“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.
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.
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
In nature, flow is associated with movement, like water rippling down a current. In psychology, finding flow is associated with engaging in an activity which brings on a feeling of being energized, focused, fully aware and conscious. Rochester indie pop artists Tart Vandelay have linked these concepts in their new release, aptly entitled Flow.
The jazzy four-track-long collectionpaints a landscape filled with images of whipping whirlpool winds, relentlessly echoing rays of sunshine, midnight moonlight, and misty rain clouds. The elements of the cosmos become metaphors for emotional states, as a story unfolds about facing fear and uncertainty. Tart Vandelay isn’t just stopping to smell the roses; they’re making a mindful exploration into the cyclical rhythms in the universe and tendency for tumult to succumb to order. Songstress Katie Halligan draws from her own experiences when writing, however her words strike a chord deep within. She taps into her uncanny ability to connect what’s personal to what’s common to the human experience. “Sun, melt away by fright, tell me it’s alright,” she pleads in the song “Cloudy Doubts.”
Book ended with birdsong, the instrumentation on the album mirrors the sentiment of the songs and compliments Halligan’s crisp, sparkling vocals. Marty LoFaso’s jazzy guitar work serves as a vibrant accompaniment. The bass line provided by Pete Zamniak and percussive stylings of Christopher Dubuc-Penney intersect to form in an undulating groove that adds dimension to the soundscape. The music demonstrates restraint during the apprehensive disquietude of the first two songs “High Noon Haze” and “Lonely Girl.” Then it swells during “Cloudy Doubts,” before reaching a magnificent crest in “Drifting.”
As the sequel to last year’s debut EP Frontier Pioneer, Flow offers further proof of Tart Vandelay and their endearing ability to uplift and inspire through music. Recorded at Wicked Squid Studios in Rochester, and produced by Josh Pettinger, Flow is available on Bandcamp. You can follow Tart Vandelay on Facebook, Twitter, and Instagram.
Groove-heavy americana quintet Donna The Buffalo of Trumansburg, is returning to Rochester this weekend to distribute an eclectic mash of folk, roots, country, reggae, jam and zydeco, to a devoted local crowd. Accompanied by Rochester’s own, Aaron Lipp and the Slacktones, the foot-stomping, hug-sharing, and partner-twirling will take place on Saturday, Dec. 9, at 7:30 PM at Anthology. Advanced tickets are $22.50 and the gate price is $25.
“I love playing music. I love playing the fiddle…I love to sing. I never thought too much about it. I never wondered why I play music. I’ve just always done it. There was never anything else I was gonna do instead. There has never been a question. I was drawn to music. I love listening to it. I love playing it. Music fills me up. It’s one of my languages.” -Tara Nevins of Donna the Buffalo
Nearly thirty years since their humble beginnings, Donna the Buffalo is warming into an extensive winter tour, traveling from New York, to Florida, to Texas, with many show stops in between. There is good reason Donna the Buffalo has toured extensively for the better part of thirty years. The group provides a dynamic high-energy performance that is at one moment completely fun-loving and carefree, then in the next, undoubtably heartfelt and deeply insightful. At every show, the audience experiences poetic stories about life, family, and the human condition. To top off the enthusiasm brought by their live performance, Donna The Buffalo brings improvisation and spontaneity to the table. The band doesn’t work off a set list, rather, co-leaders Jeb Puryea and Tara Nevins take turns choosing the next song in real time.
When I asked Nevins if she had any advice for a young musician with aspirations to pursue the music industry, she retorted, “Do it because you love it don’t do it because you think you’ll be famous. And enjoy the journey..” I think it is crystal clear that Tara Nevins and all of the Donna the Buffalo family do indeed play music that they love, and do indeed enjoy the journey.
If you’re in the Rochester area, check out Donna the Buffalo on Saturday, Dec. 9, and everyone, stay tuned, Donna the Buffalo is recording a new record in February.
Once again, NYS Music is happy to present to you another packed month full of great live music for New York State. Make sure not to miss out on these shows taking place in Buffalo, Rochester, Syracuse, Albany, Saratoga Springs and Cohoes.
Albany/Cohoes/Saratoga Springs
December 8 – For an unforgettable pop-funk and party-rock performance, don’t miss when Ripe takes Putnam Den with psychedelic-soul duo Okey Dokey and indie rock band Campo! Event link.
December 9 – On their 20th Anniversary “Cheers and Echoes” Tour, the highly acclaimed group Enter the Haggis will be stopping in Saratoga Springs a memorable night of Celtic Folk Rock. Accompanied by Black Mountain Symphony, it’s sure to be a night of incredible performances. Event link.
December 15 – Back by popular demand, Pink Talking Fish will be sure to bring an electric performance with their unique synthesis of hits from Phish, The Talking Heads and Pink Floyd. This time Annie in the Water is joining them to open up the night with some funk, reggae and rock. Event link.
December 23 – For a fresh take on your favorite Grateful Dead and the Allman Brothers come see Steal Your Peach Band. It’s a can’t miss show for jamband fans. Event link.
Cohoes (Presented by Guthrie/Bell Productions)
December 3 – At Cohoes Music Hall, come see Hot Tuna Acoustic, electric blues power duo of Jorma Kaukonen and Jack Casady. You don’t want to miss these living American music legends. Event link.
December 7 – Fresh off the release of their second album Cheen, Lespecial will be at Parish Public House with Backup Planet to give a dynamic and captivating contemporary rock performance. Event link.
December 8 – As it reads in their biography, “If intergalactic beings of pure energy, after initiation into an order of whirling dervishes, built some kind of pan-dimensional booty-shaking engine, powered by psychedelics and abstract math, it’d probably just sound like a CTS tribute band.” And that’s exactly why you can’t miss this. If you have not experienced “Sci-Fi Middle Eastern Fusion” yet, there is no better opportunity than coming to see Consider The Source with Teddy Midnight at The Hollow Bar + Kitchen. Event link.
December 9 – For pure musical brilliance and a horn section to die for, come see Big Mean Sound Machine with special guest Nautilus at The Hollow Bar + Kitchen. Event link.
December 16 – Gratefully Yours would like to bring every Dead head their dream setlist of Grateful Dead music. For this show at The Hollow, head to the bands website and make your suggestion for what the ideal setlist would be, then come out for an incredible performance! Band website. Event link.
December 20 – For a moving performance and an intimate night with Bettye LaVette, featuring simply her stunning vocals and a piano, come to The Cohoes Music Hall. Her soulful style is widely acclaimed by all who have experienced her live and definitely a treat you do not want to miss out on. Event link.
December 22 – ‘Tis the season for the Guthrie/Productions Christmas Party, this year featuring Eastbound Jesus, Girl Blue and the Eastern Highs at The Hollow Bar + Kitchen. Nothing like some good bluegrass and rock and roll to get you in the holiday spirit! Event link.
December 29 – For a once in a lifetime experience, come see The Talking Heads tribute band, Start Making Sense, at The Cohoes Music Hall for some 80’s rock and funk. Event link.
December 31 – Ring in the New Year with Mister F and Goose at The Hollow Bar + Kitchen, a walk across Pearl Street from Twiddle the same night. Come see Mister F’s last performance before going on hiatus and celebrate the new year! Event link.
Buffalo – Nietzsche’s
December 1 – Formula 5, Blue Rootz, Vinyl Orange Ottoman – catch three powerhouse jam bands to kick off December! Event link
December 8 – Strange Machines, Dr. Slothclaw – Boston jam wizards Strange Machines are out to Buffalo on the heels of the release of their new album Voice of Color, along wit Dr. Slothclaw, an out of this world, freak explosion of funk, progressive rock, blues, and everything beyond that you must see for yourself. event link
December 16 –Murmur (A Tribute to R.E.M.) recreates the power and passion of R.E.M.’s live performances with precise musical detail. Event link
December 22 – Censored by ZFT: A Tribute to Frank Zappa. Honoring the music and legacy of Frank Zappa with two sets of his music. The show will feature songs from all eras and bands with an ensemble similiar in size to his touring bands of 1975-1976. Event link
December 27 – THE TRUTH, Elliot Scozzaro. THE TRUTH is a jazz/funk/fusion quintet from Buffalo, NY that takes a modern approach to improvising while keeping a connection to the deep language and history in the jazz community. Event link
December 31 – Celebrate New Years Eve at Nietzsche’s with Folkfaces and Intrepid Travelers! Event link
Syracuse – Funk ‘N Waffles
December 5 – Backup Planet’s progressive funk-rock performances will have you feeling like you’re time traveling. They will joined this time by the Jimmy Wolf Blues Band. Event link.
December 7 – Check out Deadgrass, the five piece tribute band to Jerry Garcia of the Grateful Dead. Event link.
December 8 – Mammal Dap, the electronic group, will be hitting Funk ‘n Waffles with the anti-genre indie band, SeeppeopleS. Event link.
December 14 – Come out to The English Project’s Album Release Party for a free show featuring Chris Jame & Mama G, and make sure to grab an album while you’re there! Event link.
December 16 – Dodapod After Party featuring Syncpulse, Craig Brodhead of Turkauz. Event link
December 21 – For some progressive and psychedelic rock, come see Railbred, Astro Collective, and Fordham Road. Event link.
December 22 – Come celebrate and hear some great jam rock music at The Album Release Party Chris Eves & The New Normal with Chiggin. Event link.
December 23 – Syracuse’s longtime favorite hard rock band, Dracula Jones, will be performing with special guest TBA. Event link.
December 28 – For night one of their rock and roll New Years run, Gang of Thieves with Balkun Brothers will be hitting Funk ‘n Waffles and bringing their funky riffs, high energy, and some special surprises with the help of KTR Lighting. Event link.
December 29 – Barrom Philosophers, Astro Collective, and Organic Soul will be performing and bringing an overall mix of reggae, rock, and psychedelic sound. Event link.
December 31 – Don’t miss Sophistafunk, for some hip-hop, funk fusion with Syracuse’s own Skunk City, the funk rock experience. Event link.
Rochester – Funk ‘N Waffles
December 5 – Be sure to click the link to the event page to grab your tickets for Larry Carlton Quartet with Chet Catallo & The Cats for some jazzy blues guitar. Event link.
December 6 – Another local opportunity to see Lespecial with Backup Planet while they’re in New York. Event link.
December 7 – Right before they hit Syracuse, Mammal Dap with SeedpeopleS will be giving you another opportunity to hear them in Rochester. Event link.
December 8 – And right after they rock Syracuse with their Grateful Dead tribute, Deadgrass will be coming to Rochester. Event link.
December 15 – For an unforgettably unique, psychedelic hip-hop fusion show, come to Hyperborealis III to see Haewa, Pine Needle Soul, and SKYwalker. Event link.
December 20 – Railbred, Astro Collective, Fordham Road will be rocking out in Rochester before they roll to Syracuse. Event link.
December 22 – Vanishing Sun will be releasing their album live, so the four Rochester-based including Lost Wax Collective, The English Project and Eli Flynn will be jamming together the celebrate. Don’t miss it! Event link.
December 23 – Pearly Bakers Best, The Grateful Dead, Jerry Garcia Band and The Beatles tribute band will be bringing their usual great performance from their weekly residency in Syracuse to Rochester. Event link.
December 28 – Personal Blend will be releasing their reggae/rock EP with special guests Upward Groove, and a solo performance by Joe Kaplan. Event link.
December 30 – Check out The Pumpkin Patch All-Star Party featuring Barroom Philosophers, Syracuse’s own genre benders, as well as Mother Funkin Planets, Stone Jack Ballers, Aaron Rizzo, Nic Deluc. Event link.
December 31 – Dirty Blanket and Root Shock will be starting off the year right with great music at Rochester’s Funk ‘n Waffles New Year’s Eve Celebration. Head to the link for tickets and more information! Event link.
Rochester-based songwriter and vocalist Sharon Coates recently released her second album just in time for winter, entitled here now. This eleven-track jukebox brings a variety of styles to our ears, with a persistent folk and americana intention, only complimented by her soft vocal timbre.
Her intriguing lyrical stories take us through her personal timeline, apparent in her reminiscent song “The Town Where I Live,” and in her evolution of complex concepts through poetry in “Cathedral.” Joining her on the record are instrumentalists Dave Drago, Alex Northrup, Jacob Walsh and Dave Chisholm, and in sync, their sound is familiarized as Southern country, with use of an accordion, banjo, organ, and even a trumpet to round out the sound.
With interesting rhythm changes and unique guitar strumming patterns, songs like “Mexico” and the major-minor combative “Just Don’t” stand out as the album’s commanders. The song’s opening track “A Bullet Ain’t Got A Name” has a slight Tom Petty hint to it, with a light, smooth groove to introduce Coate’s new chapter. Her initial release was back in 2016, and it wasn’t long before she was ready to release new material to her listeners, and this album was well delivered the second time around. There’s no reason for her to be here now, when she’s been here all along, releasing music back-to-back.
Despite her library of music, Sharon Coates puts her music in few places. To listen to her full album, you can go to her Bandcamp site, or stream a few songs form her album below.
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?
The jazzy four-track-long collection paints a landscape filled with images of whipping whirlpool winds, relentlessly echoing rays of sunshine, midnight moonlight, and misty rain clouds. The elements of the cosmos become metaphors for emotional states, as a story unfolds about facing fear and uncertainty. Tart Vandelay isn’t just stopping to smell the roses; they’re making a mindful exploration into the cyclical rhythms in the universe and tendency for tumult to succumb to order. Songstress Katie Halligan draws from her own experiences when writing, however her words strike a chord deep within. She taps into her uncanny ability to connect what’s personal to what’s common to the human experience. “Sun, melt away by fright, tell me it’s alright,” she pleads in the song “Cloudy Doubts.”
