly easy, and after all that worry – we proved to ourselves we were indeed ready to rock. After a couple of touch ups here and there, we are now left with our Brain Carvings EP.
FC: So the name Iüdica is a cool name that you guys chose as a band. Where did the name originate from?
Nate Fidd: Brian actually had the name from a prior band. It was the name of a song first.
BA:Iüdica is a Latin word that means to judge yourself. Especially from past actions that you make and transgression with the same conviction as god himself.
FC: What were your influences prior to forming the band?
Chris Walker: I like to keep an open mind but I would definitely say that classic rock and grunge are my favorite genres of music.
FC: What are your favorite local bands that you have played with?
NF: There are a lot of great bands in the area but I would have to say playing with Formula 5 at a benefit concert was pretty cool and the Paradox Saints.
FC: Over the past year, the music scene in Glens Falls has expanded. For those outside the area, what is your scene like?
BA: My favorite venue to play is and always will be Gug’s. I see a lot of potential in places like the 190 grille. The scene is developing and I think that we are in the middle of a boom. There is going to be even more live and local music and that is what the area needs more of.
To check out the Iüdica’s new album check out their Bandcamp and stay up to date with the band on their Facebook page.
As a 30-something Phish and jam band fan, it’s easy to feel you know the ins and outs of the the most highly respected musicians in the scene – arrogance and intelligence are in a constant state of competition. However, an expansion of your delicate horizons can both impress and humble you. Such is the case of my first time seeing Pat Metheny.
This 20-time Grammy Award winning guitar welcomed a sold out crowd of mostly Baby Boomers to The Egg in Albany on January 18. Accompanied by his pick of world-class musicians: Linda Oh on bass, pianist Gwilym Simcock and drummer Antonio Sanchez.
Entering The Egg on a solo mission, with no entourage as I’m accustomed to, I felt alone, but soon quickly extinguished said feeling. As the show began, I quickly took on the student role, ready to learn what this devout musician could instruct me. An instrument like I’ve never seen: two guitar necks, one to the mandolin, one to the guitar, add on a set of harp stings to the belly; it created a full ensemble of sound, reminisce to ancient Japan. A geisha could surely appear on stage, with grace, mystery and peace.
Throughout the evening, I witnessed Metheny, a man with a clearly elevated intelligence and sense of creativity, work with his chosen colleagues to create an eye-awakening performance of both classical and truly improvisational jazz rock. Rotating through five different guitars, he birthed a new sound and song by song ambiance. A guitar that could be mistaken for a wind instrument and then to something with a screeching, yet eerie sound – my eyes and ears were openly anticipating the next unique and unfamiliar sound.
Oh controls the bass in such a way that I can only describe as both forceful and graceful – a contradiction of elegance and pure physical power. Simcock is a break-out pianist – technical and at times playful. He nearly steals the show from Metheny at times. As a novice, the wheels are turning. I want to see him everywhere. His back facing the crowd, I only wish I could see his face to see the man behind the art.
The rest join him in a whirlwind of improv. It sounds like a dinner party, with five of the most interesting conversations happening at once. Yet, every one weaves into the other creating a blur of sound, a peaceful yet chaotic soundtrack to a solo mission.
Standing in the back of The Egg at maximum capacity and without a chair to sit in or a friend to lean on, I take the ride through the ages. For me, it’s a learning opportunity. For others it’s nostalgia. But for everyone in that room, it’s a exhibition of the raw talent of the legendary Pat Metheny.
High energy 10-piece funk band West End Blend embarks on an extensive tour that stretches across the Northeast with 7 stops throughout New York State in Syracuse, Canton, Saratoga Springs, Saranac Lake (during Winter Carnival), Brooklyn, Rochester and Buffalo. The funk/soul machine recently released a new music video for “Smile,” and vocalist Erica Bryan sat down with NYS Music to discuss the band’s influences, songwriting and expectations for fans over the next 3 months.
Pete Mason: A distinct 70s funk and soul sound can be heard in “Say Hey”. What influences do you collectively draw upon to form your ‘blend’?
Erica Bryan: Every member of the band has their own set of influences, from Led Zeppelin to Earth, Wind, and Fire to Erykah Badu, that comes together through the funk and soul we all adore. How do we put it all together for one cohesive album? Great question. Each album gets us closer to figuring that out.
PM: As a 10 piece, how does songwriting come together between so many players? Are there 1 or 2 who take the lead for the collective?
EB: Initially, the band was focused on covers, and essentially delivering a crazy funk/hip-hop party to our audiences. Gradually, a few of us, myself included, started to bring in originals, some fully-arranged, others arranged with the group. Now just about everyone is bringing in tunes, or pieces of tunes that just need the West End Blend touch. As we’ve grown together, our collective writing and arranging has become more refined; we’re learning about one another through the music we write.
PM: When did West End Blend first form and what have been the most notable shows for the group thus far?
EB: In late 2012, our drummer, Sam Horan, and one of our guitar players, Jesse Combs, conceptualized the collective that was essentially meant to be an all-inclusive, funk-driven, party. Our first show was a basement party in the house that would later be our musical home in the West End, then we went on to a weekly residency at a hot dog joint in Hartford, CT. I could never have imagined we’d go on to play shows like Funksgiving at Toad’s Place in New Haven with Deep Banana Blackout, or a summer spot at Catskill Chill opening for artists like George Clinton and Parliament Funkadelic, and of course New Year’s Eve with our good friends in Turkuaz and Kung Fu at Fete Music Hall, three of my personal favorite gigs recently. Those and so many others were essentially masterclasses for us, experiencing such talent in front of us.
PM: WEB’s winter tour blankets the Northeast – what can fans expect at shows over the next few months?
EB: Our winter tour schedule is blowing me away. We’ll be with artists we’ve worked with before, and some we haven’t. No matter what, fans can look forward to some fresh tracks, fresh style, and a damn good time.
PM: With the recent release of WEB’s Say Hey EP, is the band planning to return to the studio for a full length album in the near future?
EB: That’s always the plan, and we’ve been working. We have so much to share, including the recent release of our music video “Smile,” a collaboration with the incredible Spencer Pond and the dancers of his The Now Unboxing Project.
Check out more info at West End Blend’s website and Facebook.
Winter Tour Dates
1/19 – Syracuse, NY – Funk n Waffles
1/20 – Canton, NY – Java Barn
1/21 – Stratton, VT – Grizzly’s
2/2 – Somerville, MA – Thunder Road Music Club
2/3 – Burlington, VT – Nectar’s
2/4 – Bromley, VT – Bromley Ski Resort
2/9 – Nashua, NH – The Riverwalk
2/10 – Saratoga Springs, NY – Putnam Den w/ Gang of Thieves
2/11 – Saranac Lake, NY – The Waterhole w/ Bella’s Bartok
2/15 – Philadelphia, PA – Silk City
2/16 – Washington DC – Gypsy Sally’s w/ Big Mean Sound Machine
2/17 – Wilkes-Barre, PA – River Street Jazz Cafe
2/23 – Baltimore, MD – The 8×10 w/ John Ginty Band
2/24 – Brooklyn, NY – The Hall w/ Vinegar Mother
2/25 – Stratton, VT – Grizzly’s
3/3 – Greenfield, MA – The Root Cellar
3/4 – New Market, NH – The Stone Church w/ Broca’s Area
3/10 – New Haven, CT – Pacific Standard Tavern w/ Root Shock
3/16 – Rochester, NY – Flour City Station w/ Upward Groove
3/17 – Buffalo, NY – Nietzsche’s
3/18 – Pittsburgh, PA – James Street Ballroom
3/24 – Harrisburg, PA – River City Blues Club
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.
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.
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.
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’!
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.
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.
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.
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.
Polyvamp looked to the skies when they rocked the Brooklyn waterfront for a rooftop jam session in Williamsburg back in October.
Brooklyn-based six-piece electro-funk ensemble Polyvamp took to the roof of Cafe Biba in Williamsburg, Brooklyn on October 16 for a jam session. The event was filmed by Humza Deas, New York Magazine’s top Outlaw Instagrammer of New York City, using an overhead drone with views of the East River and the Manhattan skyline.
Polyvamp is a groove-based funk, rock and electronic band formed in early 2015 initially as a trio, adding three additional musicians during their first year. They have played many of New York City’s top music venues and shared the stage with members of nationally touring acts, such as Lettuce, Kung Fu, Turkuaz and the Trey Anastasio Band. They performed at the city’s renowned CMJ Music Festival in October 2015.
Polyvamp makes their Brooklyn Bowl debut on Tuesday, Jan. 24 when they perform along side Sprocket and the Insidious Rays.
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.
The 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.
Set 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
The red-bearded guitar slinger from Vermont, who cuts his teeth in the cozy confines of Nectar’s, reunited with his band to release a new record. Yes, after 12 years, the Seth Yacovone Band finally put music to tape and set it free for the world to hear this past December. The band, drummer Steve Hadeka and bass player Alex Budney, has been playing live again together for the past few years. But when his bandmates bought him studio time for his birthday, it was time for Yacovone to finally reenter the world of recorded music.
Yacovone picked the shovel up for Shovel Down, a workingman’s rock album that digs deep to satisfy all of your rock cravings. What your favorite track is will depend entirely on how you like your rock cooked.
If you like it grooving and jammy, you’ll dig album-opener “Playing Patterns.” Zappa fans will gravitate toward “Caveman Guerrilla,” where Yacovone delivers it’s off-the-wall lyrics like “I’ve got the wherewithall of a Neanderthal” with a Zappa-like cadence punctuated by angular guitar blasts. “Falling on Deaf Ears” will not fall quietly to those that enjoy their rock with a pulsating melodic blues and Gov’t Mule fans will find a lot to like in the power trio blues jam “A Question Mark to Answer.” For those that like to enjoy it with their head on a swivel and their devil fingers raised high, “The Snake” descends into the depths of metal, complete with speedy runs down the fretboard and slithering reptilian lyrics. “Mr. Reed” will appeal to anyone who wants their rock raw, anthemic and fist-pumping while “Open the Door” bookends the album with more of that groovy funk.
For those that just want to hear some quality guitar playing, Yacovone has sprinkled plenty throughout this near-50 minute set that showcases a band, while quiet in the recording world, has clearly been putting the work in on the live stage.
Key Tracks: Caveman Guerrilla, Falling on Deaf Ears, Mr. Reed
Phantogram played to a sold-out crowd in Clifton Park Saturday with New York City-based We Are Scientists. Josh Carter and Sarah Barthel of Phantogram spoke of their love for Upstate NY throughout the set and even Sarah’s mother was in attendance. They electrified the crowd with new gems like “You Don’t Get Me High Anymore” and threw down with the classic “When I’m Small.”
Setlist: Funeral Pyre, Black Out Days, Turning Into Stone, Don’t Move, You’re Mine, Same Old Blues, Answer, Mouthful, Howling At The Moon, Bad Dreams, Destroyer, When I’m Small. Encore: Cruel World, Fall In Love, You Don’t Get Me High Anymore.
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
Frank Cavone: First of all, I would like to congratulate you guys on the new EP Brain Carvings. What was the process like writing the album all the way to mixing?
Standing in the back of The Egg at maximum capacity and without a chair to sit in or a friend to lean on, I take the ride through the ages. For me, it’s a learning opportunity. For others it’s nostalgia. But for everyone in that room, it’s a exhibition of the raw talent of the legendary Pat Metheny.
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 
Currently based out of Massachusetts, the vocal cord conductor known as 
Spirit Family Reunion
Since their conception, ten piece funk/soul band 
To understand 
The 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.
Set two brought us back to the Bayou with a swampy “Seven Deadlies,” most recognized from the live album, 
The red-bearded guitar slinger from Vermont, who cuts his teeth in the cozy confines of 
