The Ballroom Thieves returned to the Arbor Loft in Rochester for another show put on by Honest Folk. They stopped by last winter, Valentines Day to be exact, and were back for another frigid Rochester night. The folksy trio was back to let Rochester warm its souls next to their rich musical fire while the cold and snow settled in for the long haul outside.
They’ve been busy during their ten-month absence and brought with them two new EPs, one of originals and one of covers. The set borrowed heavily from the new material so the show varied greatly from their previous visit and they continued to showcase their evolution as a band.
On their very first visit to Rochester, back at Abilene, cellist Calin Peters had only recently joined the band. She was a bit shy and hesitant to take control musically. But if Tuesday night was your first time seeing the band, you might determine that the band was built around her specifically. Her beautiful voice led a seeming majority of the tunes and commanded attention unlike any other time we’ve seen them.
Drummer Devin Mauch and guitarist Martin Earley were both recovering from colds while Peters was limping and in a brace from a minor tour van incident. They jokingly were running at a collective 230%, though you wouldn’t know it from their output. On newer material like the raucous and meandering “Can’t Cheat Death,” the deep fuzzed out blues “Fistfight,” and the bubbling, bouncing and building “Almost Love” they were as energized and active as ever.
They threw some great new covers in the mix as well. Earley took the stage alone mid-set for a solo take on Tom Petty’s “Time to Move On” while Peters lead the band on Bahama’s spectacular “Lost in the Light,” which is featured on their just out EP, Covers.
The show ended with a “fake” encore of “Bury Me Smiling,” but there was nothing fake about this show. Honest through and through, including some highly detailed band introductions, including individual Q and A sessions, including such deep dive topics as pets, eating habits and high school accomplishments.
A short opening set by Odetta Hartman married electronics with acoustic folk. Drummer/percussionist Jack Inslee laid down landscapes of sound ranging from seaside and train noises to banjo melodies to backing choruses, while Hartman’s angelic voice and banjo, guitar or fiddle floated above. Inspired by the wedding-esque surroundings, they eschewed their usual spooky setlist for a more love-based repertoire.
Ballroom Thieves, Arbor Loft – Rochester
Setlist: Anybody Else, Can’t Cheat Death, Saint Monica, Only Lonely, Time to Move On (Tom Petty), Bartering, Trouble, Fistfight, Lost in the Light (Bahamas), Do Something, Almost Love, Bury Me Smiling
2019 Newport Folk Festival tickets went on sale last Thursday and completely sold out all three days within a matter of hours. This news is not particularly surprising as the festival has been selling out with increasing quickness over the past few years. But it is no less incredible, particularly since not a single artist had been announced. You can read our review of last year’s festival to get a sense of why it is a special event that garners such fervor among it’s fans new and old, old and young.
If you missed the on sale, don’t fret, there’s still a chance. In one of many moves the organizers have employed to fight the ever present threat of scalpers, the festival set up its own fan-to-fan resale site, hosted by Lyte. Sign up for a spot in line and hope for the best. It might seem like a long shot, but it has proven to be a very successful system in the past, so sit tight. And definitely be wary of any other resellers. Since tickets haven’t even been issued yet they are most definitely not real.
Newport is a festival of surprises, and in a pleasant surprise, soon after the sell out they revealed the festival’s finale set. Entitled “If I Had a Song,” the set will celebrate what would have been festival co-founder Pete Seeger’s 100th birthday with a singalong.
This set will surround hate, and force it to surrender. In what would have been our co-founder’s 100th year, we could think of no better way to celebrate Pete’s spirit in a time where we need each other now more than ever, than to do so with a celebratory sing-along. We’re stronger when we sing together, so we intend to do just that for this year’s festival finale.
The festival also announced that on behalf of every artist playing this year, the Newport Festivals Foundation will make a donation to a music education charity of the artist’s choice. In honor of this set, the festival will be making a donation to Beacon Advocates for Music in Seeger’s hometown of Beacon, NY.
Dear Folk,
This is an important day for the festival and the foundation because we are sharing our vision for 2019 and beyond with you, our folk family.
Sixty years ago, our event defined the modern day festival paradigm, which is so prevalent today. Yet we feel that our own understanding of what it means to be a festival needs to be reexamined. Are we empowering artists? Are we supporting the next generation of musicians? Are we inspiring our fans? In short, can we be doing more?
While we’ve laid the groundwork as a non-profit in recent years, it has become clear that the increasing burden to sustain music education in America is falling squarely on communities like ours.
Therefore, we are making a commitment to partner with every artist playing Newport Folk this summer on donating to a music education cause of their choosing. That’s right, EVERY ARTIST.
Yes, it’s going to be a challenge, but together we’re confident we can make a difference, because that’s what families do for each other.
Grateful,
Jay Sweet, Executive Producer
Usually the lineup would start trickling out starting in January or February, but the festival just announced the second artist for the 2019 lineup. Gregory Alan Isakov, the indie-folk musician from Colorado will return to the Fort after his last appearance in 2014. He is slated for an appearance on Saturday, July 27 and in his honor the Foundation will be making a donation to the Columbine High School guitar class.
John Medeski brought his latest project, a quartet with Will Bernard on guitar, Kirk Joseph on sousaphone and Terence Higgins on drums, to the Buffalo Iron Works on Sunday night. Collectively known as Mad Skillet, the seasoned veterans brought fresh sounds from a wide expanse of influences, mixing in styles from the South, East and West.
Touring behind their just-released album, they stretched those tracks and some additional material into two super-grooving hour-plus long sets. Joseph held down the low end with honking sousaphone blasts that twisted and exploded with electronic distortions. Bernard shredded a hollow body guitar with jazzy chops, funky cuts and bluesy slide-laden swirls. Medeski threw in everything but the kitchen sink: massive swells and chunks of B3 organ, heady splashes of Mellotron and a bit of spice from the Wurlitzer. Higgins beat it all together to a perfect blend.
They weren’t shy in slathering on some jam either. They moved in, out and through grooves with ease. Each player headed up the kitchen while the others played the sous chef. The baton was passed around the room until the dish was ready and all the flavors came together for a glorious four-pronged meal of sound. Regardless of the on-stage dynamic, playing as one, two, three or the full band, each individual flavor came through loud and clear; nothing was lost in the mix. Each individual musician sounded exactly like themselves, and the end result was no more surprising. As good as you would come to expect.
Bob Weir brought his new trio, the Wolf Brothers, featuring Jay Lane on drums and Don Was on bass, to the beautiful Landmark Theatre in Syracuse, and invited harpist and singer Mikaela Davis up for a few songs. After the sellout crowd settled in, the band emerged and took their time tuning and prepping for the night ahead. The show got off to a bit of a sluggish start with an uninspired and sloppy “Jack Straw” that included some unnecessarily long rhythmic interludes. Weir switched to the acoustic and kicked into “Gonesville” off 2016’s Blue Mountain. The trio seemed custom-built to handle this slice of Weir’s repertoire and played more inspired as they locked in nicely for the short country ballad.
The set could have stood to have some more from that album, but they switched immediately back into the tried and true Grateful Dead trademarks. Sticking with the acoustic, the run of “Me and My Uncle,” “Peggy-o” and “Deep Elem Blues” hewed folksy and sounded great, Weir added a fresh shine with some subtle shifts in the melodies. There was an air of intimacy as he stopped to provide snippets of the songs’ histories.
Moving back to electric, “Althea” transitioned nicely out of “Deep Elem Blues” and the set started to pick up some steam as “Loose Lucy” followed. Pushing past 70 minutes, the set felt like it might be winding down when a harp came rolling from backstage. Rochester’s own Mikaela Davis followed closely behind to join the trio for a version of “Bird Song” that provided a real kick in the pants to close out the first set. The added melodic flourishes from the harp gave Weir something to play off and showcase his true rhythmic guitar genius.
The second set continued to build on the energy from the first. “All Along the Watchtower” was played jagged and grungy with Weir taking on a languid psychedelic tone. The band showcased its agility and morphing ability in a shifty “The Music Never Stopped.”
After the bluesy “Standing on Shaky Ground,” the harp came rolling back out and the band started up “Wharf Rat.” Davis confidently took on a more prominent role and the band dug out a nice space for her and Weir to take the jam to strange and beautiful places. The ensuing “China Cat Sunflower” played right into Davis’ strengths. The longer she held court on stage, the audience became more rapt with the sounds she brought into the mix. By the time “I Know You Rider” wound around, Davis was controlling more of the reins, providing the tune with extra bounce, and the crowd responded with increasing excitement.
The harp remained on stage after set close and they returned for the encore as a quartet. Not only was Davis feeling more comfortable, she was now ready to lead the band and counted out the start as they kicked into Neil Young’s “Down By the River.” It was a Neil Young cover, sure, but it was Davis’ version, and the one she’s been playing on tour all year. She sang and played the lead with the seasoned veterans backing her all the way. Jay Lane powered the jam with incredible pounding flourishes to shoot it into the stratosphere, and the crowd roared in appreciation. “Ripple” was the perfect nightcap to emerge out of the fizzle, and a full crowd sing-along had everyone leaving fully satisfied with the songs that filled the air.
Bob Weir and the Wolf Brothers, featuring Mikaela Davis – November 9, 2018 – Landmark Theatre, Syracuse, NY
Set 1: Jack Straw, Gonesville, Me and My Uncle, Peggy-O, Deep Elem Blues > Althea, Loose Lucy > Bird Song*
Set 2: Easy to Slip, Two Djinn, All Along the Watchtower, Music Never Stopped > Shaky Ground, Wharf Rat* > China Cat Sunflower* > I Know You Rider*
Encore: Down By the River*, Ripple*
* – with Mikaela Davis on harp and vocals
On the equinox, the border between summer and autumn, just outside Buffalo at the border between the US and Canada, emerged a brand new festival showcasing music, arts, and crafts bordering in and around roots and Americana. The first Borderland Festival was, by all measures, a huge success in its inaugural year, establishing itself as a viable extension to the Western New York festival season and an event worthy of a summer’s long anticipation.
The festival was gorgeously situated at Knox Farm State Park. Parking was on polo grounds, craft vendors were set up inside horse stables (a few of which actually housed horses), and craftsmen were scattered about, demonstrating their expertise in sheep shearing, cigar rolling, beer brewing, horseshoeing and more. Tasty local food and beverages were available via tent and truck, and a consciousness for the environment was on display with many people drinking from available reusable metal cups and volunteers assisting in proper disposal of all garbage, recyclables and compostables.
Though with non-stop quality music filling the air, there really was time for little else. Two main stages, the Grasslands Stage and the Split Rail Stage, sat mere yards apart and featured alternating sets for a continuum of music across the entire day. A short walk past the horse stables sat the Homespun stage where local talent held court, filling time as viable alternatives to the main acts. Buffalo roots bands like Folkfaces, The Observers and 10 Cent Howl kept the party rambling with down home jams and singalongs. All of the stages were within a few minutes walk and fans could easily catch some of everything with little sacrifice.
And O, the music! Sister Sparrow and the Dirty Birds gave a little preview of their forthcoming album, busting out the upbeat and catchy “Ghost” and showcasing singer Arleigh Kincheloe’s incredible vocal range on the soulful “Gold.” Montreal’s Barr Brothers made a rare appearance in the area, opening with “Come in the Water” and closing with “You Would Have to Lose Your Mind” in a set chock full of their warm and eclectic folk rock. With harps, pedal steels and 12-string guitars, it was a rich tapestry built of many strings, and even one thread which Brad Barr pulled through his guitar for a spacey sonic vibration that reverberated across the farm.
Veteran indie-rockers Dr. Dog are no strangers to Western New York and they were treated like old friends by the crowd which was dancing and singing along from note one. Decked out in matching festival sweatshirts, they treated the audience to an energetic career-spanning set, featuring classics like “The Breeze” and “That Old Black Hole” while also working in a solid chunk of their 2018 release Critical Equation. The slinky groove of “Listening In” turned heavy and dark while “Go Out Fighting” built an deep energy that reached a My Morning Jacket-style intensity level.
The Sam Bush Band showcased their unique take on traditional music, delving into Bush’s newgrass roots on the instrumental “Greenbriar” and getting funky on a fine cover of Alan Toussaint’s “Sneakin Sally Through the Alley.” There was still room for some classic bluegrass stomps with “Howling at the Moon” and “Big Rabbit” and even some social action with “Stop the Violence.” Another Canadian crossing the border for the Borderland Festival, Sam Roberts thanked the area fans for being his first American audience to take him in. Roberts and his band, with stylish guitar-heavy grooving rock, delighted the audience with fan favorites like “Brother Down” and “Mind Flood.”
The clouds persisted for most of what was a perfectly brisk first day of fall. But just as the sun was setting, the clouds parted enough for a beautiful sky filled with reds, oranges, yellows and purples to flow over the festival. It was against this backdrop that New Orleans octet The Revivalists took the stage for the final set of the evening. The crowd kept plenty in the tank and were ready to rage along as the band brought an infectious energy to the stage. Blasting horns, tight rhythms, shredding guitars and a soaring pedal steel formed a crunchy American rock sound that jammed and grooved its way through the darkening night. Autumn was officially here, but for one small corner of the world, a few thousand people were still holding on tight to the spirit of summer.
Music festivals are great places to get a sample of a ton of different music in a short period of time. Get a taste of this band, then that, and on and on without much rhyme or reason. At the Newport Folk Festival, each set felt less like a singular unrelated moment and more like a continuum of a story that was unraveling in real time. Over three days, on a small parcel of land jutting into Narragansett Bay, each artist added their piece to the story, culminating in a grand climax during the final act of the weekend. It was choose-your-own-adventure style, to be read however one wanted.
Across four different stages and multiple pop-up opportunities, there were plenty of twists and turns to take, but never a wrong way or false ending. There were no bad choices, just hard ones. To stay at the Fort Stage and continue listening to Brandi Carlile turn to page 59. To walk to the Harbor Stage to hear what Langhorn Slim is playing flip to page 18.
It played out chronologically, but the memories are a blur of highlights that transcend space and time.
Champion of the festival, member of the inaugural 1959 lineup and subject of a now yearly programming tribute, Pete Seeger is an important figure for the festival. He inscribed his banjo with: “This machine surrounds hate and forces it to surrender.” These words emerged as a theme over the weekend, as they have in other tumultuous times. As Bob Dylan famously did way back when, and many other since, artists more often than not, opted for the strength of electricity in their “machines” at this year’s festival.
Sturgill Simpson abandoned any semblance of country and played a full-throttle set of heavy rocking jams with his four piece that was more Zeppelin and Hendrix than Jennings or Nelson. Twain, played an electrified acoustic guitar, which helped push his soft speaking voice into an exuberant howl, bursting with emotion when used in song. He and his trio played meandering songs that were mellow but moving, groovy and captivating. Moses Sumney, with just his voice and guitar, used layers of loops and effects to create vast sound tapestries that blanketed the crowd at the Harbor Stage.
Don’t fret (pun intended), others took the more traditional route, using just voice and acoustic instruments to convey their messages. Charlie Parr played acoustic guitars, along with a percussionist, on songs, both autobiographical and otherwise, that felt both fresh and timeless. Supergroup Bermuda Triangle, Brittany Howard, Becca Mancari and Jesse Lafser, had a bit of a song circle vibe, passing each others songs around, playing guitars, banjos and an upright bass. They also worked in some new group originals, including a self-titled theme song that centered on their stunning three-part harmonies.
Some took unexpected turns toward stripped down acoustic music. Nels Cline, known best as the off-kilter guitarist of Wilco and for his avant-garde jazz outings, performed classic country, blues and even a raga-esque instrumental on a resonator guitar with Brandon Seabrook joining on mandolin and guitar. St. Vincent, dressed in a stunning red dress, and joined only by Thomas Barton on piano, managed an even bigger left turn. Her rhythmic electro-pop songs like “Prince Johnny” and “Masseduction” were stripped down to their bare bones and performed as jazzy lounge vocal workouts. The songs showed their inner strength, holding up to their massive reinterpretations.
Others found strength in numbers. Hiss Golden Messenger boasted three guitars for a big energy set that begged the crowd to boogie along. The nine members of Tank and the Bangas held an on-stage party, pushing the envelope of the festival’s history with a mix of rap, funk, metal-style shredding. Twerking and Outkast weren’t off-limits for this “folk” set. Low Cut Connie matched the Bangas energy in a set of high-octane bar boogie that had lead singer Adam Weiner jumping atop his piano every chance he could get. Nicole Atkins “had the best afternoon of her life,” leading a ten-piece through her soulful catalog and beyond, including a wonderful cover of Carole King’s “Road to Nowhere.” Hamilton Leithauser and Rostamg led a ten piece that included a string quartet, on songs from both their collaborations and their solo careers. This is the Kit also played with a string quartet to close their set, topping off lead woman Kate Stables’ quintet. They split the difference between folk jazz and rock with intricate and multilayered compositions like “Bulletproof” and “Moonshine Freeze.” Glorietta, a band formed by festival alums, yo-yo’d from up to nine members down to two, playing sounds ranging from country ballads to raging party rockers.
Guest artists are the norm at Newport, whether they were already playing at the festival or not. Nels Cline invited up Warren Haynes for takes on “Walking Blues,” “The Last Thing On My Mind,” and lastly, with apologies to Jeff Tweedy, Cline took the mic for Wilco’s “White Light.” Margo Price called up John Prine for a duet of “In Spite of Ourselves” and then Brandi Carlile to help her rip through Dolly Parton’s “9 to 5,” a song deemed “very important to the times.” The incredible talent at the festival was used by artists like a toolkit. Female voices were especially in high demand. Carlile, Lucius, Maggie Rogers and the Watson Twins showed up more times than we can count. Eric D. Johnson led a special set entitled Beneath the Sacred Mountain that was built with special guests in mind. The Shin’s James Mercer came out to sing a few including “Helpless” with the Watson Twins, Laura Veirs and Matthew White joined together on “You Ain’t Going Nowhere” and Johnson led the house band on “Deal.”
Perhaps the biggest surprise guest appeared late on Friday when Jason Isbell invited David Crosby to the stage for powerful renditions of “Wooden Ships” and “Ohio.” According to Isbell, “these are the songs we need to be listening to right now.” Becca Mancari echoed that sentiment in her set at the intimate Museum Stage with Jesse Lafser. They played a more bare version of “Ohio,” but the words carried the same weight. “It’s so important at this time to have hope,” she said, and Neil Young’s words, though specific to a time and place, resonate strongly still.
Surprises weren’t limited to special guests. Unplanned stripped-down sets occurred throughout the weekend at the Kids Tent with everyone from Spirit Family Reunion to Hiss Golden Messenger to This is the Kit. Passenger followed up his Fort Stage set with a up-from-nowhere set on a small stage thrown together in the back of the Quad inside the fort walls where he graced a gathering crowd with Springsteen’s “Dancer in the Dark” and a first-time performance of an original still in the works. One artist remained completely unannounced on the schedule. Saturday’s final act remained a mystery up until the very moment they took the stage. The crowd gathered in anticipation for waiting for the reveal. Excitement erupted when Mumford and Sons finally took the stage, immediately joined by guests Jerry Douglas, Brandi Carlile and Maggie Rogers for “Awake My Soul.” The guests would continue throughout, with Phoebe Bridgers singing on a cover of Radiohead’s “All I Need,” Douglas and Carlile returned for SImon and Garfunkel’s “The Boxer,” and Mavis Staples came out to finish with “The Weight.”
Despite being held around the walls of a fort, the festival eliminated borders. The themes were universal and the lineup international. All were welcome to join in on the story being told. Khruangbin imported Thai-inspired funk for a slinky soul-soothing set that wordlessly dissolved borders. Sidi Toure brought their ngoni-led Malian fare for more East meets West infectious grooves. Sweden’s Daniel Norgren wowed with slow-burn folk rockers featuring crunchy guitar wails. Courtney Barnett slashed and burned with her grungy guitar style in both her own set and as a member of fellow Melbournian Jen Cloher’s band, who played her first-ever American festival. Toots and the Maytals brought Jamaican’s folk traditions and Glen Hansard a heavy dose of Ireland’s.
Shakey Graves concentrated on his just-released material, songs of reassurance in troubling times. He spoke of the bubble that is created at Newport. It’s a bubble of inclusion and love that exemplifies the idea that all who play and attend are a part of the folk family. Many others echoed this sentiment throughout the weekend, Lucius expressing “Newport enables a sharing of love, and we need to help it spread.”
There was also plenty of actual family love spread throughout the festival. Amanda Shires invited husband Jason Isbell for a few tunes and also joined him for his entire set. Margo Price had her husband, Jeremy Ivey, playing guitar and harmonica in her band, including a moving duet on “All American Made.” Valerie June, playing her “irridescent, sparkly” music dedicated a song to her mom who was in the audience. Husband and wife band War and Treaty urged the audience to hug each other amidst an uplifting gospel revue that celebrated “the greatest race ever… the human race.” Brandi Carlile brought her four-year-old Evangeline onto the stage for the song she inspired, “A Mother”. “There’s not just one kind of family, this is about Evangeline but really it’s about everyone’s Evangeline,” Carlile explained. Langhorne Slim brought his mother on stage to sing along on her first favorite song of his, “Diamonds and Gold.”
All chapters of the story, regardless of how the pages turned, told the same tale. And they all concluded at the Fort Stage early Sunday evening for a set listed as “A Change is Gonna Come.” Jon Batiste, backed by the Dap Kings, hosted a superstar blowout finale centered on the great American songbook. Patriotic songs, protest songs and gospels. A solo piano Star Spangled Banner contrasted immediately with the Dap Kings interpretation of “This Land Is Your Land.” Leon Bridges and Gary Clarke Jr. came up for yet another take on “Ohio,” this one slow and oozing, searingly powerful. Valerie June and Ben Jaffe joined for “Ain’t Nobody Gonna Turn Me Around.” The remainder of the Preservation Hall Jazz Band entered the stage with Chis Thile and Leon Bridges for “I’ll Fly Away.” Thile remained on the stage for a duet with Batiste on the Punch Brothers’ “My Oh My,” that meandered around classical and jazz themes in a delicately intricate dance of sound. Brandi Carlile and Maggie Rogers got up for “Times They Are A Changin’”, Rachel Price on “A Change is Gonna Come,” and finally Mavis Staples returned once again for “Jesus on the Mainline.” Any musician still on the grounds got on stage for a huge playing of “Freedom’s Highway” that no one ever wanted to end.
The magical weekend was coming to an end, but the change will only come if everyone keeps the spirit alive beyond the Fort. Artists continually included the crowd with sing-alongs, clap-alongs, dance-offs, scream-offs and more. More than any rally or march, the Newport Folk Festival provided a platform to inspire a path forward from the darkness. The festival welcomed at its entrance with another Seeger quote, “We’re stronger when we sing together.” Though it might just be this story’s moral to walk away with.
Most days of the year, Gibbs Street in Rochester’s East End is a quiet side street you’d drive by without taking much notice. Though for 9 days in late June, it gets renamed Jazz Street and the surrounding area becomes a vast musical hullabaloo. Big tents are erected, rock clubs become jazz clubs, and churches morph into ornate high-ceilinged music venues. Food vendors come by truck, tent and cart. Police blockade traffic while happily allowing open alcohol containers in the streets. A tale of such excitement would hardly be believed, had it not occurred every year for the past eighteen years. This was the Xerox Rochester International Jazz Festival’s 18th season, and this is what we saw.
We saw over 40 different artists in 16 different venues. The music was inescapable. Whether blasting from the Jazz Street Stage, the Chestnut Street Stage, the Fusion Stage, the outdoor speakers at the Big Tent, or from the multitude of quality musicians busking on every corner of every street, even passing between Club Pass venues was filled with sweet sounds.
True to the Fest’s mantra, we saw artists we knew and we saw artists we didn’t.
We saw familiar festival alumni return in a not-so familiar way.
Norwegian piano trio, In the Country, made their third visit to the festival this year. Though this time they backed singer Solveig Slettahjell and guitarist Knut Reiersrud in a group called Trail of Souls. They opened and closed with Norwegian folk songs and in between sandwiched an invigorating set of American gospel, folk, blues and rock. Reiersrud’s guitar was angular, jarring, beautiful and fluid while Slettahjell’s voice fell somewhere between Cesaria Evora and Nina Simone. Her hands extended out, fingers hitting invisible keys in the air, playing her vocal chords like a piano. Highlights include a piano and voice duet on the traditional “Motherless Child,” a flourishing spacey take on Peter Gabriel’s “Mercy Street,” and a stunning slow building “Nobody’s Fault But Mine.”
Cuba’s Alfredo Rodriguez and Pedrito Martinez have both played the festival as leaders of their own bands. This year they returned together as a duo, a mini-Cuban supergroup. The two played from an album they just recorded and will be out early next year. Rodriguez’s head rolled on a swivel as he engaged in entrancing and hypnotic piano solos. Martinez had a full palette of congas to make his percussion sing. Both also sang, eventually involving the audience in singing the chorus to a traditional Cuban song.
Adventurous piano trio The Bad Plus returned to the festival after a ten year absence. This year the band experienced their first lineup change, replacing founding pianist Ethan Iverson with Orrin Evans. The Bad Plus has always been the sum total of the musician’s personalities. Iverson was fairly rigid and controlled with a heavy classical influence. Evans brings in a looser more free-wheeling attitude. The music then was more fluid, the band took more improvisational risks, and even delved into a more traditional swinging jazz sound at times. The band hit on a few classics like “Big Eater” and “Anthem for the Earnest” but really focused most of their attention on their new material like the manic “Safe Passage” and the aired out beauty of “People Like You.”
We saw yet another church turn into a temple of jazz worship. Joining the Christ Church and Lutheran Church, the newly renovated Temple Theater, or Grace Road Church, became the latest venue on the Club Pass series. Plentiful comfortable seats, great sight lines, beautiful stained glass and pristine sound made it one of the best venues and just another reason to praise jazz-us!
We saw a trumpet player sing and a singer play trumpet. Nicholas Payton returned to the festival for the third time. On his last visit in 2016 he played trumpet and keys simultaneously, but the set was cut short by a fire alarm. This year he added a keys player to make a quartet. It would be too easy for him to stick to just the trumpet, so he added singing to his repertoire, taking the vocals on his ‘derangement’ of “How Deep is the Ocean” and for a piece based on an essay by Max Roach called “Jazz is a Four Letter Word.” He even had the Kilbourn Hall audience rapping along by the end of that one.
The aptly named vocalist, Jazzmeia Horn, on the other hand, turned her voice into an instrument. Her classic interpretation of jazz standards got turned on their head once she started scatting. Impossible sounds emerged from her mouth as she pushed the human voice to exciting new realms. It’s possible the best trumpet player we saw at the festival didn’t even play the trumpet!
We saw younger jazzmen turn the acoustic, electric.
It isn’t so much that Moon Hooch is a trio consisting of two saxophones and a drummer. It’s how each is played. Saxophones of all kinds, bass, electronic and everything in between, were run through ample effects to create sounds previously alien to jazz and the world in general. With a ruleless and ruthless onslaught of massive noise the band had the crowd shaking their bones voluntarily or otherwise. The band didn’t so much as stop to breath for their full hour set in the Big Tent, leaving absolutely no room for woulds or coulds. Shirtless ten minutes in, drummer James Muschler held the dance party together with EDM-ready beats and his own bout with a soprano sax and even some off-kilter bangs on a baby grand.
U.K.’s Gogo Penguin are a more traditional trio, with piano, bass and drums. Though more subtle with the electronics, they still packed a punch. Chris Illingworth had the piano wired in such a way that he could play acoustic and electric sounds simultaneously. Nick Blacka had his double-bass running through an array of pedals befitting a rock band. Drummer Rob Turner appeared to be fully acoustic though his beats veered into electronic music territory. The energy driving the music ebbed and flowed, with more swells than breaks and an incredibly big sound from three men.
We saw artists from islands to the west, and islands to the east.
Hawaii’s Ron Artis II, shaped guitar sounds from his axe like molding putty in his hands, effortlessly throwing short bits of brilliance this way and that. His trio, The Truth, rode with him every step of the way as he conquered blues, funk and soul, sometimes all at once, in a set that wowed an ever-growing crowd inside the Big Tent venue.
Through the Made in the U.K. series held at the Christ Church there was plenty of great music from across the pond. One of our favorites were Beats n’ Pieces Big Band, who sported a 9-piece horn section as part of a 14-man ensemble that made them the largest band to ever play the venue. It’s songs often ended in explosions of chaos, sounds bouncing every which way around the cavernous hall.
We also loved young vocalist Zara McFarlane, who injected more traditional jazz with 70s soul grooves and reggae, reaching into her Jamaican heritage. Though she was the leader, the band wasn’t reserved for backing duties, the music was much more of an equal parts affair, giving everyone plenty of space to shine.
We saw some pretty unusual jazz instruments.
Brooklyn trio House of Waters shined a spotlight on the nearly-forgotten hammered dulcimer. In a stunning set at Max of Eastman Place, Max ZT played a hammered dulcimer that he built himself, in pieces ranging from funky to rocking to hypnotic. Moto Fukushima played the bass as a lead instrument, eliciting a sound reminiscent of Victor Wooten keeping the music in constant movement.
Mwenso and the Shakes brought a completely unique twist to vocal jazz, breaking up normal song patterns into chunks, stretching here, punctuating there. Upping the ante on the unusual, the 8-piece band included a tap dancer. One song consisted of a mostly (or completely?) improvised tap dance and guitar duet that was simply incredible and incomparable.
We saw fed up citizens use their talent as a platform for protest. While it isn’t unprecedented for the artists at the jazz fest to get political, this year’s voices of protest were much more prominent and prevalent. Indeed there was an entire set dedicated to speaking out. Drummer Ulysses Owens Jr. presented his Songs of Freedom, featuring singers Alicia Olatuja and Theo Bleckmann interpreting the music of Joni Mitchell, Nina Simone and Abbey Lincoln. Songs written decades ago remain relevant today. Olatuja opened the set with a gorgeous take on “Both Sides Now” and finished it with an “Everything Must Change” that had some in the audience in tears. Bleckman put his spin on the all-too timely “Borderline” using filters and loops to stunning effect. He also had his voice sounding like an organ in a set highlight performance of “There’s a Balm in Gilead.”
Singer Deva Mahal‘s band came out dressed in white to show solidarity with those marching to protest families being ripped apart at the country’s border. In a set spanning pop, funk, rock and soul, she also exhibited some gospel influence, singing “Everyone deserves to be free / I would stand for you would you stand for me?”
Jazzmeia Horn used “Willow Weep For Me” to opine on the state of race in the country, singing about police brutality, private prisons and more.
Matt Wilson‘s Honey and Salt played from his latest project, putting music to Carl Sandberg poems. The set oozed with pure joy; musicians joking, laughing and smiling, music bouncing and bright. Fun as it was, it wasn’t without a serious note. Introducing the song “Choose” to close out the set, Wilson noted that while it was always relevant, it was even more so in the past 500 days. “The single clenched fist lifted and ready / Or the open asking hand held out and waiting / Choose: For we meet by one or the other.” The music resembled a march, and after the band’s final bows, they marched off stage chanting the words.
Honey and Salt closed out the programming at the Kilbourn Stage. As such, a line from another of the poems they played seemed quite relevant as well. “To know silence perfectly, is to know music.” After nine magical days, Jazz Street would be silent again.
For this is a festival that no one can beat! And to think that we saw it on Jazz Street!
During the seemingly unending winter, Rochesterians yearn for a glimpse of the warming sun. As soon as the summer hits however, a large number of them start ducking in and out of dark halls, churches theaters and clubs, now yearning for a glimpse of some of the greatest musical talent the world over. From June 22 through 30, 2018 Rochester Jazz Fest will once again become one of the hottest destinations for live jazz, and music in general. The 17th edition of the Xerox Rochester International Jazz Fest is bringing 1500 artists from 20 countries to play over 300 shows in 20 different venues. 214 club pass shows, 97 free shows and 5 headliner shows all happening over a 9-day stretch inside 1 square mile. That’s a lot of numbers to crunch, and you just want to see some music. Thankfully we’re here to do the math, calculating the perfect slate for any music lover. Whatever you’re pleasure, there’s a number that fits. Check out our picks below, and don’t forget to also read our tips for the best way to enjoy your time at the fest.
1 Voice
These are the singers we’ll have our eyes on:
https://youtu.be/JJYzPOYHOao
Songs of Freedom Drummer Ulysses Owens Jr. originally put together this show for a special gig at Lincoln Center. It features not just one, but three amazing voices singing songs from not just one but three iconic singers. The show explores the 1960s through through the music of Nina Simone, Joni Mitchell and Abbey Lincoln and will feature the singers Theo Bleckmann, Alicia Olatuja and Joanna Majoko.
June 27, Kilbourn Hall, 6:00 p.m. and 9:00 p.m.; $35 or Club Pass
Zara McFarlane An award-winning singer from the UK with roots in the Caribbean, McFarlane’s sound adds reggae and soul to a jazz base, but it doesn’t stop there in breaking down new barriers in music. She’s in the thick of a new and young British jazz renaissance and is joined on her latest release by XRIJF alums Moses Boyd, Binker Goldings and Shabaka Hutchings. This won’t be your typical jazz vocal set.
June 25, Christ Church, 6:45 p.m. and 8:45 p.m.; $30 or Club Pass
The Suffers
We could easily throw this Houston band into the next category because they’ll certainly get you moving with their big band Gulf Coast soul music, but it all comes back to Kam Franklin and her big time pipes. They’ve wowed at many a festival all around the world, but now it’s Rochester’s turn.
June 28, Harro East, 5:30 p.m. and 7:15 p.m.; $30 or Club Pass
Also check out:
Liz Vice June 27, Montage Music Hall, 6:00 p.m. and 10:00 p.m.; $30 or Club Pass
Deva Mahal June 30, Harro East, 5:30 p.m. and 7:15 p.m.; $30 or Club Pass
2 Feet
In the mood to dance? Here are some artists that will get your body moving:
St. Germain An innovator of house music, St. Germain is the stage name of Frenchman Ludovic Navarre. He combines jazz, blues and African music with electronic music. Even if you’ve never heard of him, you’ve likely heard him, his songs like “Alabama Blues” and “Rose Rouge” were widespread hits. Even his music that is now decades old sounds fresh and new today.
June 29, City of Rochester East Ave and Chestnut St Stage, 9:00 p.m.; Free
Tower of Power
Going further back, Tower of Power have been blasting their tunes for 50 years and are celebrating as such all year. As appropriate a name in a band as you will find, this horn-based funk and R&B band is truly a towering power, with charting hits like “You’re Still a Young Man”, “So Very Hard to Go”, “What Is Hip?”, and “Don’t Change Horses (in the Middle of a Stream)”.
June 30, City of Rochester East Ave and Chestnut St Stage, 9:00 p.m.; Free
Moon Hooch
Moon Hooch resides somewhere in between St. Germain and Tower of Power, the up-and-coming three piece combines bombastic saxophones with eclectic drumming to arrive in an electronic music space via a more organic path. It’s unique and will make your mind spin, but it’ll also get your feet moving.
June 24, Rochester Regional Health Big Tent, 8:30 p.m. and 10:00 p.m.; $30 or Club Pass
June 25, Montage Music Hall, 6:00 p.m. and 10:00 p.m.; $30 or Club Pass
Also check out:
Ghost-Note with Mononeon June 27, Harro East, 5:30 p.m. and 7:15 p.m.; $30 or Club Pass
June 28, Squeezers Stage at Anthology, 7:45 p.m. and 9:45 p.m.; $30 or Club Pass
Mwenso and the Shakes June 23, Xerox Auditorium, 6:30 p.m. and 9:00 p.m.; $30 or Club Pass
6 Strings
Here are some musicians that will be lighting fires with axes:
Scott Sharrard
You may have caught Sharrard a couple of years ago as a part of the late Greg Allman’s band when he headlined at the Eastman Theatre. Sharrard was a long-time member and musical director of Allman’s band, but he also has a long solo career of his own. Now he’s fronting his Brickyard Band, playing raw and vital blues rock. They’ll be bringing material from their forthcoming album, Saving Grace.
June 22, City of Rochester East Ave and Chestnut St Stage, 9:00 p.m.; Free June 23, City of Rochester Jazz St Stage, 7:30 p.m. and 9:30 p.m.; Free
Stephane Wrembel
The mantra of the festival might be “It’s not who you know, it’s who you don’t know,” though after 17 years it’s tough not to have return visits. Wrembel is coming back for the 5th time, and has been a fan favorite every year. He returns almost yearly for non-festival shows and even recorded a live album in town at the Lovin’ Cup a few years ago. We probably don’t need to tell you, but you won’t want to miss his set this year either.
June 29, Max of Eastman Place, 6:15 p.m. and 10:00 p.m.; $30 or Club Pass
Ron Artis II and the Truth
If you’re looking for a fresh-faced axe slinger to blow you away, look no further than Ron Artis. This Hawaiian band oozes soul and backs it with exhilarating instrumentation. They’ll bring material from their recently released debut album, Soul Street, and will leave town with a whole bunch of new fans.
June 22, Rochester Regional Health Big Tent, 8:30 p.m. and 10:00 p.m.; $30 or Club Pass
June 23, Montage Music Hall, 6:00 p.m. and 10:00 p.m.; $30 or Club Pass
Also check out:
Jack Broadbent June 23, Harro East, 5:30 p.m. and 7:15 p.m.; $30 or Club Pass June 24, Xerox Auditorium, 6:30 p.m. and 9:00 p.m.; $30 or Club Pass
Torben Waldorff June 27, Lutheran Church of the Reformation, 7:30 p.m. and 9:30 p.m.; $30 or Club Pass
50 Stars, 13 Stripes
That’s the flag we’re referencing there, and these are acts steeped in Americana:
Pokey Lafarge
Another returnee, Pokey Lafarge is coming back to the festival after six years away. In our review of his Lilac Festival set a few years back, we noted “his music does pull from many early music influences like Western swing, ragtime, old-time country and jazz, it manages to rise above a simple throwback.”
June 29, City of Rochester Stage at Dr. Martin Luther King Jr. Memorial Park, 9:00 p.m.; Free
Alison Krauss
Grammy-winning bluegrass, folk and country singer Alison Krauss comes to the festival behind her critically-acclaimed new album Windy City, her first without Union Station in a decade. Her smooth-as-silk voice will be even more front and center than usual and the show will be as captivating as you’ve come to expect.
June 27, Kodak Hall at Eastman Theatre, 8:00 p.m.;$115/$105/$85/$70 or Club Pass
Dustbowl Revival
One of our favorite finds from last year’s fest, Dustbowl Revival, “a string band with a horn section, used each of its eight pieces to their advantage, moving from swing to ska to folk to blues to funk to rock and everything in between.” Anyone who caught them last year will certainly be on their way to see them again.
June 24, Harro East, 5:30 p.m. and 7:15 p.m.; $30 or Club Pass
Also check out:
Junior Brown June 26, Squeezers Stage at Anthology, 7:45 p.m. and 9:45 p.m.; $30 or Club Pass
As always there’s plenty of piano talent to go around, these are the ones we’re most excited to check out:
The Bad Plus
Genre-bending trio The Bad Plus premiered material from a forthcoming album featuring singer Wendy Lewis at the festival in 2008. It was quite the surprise at the time. Ten years later they finally return, and again have a lineup change. Pianist Ethan Iverson left the band at the end of last year, and was replaced by Orrin Evans. The band promptly released a new album, Never Stop II, and we’ll get a peek at some of that material and a lot more.
June 23, Temple Building, 7:00 p.m. and 9:15 p.m.; $30 or Club Pass
Pilc Moutin Hoenig Heavily improvised and inventive, this trio out of New York featuring Jean-Michel Pilc, Francoise Moutin and Ari Hoenig. Each brings their individual instrumental prowess together to form something wholly unique. For the full experience, you can also catch Pilc perform solo piano at the Hatch Hall on the next night (at 5:45 p.m. and 7:45 p.m.).
June 28, Lutheran Church of the Reformation, 7:30 p.m. and 9:30 p.m.; $30 or Club Pass
Gogo Penguin
They played their first ever North American gig in Rochester when they nearly topped our list of the 10 best sets of the 2015 festival. They’ve expanded their reach and have been winning fans the world over. “The music is thoroughly melodic, not veering into traditional solos, and taking cues from both classical and pop music for a unique sound that isn’t immediately identifiable as jazz.” Our most anticipated returning artist is a toss-up between Gogo Penguin and The Bad Plus. We wouldn’t miss either!
June 28, Xerox Auditorium, 6:30 p.m. and 9:00 p.m.; $30 or Club Pass
Also check out:
Django Bates Beloved June 23, Christ Church, 6:45 p.m. and 8:45 p.m.; $30 or Club Pass
The skies the limit with these artists who push the boundaries of music:
House of Waters
It’s your one chance to see the hammered dulcimer at the festival, so thankfully it’s a player, Max ZT who NPR calls the “Jimi Hendrix of hammered dulcimer.” Forget everything you know about the instrument as ZT has all but reinvented the sound. With jazz bassist Moto Fukushima and South American drummer Ignacius Rivas Bixio, House of Waters creates a musical blend unlike any you’ve ever heard.
June 26, Max of Eastman Place, 6:15 p.m. and 10:00 p.m.; $30 or Club Pass
Matt Wilson’s Honey and Salt Band
Wilson’s latest project, the Honey and Salt Band, plays music inspired by, and including the words of the poetry of Carl Sandburg. It is off-beat and quirky, funny and fun and will have you smiling ear to ear for the duration of their set. You kind of just need to go see it.
June 30, Kilbourn Hall, 6:00 p.m. and 9:00 p.m.; $35 or Club Pass
Beats and Pieces Big Band
A big band for the next generation, bandleader Ben Cottrell conducts this 14-piece outfit out of Manchester, England. Their music is equal parts rocking, jazzy and ethereal. The band’s lineup hasn’t changed much in ten years making for a supremely tight group that has incredible agility for a band of this size. Expect the unexpected.
June 24, Christ Church, 6:45 p.m. and 8:45 p.m.; $30 or Club Pass
Also check out:
Trail of Souls June 25, Lutheran Church of the Reformation, 7:30 p.m. and 9:30 p.m.; $30 or Club Pass
Shake Stew June 27, Xerox Auditorium, 6:30 p.m. and 9:00 p.m.; $30 or Club Pass
Be sure and check out the full schedule and download the app at rochesterjazz.com to construct your own nightly schedule.
Mike Gantzer and David Loss of Aqueous, Mike Carubba and Josh Schwartz of Turkuaz, Ben Carrey of Pigeons Playing Ping Pong, Matt Jalbert of Tauk and Hayley Jane all walked into a bar for a night of Unique Jamming… and took the stage at Funk ‘n Waffles Music Hall in Rochester with no set list and no songs, not even covers. But it actually isn’t a joke. They were brought together by the mastermind behind Everyone Orchestra, Matt Butler. He would be their conductor on this mad science experiment in improvisational music.
Decked out in a glittery purple conductor’s jacket and top hat, Butler, with hand motions, vocal cues, a white board and an iPad, directed the musicians through completely made-on-the-spot compositions across two sets for over 2 hours Friday night. The only time this music will ever get played was on that night and the only people to hear it were present then and there.
Some of the jams got started with a written note from Butler. Some of these were made available to the crowd. “A2 D2, indie rock” was scrawled out on one for example; others remained for the band’s eyes only. Other jams were prompted by one of the musicians, as requested by Butler. Loss started one with a crunchy organ groove, the rest of the band joined in, and a theme was established and another jam had begun. It was a game and Butler was the game master.
As jams tend to do, these pieces changed in character the deeper they got. But with a conductor, they didn’t veer out of control either. Solos were kept in check with a nod or point, or were egged on further with emphatic arm and hand motions. In one thrilling moment, the guitarists battled to a raging tangle as Butler essentially live-edited the two competing sounds into a perfect jarring climax.
With quickly improvised lyrics and melodies, Jane, or occasionally Butler himself, was able to develop a familiarity to the pieces that the band could return to again and again, at times creating songs the crowd could even sing along to by the end. Early in the second set, the band gelled around the lyrics “Open your eyes to see / The truth will set you free,” in a jam that finished in a building and bright rock-ready progression that was certainly a highlight of the evening.
Taking in the show as a whole, one aspect that must be marveled at is how, through it all, the music never settled into a familiar or well-worn groove. There were no covers, teases, or even any “sounds-likes” to be had. With a one-time band put together for a one-time concert, that is a rather incredible feat. Perhaps in the end, the only proper reaction is to laugh after all.
Before JJ Grey was ever seen on stage, the sound of his harmonica came humming across the PA. The man himself soon followed as he sauntered out in a slick black suit. The harp echoed throughout Funk ‘n Waffles Music Hall in Rochester. As the evening progressed, he shed the harmonica to rock out some guitar. Then lap steel, tambourine and keys followed. The instrument that was ever present was his soulful Southern croon belting out his dirty funky blues with swampy Florida roots.
Despite the prowess across many instruments, Grey is not a one man band, of course. Mofro, all in nearly matching black suits, were there every step of the way. Their attire, it should be stated, was not apropos of the evening – a hot and muggy one – even for a band from Florida. Grey even switched up the lyrics in “Every Minute,” singing “so good to be hot… in this club.” The bass, guitar, keys and drums slugged out the blues and funk while a two-trumpet back line brought some bright New Orleans flavor to the mix. Each member brought their own character to the sound and each was featured multiple times throughout.
Through his lyrics and his inter-song bantering, Grey brought to light some of his life philosophies. It’s clear he’s never been happier. He may have been an idiot before, but as he continues to improve, “next year he’ll be an idiot this year,” he says. At times, he sounded like a preacher, doling out the gospel of Mofro. “Lord I’ve changed!” “Glory Hallelujah!” Still at others, he was pining for his grandmother’s cornbread.
The rabid crowd, almost entirely decked out in Mofro attire, were not just around to be entertained, but to get involved. Most of the songs turned into singalongs. Grey using that to his advantage, managing mic-in-the-crowd choruses on “A Woman” and “Brighter Days.” None was more moving than the encore of “Hey Jude.” The show closed with the crowd heartily singing the finish to the quintessential Beatles classic. If every day ended with a communal singing of “Hey Jude,” the world would certainly be a better place, and JJ Grey would be an even happier man.
Freddy and Francine, a trio out of Nashville, opened the night with some quieter, but no less soulful tunes. It tested the exuberant crowd, but their gorgeous and powerful three-part harmonies won them over and played as a perfect setup for JJ Grey and Mofro.
Setlist: How Junior Got His Head Put Out, A Woman, Every Minute, Brighter Days, Country Ghetto, Hide and Seek, ?, Seminole Wind (John Anderson), Lochloosa, Orange Blossoms, Lazy Fo Acre, Ho Cake, The Sun is Shining Down
E: Hey Jude
