Hard rock legend Dee Snider has released the official music video for “Become The Storm,” off his upcoming album For The Love Of Metal. The video was filmed by Douglas Quill and was originally released on Loudwire.
The Astoria-born Snider said of “Become The Storm”: “It can be a dark world out there for people being bullied, and I know it. With “Become the Storm” I’m hoping to lift them up and help them find the power within to defeat their adversaries. Sound serious? It is.”
For The Love Of Metal was produced by Hatebreed vocalist Jamey Jasta and features contributions from Howard Jones (ex-Killswitch Engage), Mark Morton (Lamb Of God), Alissa White-Gluz (Arch Enemy), Joel Grind and Nick Bellmore (Toxic Holocaust) and Charlie Bellmore (Kingdom Of Sorrow). The album will be released on July 27th via Napalm Records.
Tour Dates:
7/12/18 – Cadott, WI / Rock Fest Grounds
7/13/18 – Antioch, CA / Contra Costa County Fair Grounds
8/4/18 – Barbaroo, WI / Ho-Chunk Gaming-WI-Dells
8/25/18 – Huber Heights, OH / The Rose Music Center
8/26/18 – Warrendale, PA / Jergels
12/8/18 – Oulu / Areena Oulu, Fiji
12/8/18 – Lahti / Jahti Halli, Fiji
More dates will be announced soon
Shooter Jennings started his “Bound Ta Git Down Tour.” on July 4 but recently has added new dates which go all the way into November. The tour is partially in anticipation of his new album, SHOOTER, which arrives at all music retailers and streaming services via Low Country Sound and Elektra Records on Friday, August 10.
Shooter Jennings courtesy of Shooter Jennings’ social media.
“The Bound Ta Git Down Tour” includes not only headlining shows but also dates supporting Turnpike Troubadours. He’s also scheduled to do multiple festival performances, including Black Mountain, North Carolina’s Jam In The Trees, Tahlequah, Oklahoma’s Medicine Stone Festival, and Fort Worth, Texas’ KFWR Annual Ranch Bash.
There is also a very special SHOOTER release day celebration at the world famous Pappy & Harriet’s in Pioneertown, CA, set for Friday, August 10. For updates and ticket information, please visit Shooter Jennings’ official tour page.
For more information on Shooter Jennings visit his website.
New tour dates listed below:
July 4 – The Beaumont – Wayne, NE
July 5 – The Royal Grove – Lincoln, NE
July 6 – The Shrine – Tulsa, OK
July 7 – Will Rogers Riders Rodeo – Amarillo, TX
July 12 – Shank Hall – Milwaukee, WI
July 13 – Cavalier Theater – La Crosse, WI
July 14 – Vetter Stone Amphitheater – Mankato, MN*
July 27 – Lawn at White Oak Music Hall – Houston, TX*
July 28 – Whitewater Amphitheater – New Braunfels, TX*
Aug. 2 – Sofia Tsakopoulos Center – Sacramento, CA
Aug. 3 – Slim’s – San Francisco, CA
Aug. 4 – Moe’s Alley -Santa Cruz, CA
Aug. 5 – Rebel Lounge – Phoenix, AZ
Aug. 8 – Belly Up Tavern – Solana Beach, CA
Aug. 10 – Pappy & Harriet’s – Pioneertown, CA
Aug. 11 -Troubadour – Hollywood, CA
Aug. 22 – City Winery – Washington, DC
Aug. 23 – Milton Performing Arts Center – Milton, WV
Aug. 24 – The Ramkat – Winston-Salem, NC
Aug. 25 – Jam In The Trees – Black Mountain, NC
Aug. 31 – 9th Street Summerfest – Columbia, MO*
Sept. 2 – Beaver Dam Amphitheater – Beaver Dam, KY*
Sept. 6 – The Burl – Lexington, KY
Sept. 7 – Maddie’s Hall – Bristol, TN
Sept. 8 – Harley Davidson of ATL – Atlanta, GA
Sept. 9 – The Senate – Columbia, SC
Sept. 12 – George’s Majestic Lounge – Fayetteville, AL
Sept. 13 – The HiFi – Indianapolis, IN
Sept. 14 – The Riff – Springfield, MO
Sept. 15 – Legacy Park Amphitheater – Lee’s Summit, MO
Sept. 22 – Medicine Stone Festival – Tahlequah, OK*
Sept. 27 – Turf Club – St Paul, MN
Sept. 28 – Kilbourn City Live – Wisconsin Dells, WI
Sept. 29 – Magic Bag – Ferndale, MI
Sept. 30 – Pyramid Scheme – Grand Rapids, MI
Oct. 2 – The Aquarium – Fargo, ND
Oct. 4 – Broadway Theatre – Saskatoon, SK
Oct. 5 – Cadillac Hall – Cadillac, SK
Oct. 6 – River Cree Casino – Edmonton, AB**
Oct. 13 – Ashland River Front – Ashland, KY
Oct. 18 – Heights Theater – Houston, TX
Oct. 20 – KFWR Annual Ranch Bash – Fort Worth, TX
Nov. 6 – Shakas Live – Virginia Beach, VA Nov. 8 – Brooklyn, NY – Knitting Factory Brooklyn Nov. 9 – Rec Room – Buffalo, NY Nov. 10 – Lost Horizon – Syracuse, NY
Nov. 11 – Port City Music Hall – Portland, ME
The Arc, a new 20,000 square foot concert hall and recording studio in the Kaufman Arts District in Long Island City, will open in early 2019 with former Webster Hall Executive Vice President Rich Pawelczyk named COO. The management team plans to bring strategic brand partnering and the world’s top talent and emerging artists to The Arc.
A 1931 vintage building, The Arc has a unique arched, wooden cathedral-like ceiling with Douglas Fir bowstring trusses that imbue the space with spectacular acoustics. Featuring both large and small performance spaces, along with a full 21st century recording studio and a total capacity of 2,000, The Arc will have a sound stage, full sound and video recording capabilities, and state-of-the-art acoustics that will rank among the finest in the world.
“I’m thrilled to join the team as the The Arc is taking shape as a world-class concert venue that can accommodate not just live performances with unsurpassed acoustics, but also with state-of-the-art digital recording and streaming technology that will enable us to create unique experiences for fans–and the brands that want to reach them—in New York City around the world,” said Rich Pawelczyk. “We’re already seeing a flood of initial interest among artists and sponsors because, with incredible design, location, and technology, The Arc is poised to fill a void in both the New York music scene and in the industry as a whole.”
The Arc will fill a void in the NYC music scene, featuring an arched antique wood wooden ceiling for unparalleled acoustics (see release below), two performance spaces, recording studio/sound stage, and 24 hr cafe. Grammy award-winning sound engineer Adam Abeshouse has joined the team and The Arc is expected to have some of the best acoustics anywhere in the world. Take a 360′ tour of The Arc
The venue is part of John Belitsky’s DMNDR network, a global community of artists, musicians and fans that user DMNDR to share their work. The venue will serve as DMNDR’s physical concert and recording venue.
The Arc is named for its mission to showcase musical talent at every stage in the arc of an artist’s career—from emerging talent to well-established artists. The Arc is a full city block-through of event space in Long Island City—New York’s fastest growing neighborhood only minutes from Midtown Manhattan—that will feature a state-of-the-art recording studio, media center for streaming live videos, a 24/hour café featuring cuisine of 600+ local food vendors, and spaces for local talent and community collaborations. Corporate branding partnerships are in development.
To date The Arc has held small, well-received performances and sessions including LoveHoney, Madison McFerrin, Jackie Venson, Jon Fratelli (of the Fratellis), Oxymorrons, Mosie, and many more. Current performances are by invitation only and occur weekly.
The Arc’s exceptional, world-class acoustics will establish the live performance hall as a destination for rehearsals, recordings and performances of a diverse range of musical talent. DMNDR will also seek designation for The Arc as an accredited sound stage for film and television production to further complement the thriving creative industries within the Kaufman Arts District.
John Lydon’s Public Image Ltd. has been celebrating its 40th anniversary throughout 2018. Dates throughout Europe and Japan have dotted the band’s itinerary the early part of the year and now, beginning in October, the tour comes to North America.
The Public Image is Rotten tour kicks off in New Orleans on Oct. 9 and makes its way to Asbury Park and Brooklyn on Oct. 13 and 15. Tickets for all shows go on sale Friday, July 13 at 10:00 a.m. local time. PiL is also touring in support of a documentary with the same title as the tour, which will see its theatrical premiere at the Metrograph in New York on Sept. 14.
The band is also set to release a career-spanning box set on July 20, titled The Public Image is Rotten (Songs From the Heart). The expansive box set will be available as five-CD/two-DVD, six-LP and in digital formats. It will include radio sessions, B-sides, remixes as well as the PiL Singles Collection (1978-2015). Also included is a complete live performance from New York’s Ritz from July 16, 1989.
The DVDs include PiL performances on the BBC shows Old Grey Whistle Test and Top of the Pops, two complete live shows from Estonia in 1988 and Sydney, Australia in 2013 and various promo and music videos.
For more 40th anniversary PiL info, visit the band’s official website here.
Public Image Ltd. 2018 Tour Dates:
Oct. 9 – The Civic Theatre – New Orleans, LA
Oct. 10 – Variety Playhouse – Atlanta, GA
Oct. 12 – Black Cat – Washington, DC
Oct. 13 – Asbury Lanes – Asbury Park, NJ Oct. 15 – Brooklyn Steel – Brooklyn, NY
Oct. 16 – Union Transfer – Philadelphia, PA
Oct. 18 – Club Soda – Montreal, QC
Oct. 19 – Lee’s Palace – Toronto, ON
Oct. 21 – The Majestic – Detroit, MI
Oct. 22 – Thalia Hall – Chicago, IL
Oct. 24 – Granada Theatre – Dallas, TX
Oct. 25 – The Mohawk – Austin, TX
Oct. 28 – Wonder Ballroom – Portland, OR
Oct. 29 – Showbox – Seattle, WA
Oct. 31 – The Chapel – San Francisco, CA
Nov. 1 – The Chapel – San Francisco, CA
Nov. 3 – El Rey – Los Angeles, CA
Nov. 6 – Pepsi Centre – Mexico City, MX
On July 6, 2018 the Trey Anastasio Trio (with Ray Paczkowski) made their 2018 New York debut at the Central Park Summerstage to a small gathering of fans that felt more like a friendly summer barbecue than a major concert in the middle of Manhattan. If Madison Square Garden is Phish’s house, then that makes Central Park Trey’s backyard, and the pre-show vibe in the park was reflective of that as the intimate vibe of the venue gave the feeling that people were visiting their old friend, Trey, for his annual Fourth of July bash. Originally billed as Trey Anastasio Trio show, the lineup was changed at the last minute to feature to the Classic TAB roster with the return of keyboardist Ray Paczkowski following the removal of a brain tumor earlier this year.
The show got started with an airy ‘Blaze On’ opener which featured a loose jam and more open space then Phish’s version of the song. The band took their time developing the groove, and established a light, summer vibe early on which they would carry with them throughout the first set. TAB’s ‘Cayman Review’ followed and kept the breezy vibe going as the crowd began to fill in and people began to loosen up. Paczkowski’s first solo of the night was received with a warm cheer from the crowd, who was clearly overjoyed with his presence that evening, as was the rest of the band based on the smiles exchanged on stage. The ‘Everything’s Right’ that followed featured Trey’s first taste of darkness of the evening as the band developed a spinning groove around his sludgy, building jam. The mysteriousness nature of the jam gave the feeling of early cave paintings; dark, yet stripped down art that draws the mind in and keeps it wondering.
‘Heavy Things’ brought back the summer vibe as the band delivered a standard, bouncing version of the song before the band started their second big extended jam of the first set, ‘Gotta Jibboo.’ The Jibboo featured a patient, yet playful jam which featured bassist Tony Markellis finding his way deep into the pocket as Trey and Ray went back and fourth on fills. They eventually built the solo to a relatively aggressive Jibboo peak before flawlessly synchronizing the ending of the jam to the final verse. The ‘Party Time’ that followed was high energy and appropriate, as the entire set felt like a big summer party. Following the song, Trey joked with the crowd stating that ‘Party Time’ was written by his favorite songwriter of all time, a man who also wrote the great ‘Ass Handed’, the one and only Jon Fishman.
‘Miss You’ came next and gave the band a chance to catch their breath as Trey delivered an incredibly passionate rendition of the song. The band did a great job of capturing the vibe of the song while Trey delivered a heartfelt solo, which had the crowd hanging on his every note. They brought the energy back up for the set closer, ‘Sand,’ as Trey had a mission to close the set out with a bang. The jam resembled fractals as Trey expanded outward on multiple ideas and drummer Russ Lawton laid down tribal beats. The rising energy of the song built the jam to the strongest peak of the first set just before smoothly slipping into the final refrain as if nothing happened when the band exited for set break.
While the first set was all about breezy summer vibes, the second set showed the band exploding through space. They returned to the stage with a strong rendition of ‘No Men In No Man’s Land’ to start the second set, which seemed like a much more stripped down version of the song as compared to Phish’s. The loose structure lead to a spacy jam featuring Trey messing around with his pedals to create a wormhole effect over the crowd. Paczkowski’s slippery solo alongside Trey’s spacy tone gave the song a buttery vibe, with just enough darkness mixed in to make you forget what they were playing. Once the band reached an appropriate peak, they kept the ambient vibe going with delay-heavy ‘Ghost.’ The ‘Ghost’ creeped along with all four members adding their own flavor, taking their time it as if they were providing ominous music for a midnight riverboat ride through the jungle. They eventually built the energy up to a high point, and ended the song on a strong, guitar-oriented peak.
The ‘Camel Walk’ that followed may have been the biggest surprise of the evening, as Trey reworked the song to make it more upbeat and funky than Phish’s version. Trey was clearly having fun throughout the entire song as he delivered playful fills, an increased tempo, and a swinging jam. Played with the energy of a 1992 ‘Poor Heart,’ Trey showed us that his fingers are still just as nimble than ever. They brought the set back into the shadows with a rendition of ‘Dark and Down’ that can only be described as euphoric. As the band peaked on a delicate, soaring jam, the sun dropped perfectly between two buildings to the west of the park. It felt like Trey was waiting to play the song until he was ready to bid the day goodbye, and the cotton candy sky above the trees in the park was exactly what he was waiting for.
Continuing with the spacy theme of the set, they dropped into the fun-loving ‘Soul Planet’ once the night settled in. The crowd truly was “spinning through space” as Trey played around with his pedals to create a funky, spaced out energy that breathed positivity. The song reached a lively peak with Trey shooting laser beams around the park, before dropping back into the darkness with a very strong ‘Steam.’ Like other songs this evening, TAB left much more open space in the song structure of ‘Steam’ which gave the song a very different feel than that of a Phish show. While Trey did show off a bit with his fills, the verses were more interesting not for the notes that were played, but for those that weren’t. They eventually built the jam into an almost disturbing, alien spaceship peak with the crowd hanging on for their lives as they cannonballed through an asteroid field of light and sound before coming together for a clean ending of the song, which acted as the band’s final visit to deep space.
The ‘Undermind’ that followed brought funky energy back up, and the fun-loving, breezy jam was reminiscent of the first set. The final, and arguably strongest, peak of the second set came in it’s closer, ‘Push On ‘Til The Day.’ The dark funk kept the crowd enticed, as Trey played like a madman ripping through the final solo. There were multiple times where the band could have finished, and everyone would have been happy, but the band was obviously having the times of their lives and had no plans to stop as they built an almost uncomfortable amount of tension out of the jam. The euphoric release of the jam had the crowd yelling for more as they band took their bows and exited the stage.
Trey came out by himself for the first part of the encore, as he worked through beautiful renditions of ‘Waste,’ ‘Strange Design,’ and ‘More.’ The crowd was absolutely silent and respectful for Trey’s playing, to the point that you could hear lightning bugs zip by your ears in between notes. The ‘Waste’ was particularly magical as you could hear Trey’s voice get raspy while he teared up singing it. The crowd sang along quietly enough to hear Trey, but loud enough for the park to hum its melody. After ‘Waste’ he told a story of how he could see the building where he took his first guitar lessons and thanked his parents for the opportunity to make his dreams come true. It was truly an intimate moment between Trey and the crowd, one that anyone in attendance will not soon forget.
Following the trio of acoustic songs, the rest of the band came back out to properly close out the night in the park. They shuffled through a sludgy ‘Alaska’ with Trey creating muddy effect with his pedals before closing out the night with the TAB classic ‘First Tube.’ The blissful instrumental featured a high energy solo and gorgeous peak which left the crowd wanting more. Overall you couldn’t ask for a more perfect evening in the park, and with how rehearsed and confident Trey seemed, there is much to look forward to for the rest of the summer.
Trey Anastasio Trio 7/6/2018 Setlist via Phish.net:
Set 1: Blaze On, Cayman Review, Everything’s Right, Heavy Things, Gotta Jibboo, Party Time, Miss You, Sand
Set 2: No Men In No Man’s Land, Ghost, Camel Walk, Dark and Down, Soul Planet, Steam, Undermind, Push On ‘Til the Day
Encore: Waste [1], Strange Design[1], More[1], Alaska, First Tube
Regardless of your political views, there is a general consensus among Americans that they love and support this great country and the ideals on which it was founded. Before nearly every sporting event, each person in attendance stands in solidarity and pays their respect to the flag and what it represents. They forget about their political positions for a brief moment and are silent as they listen to anyone from a pop singer to a youth choir give it everything they’ve got to deliver their most passionate ode to America.
Depending on the game you’re attending, you’ll either hear “The National Anthem,” “God Bless America” or both songs sang as tribute to the men and women who serve in our military. Ironically, and unbeknownst to most in attendance, Irving Berlin’s 1918 patriotic song “God Bless America” was originally written as a “peace song” opposing the first world war, and later changed to a song in support of our troops.
For a short time in the United States, nearly all published music came from a short group of blocks in the middle of Manhattan. The early 19th century saw a boom in songwriting and music publishing companies unlike the world had ever seen, and that area of New York was referred to as Tin Pan Alley.
Songwriters from all over would swarm to the area to have a chance to write piano sheet music sold around the country or hits for Vaudeville or Broadway shows. The cream would rise to the crop and make a name for themselves, with no one more popular than Irving Berlin, a Russian immigrant who moved to the United States at the age of five.
Tin Pan Alley, then and now
In 1918, while away from his piano in Manhattan and serving in the US Army at Camp Upton in Yaphank, NY, Irving wrote the first version of “God Bless America” in an attempt to write the perfect peaceful song that would help unite the world and inspire men to live in harmony, much like notable songwriters Bob Dylan and John Lennon years later. However, after a few versions, he decided that he wasn’t in love with the music and that peace songs were all that were flooding the market at the time, so he decided to put a pin in it for a while.
Having come from Jewish descent and already living through one world war, in 1938, Irving decided take another look at “God Bless America” in response to Hitler’s unsettling rise in Europe.
“I had to make one or two changes in the lyrics,” Irving said,” and they in turn led me to a slight change and improvement in the melody, one line in particular. The original ran: ‘Stand beside her and guide her to the right with a light from above.’ In 1918, the phrase ‘to the right’ had no political significance, as it has now. So, for obvious reasons, I changed the phrase to ‘Through the night with a light from above.’”
Irving Berlin
With the new revisions, the song took off instantly and was even hailed as the new national anthem to many. It was debuted to the public on Armistice Day in 1938 by Kate Smith on her radio show and was quickly spread around the country. In 1940, both Democrats and Republicans adopted the song as their theme, and the peaceful song was beginning to achieve exactly what Irving had intended – though it never did on a global level.
Post-World War II, the song began to gain popularity at sporting events around the country. The trend originally started in Philadelphia at Philadelphia Flyers home games, often sung for good luck and to pay respect for the men and women who served in our country. It was also used at political rallies, schools and concerts across the country.
Today “God Bless America” is not sang as wide spread at sporting events as it used to be, but the song is still heard on occasion to honor our troops. Some sporting teams will sing the song in place of “The National Anthem” and it is not uncommon for Canadian teams to also use the song in its place when honoring our country. The buildings in Tin Pan Alley where the song was full composed still exist today, however, they are no longer filled with clanking pianos and hopeful singers. There is currently a push to have some of the buildings on Tin Pan Alley preserved so the area is not built up like midtown, but as of recently no significant changes have been made from either side.
‘God Bless America’ Lyrics:
God bless America
Land that I love
Stand beside her and guide her
Thru the night with a light from above
From the mountains, to the prairies
To the oceans white with foam
God bless America
My home, sweet home
God bless America
My home, sweet home
The Blue Note Jazz Club hosted Lettuce for an extraordinary 5-night residency for the tail-end of the Blue Note Jazz Festival. Photos from June 29 10:30pm set are below!
Next year marks the 50th anniversary of the movie “Alice’s Restaurant,” based on the song by Arlo Guthrie and to commemorate the occasion, Guthrie is arranging an extensive tour which will stretch from the fall of 2018 through 2020. The majority of shows just announced for this fall will take place in New York and surrounding states. They include a hometown show in Great Barrington, Massachusetts on Nov, 17 and a return to Carnegie Hall on Nov. 24. See the full list of dates below.
Guthrie wrote a folk song about a series of incredulous events that began on Thanksgiving in 1965. “Alice’s Restaurant Massacree” struck a chord with the anti-war counterculture. By 1967 Guthrie had gone from playing small clubs to playing festivals and stadiums.
“Arthur Penn (who had just finished filming Bonnie & Clyde) heard the record when it came out in 1967,” recalled Guthrie in an interview with NYS Music. “He also happened to live in Stockbridge, where the events took place. He thought it would be a great idea to make it into a movie. And he did.”
For this tour, Guthrie will be joined on stage by longtime collaborators Terry “A La Berry” Hall (drums), Steve Ide (guitar, vocals), and Carol Ide (vocals, percussion). His daughter, singer/songwriter Sarah Lee Guthrie, will be opening each performance.
“I didn’t think I was gonna live long enough to have to learn ‘Alice’s Restaurant’ again,” Arlo Guthrie says with a smile. “It was a quirky kinda thing to begin with. Nobody writes an 18-minute monologue expecting fame and fortune. The initial success of the song really took me by surprise more than anyone else… I’m surely looking forward to it again being a centerpiece of my live repertoire.”
Arlo Guthrie Presents The Alice’s Restaurant – Back By Popular Demand Tour
Oct. 4 – Count Basie Theatre – Red Bank, NJ
Oct. 6 – Gordon Center for the Performing Arts – Owings Mills, MD
Oct. 7 – Keswick Theatre – Glenside, PA
Oct. 10 – Spruce Peak Performing Arts Center – Stowe, VT
Oct. 12 – Palace Theatre – Manchester, NH
Oct. 13 – Durgin Hall – Lowell, MA
Oct. 14 – Memorial Hall – Plymouth, MA Oct. 19 – NYCB Theatre – Westbury, NY
Oct. 20 – College Street Music Hall – New Haven, CT Oct. 21 – Paramount Center – Peekskill, NY
Oct. 24 – The Greenwich Odeum – East Greenwich, RI Oct. 26 – The EGG – Albany, NY Oct. 27 – State Theatre – Ithaca, NY
Nov. 1 – EJ Thomas Hall – Akron, OH
Nov. 2 – State Theatre – Kalamazoo, MI
Nov. 7 – Ron Robinson Theater – Little Rock, AR
Nov. 9 – Wildey Theatre – Edwardsville, IL
Nov. 10 – Wildey Theatre – Edwardsville, IL
Nov. 11 – Buskirk-Chumley Theater – Bloomington, IN
Nov. 16 – Infinity Hall – Hartford, CT
Nov. 17 – Mahaiwe Performing Arts Center – Gt. Barrington, MA Nov. 24 – Carnegie Hall – New York, NY
More dates will be announced. Stay up to date on ArloGuthrie.com.
The Great South Bay Music Festival is Back for it’s 12th Year at Shorefront Park in Patchogue, NY from July 12-15 with sixty-five performers on four stages over four days.
Known for being Long Island’s longest-running and largest four-day music festival, The Great South Bay Music Festival has grown considerably from it’s first outing in 2007, when they presented 20 artists over three days, and their major headliners were Richie Havens and Foghat. The Great South Bay Music Festival definitely makes a mark of it’s own in the festival world by taking into account four completely different genres with a different tactic than most festivals use.
This tactic is covering several genres by splitting up genres by days. Thursday is covering the indie scene with popular headliners the Front Bottoms, Thrice, the Get Up Kids, and Long Island’s Envy On The Coast. Friday covers the Rock-Reggae-Ska Party scene on the bay, with headliner Sublime with Rome, plus the Dirty Heads & Less Than Jake. Saturday covers a “Jam Day” vibe with headliners Umphrey’s McGee, Pigeons Playing Ping Pong. Papadosio, JGB featuring Jerry Garcia Band alum Melvin Seals, Infamous Stringdusters: Andy Falco & Friends with special guests: Alwyn Robinson of Leftover Salmon, and Andrew Altman of Railroad Earth.
Sunday will consist of it’s annual Morning Children’s Concert, Great South Bay is bringing back Disney’s Imagination Movers and then the festival closes with a historic lineup, as they present guitarist, singer-songwriter, Rock & Roll Hall of Famer and Co-Founder of the Allman Brothers, Dickey Betts and His Band in his only New York Festival appearance. Supporting and returning for their third visit is Electric Hot Tuna, plus the legendary Little Feat, and the Devon Allman Project, featuring Duane Betts.
The fest features three different craft beer tents, a wine garden, an artisan and craft market, and food court offering a diverse gourmet menu. Ticket price includes all concerts and entertainment. Food & beverages not included. Children ten and under are free, except for the Imagination Movers concert. For a full schedule and other info visit The Great South Bay Music Festival’s website.
Drawing of The Great South Bay Music Festival courtesy of their website.
Festival Door times:
Thursday, July 12 – Doors are at 3:00 p.m., till 10:00 p.m.
Friday, July 13 – Doors are at 3:00 p.m., till 11pm,
Saturday the 14 – Doors are at 1:00 p.m, till 11PM,
Sunday the 15 – 11:00 a.m. doors for Imagination Movers Kids Concert
Sunday Regular Fest Ticket holders – 1:30 p.m. Doors till 10:00 p.m.
Trumpeter Augie Haas has released “Have You Met Miss Jones,” the second single from his forthcoming album Have We Met, due to be released on July 20. Augie is one of the most in-demand trumpet players in New York, having worked with artists such as Harry Connick, Jr., The Maria Schneider Orchestra and The Vanguard Jazz Orchestra, and is currently a regular member of the orchestra for Aladdin on Broadway.
Augie says of the album, “I am excited, not just for the new single ‘Have You Met Miss Jones,’ but for the entire record. With time moving faster than ever, we wanted to create music that encourages people to pour a cocktail, close their eyes, and forget about life’s troubles. I’m Augie Haas; have we met?”
Born and raised in Milwaukee, Augie earned his Bachelor of Music in Jazz Studies at Roosevelt University’s Chicago College of the Performing Arts. After Chicago, he attended The University of Miami’s Frost School of Music Conservatory for a Masters in Studio Music in Jazz and a Doctorate in Musical Arts.
Augie has released four albums under his co-founded label Playtime Music: The Llama, Doing it Augie Style, Baby Jazz, and his latest album Endless, featuring all original compositions. Most recently he published his first book entitled Build Your Range.
Upcoming shows: July 19 @ Birdland | New York NY
August 8 @ Wynwood Yard | Miami, FL
August 10 @ Jazz Estate | Milwaukee, WI
In 1918, while away from his piano in Manhattan and serving in the US Army at Camp Upton in Yaphank, NY, Irving wrote the first version of 
Guthrie wrote a folk song about a series of incredulous events that began on Thanksgiving in 1965. “Alice’s Restaurant Massacree” struck a chord with the anti-war counterculture. By 1967 Guthrie had gone from playing small clubs to playing festivals and stadiums.
