Ithaca, NY based progressive soul band, Noon Fifteen is set to release its epic prog-pop suite, At the Festival,Halloween weekend. Packing a punch in its 22 minute run-time, the album is a brilliantly-efficient storyteller.
The members here are key to its delivery, starting with Mandy Goldman on vocals, whose dynamic range and myriad styles power this piece. Rounding out Noon Fifteen are: Samuel B. Lupowitz (keyboards & vocals), Joe Massa (guitars), Harry Nichols (bass, percussion, & vocals), and Phil Shay (drums & vocals). Joining the band on this outing is Chris Ploss, not only on percussion and vocals, but he also recorded and mixed the album at Sunwood Recording in Trumansburg, NY.
At the Festival explores the mood of Hero, the protagonist of the piece, as he contemplates the state of his life – past and present. Wondering where the time has gone and trying to truly feel his emotions, Hero conversely numbs himself with liquor and pills. It is this internal struggle that underlies the entire mini-rock opera.
The alternate musical styles of At the Festival drive the narrative through the album. The band shines here moving effortlessly between pop soul sounds, prog rock riffs and sonically soaring movements. The free, yet vocally stunning “Wandering” showcases the beautiful harmonies this group can deliver, and simultaneously offers a small respite to Hero. As the story works to conclusion, it is apparent that Hero’s struggle is not over as he is battered by mourning and lost love in “Rock Bottom” and he defiantly disavows everyone in “My Ghost.”
Well-crafted and performed, At the Festival is a testament to Noon Fifteen’s willingness to explore and grow musically. This is an effort to be cheered.
Key Tracks: Time for Me, Rock Bottom, My Ghost
Join Noon Fifteen for their album release party at The Range in Ithaca on Saturday, November 2.
Albany, NY based band Glass Pony is dropping their debut self titled album today, November 2, on all streaming platforms. The seven-track album has head-bopping beats that make you want to get up and move. The four piece band made up of guitar, bass, and drums gets inspiration from everything in between the 60s and 90s, with influence from rock, punk, indie, and jam band genres, according to their bio.
The album starts with “Grover’s Mill 1938,” which is a groovy opener. With a runtime dropping in just under 9-minutes, it’s a long listen, but one worth listening to. Its usage of multi layered vocals has a somewhat ‘Pixies meets jam band’ feel to it, that keeps you entertained throughout.
If you aren’t into songs long songs, Glass Pony might not be the band for you; about half of their songs hit in the 8-10 minute mark and take their time to get in the groove with long intros and outros. Their second song on the album, “Swing That Maximus” has a full two-minute instrumental intro. With tempo changes up the wazoo throwing the listener from dance-y beats that make you want to get up and boogie, to slow sections you would barely move your body, they are definitely the type of band you can let loose to live or shamelessly-groove-to on your daily commute. Glass Pony brings you out of the mundane with some chaotic, yet systematic rhythms and beats that make Glass Pony one of a kind.
Shorter songs like, “Too Close To The Sun” (under 5 minutes), follow suit with their routine guitar riffs, solid beats and smooth tempo changes. Glass Pony is a band to keep an eye on, with this solid album in their arsenal.
Key Tracks: Stardust, Grover’s Mill 1983, Too Close To The Sun.
Goose lead a capacity crowd through a semi-pro Halloween party for the ages on Thursday, October 31 at Mercury Lounge. Up against the expectations of a sold out show (and $12 tickets were selling for over $100 on the resale market) as well as musical ghosts of bands like Phish, String Cheese Incident, and Umphrey’s McGee who have made Halloween the biggest musical holiday of the year, Goose treated the capacity crowd to a Halloween bash of the highest order.
Opening band Of Clocks and Clouds lead Joe Salgo promised that if he made it into the room, we wouldn’t be disappointed – a big understatement, as the band opened for Goose. Double guitar shredding, a fast-and-furious pocket groove and complementary heavy jams from the keys made this band hit hard. Their heavy metal costumes contributed to the uber-amplification as, the room began to swell as the Goose crowd filtered in. It was a truly great set that hopefully leads to bigger and better things for this awesome band.
Goose took the stage promptly at 11:30pm, uniformly clad as members of the Flint Tropics from Will Ferrel’s movie Semi-Pro for their Halloween costume. Jackie Moon’s “Love Me Sexy,” played and sung by Will Ferrell’s lead character in the movie, opened the set, with much more of the soundtrack on the horizon. Goose original “Hot Tea” followed with nearly twenty minutes of crushing jams. Peter Anspach on the keys would move back and forth all night between funky-ass jams on the keyboards and face-melting guitar work. A cover of the Brothers Johnson’s “Get Da Funk Out Ma’ Face,” also from the Semi-Pro soundtrack, began with Trevor Weekz’ bass-slapping intro before melting into the double guitar attack from Peter and co-lead vocalist Rick Mitarotonda.
A duo of originals, “Yeti” > “Wysteria Lane” showed exactly why this band, on an exponential rise, sold out the neighboring Bowery Ballroom for their just announced January 24, 2020 show mere minutes after the on sale. Back to their musical costume, they closed the hour long set with Patti LaBelle’s “Lady Marmalade” and Walter Murphy and The Big Apple Band’s “A Fifth of Beethoven.”
DJ Doey Joey kept the vibe going with great beats both before the set and during the break. The band returned after 20 minutes for a costume contest, and among the three finalists chosen by the band, Happy Gilmore’s caddie won in a landslide.
With an intro that sounded decidedly like Phish’s “Maze,” a cover of Barry White’s “Never, Never Gonna Give You Up” made a jam sandwich of Semi-Pro covers around original song “Jive 1,” joined on the back end by WAR’s “Why Can’t We Be Friends” and “Jive Lee.” Some major funky vibes coming from Peter’s keys, with Trevor’s heavy bass lines and Ben’s driving beats, the crowd was working a serious groove. Staying with a few more originals, “So Ready” and “White Lights” rocked the room some more as both Peter and Rick gave out high fives to the fans rocking out. Randy Newman’s “Short People” closed the main set before a faux-encore break, “We don’t really have to fake walk away and come back do we?” as it’s not really practical to leave the Mercury stage in a sold out room.
“A Fifth of Beethoven” (reprise) > “Also Sprach Zarathustra” were the icing on the 90-minute cake called the second set, and put an exclamation point on a wild and exclusive sold out party for 250 of Goose’s closest friends on Manhattan’s Lower East Side.
This being an initial Goose experience, it is difficult to resist the temptation to make comparisons to other bands. Goose is a mix of Spafford and Goose’s avian kin, Pigeons Playing Ping Pong; fast and furious jams that stay tight and in the pocket, peaks upon peaks upons peaks until, finally, unable to ascend further, several more peaks, each one flavored with a unique and signature funk. The Bowery Ballroom in January simply can’t come soon enough.
Goose Semi-Pro Halloween Setlist
Set One: Love Me Sexy (WIll Ferrell as the fictional Jackie Moon; Semi-Pro), Hot Tea, Get Da Funk Out Ma’ Face (Brothers Johsnon; Semi-Pro), Yeti > Wysteria Lane, Lady Marmalade (Patti LaBelle; Semi-Pro), A Fifth of Beethoven (Walter Murphy and the Big Apple Band; Semi-Pro)
Set Two: Never, Never Gonna Give You Up (Barry White; Semi-Pro), Jive I > Why Can’t We Be Friends (War; Semi-Pro) > Jive Lee, So Ready, White Lights, Short People (Randy Newman; Semi-Pro)
Encore: A Fifth of Beethoven Reprise > Also Sprach Zarathustra (Deodato; Semi-Pro)
This past weekend, October 25-27, saw the annual Voodoo Music and Arts Experience took place in the city of New Orleans. The festival, in its tenth edition, boasted a genre spanning lineup that included Guns Nâ Roses, Beck, Post Malone, BrandiCarlile, The National, Interpol, Big Gigantic, and Young theGiant. The three-day weekend married the close of the 2019 festival season and featured some creepy crawly Halloween festivities.
In what seemed to be a Voodoo tradition the first day was plagued by a great deal of rain, leaving the grounds of the beautiful City Park under water and a swampy mess. The dismal weather did not deter the voodoo faithful from kicking off the weekend festivities costumes and all. Sets from up and coming artist Hobo Johnson & The Love Makers, and the amazing Bishop Briggs paved the way for a rainy serenade from Brandi Carlile, and an absolute heater from Guns Nâ Roses. The world-famous rockers treated a wet and rowdy crowd to a three-hour career spanning set culminating with a perfectly timed November Rain as the light mist turned back into a steady rain shower.
As day two arrived so did the sunshine as if summer was peaking in one more time before the winter months took over, allowing festival attendees to dawn their best costumes. This was a full music day that included sets from Young the Giant, The National, and Bassnectar with the ever-talented Beck closing out day 2 with his unique dance party sound. He paid homage to hometown favorites The Meters with a soulful version of Cissy Strut showing just how much love so many musicians have for the city of New Orleans.
The final day of the festival featured an array of new bands and artists that certainly should be on any music fan’s radar. Temples, a psych rock band from England, proved that British rock is still alive and thriving, blending multiple different styles to create a unique hard rock sound. Minnesota native Hippo Campus brought their billowy melodies and concisely written songs for an amazing afternoon performance on the main stage. The array of great music culminated with a powerful performance from Post Malone. The 24 year old rap star closed this amazing weekend with such stage presence and cockiness. Closing the festival with his hit song “Congratulations” exclaiming to the NOLA faithful âLive your life, live your dream, live your truth, be what you want to be, donât ever let anyone fuckinâ stop you.â A perfect motto for the attitude that the gritty city of New Orleans exudes everyday.
One of the fall’s best tours made their way to Putnam Place on Saturday, October 26 for a night of PR&J (prog-rock and jams) with Aqueous and Lespecial, two bands that highlight the fantastic Northeast music scene, who are just starting out their 13 shows together, which run through November 10 in Louisville, KY.
For Lespecial’s opening set, the Massachusetts power trio performed an industrial set of standards “Donut Ghost House I” and “Gallows Hill.” They dipped into their Primus playbook for “Too Many Puppies” and invited up Jaq from Burning Monk, a Rage Against the Machine tribute band out of Burlington, for “Know Your Enemy,” which had the crowd jumping up and down as if Morello and De La Rocha were on stage.
For Aqueous, their two sets were a build over the night from prog-inspired tunes “20/20” and fan favorite “Warren in the Window” in the first set towards more dance-filled numbers including “Strange Times” and “Half In, Half Out” in the second set. A cover of the Raconteurs “Steady as She Goes” and a debut of Tame Impala’s “The Less I Know the Better” gave fans a taste of familiar and new tunes inspiring Aqueous. An encore of “Uncle Phil’s Parachute” found drummer Rob Houk working the drum pad for a venue filled get down.
The bands next perform at The Rex Theatre in Pittsburgh on October 31, then The 8×10 in Baltimore on November 1, and Richmond Music Hall in Richmond, VA on November 2. Find more tour dates here and download the show from Nugs.net.
Lespecial photos by Sean Bemand, Aqueous photos by Jim Gilbert.
Lespecial Setlist: Improv > Donut Ghost House I , Gallows Hill , Fruit Wolf Dance, Too Many Puppies > Hello Skinny > Too Many Puppies+, New Fish, Know Your Enemy*, The Vessel, Tonberry^
*Rage Against the Machine, with Jaq from Burning Monk
+ Primus
^bad guy, Billie Eilish tease
Aqueous Setlist:
Set 1: 20/20, Warren in the Window (1), Realize Your Light, Steady As She Goes (2) > Weight of the Word, Going Nowhere
Set 2: Strange Times (3), Mosquito Valley, Pt II, The Less I Know the Better (4), Half In, Half Out, They’re Calling For Ya > Kitty Chaser (Explosions) (5)
Encore: Uncle Phil’s Parachute (6,7)
1- Closer to the Heart (Rush) tease 2- The Raconteurs 3- Gordon’s Mule tease 4- Tame Impala cover, debut 5- Crepes the Sloth Jam 6- Schism (Tool) tease 7- Falling Away From Me (KoRn) tease
From perhaps the world’s most storied concert hall, Trey Anastasio, a storyteller of the highest order, delivered a homecoming performance for the ages. As he mentioned during story time between songs, it was good to be back in New York, in his very own UWS neighborhood no less, “like a hobbit come home” after a national tour, including stops in Minneapolis and Milwaukee among others. Tuesday, October 29 was the penultimate performance of his solo tour, the first of two at Carnegie Hall.
After a welcoming roar, the crowd was completely still for the opening “Theme From the Bottom,” actively silent and attentive while offering the occasional whistle and woot. “Ghosts of the Forest” played beautifully in the pristine gilded white room, was followed by “Sample in a Jar” with the crowd singing along, which seemed to really please Trey who smiled and nodded appreciatively with every nuance of the crowd.
Trey, so alone and vulnerable (if that’s possible in the face of his adoring phans) has found his stories becoming the best part of these shows. “I want to try this out real quick to establish the rules. Let’s see how ya do,” before he began the opening notes of “Limb By Limb” to a scream, to which he retorted, “I guess you can handle this,” before continuing another of the night’s epic singalongs. Then he recounted a story of playing the same room with the New York Philharmonic and explained the difference between a conductor and a concertmaster (the strongest and most confident member of an orchestra who everyone looks to for guidance), and shouted out Sheryl Staples, whom he played with in September 2009, before saying Phish could use a concertmaster at times, someone to snap them back to attention.
“I think my mom likes this song… this one is for you,” and launched into “If I Could” which he dedicated to her, seated 6th row center, before the incredibly moving “Brian and Robert.” Long a personal favorite, especially this version, and rearranged to fit a solo performance, “Wolfman’s Brother” was next, with an acoustic telephone ringing, hysterical solo fills, and a great back and forth with the crowd. “The Inlaw Josie Wales,” a gorgeous instrumental very suited for the room, was followed by “Shade” which preceded “Blaze On,” a song long acknowledged by Trey, and received by the crowd, as a personal favorite.
Another funny story followed, this one at a urinal with Tom Marshall and Steven Wright, coming before a “Strange Design,” “Rise/Come Together,” “Back on the Train,” “AC/DC Bag” combo that had many dancing in their seats. The beautiful “Snowflakes in the Sand” showed off Trey’s finger picking skills before another story and dedication, this one to his namesake and grandpa. “That’s why I’m Trey, because we all had the same name and I’m the third, … I think he’d like this,” as he played “Till We Meet Again” which sounded like a wordless Italian love ballad. The crowd enjoyed “Turtle in the Clouds,” even as its lyrics seemed incongruous with the pristine room.
Trey’s playing, his banter, his whole essence, dripped with passion and love and humility all night. The “prince of music” played a gorgeous “Winterqueen,” another choice befitting the great stage upon which he sat. Perhaps the most poignant story of the night, Trey told of his deference for the hall and all the storied greats who came before him. He then mentioned Bach and how he used to write “For the Grace of God” on his compositions, and his feeling that his role in life is to be a vessel for this music, until he dies, and someone else will come along to do His work. Trey said he wants to play in his 80s, and Phish joked about playing a show in their 90s. “Everything’s Right.” Indeed. The first musical segue of the night saw Trey go right into “The Wedge” which had some furious acoustic solos.
Most of Trey’s playing was stripped down, just as he and his wooden chair sat exposed and vulnerable, amidst a backdrop of kaleidoscopic colors on the cavernous stage. “Sand,” a masterclass in looping, reminded the audience just how raw and stripped down the rest of his performance had been. “Say It to Me S.A.N.T.O.S.” closed the set and prompted us all to remember where we were for a night never to be forgotten.
After a short break, “Driver,” “Summer of ‘89,” and “Wilson” rounded out this first of two historic nights. Trey’s solo tour concludes tonight.
Mike Powell and the Black River are set to release their second full-length studio album, Gypsy Winnebago. The album was recorded in the band’s loft, The Family Room, overlooking Armory Square in Syracuse over the course of the summer and features contributions from two new band members.
Joining Mike Powell (guitar/vocals), John Hanus (guitar), Joe Bell (bass) and Dom Scicchitano (drums) on this outing are Brian Lauri (keyboards) and Jason “Jocko” Randall (percussion).
The ten-song album reveals a band coming into its own following its 2018 release Classic Universe. A few years under their belt and a series of weekly residencies at Downtown Syracuse’s King of Clubs has helped this band to really grow as a unit. Powell’s songwriting on this album is some of his best.
The most apparent difference between this record and their first is the vocal harmonies. “I had a long conversation with the band and emphasized how much I felt these songs needed more voices,” says Powell. “There’s something really powerful about human voices singing one message together. The guys obviously have great ears so they grabbed ahold of the harmonies right away and it really brought these songs to life.”
Fans who have attended the “Thursday Night Rock Show” residencies at King of Clubs have witnessed the band’s progression from a blue-eyed soul band, as exhibited on the debut Classic Universe to a well-rounded rock band with jamband tendencies. This transition can largely be attributed to the addition of Lauri and Randall.
Many of the songs included in this collection are not new to the die-hard Black River fan. Bandleader and lead songwriter Mike Powell and his partner John Hanus have been performing songs such as “Gone Too Far” and “Moonlight, Sunshine, and Rain” in front of audiences for several years. These songs have also been incorporated into the full band sets as well yet they still reveal a freshness on this recording.
John Hanus & Mike Powell
The production of Gypsy Winnebago showcases the individual members of the band, particularly drummer Dom Scicchitano and relative newcomer (to The Black River at least) Brian Lauri on keyboards. Lauri is also a member of the Syracuse-based roots-reggae band Root Shock.
Lauri uses his synthesizer to transport the listener back to the ’80s at times, especially in “When I Was a Fire.” The Cars’ Greg Hawkes and Genesis’ Tony Banks would approve.
“CAW” is a recent composition that can’t help but be influenced by the band’s frequent opening slots for the Canadian surf/spaghetti western/psychedelic rockers The Sadies. John Hanus’s guitar, paired with Scicchitano’s galloping drums and Powell’s haunting whistling transports the listener to the old west, one of Powell’s frequent lyrical destinations.
In short, Gypsy Winnebago is an album that exhibits a maturing band that should garner some attention for The Black River from critics and fans alike. The album will be released on Friday through all the major streaming platforms. It can be preordered here.
Louis Cole created a jazz-trance dance celebration in the Ballroom, while Tia Fuller brought a more traditional jazz approach with horns to the Stoop. These are just two of the artists from the third night of the 2019 BRIC JazzFest Marathon. This year’s festival led up to a three-day music marathon, with simultaneous performances over three stages, held at the BRIC House in downtown Brooklyn.
Antonio Sanchez and his band
Night three featured many jazz musicians from around the globe: Kassa Overall, Louis Cole, Antonio Sanchez, Myra Melford’s Snowy Egret, Claudia Acuña, Tia Fuller, and Boyfriends, featuring Joe Russo, Ben Perowsky, Josh Kaufman and Stuart Bogie.
Tia Fuller
Louis Cole was a one man jazz band, playing drums and synthesizer while looping his drum and bass heavy trance beats with pedals and a laptop. He also provided outstanding vocals and had a guest saxophone sit in during the encore.
Louis Cole
Boyfriends is an ambient rhythm exploration with Joe Russo (Joe Russo’s Almost Dead) and Ben Perowsky (John Scofield, John Medeski) on drums and percussion, multi-instrumentalist and producer Josh Kaufman (The National, Bob Weir), and Stuart Bogie (Arcade Fire, Iron and Wine, Antibalas) on woodwinds/keyboards. Both Russo and Perowsky showed off their subtle yet incredible drum and percussion skills.
Joe Russo
This year’s JazzFest might be over, but BRIC puts on awesome jazz programming throughout the year at this delightful venue. Head on over to their website for details about future events.
Finishing up their second year with Orrin Evans at the piano (replacing founding member Ethan Iverson), and on the eve of the release of their second album with the new lineup, The Bad Plus made a stop at the Hangar Theater in Ithaca. Previously declaring themselves the band that will Never Stop, they were now ready to Activate Infinity.
And why not? The music emerging from the trio, even after the change, and after almost two decades as an entity, is as potent and timeless as ever. Their healthy mix of rock, classical, pop, and yes, of course, some jazz as well, has a bit of something for anyone willing to listen. Hearing it performed live in an intimate setting with an appreciative and attentive audience, such as the case on this evening in Ithaca, is truly the ideal environment for such an endeavor.
The stage was warmed up with an opening set from The Long Now Trio, a local Ithaca band featuring guitarist Ryan Vanderhoof (founding member of the psychedelic rock band Akron/Family), Matthew Saccuccimorano on drums and Brian Dozoretz on bass, playing only their fourth performance together. It sounded more like four years together as they went on an improvisational adventure of their own, tangling cosmic guitar sounds with flourishing drum work in a quick but exciting 30-minute set.
The main course of The Bad Plus started innocently enough, with some soft and sparse piano. Gentle bursts of bass and brushes dancing along a bevy of cymbals soon joined the fray. The three disparate sounds slowly built in intensity, eventually climaxing in a complex three-part fit of triumphant chaos. The gentle easing into the set was a ruse, indeed the audience had just found itself caught up in an indescribably beautiful ten-minute whirlwind of sound. It was uplifting and exhilarating and worth the journey out on a Thursday night and the price of admission all on its own. It was Reid Anderson’s composition “Seams” and everything else was essentially on the house.
But the band still had over an hour more of tricks up their sleeves. They followed with Evans’ “Commitment” which ditched the subtle shifts in dynamics, choosing instead sudden shifts and jerks in a very dramatic and theatrical piece that had a bit of Broadway flair, with thematic characters and narratives shining through in the music.
Next was “Anthem for the Earnest,” a highly melodic energetic rocker that was go-go-go from the start and hardly let up for a breath. These three selections showcased all three members’ songwriting and the range and skills of their musicianship. It seemed they laid all the cards on the table so soon into the show, but each next piece was an adventure all its own.
The set mostly drew from last year’s Never Stop II record but also featured a few tracks from their new release, Activate Infinity, in the second half. “The Red Door” trended on the jazzier side of things, playing like a hyped up Thelonius Monk tune. On “Undersea Reflection,” each member took the task of rhythm and melody simultaneously and separately.
In its infancy, The Bad Plus made waves with their unusual cover choices and sprinkled them generously into shows and albums alike. But more recently, and on this night as well, it took until they were coaxed out for an encore, for a presentation of their classic cover of Aphex Twin’s “Flim” that turned into a Dave King drum workout and a the perfect cap to a wonderful night of adventurous instrumental music.
The Bad Plus don’t sound like anything from the past. They don’t really sound like they’re from the future, or even a representation of the present. There is a timeless quality to the music that just is. Their melodies feel like they will Never Stop being relevant.
Setlist: Seams (Anderson), Commitment (Evans), Anthem for the Earnest (King), Salvages (Anderson), Safe Passage (Anderson), 1983 Regional All-Star (King), The Red Door (Evans), Boffadem (Evans), Undersea Reflection (Anderson), Dovetail Nicely (King) E: Flim (Aphex Twin)
In the case of the Futurebirds, it’s a whoa-eliciting moment. Two electric guitars, one acoustic, pedal steel, bass and drums round out this band from Athens, Georgia. They’re so tight, and the sounds intermingle so well. As a listener you don’t pay much attention to who’s playing what, but the full blended sound becomes king.
In their 10th year, and touring in advance of a new album, the sextet found their way to Rochester for the first time, to participate in Three Heads Brewing‘s Rochester Residency. This month’s resident, bassist Kyle Vock, is putting his own spin on things by booking some of his favorite national acts to play in addition to getting in on the action with his own bands.
Futurebirds mix country twang, soulful grooves, shoe-gaze swirls and a twinge of psychedelia with a centring Southern-rock pulse. It was all on full display during their 70-minute set that spanned their catalog, including some new tunes from their forthcoming LP.
“Virginia Slims” off of 2013’s Baba Yaga got things going nicely. They showcased incredible two, and three-part harmonies throughout. Quality vocals certainly came in handy for a mid-set cover, Til Tuesday’s “Voices Carry,” which they wonderfully smashed into an pulpy alt-country ballad. The set ramped up to close, with “Rodeo” off 2015’s Hotel Parties preceding a powerful “Ski Chalet” in the “we’re not playing an encore” slot. Some Neil Young-esque guitar shredding foreshadowed a surprise “Powderfinger” cover they managed to squeeze into the “Ski Chalet” closer to send the crowd off into the night with a proper rocking.
Kyle Vock’s band, The Mighty High and Dry, opened the evening with a short taster set. Alan Murphy on guitar and lead vocals, Alex Cote on drums, and Eric Katerle on lead guitar joined Vock. The band can balloon to nine members or shrink down to a duo, but played at their baseline quartet. Opening with “Day and Night” they showcased their blues-based, soul rock across four of their original tunes, but kept them close to the vest. This is a band that can keep it rocking for three hours strong, stretching out with some fun rock tunes. So don’t miss them next time they play.
Futurebirds Mighty High & DryFuturebirds Futurebirds Mighty High & DryFuturebirds
