NYS Music 20​18

Category: Regions

  • Hearing Aide: The Upstart Crows ‘The Upstart Crows’

    The Upstart CrowsMoving out from a small college town music scene into one of the world’s largest and most diverse arts cities is daunting. For The Upstart Crows, fitting in means being different. So, when they moved from a small college town in New Hampshire into the Big Apple, they were able to settle right in. Late in August the band released their first album; a combination of punk, honkey tonk, and a vaudeville styled theatrical influence. The self-titled album, The Upstart Crows, is a grab bag of these various influences that the band draws from. The two piece group, comprised of Jon Adams (vocals/guitar) and Forest DeCoste (drums/bass), recorded at Proper Pop Studios in Brooklyn, NY. The band seized the opportunity to layer on elements that their two-member setup has handcuffed them from doing; the band plays as a guitar and drum duo typically. The addition of bass and some other backing instruments gives every song more dimension and enabled the group to hash out the ideas a bit more. Despite this, the album does feel a little meandering, focusing on the lyrical theme of sadness but not staying true in terms of genre and flow. The album remains an interesting listen despite the scattershot and shows how well the duo can formulate a song with consistently catchy melodies and tight performances.

    The album opens a little heavier with “Bad Medicine”, the first single The Upstart Crows put out in anticipation of the album. The song feels similar to an early 2000’s era emo tune, without the over-saturated production. The bass line fits well with the drum beat and provides a solid foundation for the rich guitar chords to lay out the progressions. The guitar ultimately leads the bass, with both instruments locking together in such a way you’d expect to hear in a song written by a smaller crew of people. The song is fun, heavy, and not overbearing. Adam’s vocals immediately stand out as theatrical and exciting. A few songs follow this formula of heavier instrumentals and grittier vocals. One vocal performance, from “Lying and Crying”, has Adam’s singing with a distortion on his vocals. This works really well with his higher tenor voice, commanding the listener’s attention. The end of this song also has an octave-matched guitar solo that adds some meat and more development to the melody.

    While the heavier songs provide good energy to the album, The Upstart Crows do really well in their more pop-oriented songs. Adam’s vocals shine in track 7, “Heart to California”. A more bubbly song with an indie/alt vibe, the band takes a catchy hook and layers on a lot of fun percussive parts and some group vocal refrains. Similar to a song you’d hear from The Dear Hunter, this offers a view of the band that would be interesting to hear more of. “What Did I Say” gives a similar vibe, keeping the song fresh with catchy hooks and a honkey-tonk feel. Adam’s vocals float above the instrumental like Ben Folds or Tom Chaplin (Keane). The mix gives the song a heavier feel without pumping the distortion of muddying the vocals. Like a few other songs on the album, this one had a seamless transition from the previous track. The band makes portions of the album feel like they were recorded one after the other without break, which yields a cool effect.

    From the heavy distorted wash of instruments, to a more jangly and organic songs, this album does not get boring. While the rocky flow and genre mixing can be a drawback at points, the ability to write consistently catchy hooks and execute performances that are tight make this album fun to listen to. The Upstart Crows cover a wide spectrum of genres in this album, and it’d be interesting to hear an album (or two) that focus on a steadier narrative and true genre. With this first release, the band has started to establish a theatrical alt-rock sound that can be refined to great effect. Check out the album, and if you’re in the NYC area don’t hesitate to catch a live set! You’ll get something a little different than the album, and that’s a great reason to catch a live set.

    Key Tracks: Heart to California, What Did I Say, Bad Medicine

    https://soundcloud.com/user-362945912/bad-medicine

  • Coffee and Conversation: Learning about Yaddo Gardens

    Locals got to learn more about the Yaddo Gardens, an artist community in Saratoga Springs, and its historical origins during the Friday, Sept. 14, installment of the Coffee and Conversation series at the Bethlehem Public Library.

    Lesley LeDuc, a docent and a member of the Board of Directors at Yaddo, spoke about how it is a recognized place where artists, filmmakers, poets, musicians and writers can apply to stay for a period of time to escape their everyday surroundings and work on their crafts. Its renowned resident artist program is divided into five categories: Literature, Visual Art, Music Composition, Performance, and Film & Video.

    This “artist colony” is located just off exit 14 on Interstate 87. While the area is accessible to the public, the property remains privately owned.

    LeDuc introduced the prominent Trask family, the patriarch of whom was financier and philanthropist Spencer Trask (1844-1909) a graduate of Princeton University who founded his own law firm. He and his wife, Katrina (1853-1922) a fellow philanthropist and author, had several children, all of whom died prematurely.

    Together, they bought this 400-acre estate back in 1881 and moved into the currently-standing house in 1893, after the original burned down in 1891. It became an artist colony around 1926, according to LeDuc.

    “There’s 55 rooms in this 45,000-square foot estate, 20 bedrooms, 11 bathrooms and I think if I remember correctly, there’s 16 fireplaces,” LeDuc said, chuckling. “When we do public tours of the area, someone always asks me about the number of fireplaces.”

    Tours of the Yaddo Gardens are offered every summer and fall. The estate, which serves as the site for “25 to 35 weddings every year,” according to LeDuc, is also notably populated with multicolored gardens, fountains, marble and a pergola.

    In addition to presenting numerous historical photographs of the family, the estate and its gardens, LeDuc also displayed postcards that featured the estate in the early 20th century. She also shared about how the property’s overall aesthetic features, including its statues and fountains, began to deteriorate over the years, particularly during the 1970s and 1980s, and how there has been an effort to restore them ever since.

    “We clean the marble statues with toothbrushes once or sometimes twice every year,” she explained. “They’re all marble so they’re very porous and we have to be very careful.”

    The pergola, the so-called dominant feature of the gardens, consists of 38 ionic columns and is about the length of a football field. It is a popular location for weddings at the estate.

    The pergola also had to be restored as it was made out of terra cotta which deteriorates “from the inside out … and the columns were all taken down.” While some columns were still capable of being reused after restoration, others had to be replaced completely.

    “We were all afraid of when the columns were taken down,” she said. “And the restoration cost almost $500,000. But eventually, they were all put up again and they just look like they came back, looking better than ever.”

    An audience member later asked how the name “Yaddo” came about. LeDuc said that while there have been at least six untrue “fanciful” versions of where the name came originated from, it actually came from Christina, the Trasks’ young daughter who once mispronounced the word “shadow.”

    Each week, the Coffee and Conversation series features a visiting speaker who comes to discuss either their professional or personal expertise about a work of art or a local landmark for about an hour. The series, co-sponsored by Bethlehem Senior Projects, Inc., takes place at the Bethlehem Public Library weekly on Friday afternoons beginning at 1 p.m.

    The next Coffee and Conversations event will take place on Friday, Sept. 21. For more information about this week’s visit here.

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

  • Get Up and Dance to Redbeard Samurai’s ‘Turn It Up’ Video

    Redbeard Samurai has just released a new music video that’s going to make you want to get your groove on. The video for his catchy number “Turn It Up” features dancers from a variety of different styles, from hip hop to swing. This fits with the song’s overriding message: “It doesn’t matter how you cut loose, it matters that you cut loose.”

    “Turn It Up” is the first single from from Redbeard Samurai’s upcoming debut hip-hop album Second. The project is the brain-child of versatile musician Blake Pattengale, a recent graduate of Eastman School of Music. With school behind him, Redbeard Samurai is finally ready to launch the music they’ve been writing and recording for the past few years.

    Photo: Dave Jones Empire West Photography

    The video for “Turn It Up” was directed by Josiahx, and features some members of the band and their friends. (Vanishing Sun fans will recognize a cameo by singer Zahyia.) The dancers don everything from traditional dance costumes to a panda suit. It was filmed at Arbor Loft in downtown Rochester, which fit the cleaned-up post-industrial vibe Pattengale was looking to achieve.

    As a concept album, ‘Second’ includes both songs and skits to tell a tale. Pettengale describes it as “an underdog story in which Redbeard Samurai works to liberate the people of Highstrung Falls from the shackles of propriety, conformity and mostly from the autocratic Chancellor who rules Highstrung Falls.” ‘Second’ is being mixed and mastered by Matt Ramerman of The Green Room. The release date will be announced soon. The album visuals were designed by Mexican artists Raul Urias and Moises Cordova.

    To stay current on upcoming events and album news, visit the website or follow Redbeard Samurai on Facebook and Instagram.

  • 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

  • Photo Gallery: Lark Fest

    Albany’s Lark Fest 2018 featured beautiful late summer weather and local acts including opener The Ryan Leddick Trio, Bendt, and Mirk who released their fourth album Sense the night before. Kimono Dragons and Victory Soul Orchestra w/ J.B., aka Dirty Moses, kept the crowd pumped for headliner The Age.

  • 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].

    karina rykmanInspired 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.

  • Autumn is the new Summer at first Borderland Festival

    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.

  • Episode 10 of Empire State Music Podcast features Buffalo Witty Tarbox

    Buffalo homies Witty Tarbox are a “jam-based ensemble of considerable versatility and dexterity, Witty Tarbox’s freewheeling sound embellishes their blues- based rock progression with elements of funk, indie, and surf rock, lending their songs a stylistic malleability and improvisational flair.” Cody Tarbox, Bryan Williams, Alex Khoury, Colin Gray and honorary fifth member Seth Bykowski join host Andy Hogan to discuss their debut EP, The Adventures of Schmitty ISSUE #1 v RARE, their upcoming album currently in the works, tour dates and more.

    Buffalo witty tarboxSeptember 28: Funk n’ Waffles (ROC) w/ Space Junk and Cypher
    October 5th: Buffalo Iron Works w/ The Magic Beans
    October 19th: Mohawk Place (Buffalo) w/ The Tins
    October 27th: Thin Man Brewery (Buffalo); Forever 27 Halloween Party
    December 13th: The Haunt (Ithaca) w/ Strange Machines
    December 14th: Nietzsche’s (Buffalo) w/ Strange Machines
    December 15th: Funk n’ Waffles (ROC) w/ Strange Machines

    https://soundcloud.com/nysmusic/esmp-episode-10-witty-tarbox

  • Beauty in the Machine release Stunning Animated Video for “13 Days”

    Brooklyn based electro-pop/rock group Beauty in the Machine recently released a mesmerizing animated video for their latest single “13 Days.” With dazzling vocals from Jennifer Cella, former lead vocalist of the Trans-Siberian Orchestra, and production by Monikkr, the monochromatic animation is a brilliant juxtaposition of sight and sound playing to the track’s effervescent theme.

    Beauty in the Machine is Jennifer Cella and producer/DJ Monikkr, combining elements from progressive rock and bass-driven house music for a Sub Pop feel. Live performances combine drum machines, synths, vocals and captivating visuals that bring together a seductive, futuristic and immersive experience.

    As former lead vocalist of Trans-Siberian Orchestra, Jennifer has headlined on some of the most prestigious stages in the world including beloved Madison Square Garden in New York City, as well as performed with various musical legends including Roger Daltrey of The Who, Joan Jett, Greg Lake of ELP and Jon Anderson of Yes. Monikkr, on the other hand, has DJed alongside some of the biggest names in dance music. As a former resident of legendary Webster Hall, you could find him opening for Skrillex, Dada Life, Bingo Players, Tommy Lee and many more. Before that, he was a live musician in rock bands Crash Theory and Colorblind and house music live act, Speakerbox. Together today, they’ve been compared to a modern version of Sneaker Pimps meets Portishead.

  • Rochester Fringe Goes ‘Instrumental’

    Dave Chisholm has a knack for writing and illustrating comics and a gift for making music. Last year, he released the graphic novel Instrumental along with an accompanying soundtrack that he composed. The multi-instrumentalist has a doctorate degree from Eastman School of Music, and not only wrote all the parts for the ensemble, but also performs on the trumpet himself. The members of the band also represent the characters in the graphic novel, who are also in a band. The story line centers around the moral dilemma faced by a musician who is gifted a killer trumpet. Yes, the instrument literally kills listeners.

    Luckily for those of us in the audience, this is a work of fiction. Even if it weren’t, I would have taken the risk. While the soundtrack has been performed live a couple times since its release mid-2017, this was the first time it has been projected onto a screen behind the musicians. The effect was spectacular.

    The novel has seven chapters, each corresponding with a track on the album. As you see the characters in the ensemble playing, you hear their instruments being played live. The characters really come to life.

    One of my favorite characters, the drummer of the fictional band, has an intense practice session at the beginning of the chapter entitled Decompression, and it was such a thrill to see and hear the drum solo played live by local percussionist Matt Bevan-Perkins. Syncing video and audio is no easy task, especially when the music is being performed live. As the drummer, Bevan-Perkins deserves kudos for setting the pace for the rest of the band so that it appeared seamless to the audience when the song ended at the same time as each chapter of the book. Bevan-Perkins was a stand-in for the Instrumental band, but performs regularly in Chisholm’s other project Talking Under Water.

    The protagonist of the work is a trumpet player, so the trumpet is featured prominently in the performance. Chisholm has masterfully infused musical symbolism and applied principles of music theory to create harmony and dissonance as appropriate to the story line, and carrying through golden threads of melody that tie the work neatly together. The listener is swept along as the trumpeter marches through the frustration of grinding out a gig, soars to heights of celebration, then plunges into depths of despair. All the while, Chisholm is playing the role of both musician and conductor giving visual cues to bandmates.

    One of those bandmates was saxophonist Colin Gordon, who performed an absolutely stellar solo during tonight’s performance.The string section was comprised of Chris Potter on guitar and Dave Kluge on bass. On the grand piano was Matt Curlee, whose part was featured prominently in the finale.

    The audience members fell completely under the spell of Instrumental, and rewarded Chisholm and the Instrumental band with a standing ovation. The line to meet the musicians afterwards lasted nearly as long as the performance itself. If you missed the show, the graphic novel and soundtrack are both available on Amazon. Visit Dave Chisholm’s website for more information about his comics and music.

    This event was one of more than 500 events that have been slated for this year’s KeyBank Rochester Fringe Festival. The state’s largest multimedia festival runs through Saturday, September 22.  A comprehensive list of events can be found at the Rochester Fringe website rochesterfringe.com. Stay tuned to NYS Music for continuing coverage.

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