NYS Music 20​17

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  • The Blind Owl Band Returns to Rochester to Host a Halloween Bash

    Freight train string quartet, The Blind Owl Band of Saranac NY, is returning to Rochester, NY this weekend to host a spookily impressive Halloween Bash. Accompanied by local favorites, The Honey Smugglers and Folkfaces, The Blind Owl Band Halloween Bash will place on Saturday, Oct. 29, at 7:30 pm at Anthology in Rochester, NY. Advanced tickets are $15 and the gate price is $18.

    The Blind Owl Band is a 4-piece string band, featuring Arthur Buezo (Guitar, Vocals), Christian Cardiello, (Double Bass, Fretless Bass), James Ford, (Banjo Vocals) and Eric Munley (Mandolin, Vocals).  After first harnessing the rawness of traditional bluegrass instrumentation, the band taken the genre into an entire new dimension, crossing between genres of bluegrass, folk, country, and soul, infused with their own unique Appalachian Mountain sound. The fast-fingered, high energy, cohesive group explores their live performance with an element of improvisation, gaining energy from their audience.

    Fresh off releasing their third studio album Skeezy Patty earlier this month, The Blind Owl Band is hungry to put on the show of our dreams. In the five years prior to Skeezy Patty, the quartet have played over 700 shows across 17 states, building their rowdy & dedicated fan base across the east coast. Every show brings back the energy of the last, and the Halloween Bash will be no exception. Grab your tickets here!

  • Hearing Aide: Strange Machines ‘Voice of Color’

    On the week of their seventh year anniversary, New England quartet Strange Machines released their first ever full length album, Voice of Color. While some of these tracks can be found on the previously released live compilation, Cause and Effect, the crowd funded sessions created the safe space for the band to hone in on the production value at 9B Studio. Voice of Color is an album with an identity crisis, fusing together a plethora of genres and switching focus during each song in an almost schizophrenic manner. Longtime producer and sound engineer, Toft Willingham, utilized every square inch of the disc capacity, capping the album at a whopping 77 minutes and providing space for the extended jams the die-hard fans have come to appreciate.

    “Motion Picture” kicks off the album with the original progressive rock/reggae sound that revved up Strange Machines back in 2011.  Veteran keyboardist, Christian Perron, provides a mellow and jazzy foundation throughout the track that blends well with the 311-esque chorus sung by founding member Mike MacDonald.  Where tracks like “Motion Picture” and “Little Monster” will bring fans back to the band’s youth in terms of influence, “Golden Rule” displays the evolution of their sound and brings the listener to a whole different place.  The intro of the second track sounds like the outro of a Dr. Dre produced beat which dives into a catchy electronic composition highlighted by Craig Holland on bass and drummer Issac Civtello.  “Golden Rule” has been used as an improvisational launch pad at live shows for years, and at the 7-minute mark of the studio release, the band showcases some of that on-stage energy by giving MacDonald room to spread his wings on lead guitar.

    Perron wastes no time jumping into a gritty funk groove during the title track, “Voice of Color.”  As the second of three songs in a row that clock in over nine minutes, Strange Machines have already produced a longer album than most bands and we still have a long way to go.  The wordy first half of the track is overshadowed by the prog-rock breakdown in the second half, returning once again to the sound that described the band during their conception.  “Enter the Interceptor” has a Primus-like value and while it is the shortest track on the album, it has the heaviest feel.  The chilling rocker is reminiscent of the type of music Rob Zombie may add to one of his demented movies during the bloody peak of a chainsaw massacre.  Acting as the halfway point on the album, “Enter the Inceptor” is one more example of a band that is traveling many sonic dimensions at the same time.

    “Squid” is another recognizable staple that has legs, or tentacles, when seeing the band in a live setting.  Certain species of squid have the ability to fly out of the water for short distances and Strange Machines have found a way to express this phenomenon in the studio.  The approachable lyrics and hints of tribal percussion creates a smooth island sound that finishes with an unexpected tidal wave guitar solo by MacDonald.  “Armorphous” serves as the final track of the uber-eclectic Voice of Color and begins with a tight and haunting graveyard vibe before transforming into a powerhouse of danceable energy.  Stacked with trippy effects in all the right places, this soaring jamtronic piece finds the foursome momentarily channeling Pink Floyd before blasting off into the exclamation point of the 77-minute debut.

    So welcome to the Machines!  In their rookie album, Strange Machines packed six years of concepts into one piece of art.  While the track placement and flow have some maturing to do, there is no doubt that this multitalented quartet has endless room to grow.

    Key Tracks: Voice of Color, Squid, Amorphous

  • Interview: Catching Up with 311’s Tim Mahoney

    Next week, reggae rock giants 311 will be making their way through the northeast, in continuation of their currently underway 2017 fall tour. Tomorrow night, the band comes north to Pennsylvania to start at Sands Bethlehem Event Center, and then will hit Lupo’s in Providence on Friday and The Wellmont in New Jersey on Saturday. Sunday, October 30 will take them to none other than Port Chester’s The Capitol Theatre, before Halloween night sees the band play at Huntington’s The Paramount. Earlier this year, the band released their 12th studio album, Mosaic, which has been receiving high praise from longtime fans as one of their most creative albums yet. After a big summer tour (which makes eighteen summers in a row for the band), 311 is feeling more energized than ever. In anticipation of what should be a terrific run of shows next week, lead guitarist Tim Mahoney talked with NYS Music about the new album, practice time, Halloween costumes, and more.

    Miles Hurley: So 311 fall tour is underway with several shows so far. How are things feeling?

    Tim Mahoney: Good! We took a long enough break from summer until now, that you kind of get comfortable being at home. But once you get back out here, though, you realize it hasn’t been that long, so you just get back into it. No real dust or cobwebs, we’ve mostly been trying to get through some of these back catalogue album tracks that we did not play in the summer. You know, to just mix it up from there. This record, Mosaic, I think it was June it came out, we’re getting through a lot of that, too. Right before I called you I was just doing a little bit of homework, going over a handful of songs for soundcheck that we haven’t played for a minute. But it’s going good. Same crew and everything, so it’s like…knock on wood. Probably break both my knees or something tonight now (laughs).

    MH: Which tracks from Mosaic have been your favorite to play, or which ones have been sounding the best live to you so far?

    TM: Well, we’ve been working through most of them, I do like “Face in the Wind,” because there are a couple of guitar solos in there. You know, being the guitar guy (laughs). But they’ve all been fun to play, but it’s a challenge, because there’s a lot of material there. But it seems like most of the kinks are out of them. There’s one we have not played yet, but that might be farther down the pipeline.

    A song like “Too Late” we’ve been doing pretty much every night, and it seems to get people going. I kind of forget that there are some super metal parts, that come up in the songs all of a sudden, and if you’re not ready for them, well….(laughs) We’ve been trying to get a balance of them out there, some of the more mellow ones with the heavier ones. And when we come to the east coast, we’ll try to mix it up.

    MH: I think that’s what I like especially about the new record—it has a nice flow back and forth between the more laid back, groovier songs, and some really heavy stuff. When it comes to the heavier and the more laid back, where would say your taste, or your playing preference, lies these days?

    TM: Ooh, it’s hard for me…well both, definitely. Being a guitar player and listening to, when I was starting, punk rock and more aggressive stuff, I’ve always enjoyed that, the heaviness you can get with the electric guitar. But I also like the grooves, and funk and jam bands, I’m a Jerry Garcia fan. I’ve always enjoyed…you know like all the way back to the Bad Brains, who does reggae and punk rock together. It’s hard for me to choose one or the other, I’ve always enjoyed just playing reggae, and being a part of an ensemble playing reggae.

    But I like to kick it to the high side of the amp, too. It’s nice that on Mosaic, as you mentioned, a lot of the songs, even within the songs, are pretty bipolar, going from super clean to super heavy, I like the contrast of them. It’s fun to get to be able to play both sides with this band.

    MH: I’ve heard many fans feel this is some of the most mature stuff from 311 yet, in how many styles it weaves together.

    TM: That’s good to hear. That’s how we feel, everybody’s on the same page right now, in being inspired to play together, and to go at it like that. That makes me happy to hear that people would say that.

    MH: I also read that 311 has always been diligent when it comes to practice, and I’m sure that’s something the fans truly appreciate—the band nailing the parts in songs when the time calls for it. In terms of, on the one side, practice makes perfect, and on the other side, just going with the flow when things happen on stage, where would you say you are right now?

    TM: Aw man, yeah, that’s a hard thing because…you know, as much as you practice, you’ll never be perfect. You have to put in the time and the work, so that when you get into a situation on stage, you can let it flow, and be in the moment, and have the tools that you’ve worked on sitting there to keep you flowing. So I think it’s both, and you can only really do the work on stage on stage, basically, in front of people.

    We talk about this a lot, about the adjustments. You know, if we rehearse in the studio, it still can’t really prepare you for when you get on stage, in front of people. And there are all these other entities there, the energies and stuff, that come into play. So managing that energy and that excitement and being able to keep focused and have it flow with the music is a big part of it, too. And that just comes from time spent doing it. But to be able to survive and to be comfortable in the on stage situations, you have to spend time working. Even the greatest players that maybe don’t rehearse any more, there was a time when they did, and I still have to work at it, everyday.

    It’s so funny, because the most random things can happen up there, in different parts of the songs. So, you always try and do your best out there, but it’s different every night, and that’s what’s fun, that’s what’s exciting about it. Even the songs we play, they’ll be different from night to night.

    MH: So would you say you are still experiencing unexpected moments on stage from your band members?

    TM: Oh yeah! (Laughs) Just weird funny little things that might make you laugh. Whether it’s a new dance move from SA, or last night Chad had some light up drumsticks that were pretty cool. And as time goes on, I enjoy playing music more and more, and I think everybody in the band is on the same page there. We’re just very appreciative of the fact that we can go out there and play music.  

    MH: Have you ever considered either playing some kind of solo shows, or solo recording?

    TM: Well I’ve played with some friends bands and stuff, and recorded here and there with them, just little projects. I think eventually I will do something, because I have songs from over the years that aren’t quite right for 311. Like, although I enjoy singing, I’ve never really sang (laughs). So it’d probably be a collaborative thing, but eventually, yeah. When I get a little time to work on something like that, it’d be fun.

    MH: Something to bring the trombone in on, too.

    TM: Yes! That’s funny you bring that up, because I have been working on a little something there. I’ve been trying to figure out what song I might be able to whip it out on. My first instrument, you know, I do love it. The hardest thing, having to buzz your lips, and the wind control. That kind of stuff has been the hardest for me. But you know, I’ve got a pretty solid one octave there, so I figure I could chip away at one of these melodies, I just have to figure out what the proper one would be.

    But yea, trombone! I’m excited, I don’t know if you listen to much Phish or to Trey, but his solo band there has a really great trombone player…I’m a huge Trey fan, so it’s nice for me also being a trombone fan, that he’s got a trombonist in his band.

    MH: Yeah, Natalie. I’ve seen her in TAB and in some side stuff with other people, yeah she’s incredible.

    TM: Yeah, chainsaw! Wow, you’re lucky, see every time Trey Band comes to Los Angeles, I’m out of town, it’s been going on for years and years now. This year they’re doing Halloween out there, and we’ll be in New York. I’m such a huge Phish fan, and every couple of years their schedule and ours line up…but yeah, TAB, what a great band he’s got there.

    MH: And I also read that you’ve always been a big deadhead, too. Has 311 played the Capitol Theatre before, or will this be a debut there?

    TM: Aw yeah. I’m pretty sure this is our debut there. It’s exciting for me, just knowing so many people have played there, you know what I mean? I’m pretty sure I have some Jerry Garcia Band shows from The Capitol Theatre. It must be a stop for a lot of bands on the jamband circuit, too. I’m getting all the emails, it seems like a lot of people are going through there.

    MH: It’s a special place to see a show, for sure. Crowds tend to get really amped there.

    TM: Aw, good! Well I’m just excited to get to step foot in it. It sounds to me like a classic room, too…

    MH: You mentioned Halloween. The 31st you’ll go to The Paramount. Does 311 do any Halloween-type bashes?

    TM: Actually, it’s been so long since we’ve played on Halloween, so we’re trying to get it together. We have some ideas, but you know you’ve got five people, so things get vetoed and cut. What I thought were good ideas, I don’t want to say them, I don’t know if they have any traction anymore (laughs). But it’ll be fun, it has been a long time since we’ve played on Halloween. You know, we’re kind of procrastinators a bit, but we’ll get something good going that night. I still have to get my costume together, that’s my biggest thing right now (laughs).

    MH: You’ve got something good?

    TM: You know, I like going as guitar players, like back in the day when we were playing on Halloween all the time. I got through a lot of the obvious ones, like Slash, Garcia, Angus Young. So I’ve been toying with that, but I don’t know yet for sure…you know the thing is, everybody in the band dresses up and I go out there without a costume, I end up looking like a dilweed.

    MH: You’ve got a date coming in November with Karl Denson. Has there been any collaboration there before?

    TM: No, you know I’ve met him…because he’s played with Slightly Stoopid, right? That’s where I’ve gotten to meet up, and hear him play. And I’ve heard…Tiny Universe songs, just a couple of them. And he’s a great player, and in Slightly Stoopid, in that context, it’s great to hear him, his solos and stuff. So I’m looking forward to playing with him. But we’ve never collaborated before, that would be a fun collaboration, to have him sit in with us, if he would ever be into that. Looking forward to that. And I didn’t know he played with the Rolling Stones, too, shit. But that show should be fun, that’s a benefit show we’re doing down there. I haven’t heard much yet other than that we’re playing with him, and…I can only imagine that the band he gets together must be pretty fun to listen to.

  • Dark Honey Revamp Their Sound, Drop Single ‘Stinging Nettle’

    After taking some time to redevelop themselves and fine-tune their music, it seems like Dark Honey’s got it figured out. Formerly known as One Red Martian, the band of (mostly) brothers picked up shop from the south and reverted to their roots in Upstate NY to record and release their newly calibrated music. The Albany outfit dropped the catchy single “Stinging Nettle” as their new sound takes finally takes shape trailing a five year hiatus.

    “Stinging Nettle” is delivered to us by a trio of brothers, Ben, Jimi and Joe Woodul as well as life-long friend Dan DeKalb, with a fun pop-melody that dives into deeper meanings with its playfully vivid syntax, amusing synth and carefully articulated lyrics. In a wave of pure indie-pop-rock, the quartet delivers a blunt track filled with clear cut emotion through personal storytelling and youthful mishaps. With an artistic vision entirely their own, the foursome even direct and produce their own videos, including their other track “Driving Song,” displaying raw emotion and full-on guitar psychedlia.

    A band a decade in operation, Dark Honey has molded its unique sound and racked up a larger bank of relatable experiences to creatively share with listeners as Woodul’s vocals have the ability to master a light, airy sound in one breath and raw and gritty in another. They’ve made their way to favorite local downtown Albany venue, The Hollow, for a show back in September and the Alt ranked them third best band in Albany. Since its debut, “Stinging Nettle” was featured on Spotify’s New Music Friday as well as Weekly Buzz and the USA Viral 50 Charts.

    Catch Dark Honey at their next gig at Rockwood Music Hall in NYC on Nov. 7.

    Listen to their newest single here:

  • Photo Gallery: Jimkata at Buffalo Iron Works

    Jimkata‘s farewell tour saw them stopping at a sold out Buffalo Iron Works on October 20. Jimkata Nation packed the place eagerly anticipating the Friday night throwdown while West End Blend‘s opening set made sure things got started with a funky good time. Soon enough the lights dimmed, the trio took the stage and memories were made…

  • JJ Grey and Mofro: Greetings from the Sunshine State

    Jacksonville Florida’s own JJ Grey and Mofro played to an enthusiastic crowd at Clifton Park’s Upstate Concert Hall on Thursday October 19. These seasoned veterans of the road have been playing since the 1990’s and are currently five weeks into their tour spreading the gospel of the electric blues and soul to audiences around the nation. The band has deep roots in the south which is apparent in the nine studio albums that they have created since their inception.

    JJ Grey and Mofro
    JJ Grey & Mofro getting “Janky” at the Upstate Concert Hall 10/19/17

    The current lineup of the band consists of JJ Grey on vocals, harmonica, and electric guitar, Dennis Marion and Marcus Parsley on trumpets, Todd Smallie on bass guitar, Craig Barnetter on drums, Zac gilbert on guitar, and Eric Brigmond on keyboards.

    JJ Grey and Mofro

    The night kicked off with Pittsburgh PA’s 10 piece soul powerhouse The Commonheart. Led by front-man Clinton Clegg, the energy was palpable with high energy renditions of The Commonheart originals “I Am A Ram “ and “Aloysius” off of their 2016 LP Grown. The Commonheart were a tight knit unit that was exceptionally good at getting the Upstate crowd grooving by offering them up a heaping helping of Electric Soul and RB. The highlight of the opening set was a gritty version of Randy Newman’s soul classic of “You Can Leave Your Hat On” that would have made the Commitments jealous.

    JJ Grey and MofroGrey thanked the crowd for singing and began reminiscing about his days working at a lumberyard in Jacksonville, Florida adjacent to a tiny church located in a nearby strip mall. He recounted days drinking iced tea and listening to the church’s preacher singing and playing spiritual hymns on guitar, while the ladies in the choir sang along. He went on to say that was one of his inspirations for what he calls his band’s “Rock and Roll Revival Show.”JJ Grey and Mofro

    Grey then switched out guitars and got comfortable sitting down playing electric slide guitar on John Anderson’s Blue Grass classic “Seminole Wind.”  The song was a unique and “Janky” interpretation of the song, which was dedicated by Grey to his grandmother.  Grey said that she lived in the “good old bad days,” being born in a tent on a tobacco farm in Georgia.  It was apparent that her strength in overcoming such a tough and hard scrabble life was a great inspiration to Grey.

    The evening ended on a high note with an encore comprised of a rousing rendition of the Beatles classic “Hey Jude”  with the audience singing the chorus until the very last note. JJ Grey & Mofro will continue touring the U.S. with dates scheduled into the Spring.

    Setlists:

    The Commonheart:  Show Me The Light, Questions, Cannonball, You Can Leave Your Hat On, Do Right, Save Me, Aloysius

    JJ Grey & Mofro:  How Junior Got His Head Put In, Light A Candle, Every Minute, Brighter Days, 99 Shades, Gal’ Young’en, Seminole Wind, Lochloosa, Orange Blossoms, Lazy Fo Acre, Ol’ Glory, Shining Down, Hey Jude

  • Jeremy Wallace Trio to Perform at Kirkland Art Center

    The Mohawk Valley Blues Society has teamed up with the Kirkland Art Center in Clinton to present the return of the Jeremy Wallace Trio Saturday, Oct. 28 at 6:30 p.m.

    Wallace’s sound has been described as edgy and uses his own life experiences as the backdrop for his lyrics. He incorporates elements of folk, rock, country and blues to forge a sound akin to a young Bruce Springsteen or Tom Waits.

    In his formative years, Wallace came under the tutelage of folk legend Dave Van Ronk, the inspiration for the 2013 Coen Brothers film “Inside Llewyn Davis.” Van Ronk exposed the young artist to the music of Leadbelly, Kokomo Arnold and Charlie Patton, sending him away after 18 months with the words, “You got it in you to be a musician, but it doesn’t mean anything. If there’s anything else you can do besides this, do it. The business will break your heart.” Van Ronk once said of Wallace, “He’s one of the most arresting new talents I’ve ever heard. When I hear him I get the same feeling I got the first time I heard Bob Dylan and Arlo Guthrie.”

    Wallace obviously didn’t take his mentor’s advice, putting out three albums, My Lucky Day, She Used to Call Me Honey and his most current release, Suicide Suitcase,mix of original arrangements of traditional songs and new material.

    Wallace’s dark humor and his rock solid band, Matt Gruenberg on bass and Tom Costagliola on drums, will weave tales of woe as well as wistfulness in the intimate setting of the Kirkland Art Center.

    General admission tickets for the 6:30 show are available through Eventbrite or at the door. Tickets are $18 for the general public and $15 for Kirkland Art Center members.

  • Holly Brown to step down as executive director of Palace Performing Arts

    The curtain is rising on exciting changes for the Palace Theatre, but its top executive is exiting stage left at the end of the month. In a prepared statement released Thursday, Oct. 19, Holly Brown stated she will move on from her position after five years at the helm of the Palace Performing Arts Center. Susan Rosko Fogarty will step in as executive director.

    “It has been my privilege and my pleasure to run this beautiful and beloved theatre,” stated Brown, adding praise to the Palace staff. “There is a saying in this industry that you are only as good as ‘what walks on the stage.’ My goal has been to not only increase the number of event nights at the theatre, but to bring in some of the biggest names in the business.”

    The Palace has more than doubled its featured events, from 77 in 2009-10 to 170 in 2015-16, during Brown’s five years as executive director. The move comes just months following the PPAC’s acquisition of the 86-year old theatre from the City of Albany, which paved the way for a $65 million expansion and renovation project for the Capital City venue.

    PPAC Chairman Alan Goldberg credited Brown for the Palace’s reputation for its “diverse, outstanding and high-caliber programming.”

    “Under Holly’s direction, the [PPAC] is known for its diverse, outstanding and high-caliber programming which has translated into financial success.”

    Fogarty has already been named as Brown’s replacement. Goldberg cited Fogarty’s 25-plus years of arts and business experience within the same statement. Fogarty previously served in various sales and marketing roles for V2 Records and Sony/BMG. She has also worked as a leader in the financial district, and most recently as senior vice president of the Capital District YMCA.

    This article was originally published by The Spot 518 and is the property of Spotlight Newspapers in Albany, N.Y., and appears as a special to NYS Music. TheSpot518 and NYS Music work in partnership to provide readers with in-depth coverage on the local music scene in the Capital District and New York state, respectively. For more, visit TheSpot518.com.

  • Fats Domino, Rock Pioneer, Dead at 89

    Fats Domino, whose boogie-woogie style of piano playing influenced generations of rock n’ roll musicians, died Tuesday in Louisiana. He was 89.

    Born Antoine Domino, Jr. in New Orleans in 1928, the pianist and singer was second only to Elvis Presley in sales during the early rock n’ roll era of the late ’50s and early ’60s.

    Domino’s string of hits included “Ain’t That a Shame,” “Blueberry Hill” and “Walking to New Orleans.” His New Orleans upbringing influenced his music, incorporating the rollicking piano style of Fats Waller and Professor Longhair.

    Domino’s influence has carried on through the works of the Beatles, Cheap Trick, Led Zeppelin and Randy Newman. While he is largely credited with being one of the fathers of rock n’ roll, Domino dismissed the notion, telling Rolling Stone, “it wasn’t anything but the same rhythm and blues I’d been playin’ down in New Orleans.”

    Domino’s relationship with his long time co-writer and producer Dave Bartholomew generated a string of hits as well as a style of production that influenced Phil Spector’s Wall of Sound. Bartholomew brought extra bass and drums into the studio to assure they could be heard above Domino’s piano. Bartholomew said of his late partner, “just like the cornerstone — you build a new church and you lay the cornerstone, and if the church burns down, the cornerstone is still there.”

    He was married in 1947 to Rosemary Hall and they had eight children, all with names that began with the letter A.

  • Watch Jon Lewis Band’s Spooky Music Video for “Let Me Go”

    Just in time for the witching season, Jon Lewis Band created a music video inspired by classic black and white horror movies. Filmed on location in their hometown of Rochester, the monster chase includes scenes from local landmarks such as the Cinema Theater and Mount Hope Cemetery. The band used delightfully cheesy low tech filming techniques reminiscent of classic B movies from Hollywood’s golden age.

    The song “Let Me Go” comes from Jon Lewis Band‘s latest EP, Baby Brother. It’s their second release of the year. The first, Exquisite Corpse, is a contender for best local album in City Newspaper’s annual “Best Of” reader’s poll.

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