NYS Music 20​17

Tag: Interview

  • In Their Own Words: Joey Arcuri of Driftwood

    Binghamton’s native four-piece Driftwood needs no introduction. However, they sure deserve one! Driftwood’s precise mix of folk, country, singer/songwriter, punk, pop, and rock has earned a grassroots following, mowing through the Upstate, NY music scene. Whether it’s with the complexity of their lyrical poetry, simplicity of the quiet melody, or the rampage of a old-timey fiddle, Driftwood continuously impresses their audience. The friendly folk family is currently working on an album with world-renown producer Simone Felice and are ready to take the world by storm. NYS Music sat down with Joey Arcuri, bassist of Driftwood. Arcuri riffed on his experience as a full time bass player for Driftwood, focusing on both the rewards and struggles of a career in music. Please enjoy “In Their Own Words,” bitesized nuggets of wisdom quoted directly from Joey Arcuri of Driftwood:

    On Bass

    Keep it simple…

    When you’re young you want to play all these notes. You want to play fast and virtuous, but, what you learn as a bassist is to be tasteful and support the group. This is the most important thing with all instruments, but especially with the bass. It’s not about you. It’s about the band, song, and lyrics. Ultimately, if lyrics are happening, the band is supporting the singer; the band is supporting the story. I learned that. I came from more of a virtuosic instrumental kind of mindset and matured into supporting the music and the song as a whole…Being that rock. Half notes are bad ass…holding it down…I didn’t see that when I was younger.

    I had a gig with a band once and they didn’t call me back. I wouldn’t have called myself back either. I was playing too fast and adding too many eighth notes. I was trying to do too much and not doing my roll. Often, you have to mess up to learn. I didn’t always have anyone telling me how to play a part properly. At the time, even if I did have someone, I probably wouldn’t have listened. Sometimes I didn’t get asked back, or i’d be getting looks instead of the high-five I was expecting. Not until that happened did I realize I needed to continue to learn and grow.

    On Driftwood

    I grew to love bluegrass, folk, and singer/songwriter music through Driftwood. Before, I didn’t love it, I appreciated it, but, playing and feeling the music of Driftwood inspired me. I remember when we were on the road and saw Del Mccoury for the first time…that was a huge thing for me, I was like, woah!

    We all write lyrics and our instrumental parts. Often at practice, someone will write a song and then present it to the group. We are all a little nervous presenting our own songs…it’s like, you feel naked, no one’s ever like ‘hey, you’ve got to hear this hot new track.’ Next, we let the parts come together naturally, and we give advice as we move on.

    Ultimately, we put the song through what we call the ‘road test.’ You don’t always know things until you perform a song live for a reacting and staring audience. For instance, you can tell so much by simply the crowds clapping and overall audience feedback. Like when you get a burner of a song, and you just kill it, the audience will give you a roar. And if something is not jiving, after the song, everyone’s just like giving a pity clap or something. There is so much to live performing I’ve learned on the road. It never stops; I am constantly learning.

    What makes a good show is when the people who come to see you dig it, the quality of sound, and our performance. Always, If  you have good sound and people listening to you, you’re going to kick ass and play well.

    Sound can be a battle. We’ve had shows where the audience just stare or they’re not really moving their heads too much.  We can tell if it’s good sound based on how the audience is looking and moving… you can feel it if the sound’s not on. It’s such a bummer! We want to share music and have it transferred in a smooth and comfortable way, and when it does go well, it’s so gratifying.

    I acknowledge I have chosen a field that isn’t always great financially like other ‘normal jobs.’ In a band, you need to all love each other… you hear the horror stories of bands that are fighting on the road. It’s so important to like who you’re making music with. I feel very fortunate. And when we’re on, I feel so blessed to be doing what we’re doing. It’s great to be a musician.

    On The Future

    We are preparing for creating and recording an album ten days in November. We are working with producer, Simone Felice. Simone is brothers with Ian Felice of the Felice brothers, a band he used to be a part of. Simone grew up a poet and a writer, and he has such an ear for words and lyrics. His reputation speaks for itself.

    We all wrote songs of our own and sent them in as demos and Simone has chosen 12 that he believes are cohesive and our strongest.  He’s helping bring together what songs go together as a whole, creating an album that works as a beautiful masterpiece, and so, as our producer, we’re leaving him the space to create and tell us what to do.

    We’re also excited for some special shows coming up. We’re playing a two night Thanksgiving weekend run at the Ransom Steele Tavern in Apalachin, NY on November 24 and 25. We’re calling it Foxfire Weekend. Foxfire is like the bioluminescence of fungi on wood…It creates these cool trippy colors that are vibrant. It’s just a cool word we found and it fits Driftwood. In addition, Driftwood is playing a two-night run at The Haunt in Ithaca, NY on December 30 and 31 for New Years Eve.

  • 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.

  • RAQ is Back: An Interview with Chris Michetti and Jay Burwick

    To many jam band fans, catching a RAQ show is like finding a four-leaf clover; it doesn’t happen often, but when it does you know you’re having a legendary day. The four-piece jam band from Burlington, VT made a name for themselves in the early millennium by touring relentlessly and creating some of the most distinctive psychedelic albums of the early 2000’s. After seven ferocious years of creating music together, the band decided to take a hiatus in 2007. Then in 2010, the band decided it was time to reunite with a show at the Bowery Ballroom in Manhattan.

    RAQSince they have gotten back together, RAQ has not toured the same way they used to. Their focus has been on shorter, more condensed runs rather than the “50 shows from coast to coast” tour model. Fans have come from all over the country for a chance to see RAQ again during these runs, and this Fall they will have another opportunity. RAQ will be performing a five-night east coast Halloween run with special guest ‘Goose’ starting on 10/31 at Gypsy Sally’s in Washington, DC. The Halloween show is being billed as “FOO-Q-AZI” as they will be mixing in material from the Foo Fighters and Fugazi, along with their own songs. From there they will play The Stanhope House on Nov. 11 in Stanhope, New Jersey, the Abby Bar at Appalachian Brewing Co. Nov. 2 in Harrisburg, PA, The Hollow Nov. 3 in Albany, NY, and will finish things off at the Arch Street Tavern Nov. 4 in Hartford, CT. I had the opportunity to speak with Chris Michetti (guitar and vocals) and Jay Burwick (bass and vocals) about their upcoming run:

    Ryan Randazzo (RR): You recently got back together again. Why did you initially take a break, and what made you want to start things up again?

    Chris Michetti (CM): We took a break in 2007 because we played together for 7 years at that point. We did 50 show tours, lived in a van for what felt like forever, and got burnt out. RAQ hit their stride in 2004-2005, then we hit a point where we were spending a lot of money, people’s lives got in the way, and we just needed a break. Looking back on it, we had no one to tell us to take a short break to just play a New Year’s Eve or big show, so we just stopped.

    We have been on and off since, and all have our own musical and life projects around the band. I like it better now because I’m not relying on it. Back then, we relied on the band, our manager, the lighting guy, our agent, etc. It was our sole source of income. It was hard relying on all that, and became stressful. We’re doing it for fun now. It takes all the bullshit away of how much money we make each night, how many people came to see us, and how we did that night.

    I remember, when we were younger, if someone missed a note we would get made at each other. Now we laugh about missing a note and joke about it. It’s almost the best part. At the end of the day we have a new attitude: “who freaking cares, we’re having fun.” It sounds silly, but we just have fun. It was so hard to do when we were young. We still had fun, but things were more serious.

    Jay Burwick (JB): It’s different when you’re doing it for fun. Now we’re just having a good time and it’s apparent in both the band and audience. We were shooting for the golden ring in the early day. Everything was focused on being a huge band and making it big. Now we get to get together with our brothers and play music to people who appreciate it. It’s such a blast to not have to worry about the end game. It’s more about music, fraternity, and having a good time. It’s also really cool to see dedicated fans who are excited about it.

    RR: Is this going to be the same RAQ on stage, or will things be changed up musically?

    CM: It will be and it won’t be. We used to call what we play “high performance rock and roll” and that’s what it is, but the attitude of having fun has made us a bit more mellow and that’s been great. We used to get compared to Phish and other jam bands because we used to come out and play a million notes. We still do that, I guess, but are more relaxed with it. When we’re on it’s super fun. Like riding a wave; there’s nothing like it. That’s the goal. I used to think we had to slow down, but really, we just need to get into a groove and do our own thing. When we first formed the band and played at parties we would do this thing where we’d get ultra-loose, and it was infections. We were having such a good time it would spread and people would be freaking out. We have hit more of those moments in the past four years than ever. It happens once every two shows now.

    JB: What he said. It’s different because now we just relax. We don’t worry about impressing anyone. We have a good time and let the music come out as it does.

    RR: What are you most excited about for this Halloween run you’re about to embark on?

    JB: I’m honestly most excited for Halloween night. The FOO-Q-AZI thing is going to be a ton of fun.

    CM: I’m looking forward to playing The Hollow. The last time we played there it was crazy loose, like, what’s going on with this place?!? I’m also excited to hang out with friends and play some music.

    RR: How has not playing together often changed the band?

    JB: A great aspect of us not playing together often is that the jamming is epic when we do get together. It’s like all the ideas flow out in the first few shows. Sometimes we rehearse and play an epic jam, then we wish we saved it for the show. The lack of jamming together has been a good thing because since we’ve played together for so long and know each other so well that when we finally get together it just explodes.

    CM: Scotty, our drummer, has become the most learned on RAQ songs. The rest of us have played them so many times over the years we’ve just gotten lazy and forget parts, so Scotty has to show them to us. With the condensed mini tours, we end up reaching points that used to take us 50 shows to achieve. The jams are so fresh. Music can get old, and I bore myself pretty quickly. If haven’t played in a while, a jam in ‘A’ becomes the best thing ever and everything feels so new. Even writing music is different. Now when I’m writing a song and making it sound good, I’m not concerned if others will like it. I just do it for myself.

    RR: What are your future plans? Will we see more RAQ after this run?

    CM: We have a record coming out soon that’s so cool. I’m really excited about this record. I wanted to create a new RAQ album for a while, but I didn’t think I had the time. Then it all just started coming together. With today’s technology, we can basically create a record on our own. We used to have to hire producers and spend a lot of money, which can drain a band. It also meant someone else had control of our destiny, which is a weird feeling. The last time we were in the studio as a band it made me want to learn how to record an album on my own. Now I have a vision, the songs are fun, and there’s an attitude of “who cares” so the raw tracks sound freaking good. We’re hoping the album will come out by February at the latest, and after that we plan on playing some more shows.

    RR: What’s been different with this album compared to past ones you’ve made?

    CM: The biggest thing is technology. You can have an idea and just do it all yourself; the drums, bass, keyboard. Then you just hand it out to everyone and it’s done. Then the band members interpret it differently, so you let go of some control and collaborate. Like, I did all the drum parts on drum a software. I could have spent a lot more time on there, but then Scotty will just practice to drum tracks he made anyway. We get to where we want to be for each part without having to explain to each other what it should sound like since it’s already there. Then he gets it, and it makes it easier to record. I wish it was like this years ago. We’re not just sitting in a room all day recording. Now we have layers, textures and polish.

    RR: What are your thoughts on the jam scene now as opposed to when you started?

    JB: It’s definitely changed, but when I go out in Denver I still see the same things. The same people seeing shows. Bands still tour the hell out of themselves to get recognition. The biggest change is how people market themselves and advertise to get people to shows. They post on Twitter and Instagram now. When you go out to see a jam band you still get the same feeling though, and you know it’s a jam band. The festival scene is very different. It’s crazy. There are groups of people who just go to festivals. They weren’t that big when we first started, so it’s very different in that aspect.

    CM: It’s changed on so many levels, but I love the use of technology. It’s interesting to see it stay the same yet change in so many ways. Musically its consistent across the board. Even with newer bands, it’s the same vein of music. If you hear jam music you know it’s a jam band, but electronic bands are where there is a big difference. With a lot of bands, the internet had brought the secret out. Sometimes there is extra hype for a show that normally wouldn’t have had any. Because of this there are new ways of navigating way to find a band, and people have to be convinced to see them or like them. The best bands I like I had to be convinced to like at first. But overall the scene is pretty much the same. If we play Camp Bisco this year, it might as well be 15 years ago. We play the same songs, get into the same hijinks, see the same people. It’s the same thing. Most changes are technological. Social media, ticketing, and sound.

    RR: What are your biggest influences for you, and how have they changed over the years?

    JB: Early on it was the Dead, Phish, Zappa; live music bands. Lately I’ve been big on the Foo Fighters. I’m psyched to play some Foo Fighters on Halloween. I love Grohl’s writing style. It’s easy to absorb. It’s also fun to have a metal vibe when I’m in a jam and just want to shred. It’s influenced me to play harder, dig deeper, and get heavier.

    CM: Everything Jay said, but I’m not as big into the Foo Fighters. Anyone who plays guitar well is a big influence on me. I love music everywhere. Sounds, production; I like it all. Sounds absurd. There are a million good guitar players out there, and many people wouldn’t recognize them if I listed them. I find a lot on social media, like Andy Wood. I find them online and am amazed. It’s fun to find new guitar players on Instagram.

    RR: What advice do you have to young bands just starting out?

    CM: The best thing is to understand business aspect of music and the music business. It’s gonna help you. Help with struggle. The struggle is real, be ready. Know the backend before booking a show. Think: how can we maximize this? Learn the deal: What you will make, how you can make it better, and understand the settlement sheet with club. If you want to make your living off music, it’s very important to understand the business and how to actually make money doing it. If you follow and understand what’s happening you can make it better. You have to rely on yourself, not the tour manager who is gonna quit in two weeks.

    JB: I second that; study business. It will bite you in the ass if you don’t have someone in the band who knows business.

  • In Their Own Words: JP Biondo of Cabinet

    On Friday September 29, folk powerhouse Cabinet landed in Ithaca, NY, and played two long sets at The Haunt. Since their birth in 2006, Cabinet has built a committed grassroots following by providing an eclectic roots sound. They have earned unconditional respect with their commitment to quality songwriting, and impressive ability to cross between genres of bluegrass, country, jam, and psychedelic. Before Cabinet’s foot-stomping performance, NYS Music had the  opportunity to sit down with Cabinet co-founder, singer, songwriter, and mandolin player JP Biondo. NYS Music is ecstatic to present you this edition of “In Their Own Words.” Here we have a collection of bite size nuggets of knowledge, quoted directly from J.P Biondo of Cabinet:

    On a Musical Childhood:

    My first instrument ever was a Tuba. I joined the band as a young teenager in around 1998. As a child, I always loved music. I always loved singing a bunch. I came from a very musical family. Growing up, I was surrounded by music all the time. For example, my dad would teach me how to sing harmonies on car rides.

    I come from a very large musical family. My dad has eight brothers and sisters, and so, I have like a whole slew of 1st cousins. There is a total of 35 of us or something like that. The family has at least one family reunion every year at grandma’s house. She lives on a big farm near Scranton, PA. At last year’s family reunion, there was like 180 us. Every year, the sun goes down and everybody knows  it’s time to get around the campfire and sing. We sing, play harmonies, and just hang out and have fun. This is how I first learned to sing. At our family reunions, I would pick an elder out for the night and stand by their side and listen to everything they were singing. I would be like, “ohh thats how you do that. Ok cool.”  So a lot of my teaching came organically that way.

    Later on, I started to take playing very seriously.  I started playing guitar when I was about 14 or 15. I learned every Dave Matthews song in the book–like any young kid does. I just loved it. I always loved music. Until this very day, music pulls me like nothing else in life. When it came to playing music, I didn’t really have a choice in the matter.

    On Songwriting:

    I don’t have a specific goal. Every song is different for everybody. I like to write about life experiences, For example, I wrote a song called “The Tower,” about this place where I grew up, we called it the “Dry Dam.” It’s a dam that was supposed to provide drinking water for the town of Scranton, but, for whatever reason or another, it didn’t end up working. The lake stayed there, and above this dam there was a big tower.  It was like 30 or 40 feet high. As kids we would climb up the tower and jump off into the lake. We also would just hang out, drink under age or whatever, all the stuff kids do. It was a big time hang out spot for me and friends. I had a lot of fun experiences there. I like writing about my personal experiences and hopefully, someone can relate to them in some sort of way.

    Advice For a Kid or Young Adult With A Passion For Music:

    Follow your heart…Decide if music is something you’d like to make money at or if it’s something you just enjoy doing. Try to decide that as soon as you can, and either way is fine, but, just make that decision at some point and know where you’re at with it.

  • In Their Own Words: Freekbass

    On a sunny Friday evening on August 18, funk icon’s Freekbass and The Bump Assembly rocked the main stage at Nights Of Fire Music Festival in Franklinville, NY. Before the big performance, NYS Music was honored to sit down with Chris “Freekbass” Sherman in Freekbass and The Bump Assembly’s tour van. As we began,  Freekbass wittily commented, “It’s appropriate that we’re doing this in the van, because this is where we live.”

    Born, raised, and currently based out of Cincinnati, OH, Freekbass has released six full length albums and has collaborated with modern legends including Bootsy Collins, DJ Spooky, Mike Gordon, Buckethead, Bernie Worrell, and many others. His touring band, Freekbass & The Bump Assembly includes Razor Sharp Johnson (Bootsy’s Rubberband/P-Funk) on keys and synths and Rico Lewis (George Clinton & P-Funk) on drums.

    Whether he’s rocking the cover of Bass Guitar Magazine, playing upward of 150 shows each year, or working on his new album with Ropeadope records, Freekbass is one of the hardest working musicians in the funk business. NYS Music is humbled to present you this edition of “In Their Own Words.” Here we have a collection of bite size nuggets of knowledge, quoted directly from Freekbass:

    On Life On The Road:

    Living in the van, we play about 150 dates a year. I enjoy the road life. I always say you sorta have to have that trucker gene in you to really enjoy it. In James Brown’s autobiography, he explains how they started in a station wagon, then they moved to a van, then to a bus, then a plane, and then a private jet. It doesn’t matter if you’re in that private jet or that station wagon, the road is still the road.  You have to enjoy yourself.

    I like meeting new people all the time. It’s always exciting because you gain energy from new people, and the energy is always different in different places. The audience becomes as much a part of the music and the band as we are. I used to thank the audience at the end of the show. I’d say, “thanks for letting us play for you,” nowadays, i’m always saying, “thank you for letting us play with you.” It feels like our audience has become as much a part of the music as we are. We can play a song for 20 minutes long or the same song for 5 minutes. It all has to do with what the vibe is that night. A lot of our performance has to do with what’s happening with the audience.

    In the last few years, music streaming, illegal downloading, and torrenting has taken over the industry. Five to ten years ago, you recorded a record and then you played live to promote the record. Nowadays, it feels like it’s almost the opposite. A band records a record to help bolster their live show. For instance, when they first began, Pretty Lights gave all of their music away for free. Some people said, “oh wow this is a pretty odd business model,” but, the idea was to get inside everyone’s ears. All of a sudden, they created this huge live buzz, it was all about going to see them live. We have a brand new business model. I think it’s great. Nowadays, you have to be a really good live act. The one thing you can’t replace is a good live show.

    On Cincinnati Ohio’s Funk Music Scene:

    The Cincinnati music family is pretty tight knit. In the music industry, there already is just six degrees of separation between everybody, but, the funk community is even smaller. That’s one thing that’s great about being in Cincinnati. The history goes back to the days of James Brown and King Records; that’s how many great funk players such as Bootsy Collins got their start. There’s always been a strong community of funk musicians in the midwest. When there is a plethora of musicians playing the same kind of music, it’s easier to connect then it might be in other parts of the country.

    On Pre-Performance Rituals:

    We always get together and meditate and pray before a show. It’s something we do no matter what. This is nice because sometimes-at festivals especially-performing can be freaking chaotic due to changeovers and all sorts of things. I feel like prayer grounds us. Right before we go on, no matter how chaotic the day is, even if we have to run behind the back of the van and do it, we always pray.

    Fun Facts:

    I’m looking forward to the new Justice League movie…I also listen to a lot of superhero podcasts. My favorite one is called Holy Batcast. There is also Batmannews.com, Suicide Squadcast, Batman On Film, ect. I’m a big podcast fan. I also listen to WTF with Marc Maron quite a bit. I enjoy putting my headphones in and listening on long road trips.

    Listen To The Entire Freekbass Live at Nights Of Fire Performance:

  • In Their Own Words: Byron Cage of The Joe Louis Walker Band

    On the evening of August 16, 2017, Blues Hall of Famer Joe Louis Walker graced the Photo City Improv stage in Rochester, NY. Joe Louis Walker has been playing the blues since the 1960’s and is still rocking both classic and contemporary styles. Earlier this year, Joe Louis Walker’s new album, “Everybody Wants A Piece” received a nomination for Best Contemporary Blues Album at the 59th annual Grammy’s. Before their show at Photo City Improv, NYS Music had the humbling opportunity to sit down with Joe Louis Walker’s drummer, a Syracuse NY native, Byron Cage. Here are some bite size nuggets of knowledge, quoted directly from Cage:

    On Working With Joe Louis Walker:

    I’ve been playing with Joe Louis Walker almost four years. It’s been a wonderful four years. I am learning and growing as a musician, and as a young man. Joe is my mentor. He’s a complete mentor. He’s a great guy onstage and off stage.

    Joe has taught me to be proud of who you are and be proud of what you do. To be able to share the blues with the world is privilege. It’s a cultural experience, and you want to represent yourself well.

    We try to keep our music authentic and stay true to the roots of the blues. There is nothing wrong with new age experimenting or adding new things… A lot of spontaneous things happen every night. But, when traditional blues is called for, that’s what we play. When it’s time for electric or rockin’ blues, we can do that too. It’s fun to exercise all these different music muscles in one night. We work together as a team; we are a real band. Our chemistry off stage shows on stage. We all genuinely care for each other as people and musicians.  This is represented in our live performance, and everything else we do.

    On Live Music:

    When you play music, the sky is the limit. You don’t level out unless you want to. You can keep growing and growing as long as you push for it. There’s always something new to learn. There is always something new to experience and explore musically. That’s what we want to do. Keep it fresh.

    Music is a universal language. No matter where we go, from Australia, to Asia, to Europe, to Brazil, we connect through the feeling of the music. We vibe together. I believe that is what life’s about.

    At the end of the day, the goal is to share something positive. There is so much crazy stuff happening in our world. People are dying senselessly. We are experiencing a whole new wave of hate. What better way to fight against that hate than to pull everybody together to enjoy some music- to smile and laugh with one another. Then, we shake hands at the end of the night, and create good memories. It’s a beautiful thing. I’m happy to be a part of it.

  • In Their Own Words: Lamar LeBlanc of The Soul Rebels

    Born and raised into the culture of New Orleans, Louisiana, The Soul Rebels have been a brass ensemble since 1991. Fast forward to 2017, the band has toured Africa, China, Japan, Australia, Europe, and beyond. They have regularly collaborated live with Talib Kweli, Nas, Macklemore & Ryan Lewis, Marilyn Manson, Metallica, and many others. In His Own Words: Lamar LeBlanc, co-founder and snare drummer of The Soul Rebels, spoke with NYS Music before their show at Photo City Improv in Rochester on August 12.

    For audio of the entire conversation, please listen to the Rochester Groovecast episode at the bottom of this page.

    On The Soul Rebels:

    When we first started Soul Rebels, our message was so strong. The band was based on the premise of freedom. Freedom for individuals to distinctively show their own personal individuality. That’s what the name personifies, freedom of the soul.

    We rebel for, not against, but for freedom of expression, love, peace, and strength.

    You have to have camaraderie because you are together so long, so many hours, and so many days. If you don’t have some type of connectedness interpersonally, it’s not gonna work. If it’s not connecting vibe wise, it’s definitely going to show in the musical representation of the group.

    Cyril Neville and Milton Batiste always stressed, be real and be yourself. Don’t try to be someone else. Don’t try to imitate someone else, because you can’t be better than that person at doing what they do, you can only be the best at what you do.

    Soul Rebels has always tried to be different. And not just be different to be different, but be ourselves…It was a struggle because New Orleans had already had a foundation of how they felt a brass band should be.

    We always wanted to play the hip hop and funk. We always wanted to have the swag that we have…Kind of a Public Enemy fight the power type vibe…Bob Marley warrior type spirit…still infused with love and freedom.

    On Aspirations To Start A Podcast:

    We’re blessed to have survived the ills of the community of the ghetto. We often just talk about all of the issues, from politics, to financial situations, to marriage, to interpersonal connectedness with people.

    We’re trying to see how we can connect more with the young people. This will go a long way to keep the future preserved. We think we can do that with a podcast.

    Women, relationships, that’s definitely a topic we want to touch on. We see the woman as being very powerful and very influential on all of these issues. So, we can’t do it without a powerful woman. It wont work. I don’t care how strong a man thinks he is, if you don’t have a strong woman there, it’s not gonna work.

    You have to get a woman’s perspective. You have to hear it from them. Feel it from them. They have to speak for themselves.

    On The Aftermath Of Hurricane Katrina:

    Katrina affected the city. It affected the culture. The people are so strong and resilient, but, they did lose a lot. It’s functioning and back but it’s no way near completely what it was prior to Katrina.

    A lot of new buildings, new infrastructure, but before, it was the raw New Orleans that had been around for so long. The demographics are different now, down to the type of resident and everything, but, it still has it’s authentic culture.

    You can’t fight God. The people are so strong and they love the city.

    On Touring:

    It’s amazing how music can transcend so many different lines of communication. It can cut through all the B.S and go straight to a person’s soul. No matter where they are. No matter where you’re from. That’s the gift of music that I’ve seen. We can’t speak the language…but, when you play the music, oh man, I don’t care where we are, the people come and galvanize around.

    Management have made it so everywhere we go we get treated well. I’ve never had that bad experience. That’s not to say maybe a plane wont lose your luggage or something, but, I got it back, so it was still positive.

    On Personal Development:

    I was always a sponge…I always look at myself as a student…one who is constantly learning.

    I read constantly. That’s a gift I got from my mom. I just love reading. Even in this day and age, I still love the physical texture of a book.

    On Fashion:

    My passion beside music…God…family…I really love fashion. My store, my more or less boutique…I probably would call it LeBlanc, I think it’s a cool last name that my family gave me.

  • A Conversation With Giant Panda Guerilla Dub Squad’s Own James Searl

    I had the humbling opportunity to sit down with James Searl of Giant Panda Guerilla Dub Squad for my podcast, The Rochester Groovecast.  The casual conversation was recorded live at the Finger Lakes Grassroots Festival of Music and Dance.  In the episode, we also hear two Giant Panda Guerilla Dub Squad tracks, “Make It Better” and “Walk Right Talk Right.”  Take a listen to the full episode below:

    Come to next year’s Grassroots Music Festival:
    www.grassrootsfest.org
    —
    Keep in touch with Giant Panda Guerilla Dub Squad:
    Home: livepanda.com
    Facebook:www.facebook.com/giantpandadub/
    SoundCloud: @giantpandadub
    Bandcamp: giantpandadub.bandcamp.com
    Twitter: twitter.com/GiantPandaDub
    Instagram: www.instagram.com/giantpandadub/
    Youtube: www.youtube.com/user/giantpandadub
    —
    TIMESTAMP
    00:00- Happy Grassroots Intro
    01:16- “Make It Better” By Giant Panda Guerilla Dub Squad
    05:05- Episode Intro
    06:55- Conversation w/ James Searl
    24:26- Episode Closing
    25:58- “Walk Right Talk Right” By Giant Panda Guerilla Dub Squad

  • Interview: Escaper Unleashes Space Funk on Planet Earth

    Since last year, Brooklyn-based Escaper has been offering listeners a medium through which to contemplate the most practical methods for farming space worms. Or finally realizing that astronauts can create aliens by giving birth in space, or that there are so many cats on the internet because dog people go outside. Either way, Will Hanza of Escaper (bandleader/guitarist) took a moment to reflect on the creative spirit of making music that facilitates the contemplation of life’s most important questions.

    Photo Credit: Brian Edward of Sobokeh

    Ally Dean: The band members in Escaper have collaborated with a highly impressive assortment of musicians. Does Escaper come first for all band members? Is it a challenge for members to juggle this band with other collaborations and projects?

    Will Hanza: We are all proud of our past accomplishments, for sure! Scheduling is tough for any band, but we manage pretty well. There is a lot of creative opportunity surrounding each player, which is terrific! We all support each other’s other projects, which is really fun. Doing so only helps—rising tides raise all ships, and all that. One of the nice things about Escaper is that it was specifically designed to be a band where each member is able to be completely themselves, as players. For each of us, the band is a conduit of free expression, which I think lends itself to the higher levels we are able to get to as a team.

    AD: What do you think people most often contemplate as their minds wander to distant places under the melodic gaze of your music?

    WH: Fun question. We do try to make transportive music. Hopefully, there are no constraints to where the mind wanders. Maybe it’s something transcendental and thought provoking. Maybe it’s, “pizza vs. tacos?” or, “why don’t cats like to swim?” Regardless, our duty is to move ourselves when we play, or we have little chance of moving the listener.

    AD: Do you form your own meanings for what the songs represent or do you prefer not to assign specific meaning to them?

    WH: The songs have taken on some meaning and ‘vibe’ as they have developed. Being an instrumental album, it is certainly more open to interpretation. That said, we call our song titles our one shot at “lyrics.” The songs and titles have developed into their own story line. The journey of escaping confinement is allowing one to be oneself without barriers, and only then is one truly able to unlock all doors and open themselves to many different realms. In the end, our hope is that the listener is able to find their own meaning in all of that.

    AD: Skeleton Key is your first album together. Have you all had separate recording experience before coming together for this?

    WH: Yes. We’ve all recorded/been part of other albums. All separately, except Will and Jay, who were both on the Kalen & the Sky Thieves album, Bluebird (also on Ropeadope). Johnny Butler was an original member of Sister Sparrow & the Dirty Birds and recorded with them. He also has credits with Beyonce, Randy Jackson and others. Adam Ahuja was also on the Ropeadope roster with his band The Flowdown before joining Escaper.

    AD: I read that you guys laid each track down in one take. Is that because you all had an exact goal and executed it perfectly on the first try, or because this style of music lends itself to a little flexibility and you could afford to have a little creative freedom, while still feeling satisfied with the end result?

    WH: A little bit has been lost in translation, as far as how we made this album, so this is a good chance to clarify how we went about our process. We recorded most of the album together in one day in the studio. We all played together, simultaneously, while isolated in different rooms, but with windows so we could see each other. This enabled us to best capture the synergy of playing live. Instead of layer upon layer, we all played together, lending the ability to also play *off* of each other, and inspire each other in the moment. Lift each other up in the moment. While a couple of tracks had some light layering for some orchestral effects, for the most part what you hear is the 5 of us just playing with each other at the same time. The music definitely lends itself to the flexibility of “how do we feel right now,” which we absolutely wanted to allow for in the studio.

    AD: As of now you have a few dates booked in July and just a couple in the Fall. Are you hoping to add more dates in support of the new album or are you not trying to tour too extensively just yet?

    WH: Oh yes. We had a great release show in NYC back in May and have played Brooklyn Bowl a couple times since the release. We’ve played around the northeast, from New England to Virginia. The late July/early August dates are mostly in New York state! We’re excited for the pre-Phish show at American Beauty in NYC on July 26. We’re also excited to be returning to some Hudson Valley favorite spots; July 28 at Snug Harbor in New Paltz, NY and August 4 at Olive’s in Nyack, NY. We haven’t released all of our Fall schedule yet, which will include a couple more festivals and bunch of dates in the northeast, in particular. We’ll continue to fill out our schedule for Fall, Winter and beyond! With the next album currently being recorded and mixed (and due for release in a few months), we’ll be on the road quite a bit. Stay tuned!

    Upcoming Tour Dates:
    7/21 – New Haven, CT – Pacific Standard Tavern
    7/26 – New York, NY – American Beauty NYC
    7/28 – New Paltz, NY – Snugs
    8/4 – Nyack, NY – Olive’s

  • Interview: A Casual Conversation With Funktional Flow

    Sitting down to drink a beer with a band is an experience for which every journalist yearns. I had the pleasant opportunity to sit down with Guitar/Vocalist Jeffery Kueber and Keyboard/Saxophone/Vocalist Mathew Lester of Buffalo’s Funktional Flow for an interview

    The meet-up took place at Three Heads Brewery in Rochester, NY.  Over a heady Three Heads Brewery beer, we discussed Flowfest, Night Lights Music Festival, The Great Blue Heron Music Festival and Cobblestone live.  We also discussed the birth of the band, their long-term growth and a few of their influences.  In reality, we just sat down and chatted.  It was a ton of fun!

    The conversation was recorded in full and used as a “Rochester Groovecast” podcast episode.  The episode also contains two Funktional Flow tracks, “Back Door” and “Time Will Tell.”

    Click the play button below to listen!

    Keep in touch with Funktional Flow!
    www.funktionalflow.com
    Facebook: www.facebook.com/FunktionalFlowMusic
    Twitter: twitter.com/FunktionalFlow
    Instagram: www.instagram.com/funktionalflow/
    ReverbNation: www.reverbnation.com/funktionalflow
    Bandcamp: funktionalflow.bandcamp.com

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