Category: Jam/Progressive

Phallbany: Get Phishy in Albany as Fall Tour Kicks Off!

A 48-hour, tie dye wave will splash over downtown Albany just in time for Phish’s back-to-back opening Fall Tour gigs. The famed jam quartet’s October 16 and 17 shows will appropriately notch their 16th and 17th shows ever played in the state capital of ‘Phallbany’ and the buzzing city is chock-full of opportunities to celebrate the mid-week shakedown while quickly exploring historic and artistic surroundings. NYS Music is here to give you the rundown on all things Phish, including helpful navigation tips and how to make your mid-week visit to Albany as smooth as possible.

No strangers to the Times Union Center, some notable moments have come out of their many meetings with the 28-year old Albany venue. Over the years, Phish entertained crowds in some cozier quarters just around the corner at the Palace Theatre.

With Albany’s extensive history of Phish, we went to IHOZ – the International House of ZZYZX and looked up some stats from all past shows in NY’s capital, aside from Pauly’s Hotel in 1989 where there is no known setlist.

October 16th marks the first ever Tuesday show. In the last five shows there have been four debuts: Windora Bug and Mellow Mood (2000) and Golden Age and Tomorrow’s Song (2009). Given the frequency of songs below, “You Enjoy Myself” is quite a safe bet, as are “Bouncing Around the Room” and “Guyute,” and while “Jam” isn’t a song, that much is guaranteed over the two nights.

Phish has yet to play “Divided Sky” in Albany, and we have yet to have a proper “Mike’s” -> “I Am Hydrogen” > “Weekapaug Groove,” with the H2 never showing up in the Capital District.

Most commonly played since 1992, “You Enjoy Myself” holds the heavyweight title with a total of seven plays, while “Bouncing Around the Room,” “Guyute” and “Jam” come in second at five plays. “Also Sprach Zarathustra,” “Chalk Dust Torture,” “Ghost,” “Good Times Bad Times,” “Harry Hood,” “Maze,” “NICU,” “Possum,” “Prince Caspian,” “Sparkle,” and “Stash” tie at four performances each.

Tuesday, October 16:

Pre Shows: If you’re looking to get the party started early, join The Deadbeats around the corner from the venue at town-favorite gastropub, City Beer Hall. They’ll get you bouncin’ round the room from 5PM-8PM before Phish takes over.

10/16 Afterparty: Dynamic Albany outfit Wurliday will host a Phunk Night at Parish Public House, just one block away from the show! The Phish after party will be hosted by Albany’s own Wurliday, featuring Natalie Cressman (Trey Anastasio Band), Chris Bullock (Snarky Puppy),Beau Sasser (Kung Fu), Adrian Tramontano (Kung Fu), Chris DeAngelis (Kung Fu), Justin Henricks (Wurliday) and Ilana J. Morris (Wurliday).

Wednesday October 17:

Phish Pre-Show Yoga Jam: Phans are generally all about the love and light, which means many of them crossover as yogis. Two of Albany’s newest ventures, Lark Street Yoga and Lark Hall are teaming up with Heartspace Yoga and Healing Arts for a for two hour, donation based yoga event. “Sharin’ in the Groove” proceeds will benefit the Waterwheel Foundation and the phun vinyasa class will be set to live phish tunes and taught by John Smrtic, E-YRT, JD from Heartspace. When sacred movement, jammin’ music, elevated intention, and connection to the spirit through breath comes together in ceremony and celebration, the potential exists to step into the groove. Book your spot from 12:30AM-1:30PM for $25 and check out Albany’s latest phan-friendly yoga studio and music hall.

Peakin’ at the Knick: Acting as the mullet of Wednesday’s activities, PEAK Builders Network will keep business in the front of the mind and partying safely tucked in the back. The conference filled with networking and mutual love of music will take place at the Hampton Inn, five guest speakers will share stories of their personal business and career empires and what goals they’re working towards next. The interactive conference encourages attendees to join the conversation and bounce YOUR ideas around the room with like-minded business professionals. Goodie bags, light snacks and a free drink await your 1PM arrival.

Pre Show: Starting at 5pm, the Left Ear trio keeps the second day momentum rolling for a jazzy pre-show get down at City Beer Hall.

Post show: Funky Albany ensemble Hartley’s Encore will bring it on back to City Beer Hall for a night sponsored by Fiddlehead Brewing Company while Pearl Street Pub hosts Tweed, Desolation Angels and McZwang for $10.

Phish Food: Albany is buzzing with local restaurants at your disposal, spanning all types of cuisine, diets and cravings. For a morning wake up call and your AM fix of coffee and donuts, stumble over to Cider Belly Doughnuts for some of the most delicious and creative flavors imaginable.

If you believe Herbivores ate well cause their food didn’t ever run, then you might want to check out Berben and Wolff’s and Healthy on Lark, both serving up tasty vegan meals to the public on Lark Street. For the carnivores ready for a meatstick and a beer to help wash it down after, look no further than Albany Pump Station, a brewery that boasts hearty meals and tasty craft beers. The Hollow and Ama Cocina each have a wide array of American and Mexican fare respectively, adding to the downtown Albany hustle and bustle with their energetic atmospheres and love for live music.

Honorable mentions go to Steuben Street Cafe, with grab-n-go, delicious smoothies and sandwiches just down the road from the venue. For classic late-night, greasy grub, Pizzeria Sapienza usually stays open for a quick slice while crowds are flooding out of the arena.

Parking tips: Don’t be a slave to the traffic light and be sure to consider your parking game plan beforehand. Aside from fighting for competitive street parking, garages are sprinkled throughout downtown Albany with fluctuating event pricing. If you’re lucky enough to snag a spot, there’s a parking garage attached to TUCenter with entrances on both Market Street and Beaver Street for a price. Throughout the downtown blocks you’ll stumble across Riverfront Garage, Green-Hudson Garage and Osborne Street Garage that are all reasonable parking options for the weekend. And of course, Albany has Uber and Lyft for access to downtown from your hotel.

In its most natural habitat, Albany is thriving in its own glimmer of a golden age with up and coming professionals, passing artists and growing businesses. Add phans funneling down Pearl Street into the TUC like quicksand and we’ve got quite the mid-week renaissance to look forward to in six short days. The countdown continues…

October 10, 2018
Hearing Aide: Doug Berns Band ‘Outlier’

Brooklyn trio, the Doug Berns Band, are quietly meshing together key elements of rock to create a sound that is both accessible and flashy. The group is fronted by bassist, singer and songwriter Doug Berns (EMEFE, The YeahTones), and features Sean Salant (AwakenTheShadow, Nova Lantern) on guitar and Coleman Bartels on drums. The group is releasing their debut album, Outlier, on October 18^th, the same night as their release party at Rockwood Music Hall in NYC. In light of the upcoming release, NYS Music had the pleasure of checking the album out early. At the bottom of this review, the group is premiering their newest music video for their single, “Outlier”, the title track of the album. The nine track album is high octane from start to finish. It meshes the stylings of heavier groups like Metallica, lighter grunge like Alice in Chains, and an element of prog rock with soaring vocals and ripping guitar solos. The group demonstrates their technical ability in a slew of tight performances that highlight each member’s grasp on their intended sound.

While the Doug Berns Band describes themselves as impressionistic rockers, it is tough to label them in this way. The album doesn’t take too many risks in terms of mood and timbre, but rather leans on catchy instrumental hooks and sticky vocal lines laid over heavy, well-executed instrumentals. Berns’ vocals float over top of thick distorted guitars in a way similar to how LaBrie’s (Dream Theater) vocals are the cherry on top of his band’s instrumental as opposed to being the main focal point. In the second track, “It Gets To You”, Berns shows off his falsetto, and establishes his presence in the mix without standing out too much. The melody is written well, and does a good job of leaving room for the guitar to fill space between phrases. This is especially potent in the fifth song “Mainline”, where the lyrics drive the narrative a bit more and the guitar provides great support to the song as a whole instead of pushing to stand out.

The bass’ presence in the album deserves a big shout out, as Berns keeps a solid foundation when needed and doubles up with the guitar to add weight to certain lines. The guitar often runs off on its own to great success. The blazing and technically proficient solos are a big stand out. While Salant’s guitar is coated in dirt more often than not, there are a few points (namely in “Hell”) where the clean tones stand out just as much as the gritty lead tones- a nod to Salant’s ability to navigate modes within a key and color the solos so they stand out melodically from the rest of the backing instrumentals. The eighth song, “Ready Player One” features a specifically heavy solo, and covers a ton of harmonic ground. The drums remain pretty true to the genre and breathe an air of familiarity into each song. This might entail keeping the pulse while the guitar plays more complex rhythmic, palm muted riffs (like in the second track “It Gets To You”) or just holding the line on the odd-time parts of songs (like in “Meet Me”). This isn’t to take away the energy Bartels adds with his lightning fills. He shows flashes of his chops, but tends more frequently towards servicing the song as a whole which adds to the flow of the entire work.

This album offers a good look at a band who is taking pieces from their predecessors and melding them to create a unique amalgamation of elements. In a way, this is impressionistic in itself without having to reach too far into the avant-garde. While the instrumentations are more traditional, the compositions and well-crafted structures allow the band to show their experimental side and give the listener some music theory fodder. Outlier is an accessible and exciting listen, a nice treat to hear for fans of heavier rock.

Key Tracks: Outlier, Mainline, Ready Player One

October 9, 2018
Behind the Gear: Ryan “ShwizZ” Liatsis

Ryan “ShwizZ” Liatsis is the guitarist and frontman of the power rock trio ShwizZ. A well-respected group in the scene, ShwizZ is a 3 member group who are incredible at their respective instruments, and perform a wide range of progressive rock music. Ryan uses a fairly unique rig compared to other players on the scene, using a digital modeling pedalboard rather than analog pedals, and utilizing a MIDI-trigger board to play chords for added textures during his songs. Check out ShwizZ’s performance from Disc Jam this past June, footage courtesy of mkDevo.

Photo Benny Rodriguez

Guitar: Music Man EVH Wolfgang Special
Amp Head: Mesa/Boogie Express 5:50 Plus Cab: Mesa/Boogie Widebody 1×12 Pedalboard HeadRush Pedalboard w/ Boss Expression Pedal Keith McMillan Instruments SoftStep 2
Keyboard Korg Krome Music Workstation w/ sustain pedal

Jared Lindquist: Why do you put your amp head under your cabinet?

Ryan Liatsis: This just made the most logical sense when I got the amp, though I do like to think of it as my signature move! I like when the speaker is as close to ear level as possible so you can hear what is actually being captured by the mic and therefore EQ better for the stage. That and for my particular amp (Mesa Express 5:50) the head was heavier than the cab, so it just felt right to put the heavier piece on the bottom.

JL: When did you make the switch to the modeling pedalboard?

RL: Very recently! It’s been about 2 months with the modeler and I’m a big fan. I’m currently using the Headrush FX pedalboard. I am completely happy with the tone of the overdrives and distortions as that is extremely important to me. The switch over to the modeler has just made life easy on stage with being able to switch patches with one button and digital storage. Having a gate on the input and EQ section on the master output is extremely helpful too. The best method I’ve found is to get rid of all the speaker cabinet models on your patches. I just use the FX and occasionally the amp head models right in to the front of my amp. I haven’t tried it using the xlr outs to a PA speaker, though I imagine that’s where the speaker cabs would come in handy. This past year has seen a huge leap with amp modeler technology and I wouldn’t be surprised to see more and more pro players using them.

JL: Did you model the effects after your analog pedals?

RL: I tried as best as I could, though I wasn’t exactly going for that. I think that every piece of gear just has its own flavor and you should put that to use. So instead of trying to recreate my boutique analog pedals, I decided to just see if I could get tones I like and was comfortable with out of the Headrush. Which, much to my surprise, I did! It seems about every 2-3 years I decide I want to change my tone to better fit my needs. I’m sure some new product will catch my eye a few years from now and I’ll adapt to what it has to offer. It’s a lifelong quest and I don’t think there’s an end, just a journey of different sounds and tones. Tone has a lot to do with creating your signature, but more importantly it’s your fingers and note choices. And as I mentioned I’m just a big fan of having different tones for different songs. The good thing about this current amp modeler I’m using is it has an fx loop, so I can insert any of my analog pedals in to the chain of each patch if I really wanted to.

JL: What are some of your favorite pedal combinations?

RL: Well, I am all about mixing overdrives and distortions…and now amp models. I use delay, but not much unless the song calls for it. I barely use modulation like phaser and chorus and also rarely use reverb unless for some ethereal washy effects. On my analog board I had 6 different overdrives, just for different flavors. I found I was getting bored of just having 2 overdrive sounds. One of my favorite combos is the Vox Trike Fuzz and the T-Rex Tone Bug. Putting the Fuzz first gives it quite a quality. You can hear what I mean on the guitar solo of the ShwizZ track “Hog Thai.”

JL: What’s going through your mind when you’re deciding which effects to use?

RL: Well, the options are limitless with effects these days. So just like with writing, deciding on a tone is really about what sparks your emotion and hits your ear in that special way. But to give you a theoretical answer, a big part of my decision is the type of tune we’re playing. If it’s agreed we’re going for a certain vibe or sound, I’ll cater to that style. Such as if we say this part of the tune should be like a 70’s disco feel, I’ll probably be using some phaser with a clean Fender-ish type sound. Overall, I don’t go crazy on the effects, I find the simpler the better most of the time.

JL: Who are some of your inspirations as a player?

RL: Too many to name! So I’m going to go with my top 5. Frank Zappa – need I say more? Chick Corea – I was introduced to Chick’s music at a young age and it inspired me to learn jazz and fusion. Specifically, the later electric band stuff always blew me away. He was always one of those music god’s to me who could just play whatever line came in to his head at that moment with no hesitation. Sill on a quest for that level like the rest of us. Frank Gambale – My drummer buddy introduced me to Gambale when I was about 20 and my mouth hit the floor. How can somebody get away with playing bebop lines that fast with sweep picking and overdrive!! Steve Khan – I studied with Steve for 2 years. He’s probably one of the most underrated and unknown guitarists on the planet and he’s played with all the greats and been on tons of studio recordings. His chordal work puts most to shame which struck something in me. I love the chordal movement aspect of guitar and keyboard and it’s something I don’t see enough of unfortunately in today’s music. Slash – Yes it’s true, I was obsessed with Slash from age 16-18! I just wanted to be him, the playing, the image, he was the whole package. I transcribed a lot of his solos when I was younger, my favorite of all time being the ending solo on Paradise City, complete shreddage!

JL: Who are some of your favorite contemporaries on the scene?

RL: Kung Fu is my all time favorite of our scene, if you can call the rest of us contemporaries because they basically blow everyone out of the water! Dopapod, Mungion, The Southern Belle’s and The Fritz. My ears always tend to get caught by those bands who have their own unique style. There’s so many bands out there, great bands even, but some bands just have their own sound and you know it’s them playing instantly, which is the most important thing to me.

JL: You’re one of the only guitarists I’ve seen that uses a MIDI-trigger board to play chord samples live, what inspired you to start doing that?

RL: Well, necessity really. A power trio can be a thing of beauty. BUT, I’m very much in to chordal structure and movement and I always thought drums, bass, guitar and keys was the perfect instrumentation for my tastes. The thing about ShwizZ is that I play loud and sometimes very heavily distorted guitar sounds, so playing chord melody doesn’t quite give the effect desired. After our keys player and second guitarist left I said…well just how the hell am I gonna do this?! I didn’t want to play to a click or with backing tracks, so I thought, what if I can just do what some organ players and even bass players do with their feet using pedals, except polyphonic. It took a bit of cash and a lot of experimentation with different pedals and pieces of gear until I came across a handy dandy app that could do it all and be controlled by a simple trigger pedal that connected with a USB cable. I would simply record each chord I needed for that particular part or song and could save each song file as their own entity. It adds a little more switching of sounds between songs but it’s worth it to have the phantom 4th member laying down that bed of chords. Below is a link to a video I made that goes in to a bit more depth on how the system works.

October 8, 2018
Formula 5, Swimmer Team Up for Birthday Bash at The Hollow

Downtown Albany celebrated in style on Saturday, September 29, with two birthdays and a first-time performance at The Hollow Bar + Kitchen. Formula 5 hosted the night, as the Upstate NY group helped close out one member’s birthday while ringing in another during an appropriate hometown throwdown. Warming things up for the night ahead was a new-to-Albany band, Swimmer.

Founded in the depths of rickety Plymouth State University basements in 2013, the funky, improvisational quartet has grown with the seasons and emerged on the scene as quite a contender in their genre. The Burlington, VT musicians have been able to corral flocks of fans from their shared bills with top tier performers like Dopapod and Pigeons Playing Ping Pong. Adding Formula 5 to the mix, it only made sense that Albany and it’s strapping live music scene was their next destination to become acquainted with.

Aiming to set themselves apart from every other jam-band to emerge from the hippy depths of Vermont, Cotter Ellis (drums), Matt Dolliver (keys/sax), Joe Agnello (guitar) and Jack Vignone (bass) tapped into their truly zany nature, showing off their musical chops and refreshing individuality. It was their tasty covers of Frank Zappa’s “Son of Orange County” >”Trouble Every Day” that found all patrons swiveled in their barstools and cheering on foot, asking their neighbors what band was playing.

Ready to bring the high-energy festivities to the stage, birthday boy Matt Richards (keys) along with Joe David (guitar) and James Woods (bass) brought their “Widespread’s Dead” covers to their NY fans. Their latest tour boasts an assortment of tracks from the well-loved artists Widespread Panic and Grateful Dead, with Formula 5 originals interwoven throughout the set.

Richards kicked off the night manning the mic for F5’s own “Bird Song” before tossing in an array of anticipated covers. Although Grateful Dead cover bands certainly aren’t lacking, you can’t help but smile and sing along whenever a Dead tune begins. Once Davis sang the opening notes of the Dead’s “Tennessee Jed,” there was nothing left for anyone to do but smile, smile, smile. Widespread Panic’s “Coconuts” acted as the fan-favorite pinnacle of the night as it was sandwiched between “Tennessee Jed” and a soothing take on “Terrapin Station.”

Normally celebrating the day after Thanksgiving at The Hollow, Formula 5 took the time to address the crowd for an announcement that their Black Friday gig would make the jump over to The Palace Theatre. On Friday, November 23 the quarter will support the Disco Biscuits during their two-night Albany run.

Swimmer Setlist: Murphy’s Law, Do it Myself > Son of Orange County* > Trouble Every Day*Jig -> Hyperbole, Curious Spaniard, Cornwallis *zappa cover

Formula 5 Setlist: Bird Song^-> Blue-> Bird Song^, Greta~-> Booher’s Pass, Tennessee Jed^ Coconuts~ Terrapin Station^ Nu-Gen*-> In The Sand-> Gettin’ Tough Again, Hot Box, Love Tractor~

^ Grateful Dead
~ Widespread Panic
* Unfinished

October 6, 2018
Rob Compa joins Empire State Music Podcast for Episode 11

Guitarist Rob Compa joins Empire State Music Podcast host Andy Hogan to discuss time away from Dopapod, life in Burlington, various musical side projects, his upcoming debut solo album, and more!

Plus get an exclusive look into Compa’s guilty pleasure bands you will not want to miss. Visit robcompaguitar.com for music, tour dates, and more!

October 6, 2018
Celebrate National Gumbo Day with Baked Shrimp at Parish Public House

Long Island’s Baked Shrimp will be in Albany on Friday, October 12 to celebrate National Gumbo Day at the Parish Public House. Joining them are local Albany bands Hasty Page and Hilltop.

Baked Shrimp has been tearing up Long Island and NYC spots on their Summer Tour and embark on a Fall Tour with their first ever show in Albany. Check out our review of their album Feast of Delight. Tickets are $10 and more info can be found here.

Pete Mason: Fans in Upstate are getting their first taste of Baked Shrimp – what can they expect to get down to?

Baked Shrimp: We’re so excited to finally make it to Albany! The band has played in Upstate before, multiple times in New Paltz, and now we’re heading back to Oneonta, but getting to play New York’s capital will be a real treat. Expect the unexpected! We’re going into Fall with over 40 songs that can come out at anytime, and with Albany being the first show of the tour everything is on the table. Over the Summer, on top of teaching Jager all of the already written Baked Shrimp songs, we were also all learning together new originals, Beatles tunes, meme songs, and other cool covers for our Five Night Special that took place in Woodmere. Check out the recap from that and the rest of the Summer to see what’s on the table!

PM: Was playing on National Gumbo Day at a New Orleans themed venue/restaurant planned or just a delicious coincidence?

BS: Both! We knew Albany was planned for mid-October, and Dan from Parish Public House mentioned that it would be National Gumbo Day on the 12th. So we had to do it!

PM: What’s the best part of the Long Island scene?

BS: The best part is how close the folks in the jam/funk scene community on Long Island are to one another. Everyone knows each other, and the shows become a big gathering for everyone to meet in one spot to support the bands and the scene around them. It’s a goal of ours in the next couple of summers to do an outdoor camping festival on the island that we would host. It’s still a ways away since we’re still trying to find a proper location where we can do such an event, especially on Long Island, but we’ll make it happen! 2020!

October 5, 2018
STS9 Lights Up NYC with Empire State Rooftop Performances

If a band is going to perform on the rooftop of a building to nearly 3,000 people, and that rooftop is in Manhattan, then the show should feel larger than the sprawling metropolis itself. That’s exactly what jamtronica heavyweights Sound Tribe Sector 9 (STS9) did on their two-night run this weekend at new music venue Rooftop at Pier 17 NYC.

An aerial view of Pier 17 during the show, taken by photographer Bill Bernal aboard a FlyNyon helicopter.

The Seaport on South Street has seen an artistic resurgence in recent times, and part of that has been the harbor’s opening of a brand new live entertainment venue in August, Pier 17. The venue sits on the rooftop and commands breathtaking views in all directions. Musicians from Sting and Shaggy to Kings of Leon, as well as Comedians like Amy Schumer have graced this rooftop gem. But even with those big-name acts, the venue featured one of its most anticipated events so far in Sound Tribe’s two night run this weekend.

Night One

Peaceblaster’s “Metameme” kicked things off in comfortable and colorful style, as Tribe’s lights began to illuminate the New York City night in similarly cosmic, mind-bending style. Night one overall would be a well-appreciated offering of old school-style Tribe, not only in the songs making the setlist but also in the spirited feel the band found again and again through the evening, harkening back some of their best days of live performance over the past many years. Such night one gems as “Ramone and Emigilio” even with its relatively new style, and a first-set “When The Dust Settles Reprise” instilled some spontaneous joy in the die hard percentage of the audience.

Following the opener was “Out of This World,” and its segue into “March” really helped the night launch proper. By the end of this nicely extended two-hit segment, around seven o’clock and barely twenty-five minutes into the show, the playing from the band was reaching top-notch and the energy on the rooftop reaching towards the sky. Over the last many shows this year, Tribe has been working in more drum and bass grooves into their live mix. Whenever the building energy of a particular song seemed to call for it, bassist Alana Rocklin and the twin percussion killers of Zach Velmer and Jeffree Lerner were given the floor to launch into energetic drum and bass sections.

Several times over, the night saw Rocklin meticulously weave her bass lines into the percussive wall that helped to charge some of the great night one jams. On one such drum and bass segment at the end of a fantastic version of “Reemergence,” Velmer saw a furious moment across the drum kit, and made for arguably the most exhilarating segment of night one.

Sound Tribe offered a banger of an encore for this first of two shows, with a “Water Song” that blended perfectly with “Kaya” to wrap it all up. As angelic white beams of light beaconed into the dark New York City sky, a gorgeous, liquefied, stretch of space linked the two songs seamlessly, with David Phipps leading on his pristine synth work.

Night Two

As the band took the stage again on night two, the iconic Brooklyn Bridge loomed behind, and a colorful sunset transitioned across the sky. The mood was incredible. Set one, which began with “Menacer”, felt like a jam filled donut, with the band seamlessly weaving new and old songs together. The high energy and sprinkled rap samples got the crowd going.

“Menacer” segued into Peaceblaster’s “Shock Doctrine,” and the heavy, dark undertones and electric riffs from guitarist Hunter Brown set the tone for the night. “A03,” a new, airy tune, came next, and was an exciting one for the crowd to hear, because STS9 had debuted this song at their Red Rocks Run only three weeks ago in Colorado.

“A03” segued into several classic Tribe tunes sandwiched together, starting with “Frequences 3.” This was not an ordinary Frequencies rendition, as the high energy Frequencies 3 was played first. The band smoothly moved into another older favorite, “Squares and Cubes.” The colorful light rig above the stage was dominated by illuminated squares and cubes, perfectly complimenting this song. Without stopping, the band continued into the mellower dance tune “Frequencies 2,” and eventually found their way back into “Squares and Cubes.” The band created a reverse “Frequences” “Scubes” sandwich, and the crowd was energized to a maximum level.

Next up was “ABCees,” another older STS9 song mixing dark undertones and reggae samples, and included another drum and bass section. “Strange Games,” was next, and utilized both Outkast lyrics and melodies from their own song “Get Loud.” The band closed the first set by transitioning into “When The Dust Settles,” which included lyrics from “Games”.

After a short break, the band returned with another newer song “Spending Time,” which they debuted at their recent New Years show. This segued into Peaceblaster’s “Beyond Right Now,” and also included a crowd-pleasing drum and bass section. The quintessential “Moonsocket” followed, and has evolved significantly since the Interplanetary Escape Vehicle release in 1998. “Moonsocket” included a longer jam that did not disappoint. The band changed gears with three new songs, “Dragon City,” “New Dawn, New Day”, and “Seed.” “Seed” segued into the fan favorite “Rent,” teasing “When the Dust Settles.”

STS9 ended their two-night run at Pier 17 on a high note, before returning to play one more song before the 10 pm curfew. They sent their fans home happy with an energetic version of yet another classic offering, “Be Nice.”

October 3, 2018
Ghost Note announces November tour of Europe as new album ‘Swagism’ tops iTunes charts

Powerhouse jazz ensemble, Ghost Note, made a European tour announcement this week as they promote their critically acclaimed album Swagism. November will see both Grammy award-winning artists Robert Sput Searight and Nate Werth collaborate with a wide spectrum of other talented sounds including Dywane “MonoNeon” Thomas Jr. (bass), Xavier Taplin (keys), Vaughn “V-Keys” Henry (keys), Peter Knudsen (guitar) and Jonathan Mones (alto sax & flute).

Several exciting European destinations for the group on this tour include Sweden, Germany, the Netherlands, and Italy as this 3-week long exploration will touch down in a total of 18 overseas cities. Their live performances have also been a topic of extraordinary skill with fantastic reviews and a genuine appreciation from their fans. They lighten the stage with a cool, mellow energy that sets a tone for a night full of seemingly endless groovy vibes.

Their evolution to get to this point began in 2015 with the group’s debut record, Fortified, being their first step toward endless potential. Eventually, they would come out with Swagism three years later that would dominate the iTunes jazz charts at the number one position and boasting a stunning 20 featured musicians, including Kamasi Washington, Karl Denson, Nigel Hall, Brandon “TAZ” Niederauer, and many more. Despite the awesome quality of these live performances, they aren’t very frequent so hop on a chance to experience this jazz sensation and check out their tour dates below.

U.S. Tour Dates:

Oct. 9 – 1884 Lounge – Memphis, TN
Oct. 10 – Old Rock House – St. Louis, MO
Oct. 11 – 1st Ward Chop Shop – Chicago, IL
Oct. 12 – Detroit Institute of Music Education – Detroit, MI
Oct. 13 – Founders – Grand Rapids, IA
Oct.14 -15 – The Rex – Toronto, CAN
Oct. 16 – Johnny Brenda’s – Philadelphia, PA
Oct. 17 – Gypsy Sally’s – Washington, D.C.
Oct. 18 – Asheville Music Hall – Asheville, NC
Oct. 19 – Neighborhood Theatre – Charlotte, NC
Oct. 20 – Exit/In – Nashville, TN
Oct. 21 – Aisle 5 – Atlanta, GA
Oct. 23 – Thirsty Hippo – Hattiesburg, MS
Oct. 24 – Blue Nile – New Orleans, LA
Oct. 25 – Last Concert Cafe – Houston, TX
Oct. 26 – Deep Ellum – Dallas, TX

EU/UK Tour Dates:

Nov. 5 – Nefertiti – Göteborg, Sweden
Nov. 6 – Fasching – Stockholm, Sweden
Nov. 8 – Cosmopolite – Oslo, Norway
Nov. 9 – Jazz Onze Plus – Lausanne, Switzerland
Nov. 10 – Ingolstädter Jazztage – Ingolstadt, Germany
Nov. 11 – Roxy – Ulm, Germany
Nov. 12 – Colos-Saal – Aschaffenburg, Germany
Nov. 14 – Quasimodo – Berlin, Germany
Nov. 15 – 15 Bunker Ulmenwall – Bielefeld, Germany
Nov. 16 – Super Sonic Jazz Festival – Amsterdam, Netherlands
Nov. 17 – Jazz Out – Heerlen, Netherlands
Nov. 18 – Bird – Rotterdam, Netherlands
Nov. 20 – Scheltema – Leiden, Netherlands
Nov. 21 – Badaboum – Paris, France
Nov. 23 – Ronnie Scott’s – London, England
Nov. 24 – Unterfahrt – Munich, Germany
Nov. 25 – Teatro Forma – Bari, Italy
Nov. 27 -Lumiere / Pisa Jazz – Pisa, Italy

October 2, 2018
Hearing Aide: Groovestick ‘Mosaic’

Mosaic carves out a unique jazz-funk sound in the vein of Head Hunters while injecting subtle pop melodies, making the album as accessible as it is complex. Original member Dan Gerken (guitar/bass/vocals) has assembled a power house of a group with Chris Carballeira on keyboard/vocals and Dave Berger on drums. A fun mixture of richly dynamic songs gives Groovestick a few staple releases, as well as 10 tracks of dance-able tunes drawing influences from funk pioneers all over the board.

Right from the start, any funky human can tell that the album is going to be a pleasure to listen to. “Balloons” sets the scene with a laid back groove with a great hook and a theme of soulful guitar solos and organ majesty is conveyed immediately. Groovestick takes a handful of sticky riffs a step further than offering a single hook and elaborates on that by casting out a collection of ear worms within each song. They tastefully add in elements of prog rock by developing and layering on new ideas and hooks for the listener to latch on to. It is vital to be able to keep the song interesting to the audience in this style and genre, and Groovestick shows they definitely learned how to engage people with a song by playing live and getting that feedback. The key here for the band is that they were able to transfer the atmosphere of a live show onto an album. They do really well to keep the songs fun, and are able to showcase their jam-ability; no doubt a product of their intensive work on stage and in numerous musical projects.

The second and sixth tracks (“Mischief”, “Nola”) show the band foremost instrumentally, as they’re able to keep the vibe of the opening track going without needing any words. Groovestick takes a wordless tune and still emotes the feeling of each piece through their skillful improvising. There are a few instrumental tracks on the album overall, with one standout being “Crablegs.” Gerken’s bass lines match seamlessly with Carballeria’s left-hand work on the organ to great effect. One major point on the album that stands out is the way these two are able to sync so well together to hold a groove. Berger is able to lay out quick yet spacious drum beats to hold the groove down, giving each song a flash of jazzed taste. There is a lot of play with dynamic range as well, namely in “Scrumptious” where the band seamlessly breaks the song down to almost nothing before coming back into set the mood for the next song, “Inkblot.”

A highlight track on Mosaic is definitely “Inkblot.” It’s possible to write an entire review on this one song with how many dimensions the band is able to mesh together. From jazz, to funk, to even ska (!), this song covers so many bases while still being….a song! The band is able to navigate the line between these genres and fuse them together. As a whole, the album has a similar feeling to this song in that the transitions between each song gives the album a nice instrumental and dynamic arc. Switching between vocalized and instrumental pieces while maintaining a consistent theme and feel added a lot to the listening experience and gave a nod to the deep knowledge the band possesses in their musical experience.

All of the performances are very tight, with everything from rumbling and climbing bass solos, to ripping guitar leads and magnificently executed key-lines, with the drums never faltering in the groove foundation. This was a very fun listen! Definitely check out Groovestick’s release and go out to see them live if they come to town. It’s going to be interesting to hear some of these songs live with how much they make me want to dance in my seat.

Album release party is 9/29 at Parish Public House!

Key Tracks: Inkblot, Crablegs, Mischief

September 27, 2018
Brooklyn Comes Alive: ‘My Life Before, Then Forever After’ with Karina Rykman

Multi-instrumentalist Marco Benevento entrusted his iconic top hat upon Karina Rykman, a fill-in bassist in her early 20’s, at the Music Hall of Williamsburg. Rykman’s mouth agape, Marco’s stare tracked dead in her eyes, sealed shut in the moment. She was in disbelief, but this three-day stint would soon end. It didn’t.

Benevento, in addition to Ween bassist Dave Dreiwitz, played instrumental roles in shaping Rykman-on-the-rise. She dove head first into a towering repertoire of Benevento tunes, learning them backwards and forwards, day-in and day-out, Rykman recalls.

“That first run with Marco was one of the most spectacular moments of my life. I thought that was my last show with them ever,” said Rykman, increasing with excitement. “It was the best time, then scaling the walls (of the Music Hall Of Williamsburg green room post set) throwing ice, tequila and limes.” The room was packed with Karina’s friends, family and teachers. Karina was home.

“Marco is committed to the vibe and always goes the extra mile,” said Rykman, as she reminisced about the pop-up record player and miles of christmas lights that decorate their oasis backstage. Night after night, the ‘Green Room Road Case’ lives on as Karina’s enthusiasm parallels her sheer musical talent.

The New York Native has a pure starvation and aestheticism for all things music. It predates her Benevento/Dreiwitz days. It is infectious, inspiring all those around her. In eighth grade, two years after quitting piano lessons, a friend placed a guitar in her lap and taught her The White Stripes’ “Seven Nation Army.”

“I remember my life before [that moment], then, forever after,” said Rykman. “I was fixated on playing all the time. That was my vibe.”

Two years after joining Benevento’s band full time, Rykman comes full circle, hosting the second set of The Jam Room at Brooklyn Comes Alive on Saturday, September 29 at Music Hall of Williamsburg. Rykman will play host, alongside Turkuaz guitarist Craig Brodhead, to an undisclosed list of phenomenal musicians and guests. The set will start at 1:45 am, merely 15-minutes after Grammy Lifetime Achievement Award winner and The Meters’ bassist George Porter Jr. ends the first installment of this unique collaboration.

The Jam will consist of 100-percent improvised music. “How do you prepare for that?,” asked Rykman. “Simply put, you don’t.” Take all the music you’ve learned, scales you’ve studied or harmonies you’ve practiced and “throw them all out the window! It is a crazy exercise of staying focused and in the moment,” added Rykman.

“I’ve played with people 20-plus years older than me; musicians who have committed themselves longer than I have been alive. It’s really humbling. I’m always absorbing because they have been there. I am just delighted to be accepted.”

The female bassist will also be playing with her new project, The Karina Rykman Experiment, at BCA at Rough Trade from 5 to 6 pm. Rykman’s Trio consist of NYU friends, Chris Corsico on drums and Adam November on guitar. “The guys in my band are slaying. Crushing it onstage and off. November is a loop-master and creates a whole world of soundscapes, so there is a lot going on.”

Three is the magic number. Karina first performed in a trio with Benevento and has taken matters into her own hands. “Harmonically it’s just me and Marco, which makes me deeply, deeply focused on what he is doing. I play a lot of lead and fuzz bass too, which almost acts like a guitar sonically.” Expect no less when The Karina Rykman Experiment takes the stage.

New Yorkers, beware. Rykman deems Brooklyn Comes Alive “not for the weak of heart.” Whether she is serving as a proving ground with her own ensemble, backing Marco in pure bliss, or sneaking off to see as much new music as she can, BCA will be another one for the books.

“There’s this scene where people come out to see great improvisers improvise. It’s not for everyone, but there is something to be said to observe those who have toured their asses off and have played music for so many years.” Especially, in the Jam Room. “A collaboration brews with people that don’t perform together often, or ever!,” explains Karina. “To see someone who has put in their 10,000 hours create on the spot, is something to behold.”

Nobody knows what to expect. As the Jam Room takes flight, the motion will be from “recreational to medical, if you know what I’m saying,” said Rykman [laughs].

Inspired by the vibrant musical communities of Brooklyn and New Orleans, the event brings together more than 50 artists, allowing them to carry out passion projects, play with their musical heroes and collaborate in never-before-seen formations. Each attendee will receive a wristband that grants access to every venue and makes hopping from set to set a breeze, recreating and paying homage to the atmosphere of Jazz Fest by night, which initially inspired the festival’s concept.

Past editions of Brooklyn Comes Alive have seen unforgettable cross-collaborations amongst legends and favorites like George Porter Jr., John Scofield, Johnny Vidacovich, John Medeski, Bernard Purdie, Henry Butler, Oteil Burbridge, Cyril Neville, Eric Krasno, Jon Cleary, Joe Russo, Skerik, and Marco Benevento, plus members of Umphrey’s McGee, moe., The Disco Biscuits, The String Cheese Incident, Trey Anastasio Band, Lotus, Snarky Puppy, Lettuce, Soulive, The Motet, The New Mastersounds, Break Science and more. Tributes to Herbie Hancock, Earth Wind & Fire, The Allman Brothers, Jamiroquai, and Green Day comprise just a few of the many highlights over the last three years.

September 25, 2018

Built in Breakdance