On Friday, May 17, Americana singer/guitarist Jackie Greene treated an intimate City Winery crowd to an acoustic evening filled with rare catalog classics and his take on many classic rock hits. His second of a two-set evening, accompanied by Nathan Dale on guitar and vocals and special guest Leslie Mendleson on vocals and piano, showcased why he is one of the top musicians around today.
This was a special, intimate setting for the musician who is usually flanking some of the biggest names in music with his soulful electric guitar. On this evening in a small venue like City Winery, donning only an acoustic guitar, Jackie told a different story using his amazingly rich voice and soulful lyrics. Known for his ties to the Grateful Dead family, he treated fans to stellar renditions of “Brokedown Palace” and “Peggy O.” But it was the stripped down version of Bob Dylan’s “Don’t Think Twice it’s Alright” that made this evening a special one.
Setlist: Don’t Let the Devil Take Your Mind, Brokedown Emotion, Slip Slidin’ Away, Gone Wanderin’, Honey I Been Thinking About You, Never Satisfied, Mexican Girl, Animal, Don’t Think Twice It’s All Right, Shaken, Breakdown, Trust Somebody, Don’t Let Me Down, Scarlet Begonias, That’s What Love Will Make You Do, Brokedown Palace, Ball and Chain, Peggy O
It took over two years for Honest Folk to get Marty O’Reilly and the Old Soul Orchestra to Rochester the first time, but just over a year to get them back. The band didn’t remember exactly what they played, but they remembered it and had been thinking about that show ever since. The crowd likely didn’t remember what they played either, but they, too, recalled its greatness and returned in big numbers to sell out Good Luck.
Regardless of the exactness of their memory, the band tried to mix it up a bit so as not to give Rochester the same show again. Old rarities and new songs alike got sprinkled into the set, which would have sounded different either way. This is a band that plays to the moment, each one different, and so the shows follows suit.
Each member of the Old Soul Orchestra plays a simple acoustic instrument making the amount of sound the quartet outputs all the more remarkable. They squeezed their instruments for all they’re worth.
Drummer Matt Goff hit, scraped, tapped, banged and shook with sticks, brushes, mallets, hands and various percussive toys, constantly building and breaking the music through interesting changes and movements. His solos showed off a jazzman’s touch, as melodic as they were rhythmic. Bassist Ben Berry plucked, bowed and knocked his upright in both a backing and leading capacity (particularly nicely on “Alone at the Table”), stretching out with solos fit for a psychedelic rock band. Fiddler Chris Lynch frequently handled the main melodic punches, maximizing the instrument’s capabilities by employing both the traditional bowing and also picking it mandolin-style. Lynch used pedals, adding extra flavor with the most overtly non-natural sounds of the evening: spacey echoes here, dripping psychedelia there, etcetera.
O’Reilly himself stuck with the same resonator guitar throughout the night, through thick and thin. When the reverb was acting up due to the vibrations in the stage, he turned it off and made do without. When his high E string broke near the end of the first set he played “Cinnamon Tree” solo because he didn’t need it for that song. Though, midway through, he realized actually he did. But again he made it work. Whether picking, sliding, strumming or soloing, that singular guitar was all he needed.
Mixed in with originals, like “Dempsey” and “Letters,” they also tossed in a few tunes that weren’t exactly covers, but more accurately renditions of old blues tunes. The words are the same but in their hands the music becomes something quite different. You’ve never quite heard “Samson and Delilah” or “Smokestack Lightning” quite like they play them. They played a newer blues rendition that is still in “discovery mode” as they work through it during their live shows. Appropriately, it was an interpretation of “Death Letter” by Son House, who famously was rediscovered while living in Rochester.
It could certainly be said after their second visit, that Marty O’Reilly and the Old Soul Orchestra have officially been discovered by Rochester too. Perhaps on their next visit they’ll outgrow the coziness of Good Luck. Make sure you’re there when they do.
Tom Morello brought Atlas Underground Live to the infamous Irving Plaza, treating a packed house of young and old fans to his most ambitious project in years, on Wednesday, May 14 . “The Atlas Underground Tour is one-part Marshall-stack guitar-madness and one part bass-drop meltdown. The show will be an intense sonic and visual ‘less talk, more rock’ experience that’s somewhere between a crazy mosh pit, an illegal rave, a subversive art installation, and a prison riot.,” said the guitar god and social justice vanguard.
The virtuoso has taken different genres of music and blended them like never before. A new mix of EDM and his powerful tone and attitude make Tom Morello one of the top guitar players in the style. Each song was carefully selected, paired with a powerful video message depicting giant problems going on in our society.
The show touched all genres and aspects of Morello’s long illustrious career. With plenty of Rage Against the Machine Material, the set journeyed along with nods to a deep connection with his Audioslave band mate and friend, Chris Cornell, and an inspiring cover of Bruce Springsteen’s “Ghost of Tom Joad.” During the final song Morello invited as many fans as could fit on stage with him; he blew the roof off the New York City venue with the Rage classic “Killing In The Name Of.” It was proof: the song’s lyrics are just as relevant now as when the song was originally released 18 years ago.
Griz’ Ride Waves: Season One tour rolled into Brooklyn’s Kings Theater last week. Griz is an electronic music producer and saxophonist from Southfield, MI who combines the saxophone with his self described “future funk,” electro-soul, hip-hop and funk beats.
Griz
Ride Waves is Griz’ fifth album, and came after a prolonged hiatus from social media and music. Griz used this time to hone his craft and travel the country while recording new music. He was able to recruit talent such as Snoop Dogg, Matisyahu, Bootsy Collins and Dram, as well as address social issues like gun control. He also recorded his first rap verse.
King’s Theater warmly welcomed Griz and his openers, Dwilly and Yung Bae. LA-based DJ and producer Dwilly took the stage first and delivered urban pop beats and remixes that got the crowd moving. Yung Bae, the Portland-based producer who has amassed millions of streams on Spotify, followed with his disco-centric funky beats.
Fans enjoy the Yung Bae set.
The crowd was on their feet as Griz took the stage. His setup included a raised area for his DJ equipment and saxophone, and an area to perform near the front of the stage, with a huge LED display illuminating with positive messages. Griz was accompanied on stage by guitarist Muzzy Bearr, vocalist Chrishira, and horn/trumpet players.
“Can’t Get Enough” featured Griz’ first rap verse, and showed his depth and talent. He sounded great and the crowd was loving it. The lyrics pulsated in bold letters behind him, and the light show was incredibly well timed.
Guitarist Muzzy Bearr, Griz, and vocalist Chrishira
The saxophone and guitar combination in “Caught Up” has a classic disco funk meets reggae feel. It’s hard to not start dancing, and that is exactly what the crowd did.
“It Gets Better” emanated with positivity, and combined elements of hip-hop, jazz and funk into one danceable tune. The LED screen displayed the lyrics and was a positive reinforcement of the chill vibe. The crowd enjoyed the song, and was singing along in unison by the end.
Griz seamlessly intertwines his funk and hip hop beats with positivity and the saxophone, creating pure musical bliss in Brooklyn. This show was an enjoyable party, from start to end, that is not to be missed.
The Palace Theatre in Albany, NY played host to Griz and his Ride the Waves tour on Wednesday, May 8.
Openers, Dwilly and Yung Bae opened the night and got the adrenaline pumping early. The front rows were packed with a high energy, young crowd and they were soon ready for one of Colorado’s best.
The lights dimmed, and the bass began to rumble. Griz emerged and began to throw out some incredible lyrics, not usual for past tours. The show continued to bring out surprises including two different singers and two artists on trombone and trumpet.
The energy, production, and bass lines, were all at full capacity all night. You can catch this energy yourself as Griz continues his tour west and is a headliner at many festivals this summer.
Brian Auger and the latest incarnation of Oblivion Express played just six songs in each of their hour-long sets on Sunday, May 5 at The Egg. The modest but appreciative audience was treated to plenty of marvelous solos from both 79-year-old English keyboardist, Auger, and the incredible Australian guitarist, Frank Gambale, a mere stripling at 60.
Earlier versions of Oblivion Express recorded six studio albums from 1971-1975, mining a progressive vein of soul-jazz that also incorporated traces of funk and rock. The current band somehow manages to make all these elements sound relevant and contemporary, even when they’re covering jazz numbers such as Dizzy Gillespie’s “A Night in Tunisia,” Wes Montgomery’s “Bumpin’ on Sunset,” Eddie Harris’ “Freedom Jazz Dance” and Gene McDaniels’ “Compared to What.”
The current quintet was filled out by relative youngsters: singer/percussionist, Lilliana de los Reyes; bassist, Andreas Geck, and Karma Auger (yes, he’s Brian’s son) on drums. Anyone who thinks nepotism accounts for Karma’s presence should just listen to him – he’s an excellent drummer who doesn’t overplay, yet made the most of his brief solo-spot during the coda of “Whenever You’re Ready.”
Reyes has a lovely voice and she gained confidence as the evening progressed, stepping out from behind her percussion array, really emoting on a beguiling version of Donovan’s “Season of the Witch.” It was first cut by Auger with Julie Driscoll and the Trinity on their 1967 debut Open.
“We were recording on clay tablets at the time,” noted Auger. “This tune was a smash all across the Roman Empire.”
Reyes’ ebullient vocals and the energetic solos from Auger and Gambale were well-suited to the positive messages conveyed by songs such as “Happiness Is Just Around the Bend,” “Straight Ahead,” “Whenever You’re Ready” and “Sundown.” Auger is best-known for a robust Hammond B-3 organ sound, though he also deployed a Korg M3 synthesizer. Gambale was dazzling throughout, with such a clean tone and precise articulation, he demanded attention even when playing rhythm accompaniment behind Auger’s lead on “Compared to What.”
Brian Auger finished this performance by saying “drive carefully because you never know: I might be walking back to the hotel. Thanks again everybody we will see you in the future.” Though he turns eighty on July 18, he’s got a European tour booked for the fall, and shows few signs of slowing down. Mr. Auger, long may you run.
“We’re having sooooooo much friggin’ fun on this little run of shows!” quipped Marco Benevento in an Instagram post on the afternoon of May 3. Later that night, the sentiment became overtly obvious as Benevento and Co. brought their colorfully energetic mix of pop and rock to Jersey City. White Eagle Hall, an historic venue is situated in the Village neighborhood of downtown Jersey City, welcomed every note as if it knew Marco came home to play.
Providing a short opening set was New York City native Andrew Fox, a solo singer/producer with a small assembly of toys and knobs but a large sweeping psychedelic soul. Warming up the Jersey crowd with a selection of songs from his recently debuted EP Shock by Shock, Fox sang passionately over a mix of deep bumping bass and sinking synthesizer leads. The live performance of these tracks varies slightly as Fox mixes, filters, and plays keys. A stand out was the funky “John / Candy,” featuring a pop laced guitar riff and chopping snare claps.
In a nod to the oh so obvious theme of welcoming that encompasses Benevento and crew, Fox mentioned that the two had in fact only first met in person just prior to the show. It was just a few weeks ago that Benevento reached out to Fox via the internet and asked him to tag along for a few shows. This speaks volumes to Marco’s openness to opportunity and appreciation.
After a short break, the headliners appeared to an uproarious applause and took a moment to settle in before jumping right into “Free Us All.” Immediately, the rainbow lights began to blanket the room as the crowd swayed in delight. The trio continued on through a mix of old tunes like “All The Other Dreams,” “Greenpoint,” and “Dropkick.” Still, there was room for a new song debut and announcement that a to-be-titled album is on the way, due out in September.
Dressed in silver sequin jackets and white tees reading “We’re using time for fun” (a song committed to tape on 2007’s Live At Tonic) the trio of Benevento, David Butler and Karina Rykman held on to their smiles as much they did the groove for 2 hours straight. There is an incredible enthusiasm in this group that creates an energy so palpable it’s hard to not participate in the celebration. Marco takes every opportunity available to thank the audience, thank his bandmates, and relish in the feel-good momentum that makes their performances uniquely positive.
The mid-section of the set brought more from the recent The Story of Fred Short record with the zany “I Can’t See The Light,” a soaring “Stay In Line,” and the bouncy “Walking With Tyrone.” Benevento jumped back and forth between center stage to dance around and sing and then again to his piano rig just in time to walk up and down a solo.
Just after Rykman removed her jacket, but not the smile, Benevento made banter by recalling a previous show where the crowd roared for 10 minutes when he announced the bassist by name. The audience took this obvious cue and cheered ever more loudly as Marco clapped and yelled “KARINAAA” into the mic. It was a cheerful moment that shined a happily embarrassing spotlight on the youngest band member just before she took a distortedly delayed bass solo. This paved the way for the crowd-pleasing cover of the Butthole Surfers 90’s hit “Pepper,” led by Rykman on vocals.
As is with most musicians, this band and Benevento, especially as the songwriter, gets as much out of sharing in the music as they do playing it. This was evident through the entire set but was most clear when the trio “answered the call” to play “The Real Morning Party,” an infectious pop number that had the entire crowd gleefully singing along to the melodic hook. As the audience bounced up and down in enjoyment, it was hard to tell whether the ground was shaking because of the dancing or because of the powerful rhythm section and soulful jamming.
After one last thank you, the party was brought to a close with the aptly titled finale “At The Show.” Members of the audience were still humming the vocal melody as the three band mates took their final bow at center stage.
Marco Benevento tour continues on May 10 in Washington D.C. with Andrew Fox.
*Setlist was not written down and songs were being called out by Marco. The following list was provided by management:
Free Us All, All The Other Dreams, Solid Gold, Dropkick, Greenpoint, Send Me On A Rocket, Walking With Tyrone, Live a Certain Life, Stay In Line, I Can’t See The Light, Follow The Arrow, Pepper, Witches of Ulster, The Real Morning Party, Oh Baby Can’t You See, At The Show
Colter Wall travelled from Saskatchewan in southwestern Canada to grace the stage of The Haunt in Ithaca on Saturday night. Though he had no problems connecting with the sold out crowd. Songs centering around cattle branding, ranching and rodeos were cut with more universal themes like love, friendship, trains, cars and motorcycles.
He arrived to the stage alone with his guitar and his cowboy hat, appropriately opening the set with the old cowboy song, “Old Paint.” He continued with a more modern tale of his own making, “John Beyers.” His voice, a resonant baritone, is rich like a finely aged whiskey (aged just 23 years in this case) and had a strong presence that echoed throughout the room. Though, possibly, the echo was from the audience, who exuberantly sang along, to each other, to the stage or to themselves.
A few songs in, Wall’s band joined him on stage. Together a quintet, pedal and lap steels, harmonicas, drums, and bass joined him and his guitar. Each brought their own character to the mix. There was an entire arsenal of harmonicas, and even a jaw harp, to match the mood of every tune. The pedal steel’s howls and whirls intermingled beautifully with the harps in an unexpected and somewhat unusual combination. The steady bopping red and gold paisley covered bass and swinging and tasteful drums held it all together perfectly.
The set was filled with songs from last year’s release. Songs of the Plains, and 2017’s Colter Wall. The tried and true, the ones everyone knew, were tossed in with something new, like “Western Swing and Waltzes” and also some much older selections, like covers of Ramblin’ Jack Elliot’s “Railroad Bill” and Townes Van Zandt’s “White Freightliner Blues.” No matter their age, coming through the voice of Wall and with the skill of his backing band, it was all sounding great to the adoring crowd.
Fellow Saskatchewans Kacy and Clayton warmed up the evening. The two cousins played a short set of lovely folk songs but were unfortunately competing with a rowdy crowd anxious to sing and dance to the main attraction. The subtle beauty of their voices and guitars was no match for the clanging of glasses and boisterous barroom conversations, but attentive ears were rewarded with another example of Canada’s increasing and ironic grip on the Americana genre.
In a sold out show, a blast to the past of the late ’60s – ’80s progressive rock era, the Alice Frost band had the crowd rocking in their seats to the music of YES! The core of the band started performing in the late ’70s and the friendships made then have endured to this day. The members of this ensemble, original and newly added, have developed a true love for the music and for playing together. The group is composed of experienced area musicians who enjoy the challenge of this complex and beautiful music. On guitars is John Eisenhart who has played in 805, out of Syracuse, Lake City, Blind Design and currently performs around upstate New York as a solo artist.
John Eisenhart – Guitar
John has a diverse background which includes a wide range of musical styles. From 17th century classical guitar to delta blues, as well as more popular music, John adds his own style and the audience loves it. Harold “Clutch” Reiser, on drums and percussion, is a founding member of The Maynard Brothers Band, and also played with The Sundowners, Blind Design and other bands. Matt Donnelly, keyboards, plays with The South Street Saints, The Music Box and hosts the Thursday night jam at the Lawrence Street Tavern.
Matt Donnelly – Keyboardist
Matt brings years of experience on the keyboards to the Alice Frost band. He currently is associated with many other bands in the upstate New York area. Once you hear his mastery of the keys, you can understand why so many bands want to be associated with him. Frank Esposito, the vocalist, played for Howard Stern’s show and works in the Vibratones. Carl DeSantis jr., on basses and a Berkeley graduate, plays in North Carolina in a number of ensembles. Steve Hymowech, the bassist for Dirt Cheap, assists Alice with extra guitar, vocals, percussion and inspiration. The show encompassed music from the Yes Album, Fragile, Close to the Edge, and Relayer.
Playing at a high level of difficulty to bring this music to audiences makes the work enjoyable and rewarding, and it was be a show to remember. The May 3 date kicked off the 2019 season for Alice Frost, ending as the headliner to an outdoor prog music festival in the Syracuse area. They have a Facebook page with videos, pictures and more information.Â
Harold “Clutch” Reiser – Drums
“Clutch” not only sets the beat for the songs, but he did a tympani set which drove the fans wild and onto their feet.
Steven Hymowech – Acoustic GuitarCarl DeSantis Jr. – Bass
Trey Anastasio Band closed out a long weekend run with the second of two sold out show at Brooklyn Bowl on Monday Night. Playing the beloved Brooklyn venue for only the third time, fans didn’t hesitate on packing this venue/bowling alley to capacity. This is one of the smaller venues TAB will play, but it seemed like Trey’s eight-piece solo outfit felt right at home in this tiny space.
The show began with “Blaze On” a song TAB debuted three nights earlier at Anastasio’s Me and My Mind documentary premier. The band continued in top form offering up TAB favorites Including “Alive Again,” “Night Speaks to a Woman,” “Curlews Call,” and “Dark and Down” before bringing an amazing first set to an end with “First Tube,” the Phish fan favorite.
After a short set break Trey and his amazing band returned with “Money Love and Change” where Anastasio shined with amazing guitar work. The rest of the set included speak to me, the first “The Land of Nod” since 2017, and a fun version of “Alaska” that the entire crowd sand every word to. The set came to a close with a smooth pairing of “Shine” into “Rise/Come Together.” The band returned for a two song encore offering up “Drifting” and “Ghost.”
Trey Anastasio Band Continues with a four night run in the southeast at the end of May as they prepare for a full card of summer dates. See a full gallery from the show Monday below.
