“Ever want to experience what it’s like to travel with a band?” read the Periodic Table of Elephant’s Facebook post. “Experience travel in a gear-laden vehicle! Participate in the time-honored tradition of unloading! Eat gas station food!” The Rochester-based band had room to take a few people for their headlining show in Tonawanda on Thursday, December 28. It is likely the best ad I ever have or ever will respond to.
I hitched a ride with bassist Greg Horton in his gear-laden station wagon, and we picked up a friend of his on the way to the gig. Cruising along I90, he filled me in on the origin story of the band, which is known as PToE for short. While Horton is the newest member of PToE, he’s not new to playing with the other members, Sean McGinnis Scanlon and Jason Pariseau. They were in a band together until Horton moved out of state three years ago. Before leaving, he suggested changing the name to Periodic Table of Elephants. Pariseau and Scanlon carried on as a duo in Horton’s absence, until he made a return to New York this fall.
This was my first time at Stamps in Tonawanda. The bar is located in a stone building on Main Street. Inside, a long and inviting bar stretched back to a mid-sized room with a stage, some tables and seating, and a pool table. Pariseau and Scanlon arrived before us. After a warm welcome, I was introduced to their entourage of friends and loved ones.
It was still early, so we threw back Coronas by the bucket while the guys held a pool tournament. Pariseau had picked out some epic rock anthems on the jukebox: Social Distortion “Story of My Life,” Queen’s “Somebody to Love” and Goldfinger’s cover of “99 Red Balloons.”
Scanlon was wearing his Lil Bub t-shirt and told us all about meeting the phenomenal feline at a recent appearance at Black Sheep in Buffalo. Lil Bub is a miracle cat, having several rare conditions including dwarfism, extra toes, and the only cat diagnosed with osteoporosis. She’s become a poster child (er… rather poster cat) for disabled and homeless cats, and helps raise awareness and funds for charities. Sean is a cat-lover, and he and his wife share their home with several rescue cats.
The conversation turned to music, and we talked shop for a bit. PToE has been selected for again to play the Homegrown festival at Lovin’ Cup in Rochester. They’re one of seven bands on the bill for the day-long celebration of Rochester’s indie music, food, and beverages. The annual event is scheduled for January 20. They also talked about re-entering the studio to work on a follow-up to last year’s debut EP Henry.
Attention was then directed to the stage, which is lined in vinyl records, as singer-songwriter Jordan Potter took to the mic. The solo performer from the Southern Tier played a handful of originals and finished with a cover of Oasis’s “Don’t Look Back in Anger.” Potter was followed by Buffalo-based progressive band Jon Rizzo & The Conference of The Strange. Imaginative art rock originals incorporating vocals, drum, bass, keyboard and mellotron were intermixed with a handful of holiday classics.
Before starting to play, Horton, a proponent of hearing loss prevention, offered complimentary earplugs to members of the audience. It was a good idea to take him up on it, because these guys play loud. From the first note of the set to the last, PToE put the pedal to the metal and didn’t ease up. They started with their garage rock anthem “Kung Pao Chicken.” It begins with a simple guitar chord progression before Pariseau lets loose the guttural cry, “In America” signaling the onset of earth-shaking rhythms and grungy guitar riffs.
While PToE was doable as a live duo, the addition of Horton to the band gives their performance extra oomph. Not only does he contribute to the added dimension of sound on bass, but also with his stage presence. There’s a dynamic energy between the trio and it’s fun to watch them go all out on stage together. Scanlon is easily one of my favorite drummers to watch play live. He goes at the drums with exuberant expression, and the waves of pure unadulterated joy he emanates are downright contagious.
It was great to enjoy the show among the herd of Elephants fans, surrounded by the friends and family who’ve supported them for years. Playful banter between the stage and crowd erupted between songs.
PToE did a bunch of their most popular songs, and tried out a new one. “Lost” is full of crashing waves of sound, reminiscent of 90’s rock. In a fun twist, they also covered a song from their previous iteration as a band, a punk rock rager called “Lament.” They ended strong with the bar-brawl riot theme “Better Off Dead.”
In the car on the way back home, we listened to some classic rock tunes (Talking Heads, The Kinks, David Bowie, and the like) and talked about shows we’ve been to and the ones we plan to hit up this year. Horton has seen an impressively long list of legendary artists, including Pink Floyd and The Grateful Dead. We arrived back in Rochester after midnight, thoroughly exhausted, but still riding that post-show adrenaline high.
To keep up to date with events, follow Periodic Table of Elephants on Facebook. Read the NYS Music review of Henry. You’ll find their EP and their live album to stream on Spotify or purchase through Bandcamp.
Setlist: Kung Pao Chicken, Head Trauma, Machines, Duck, Whatever, My Youth, Lost, CBT, Lament (Ack! cover), Better Off Dead
It should come at no surprise that there is a staggering amount of music roaring into New York the weekend of New Years Eve. One noteworthy music venue illustrating this trend is Anthology in Rochester, bringing concertgoers a three-night music marathon over New Years. On Friday, Dec. 29, Rubblebucket soars into Rochester with special guest, Cuddle Magic. Following that, Forever Party, a two night reggae-infused New Year’s celebration will thunder into the humble city on Dec. 30 and 31. Night one of Forever Party will showcase Ithaca’s reggae juggernaut John Brown’s Body and co-headliner, Rochester’s Giant Panda Guerilla Dub Squad. Thunder Body, another Rochester reggae powerhouse will open up the night. On night two, G.P.G.D.S. will perform again with the legendary Easy Star All-Stars headlining and the Saplings opening up the night. It’s safe to say harmonious melodies will echo through the streets New Year’s weekend.
Indie-dance sensations Rubblebucket of Brooklyn, have developed a cult-like following in Rochester, stopping by the city annually ever since they began creating music extensively over ten years ago. Rubblebucket is set to entertain its audience with the harmonious bliss of howling vocals, a horn section, and a crunchy synth. Rubblebucket’s eccentric take on funk and pop music fuses into a genre better left undefined. Dec.29 is just the beginning of NYE at Anthology in Rochester.
Dec. 30, night one of Forever Party, marks John Brown’s Body’s second to last show before taking an indefinite hiatus. This hiatus will hold a place in New York history as it may mark the end of John Brown Body’s nearly 25 year journey. Since their formation in the mid 1990s, J.B.B. has spearheaded the resurgence of roots and dub throughout the region, modernizing the genre, and keeping it relevant with their “Future Roots” style. This bittersweet evening will be their last headlining show for the foreseeable future. Dec. 31 will be their final show indefinitely as they open for Stick Figure at the House Of Blues in Boston.
On Dec.31, New York City’s Easy Star All-Stars will play their internationally recognized album, Dub Side Of The Moon in its entirety. For those who missed the pun, the album is a Reggae/Dub interpretation of Pink Floyd’s historic Dark Side Of The Moon. Easy Star All-Stars masterfully echoes Pink Floyd’s mysterious psychedelia through the lens of a Jamaican rude-boy.
Following the Easy Star All-Stars on night two of Forever Party, the proverbial reggae torch will passed to Rochester’s Giant Panda Guerilla Dub Squad for their second night in a row. G.P.G.D.S started rocking roots reggae in the mid 2000’s, creating a buzz by regularly touring and opening for John Brown’s Body. Rightfully earned, the young band grew into one of the most respected reggae acts in the U. S. Their seamless ability to cross between the genres of reggae, jam, and country has earned them the reign of Rochester’s top music festival band. On Dec. 31, G.P.G.D.S will hold the torch as they return to set the city of Rochester aflame on New Years day.
We’re proud to know that New York is one of the greatest states in the country, if not THE greatest state, for producing musicians and second to none live music experiences. All throughout The Empire State, venues across the state in villages, towns and cities are filled each night with up and coming and established musicians, with something new right around the corner. Your new favorite band might be playing in town tonight, and a few towns over tomorrow, and these are the artists that you can catch early and often, before they rise to stardom. We asked NYS Music’s staff and contributors, along with our readers, what they considered to be the Music Town in New York for 2017, and the winners both come from Western New York, Rochester and Buffalo.
The venues are not the only reason why New York is such a great place for music. With the amount of national, regional and local acts touring through the state, we get the chance see bands and artists rise from their infancy playing bars and small clubs to playing larger theaters and arenas. In addition to the best music towns, we also asked our staff and readers for what they think are the acts to which we should pay the most attention.
Best Music Town – Staff Pick
Rochester
Western New York had a dominant winner in Rochester as our staff pick of Best Music Town in the state. Rochester’s overall music scene might be one of the most complete in the state, with music legends teaching at the Eastman and Hochstein Schools of Music, the legendary House of Guitars which attracts musicians from around the world, plus venues that cater to a wide variety of music, aiding in the building of a strong scene. The Flour City’s proximity to Buffalo and Toronto also makes it a popular stomping ground for indie bands just starting out, and right off I-90 they bring in touring bands criss-crossing the state. Then there are the talented musicians in obscure bands that are just getting their start, leading to a great deal of artist collaboration, supporting each other as they rise in their respective parts of the overall scene.
Between cafes, bars, theaters, and parks, live music is prominent throughout the Greater Rochester area. Events like Rochester Fringe, Xerox Rochester International Jazz Fest, Lilac Festival, Park Ave Fest, and Corn Hill Festival keep the city alive from the spring through the autumn, touching on every genre. Funk n Waffles Music Hall opened earlier this year in the former Water Street Music Hall, serving up live music with a side of waffles. The Dome Arena also re-opened this year, providing a larger venue for national acts. Three Heads Brewing has attracted a consistent slate of bands that pair well with any of the brewery’s tasty offerings. The Main Street Armory, Flour City Station, The Bug Jar, Photo City Improv, and Montage Music Hall are a regular spots for catching touring bands passing through town as well as local bands providing support. The Kodak Hall at Eastman Theatre, home of the Rochester Philharmonic Orchestra, offers a range of world-class events in one of the most beautiful venues in the state.
Kodak Hall at Eastman Theatre
Rochester is a breeding ground for talent. Rochester has a surprisingly large metal scene, one that is #4 in the country for metal bands, including punk band Primitive Screwheads, death metal band Gutted Alive, and hardcore band REPS. It is a point of pride for Rochester metal fans that Metallica came here to record there first album in 1983. Then there are some lesser-known and up-and-coming acts like Lost Wax Collective, Such Gold, Maybird, St Phillip’s Escalator, Total Yuppies, Tart Vandelay, Area Natives, The Medicinals, Giant Panda Guerilla Dub Squad, The Crooked North, Dirty Blanket, Periodic Table of Elephants, The Demos, The Dirty Pennies, So Last Year, Nerds In Denial, Carpool, Druse, Taking Meds, and Talking Under Water. Top notch music education has cultivated phenomenal young talent, such as Pilot the Universe, a band whose members are still in high school but already making waves, and 12-year-old Jack West, who recently had an opportunity to sing on stage with Eddie Vedder of Pearl Jam. Rochester bands are also getting national and international exposure. Rochester’s King Buffalo toured North America and Europe this summer with Elder. Following the release of their second album, Content, Joywave crossed the country twice this year – playing in support of Young The Giant and then again on a headlining tour. And Bon Iver chose local singer/songwriter/harpist Mikaela Davis to provide support on their European jaunt this year.
Many famous musicians have called the 585 home, including Lou Gramm (a founding member of Foreigner), Gary Lewis of Gary Lewis & The Playboys, The Chesterfield Kings, composer Samuel Adler, Jazz Brothers Chuck and Gap Mangione, bluesman Joe Beard, and acclaimed drummer Steve Gadd. The roots of Rochester’s music scene can be traced back over a hundred years, to artists like blues legend Son House and jazz musician Cab Calloway. The Rochester Hall of Fame has inducted Beard, Adler, Lewis, and Gramm, House and Calloway, as well as Lew Soloff, who taught at the Eastman School of Music after his many years in Earth, Wind and Fire.
There’s something for every musical taste in Rochester, whether you’re a lucky resident or visitor.
Best Music Town – Reader’s Pick
Buffalo
Buffalo, being the second largest city in the state and one of the largest in their region of the country, sees a lot of music come through its various venues, ranging from small clubs and bars to the large New Era Field. Buffablog organizes an annual event Herd Fest, a SXSW-style multi-venue showcase featuring some of the best musicians in the region. This year’s WLKK holiday music festival stretched out over three days. Then there are numerous venues including Nietzche’s, Tralf Music Hall, Shea’s Buffalo, Canalside, Kleinhans Music Hall, Darien Lake Performing Arts Center, Mohawk Place, Town Ballroom, Buffalo Iron Works, Sugar City, Key Bank Center, and first year fest Cobblestone Live.
Many popular music acts got their start in Buffalo including the Goo Goo Dolls and Spyro Gyra. One of the current popular bands, Aqueous, whose latest EP, Best in Show, was our staff pick for album of the year and named once again to be a Band on the Rise by our readers. And a wide variety of artists having gained or gaining a fan base from the Queen City. NYS Music 87/90 artists Intrepid Travelers and Folkfaces, folk rock icon Ani DiFranco, Rick James, Cannibal Corpse, Cute Is What We Aim For, Every Time I Die, On The Cinder, Del Paxton, Green Jelly, moe., Willie Nile, Billy Sheehan, and Wyatt Coin.
Grammy Award-winning Buffalo Philharmonic Orchestra has shared their stage at the landmark Kleinhan’s Music Hall with such greats as Sergei Rachmaninoff, Aaron Copland, and Yo-Yo Ma. With venues catering to a young adult audience, from the all-ages Sugar City to shows on the SUNY Fredonia campus, Buffalo is a fertile market for twenty-something alternative bands like Head North, Super American, MAGS, Previous Love, Ugly Sun, Made Violent, and Mason-Jar.)
Buffalo is also home to recording studios who help regional artists lay down their work, but are talented enough to attract major recording artists. GCR Audio is a state of the art recording studio which attracts local as well as big-name artists, with a list of clients which includes A-listers like James Taylor, The Mighty Mighty Bosstones, and Lil Wayne. Outer Limits Recording Studio has been serving regional and national artists for more than two decades, and its client list includes Eminem.
But more than just the brick and mortar venues and studios, it’s the sense of community that makes the Buffalo music scene great. Artists are supportive of each other, cross-promote, and join in collaborative efforts between musicians to help each other create and grow. Overall, the bands, venues, and industry professionals are conscientious of the needs of audience members to not only have fun but also to provide a safe environment.
As I sat in Anthology in Rochester, NY waiting for Victor Wooten to speak with me I had no idea what to expect. The crew setup the stage across the room to get everything ready for the upcoming soundcheck, but there was no sign of Victor. I sat and pondered how different the room would be in a few hours once it was filled up with enthused fans, and enjoyed the calm before the storm on the large, open dance floor. Victor walked in the front doors the same way I did, with a cup of coffee in his hand and a sigh of relief escaping the cold. Without hesitation he walked over to me, asked if I was conducting the interview, smiled and shook my hand as he introduced himself (as if I didn’t know who he was).
Interviewing Victor was less an “interview” and more a conversation. When he spoke, his big brown eyes locked in with mine, and it truly felt like we were the only two in the room. He is a genuinely caring individual who’s love for his craft and dedication to art was evident with every word he spoke. To him, music is about openness, letting go of your ego, and creating magic. He was ecstatic to speak about each project he was working on, and his passion for life and music is something he carries openly with him. I feel very fortunate to have had the opportunity to spend a half hour sitting down one on one with a music legend of his stature. Below is our full conversation:
Ryan Randazzo: You recently released a new album, Trypnotyx, what inspired you to assemble this particular group of musicians to record this album?
Victor Wooten: I played with these two guys, together, with a jazz guitarist named Mike Stern. Immediately I knew I’d love to do some of my own music with them, so the germ of the idea started years ago. With everyone’s schedules, the time was now right to do it.
RR: When you recorded this album what was the process like? Was it different from other projects you’ve worked on or recording with the Flecktones?
VW: A little bit different from the Flecktones, but very similar to recording my own records. A lot of it is me in the studio by myself working on ideas, then sending them to the other guys to add things to or see what they think. Bob Franceschini, the saxophone player, was doing the same thing; he was coming up with ideas as well. With the Flecktones, we do a lot in the studio together, but because of Bob and Dennis Chamber’s schedules, a lot of it was separately done. Mostly the writing, then we would get together and get parts recorded.
RR: It sounds like technology has made it a lot easier to get things done.
VW: Absolutely. Technology is amazing these days. I would say even more than not, records are done separately. At least for me, it’s rare that I’m in the studio with the whole band.
RR: Do you prefer recording separately?
VW: In many cases yes because then I can record on my own terms in my own studio. I can go up and have dinner with my kids then go back down to the studio. Also, I can take my time getting my parts together rather than having to work on someone else’s stuff, but I like both. There’s nothing like having other people in the studio to collaborate with.
RR: Playing with the trio requires you to fill a lot more space. Do you prefer playing with the trio or a bigger band, and what are some of the differences you’ve noticed as a bass player?
VW: I’m lucky to play in many different situations. I like them all. When the band is bigger I have to do less, which is nice. With a trio like this, and there’s no chordal instrument, I have to do more like playing chords and melodies, but the challenge here is to not feel like I have to fill up all the space. Space is beautiful and it’s easy to go “oh it’s a trio, I better play more.” Sometimes it’s playing less that allows the trio to sound its best, so it’s a challenge.
RR: What do you typically prefer?
VW: I just like choices. If I did one thing all the time I would long for the other. The fact that I get to do a lot of different things keeps me musically happy.
RR: As a well-respected musician, who do you look up to at this point in your life?
VW: I have lots of heroes. There are lots of guys I learned things from growing up. I could name the normal names like Stanley Clarke, Jaco Pastorius, before that even James Jamerson, Bootsy Collins, Larry Graham, Paul McCartney; I could just go on. Also, people that I grew up with, and they’re names you’ll never know, that taught me just as much because they helped me grow as a youngster.
The biggest influences were my four older brothers. That’s the whole reason that I played. I was born into a band, literally. They all played different instruments. Regi plays guitar. Roy aka “Future Man” from Bela Fleck and the Flecktones is a drummer. Rudy, the lesser known of the brothers, passed away a few years ago and was our saxophone player, and Joseph is the keyboard player. Joseph has been touring with the Steve Miller Band since 1993. We played as a band the first half of my life.
RR: Do you have any particular mentor or a go-to person you like to bounce ideas off of?
VW: My brothers are still those mentors. I also have a few other friends. One guy names Steve Bailey. Steve is now the chair of the bass department at the Berkeley College of Music. Another close friend who lives in upstate New York, Dave Welsch, he’s another bassist and teacher. Anthony Wellington is another great bassist and teacher. Steve, Anthony, Dave and I have been teaching together at my own music camp since the year 2000. We always keep in touch with each other to bounce ideas and teach together. Then I’ve got my brothers, and it’s always good to have people like that close.
RR: What is the biggest challenge you faced as a growing musician, and is it something you still encounter today?
VW: Today, my biggest challenge is finding time at home with my kids and my wife. Because I’m successful at what I’m doing, it keeps me on the road a lot of the time. I miss my kids and my family, and they miss me. That’s really the biggest one.
Another one is to try and sell a record. We’re in the record making business, but people don’t buy many records these days. The younger generation expects the music to be free, and that doesn’t make it easy for us. People aren’t buying as much music and they’re not going out to see as much music, but they still want music. As a music maker we face that challenge. For a lot people, if you come to town they have a choice to watch a video on YouTube or go see a show. They can say “I’ll watch it tomorrow” knowing that someone is going to record it. Back in our day, we didn’t have that choice. If someone was coming to town we were there. We didn’t know when or if we would see that person again, so it was a special event when someone came to town. It’s not as special for the young audience anymore.
At the same time, I’ll add this: our generation was different from our parents. Every generation changes. I don’t want to be the old guy complaining about how good it used to be. I want to learn the new way and figure out how I fit into it rather than complain, but at the same time make changes and fix things where we can.
RR: Do you have any daily or pre-show rituals that you do?
VW: Nope, none at all, except to try to be open, calm, and in a good mindset. I have to not be worried or frustrated, and just be calm so the music can flow. I don’t have anything I normally do every time, because if for some reason one day I can’t do it I might get upset or worried. The way I look at it, I’ve been playing bass for about 51 years. I should be ready and warmed up by now.
RR: You’re currently playing with your trio and you’ll be going on tour with Bela Fleck and the Flecktones over the summer, what’s the biggest difference you’ve noticed playing with the two bands?
VW: The biggest difference doesn’t have a lot to do with playing. This band has my name on it, so I have way more responsibilities. With the Flecktones, even though Bela treats all the members equally, I’m still just the bass player. There is a lot less responsibility. That’s nice after coming off many months of being in charge, for lack of a better word. It goes back to me having choices. I like doing my own thing, and I like not having to do my own thing. That’s the biggest difference. The music is different, of course, but it’s fun. Each project is very fun musically, and I really enjoy both of them.
RR: You’ve been really big on music education over the years. What inspired you get into that?
VW: It kind of found me in the late 80’s and early 90’s when Bela Fleck and the Flecktones started becoming more popular. I started becoming more and more popular, and was featured in Bass Player magazine a lot. I found out that if you’re in there enough times people think you must be good, so I started getting asked to do workshops. I had to figure out how to teach what I did. I just learned to play organically, the same way you learn to speak. When you learned to speak you didn’t practice, and no one told you what words to learn first, you just jammed with people all the time. You jammed with people who were better at it then you, and it was the same way I grew up playing the bass with people who were better than me. That’s the fastest, most natural way to learn.
When I started being asked to teach I had to learn how to do it. One of the things I did was start looking at other teachers, and what/how they were teaching. I saw things I liked, but I decided to go a different route. I decided to teach the things that weren’t being taught. Basically, it was anything other than the twelve notes that we use. Most people were teaching twelve notes, and we call that music theory. Music theory, for the most part, only deals with twelve notes and focuses on scales, chords, key signatures, harmony, ear training, and what not, but no one dances to notes. No one jumps up just because a song is in E flat. So what else is there besides notes? That’s what intrigued me, so I started focusing on mostly that. It resonated with a lot of people, and they were asking for more. That’s what resulted in my book called “The Music Lesson.” Many of the lessons I came up with were put into stories.
RR: You’ve played with many people over the years, but is there any particular jam or event that stands out in your mind?
VW: There are a bunch, yeah. Last December, almost a year ago from now, getting to play with Chick Corea for a couple of weeks in a couple of different bands to celebrate his 75th birthday. I got to play in two of those bands, and it was amazing. In one of them I was playing the upright bass, which is not something I do much, but he called me in to do it, so I said okay.
Opening for the Grateful Dead was amazing. I’m not the biggest fan of their music, but I am the biggest fan of them. To open for such a legendary show like that on New Year’s Eve was great. From that spawned me playing with bands like Dave Matthews Band, Phish, and getting to play with all of those kinds of bands. One of my favorites was getting to play with two of my bass heroes Stanley Clarke and Marcus Miller. We made an album together titled ‘SMV.’ A lot of times getting to play with my heroes is the biggest treat. But growing up playing with my brothers, and getting to play with Bela Fleck for almost 30 years now, those things are just as special.
Honestly though, the most special gig is the one I’m doing next. All the past ones are just warm ups, training ground, for the one I’m about to do. I need to treat the one I’m about to do as the most special gig ever, or else I feel I’m not giving the audience the full experience they deserve. So really, the most important gig is the one I’m doing or about to do.
RR: What advice do you have for young musicians?
VW: Listen. The same way we learn to speak is by listening. Play more than you practice, find people to jam with, go to hear music, and learn as much as you can, but don’t let learning about music rob you of the enjoyment.
RR: It sounds like this trio is something you’ve wanted to do for a while, are there any other projects you’ve been thinking about that you really want to do?
VW: Oh yeah, lots. One is an acoustic album featuring different acoustic instruments and an acoustic bass. I still have a plan for that. I also want to do a tour with students from my camps, which would be a lot of fun. I usually stay in touch with many of my students, and they make sure of it. They show up at my gigs, and find me on Facebook. Many of them are out doing major gigs themselves.
I have a lot of projects and records I want to do. I still want to do a record with my three remaining brothers, and we’re actually recording something right now.
RR: Is there anything else you’d like to say to our readers?
VW: Just to let people know they can go to my website and sign up for my camps. We’re about to start our 19th year, and it’s easy to register. Either go to www.VictorWooten.com or you can go straight to the camp website, www.Vixcamps.com. You can just go on and sign up, no audition is required or anything like that.
RR: You have a very large group of students with a very diverse span of knowledge, how do you handle that?
VW: The same way you learn to talk with other kids. You learn much quicker when you talk to people who are older. We apply the same idea to our camp. It benefits both the beginner and more advanced players. For the more advanced players, it allows the people who are stuck to see beginners learning their craft and it inspires them. The most difficult part about that, for me, is finding teachers who are comfortable teaching a group whose ranges of knowledge are so different, and fortunately I’ve found those people.
Our camps our different. I wouldn’t say they’re better, but they’re different. It’s located just outside of Nashville, TN and people can fly in and take a shuttle out there. It’s all inclusive and there is a chef onsite. I’m there 100% of the time, so the mystique of “oh there’s Victor” goes away after a couple of days, and we just become friends. We stay up late, jam by the fire, and get deep into music. It’s a good dream come true for me.
As we continue our look at the best of and the brightest in music in 2017, we shift our focus to up and coming bands that are ready to burst on to the national stage. While our staff picks may mirror those of last year, NYS Music readers have voted for a new act that’s ready to join the ranks of other popular New York bands with bight futures.
And if you’ve missed any of our previous voting results from earlier this week, check out our winners for Best Venues, Best Albums and Best Festivals.
For the second year in a row, our staff has selected Aqueous as a band on the rise as the Buffalo, NY quartet continues their steady progression towards national relevancy. Playing bigger festivals, opening for acts like The Disco Biscuits, and collaborating with members of moe., fellow Upstate New Yorkers, in addition to a steady touring schedule have all contributed to this band’s surge in popularity. This should come as no surprise to Buffalo area music fans who have been singing the group’s praises for years now. They’ll get to enjoy Aqueous back in their hometown as they ring in the new year at Town Ballroom. Tickets are still available and can be purchased here.
At least the readers of NYS Music have offered up a new taste this year for their Band on the Rise selection as they’ve chosen The Other Brothers. Fresh off the heels of their recently released EP Jones, this band has seen a steady rise in prominence in 2017 thanks to increased exposure this summer at local festivals like Disc Jam and strong word of mouth. They hang their hat on being able to mix delicate ballad-like songs with focused and heavy jamming in the live setting.
Artists You Should Know
We’re always looking for new music, especially bands from New York State, and this year we stepped up our game and found bands from all corners of the state playing our local bars and clubs, just getting started.
We checked in with our readers, and they overwhelmingly suggested three New York artists: The Backseat Bullets (for fans of shoegaze and a 90s grunge influence), Aqueous (jam stalwarts of Buffalo), and Hartley’s Encore, the new funk powerhouse in Albany.
Meanwhile, we asked the staff who were some artists readers should know about, and we ended up with an impressive list of 21 different artists to check out. There’s no sense in sending you off to listen to three or four bands worth checking out when there is so much variety in store. So here’s the NYS Music Staff list of Best Artists You Should Know for 2017.
NYS Music combed the state, across I-90 and I-87, up into the North Country and down into the Southern Tier, and has compiled a comprehensive list of all events coming up this New Year’s Eve. Make your plans for New Years Eve 2017 and say hello to a brighter 2018! (If we missed a show, email details to editors@nysmusic.com)
Buffalo and WNY
Join Intrepid Travelers and Folkfaces in their Buffalo hometown at Nietzsche’s. Event Link
Ring in the New Year at Buffalo Iron Works with Moon Hooch, Gnomedad & Honeycomb. Get your tickets in advance – this show is sure to sell out! Event Link
Aqueous has a Gorillaz-themed set planned for their bash at Town Ballroom. Event Link
Renown Pink Floyd Tribute band The Machine will be performing at Rapids Theatre in Niagara Falls. Event Link
North Tonawanda’s Strand Theatre has Miller & The Other Sinners with special guest Cinnamon Jones. Event Link
Celebrate The New Year in Jamestown at Jamestown Eagles Club with the Kates Brothers Band. Event Link
Ithaca
Big Mean Sound Machine’s Big Mean New Year’s Eve will mean of night of getting down at Lot 10. Event Link
Get a double dose of folk rock at The Haunt with Driftwood. Event Link
Rochester and Finger Lakes
Rochester’s hottest new venue, Radio Social, has a hot show planned featuring harp-playing singer/songwriter Mikaela Davis. Event Link
Mosh your way into 2018. Floated Magazine is hosting a hardcore show a show at Bug Jar with REPS, The Weight We Carry, Kodivk, and Bone Mask. Event Link
Funk n Waffles Rochester: Dirty Blanket & Root Shock. Event Link
Anthology has two nights of fun planned. Giant Panda Guerilla Dub Squad plays both nights. On December 30 they’re joined by John Brown’s Body and Thunder Body. And on New Year’s Eve, they share the stage with Easy Star All-Stars (performing Dub Side of the Moon) Event Link
Syracuse and CNY
In Syracuse, Sophistafunk and Skunk City will rock out at Funk N Waffles Downtown. Event Link
Throughout Albany, Schenectady and Troy this New Year’s Eve, celebrate responsibly. Call for a free cab in the Capital Region during New Year’s Eve, courtesy of Martin, Harding, & Mazzotti LLP.
Twiddle will ring in the New Year, with a second performance at the Palace Theatre in Albany with special guest Giant Country Horns. Event Link.
Join in on the mystique of Albany, at the Hollow Bar + Kitchens NYE Masquerade party with live music by The Late Shift, and Mirk. Event Link
The Albany Hilton will host a NYE ’80s theme party, with music by The Refrigerators. Event Link
A Pirate, and mermaid themed Shipwrecked party will take over The Desmond Hotel in Albany, with live music by The Audiostars, Skeeter Creek, and DeeJay Element. Event Link
Playing With Fire Band, along with many others, will perform at Bethlehem’s First Night, in Delmar. Event Link
Ring in the New Year at the annual First Night, in downtown Saratoga, where there will be a wide range of activities and live music. Event Link
Vapor Nightclub at the Saratoga Casino and Hotel, with feature the biggest balloon drop in the Capital Region along with music by The New York Players. Event Link
Motown will take over the Rivers Casino & Resort in Schenectady, as R&B and Funk legends, The Commodores, are set to ring in the New Year in the Electric City. Event Link
Proctors Theater in Schenectady will hold their own Motown NYE bash with music by The Chronicles. Event Link
Soul Provider will rock in the New Year at the Rustic Barn Pub in Troy. Event Link
The Shop in Troy, along with other neighboring spaces, will host a Masquerade party with Burlesque performers and live jazz bands. Event Link
Hudson Valley
Kingston’s BSP Lounge will host Rubblebucket and local organist Marco Benevento. Event Link
Bearsville Theater will welcome Gratefully Yours on New Year’s Eve for a night of Grateful Dead music. Event Link
In Woodstock, check out The Big Takeover at Colony Cafe. Event Link
North Country
In Plattsburgh, The Monopole will host Groovestick for all night party with some Grateful Dead added in! Music starts at 10pm and goes until 6am. Event Link
Saranac Lake at The Waterhole will feature Annie in the Water and Nina’s Brew. Event Link
Westchester
Portchester’s Capitol Theatre brings in Colorado’s String Cheese Incident for 3 sets! Event Link
New York City
Brooklyn
They Might Be Giants at Music Hall of Williamsburg. Event Link
Brooklyn Bowl will host the legendary funk troupe Lettuce along with rising dance artists Jaw Gems. Event Link
Rich Medina presents HOME at C’mon Everybody in Brooklyn, performing house, rare groove and garage classics. Event Link
Soul Clap will keep the Crew Love real this New Year’s Eve with special live performances from rhythmic house duo No Regular Play and Afro-Futuristic pilots The Illustrious Blacks. Event Link
Budos Band will hit The Knitting Factory with Evolfo and Electric Citizen. Event Link
Bell House hosts The Rub NYE featuring DJ Ayres, DJ Eleven, Makossa Brooklyn Cookout and Prince Klassen. Event Link
Manhattan
Holly Bowling will perform her annual pre-show at The Cutting Room at 4pm on NYE. Event Link
Electric Love Machine hosts a FREE pre-party at American Beauty before Phish. Event Link
Gov’t Mule will host ‘The Rockin Mule Revue’ at The Beacon Theater, with special guests including Jackie Greene, Shawn Pelton, The Chronic Horns and The Better Half Singers. Event Link
Gramatik throws a dance party like no other at Terminal 5 on NYE. Event Link
Prefer Jazz to kick 2018 off? Try The Birdland Big Band at Birdland. Event Link
Three sets of Disco Biscuits await their loyal fans at The Playstation Theater in Times Square. Event Link
Macy Gray’s soulful voice will be singing the crowd into 2018 at Iridium Jazz Club. Event Link
John Digweed and Tara Brooks headline a bevy of DJs at Output. Event Link
and of course, Phish at Madison Square Garden. Event Link
Followed by and one final Phish After-party, this one with Kung Fu, Wyllys, Jerry Lounge Experience and more at American Beauty. Event Link
A modern jazz club manifested at Anthology Thursday, December 14, welcoming Victor Wooten Trio with Dennis Chambers (drums) and Bob Franceschini (sax). A red curtain backdrop stippled with strands of soft yellow lights dripping to the floor radiated an understated elegance, setting the mood for the trio’s dichotomous playing style. A melodic infusion of jazz, R&B and funk abstractly bestowed upon eager ears, many belonging to fellow musicians.
The relaxed musicians stood comfortably on stage, emulating a nonchalant but composed demeanor similar to one who might stand in the kitchen eating a bowl of cereal while contemplating life’s deep questions.Victor Wooten Trio provided a musical approach that can seem simple upon first listen or to the untrained ear. They offer an underlying complexity that grabs the listener’s attention more fervently with purposeful, controlled sound than a performance riddled with wickedly intricate sequences.
Their performance seemed to unfurl organically, in a free flow of notes with ever-changing rhythms that kept the head bobbers and toe tappers constantly reinventing their own body movements in a frivolous attempt to mirror the music. Wooten, Chambers and Franceschini know when to push and when to pull back, leaving ample space for each musician to unhurriedly showcase their style.
In Wooten’s words from a TEDx talk at Gabriola Island a few years back he offered: “To be a good musician you have to be a good listener. Doesn’t matter how great I am as a bassist. We can put five of the world’s best musicians on this stage but if we’re great separate from each other it’s gonna sound horrible. But if we listen to each other and play together, individually we don’t have to be as great and it’ll sound much better.”
Wooten contrived several noteworthy instances, the least of which was casually slipping from electric to double bass. The latter an instrument he less commonly plays, yet fingertips danced across the fingerboard unabashedly. Fusing classical and modern, he even doubled back to brandish his bow across the electric bass to create provocative sounds. Perhaps one of Wooten’s most intriguing acts unfolded as he utilized his loop pedal to create multiple polyrhythmic melodies, adding each note one at a time. The mounting complexity of this sequence mesmerized listeners because of the precision and patience behind it’s development.
The method of slowly building a progression note by note could be traced back to Wooten’s TED talk where he describes music as a language, and one that he learned at a very early age, when he was also learning the language of speech. Just as children begin by learning one word at a time to build their vocabulary, Wooten still applies that same basic principle on a professional stage decades later to communicate with his audience.
Midway through the evening, Wooten introduced his two comrades before jokingly introducing himself as Stanley Clarke, a prominent jazz bassist. Later on in the set, he treated listeners to a mashup of Clarke originals to the delight of those familiar with his work. The trio inserted other Easter eggs throughout the set, including a Stevie Wonder sample, but even these more recognizable riffs were cleverly disguised, detectable to those listening intently.
What was plainly obvious was Wooten’s almost comically precise ability to manipulate his bass to sound like other instruments. At one point I found my eyes furiously darting across the stage to locate the elusive flute player. Low and behold, it was coming from Wooten’s electric bass. The running joke of the evening was that after talking to him for ten minutes, he could probably make his bass sound like that person’s voice. Perhaps this feat of musical wizardry can serve as his next musical conquest.
Buffalo had its first snowfall of the year this past Wednesday, but that didn’t stop flocks of people from coming out to Buffalo Riverworks to see the second night of The Kerfuffle Before Christmas. Upon arrival, people were lined up in thirty two degree weather almost forty five minutes before the doors opened. People were in their holiday gear and it was great to see the Christmas spirit alive and well.
Saint Motel took the stage first and brought the charisma that night as they kept fans on their feet with all the antics they did during their set. Front man A/J Jackson sang and played keyboard while using his charming personality to sway the audience, girls and guys alike. Guitarist Dak Lerdamornpong mastered the stage while Jackson was working his way up the scaffolds, pulling a Barns Courtney from TKBC night 1, but upped him by climbing all the way to the top instead of only halfway. Then, towards the end of his set, he decided to run into the crowd and up the balcony, dancing with patrons, only to run back down the stairs and stand on one of the bar tops reminding patrons to tip the bartenders that evening.
Børns was second to hit the stage. He was teamed with all female musicians that died down the audience in comparison to Saint Motel’s performance. His music is what you would call ‘hypnotizing.’ It`s not necessarily a loud vocal dynamic, but more within a range that you could relax to, but also dance with your friends.
The band most people were waiting for was Jimmy Eat World. It’s a lot of pressure being the headliner and they delivered in all aspects that night. Bringing the most energy and also a certain nostalgic factor, playing an assortment of their newer stuff such as “You With Me” and longtime classics like “The Middle” and “Sweetness.” The band set the stage with a minimal appearance but it was adorned with 3 street lights that were placed above the drummer, guitarist and bassist. The lights flashed in sync with the music and it was the perfect addition to the stage without overdoing it. Doing several encores really pleased the audience and you can see it from the expressions and overhearing what fans were saying as they left.
The Kerfuffle Before Christmas was a success and there is one night left of this magnificent concert series. The last one will be held on Sunday, December 17. Performing are Cold War Kids, lovely the band and AJR. Tickets are still available for purchase and can be found at any FYE store and Alternativebuffalo.com
Buffalo rocker Jorian Holka is at it again. Not long after the release of his debut EP, EP1, he went right back at it to bring us his new single, “Loser With Ambition.” The track starts off with a pounding drum intro that immediately gets the blood flowing, and leads into a melodic swirl of fast paced, hard rock riffs from what feels like a small orchestra of distorted guitars. The lyrics are a raw reflection of what it feels like growing up differently than everyone else, and what it is like breaking away from the status quo as a youth by rejecting what is forced down your throat by society.
Holka reminds listeners that it is okay to think differently, and that doing so is often a good thing, even if others believe you are weird for it. The incredibly catchy chorus makes a statement that even if other people might not see the world the same way as us, it doesn’t matter. What matters is that you are comfortable with who you are and doing the best you can, so you should not care what other people think.
While the song may provide a very positive message, that does not mean it does not rock. It does, hard. The guitar solo following the second chorus highlights Holka’s technical knowledge on guitar, reminding listeners that although he may be playing every instrument on the track, the guitar is where his true talent lies. As he creates more music, it is very clear that Holka is becoming a more proficient songwriter, instrumentalist, and producer.
Just last month, after a seven-year run in Chicago, Illinois, indie folkmaster Chaz Hearne returned home to Rochester to continue his music career in his hometown. Hearne is a folk musician that enjoys the roots but is not shy to cross genres and experiment. Although banjo is his primary axe, Hearne is a multi-instrumentalist that performs everything from finger picked acoustic tunes to all-out rock anthems on banjo, guitar, piano, and violin, adding layered vocal harmonies. Regardless of the tune, Hearne performs with passion, honesty, and fragility.
Ben Albert of NYS Music was humbled to sit down and converse with Chaz Hearne about his experience in Chicago, the message behind his conceptual songwriting, and his new politically critical concept album, Rise of Voluminous. The conversation was recorded in collaboration with Rochester Groovecast and released as a Rochester Groovecast podcast episode. Take a peek below and click the play button to listen to the episode. Scroll farther below to find a timestamp of the show.
TIMESTAMP:
00:17: Chaz Hearne- Fun in 82
05:12: Episode Intro
07:19: Interview Part One
14:11: Chaz Hearne- Spicy in The Dim Halls
17:15: Interview Part Two
39:29: Closing Comments
41:21: Raw Performance by Chaz Hearn
Interviewing Victor was less an “interview” and more a conversation. When he spoke, his big brown eyes locked in with mine, and it truly felt like we were the only two in the room. He is a genuinely caring individual who’s love for his craft and dedication to art was evident with every word he spoke. To him, music is about openness, letting go of your ego, and creating magic. He was ecstatic to speak about each project he was working on, and his passion for life and music is something he carries openly with him. I feel very fortunate to have had the opportunity to spend a half hour sitting down one on one with a music legend of his stature. Below is our full conversation:
RR: Do you prefer recording separately?
RR: You’ve played with many people over the years, but is there any particular jam or event that stands out in your mind?
Ring in the New Year at Buffalo Iron Works with Moon Hooch, Gnomedad & Honeycomb. Get your tickets in advance – this show is sure to sell out! 
Capital District
Holka