Category: Show Reviews

  • Gregory Alan Isakov Mesmerizes At Ithaca’s State Theater

    They say “never miss a Sunday show” and whoever “they” are were right about the packed house turned listening room at the beautiful State Theater of Ithaca for a magical night of music from Gregory Alan Isakov with support from Luke Sital-Singh. The clocks were set back earlier in the morning and the audience was also taken on a trip through time when singer-songwriters ruled the land, everyone hung on each word and the music became part of the environment, like listening to the waterfalls just up the road in Treman State Park.

    Isakov commands the stage with such simplicity, like a circa 1962 Bob Dylan, when a personality becomes the music. His showmanship exists only in the respect he has for his bandmates and the humble nature of how he addresses the audience and the nature of his songwriting. It is as if one can hear the wind wailing through the Colorado mountain passes in each harmony drifting through the five pieces of his band over the land Isakov farms and writes on. He is, after all, billed as a farmer first – a most important trade, becoming harder and harder in our current world. However, just as obvious as his love for the land, his touring band captures a mystic and ghostly quality that enriches the often forlorn lyrics. It’s as if the dust bowl of “The Grapes of Wrath” meets Neal Cassady and Jack Kerouac stranded under millions of mountain stars with the music of Hank Williams trickling out of a passing train. One could try to categorize Isakov’s music as indie or folk, but there is far more at play and it is a show that must be seen to be believed.

    “Oh, highway boys all sleeping in
    With their dirty mouths and broken strings
    Oh, their eyes are shining like the sea
    For you, the queen of San Luis
    I’m a ghost of you, you’re a ghost of me
    A bird’s-eye view of San Luis.” – Isakov

    Photo: Aurora Roe

    Isakov was born in Johannesburg and immigrated at the age of seven to the US. He started touring at the age of 16 and released his first album in 2003. His musical career is very interesting and he even dusted of an old song, “I’ll Feed Your Horses,” that he wrote about recording with Brandi Carlile. It was a very tight set that prominently featured two guitars, violin, bass, drums and a few songs with banjo. The band played several songs in the middle of the set around one microphone, which added to the beauty and “old timey” feeling of the evening. Towards the end of the first set, Isakov brought out opening act Sital-Singh for a cover of Bruce Springsteen’s “The Ghost Of Tom Joad,” noting that as they walked around Ithaca, NY they both spoke of their passion for “The Boss.”

    Photo: Jordan Rucks

    Sital-Singh played a beautiful opening solo set, alternating with an acoustic and electric guitar. His stage presence was endearing and fun and he captured the audience with witty banter between songs. Just as with Isakov, it was a complete listening room for Sital-Singh and he definitely made many new fans. The tour continues throughout the Midwest and South, moves abroad for a few shows, and then comes back to the West Coast of the States. Many of the shows are already sold out. You can follow the tour HERE.

    SETLIST: DesdemonePlay, Amsterdam, Southern Star, Dark, Dark, Dark, Soldiers Drum, Chemicals, Was I Just Another, I’ll Feed Your Horses, This Empty Northern Hemisphere, Wings in All, Time Will Tell, Saint Valentine, (Unknown) “Our love is hungry and cold”, The Ghost of Tom Joad (Bruce Springsteen cover w/ Luke Sital-Singh), ENCORE: San Luis, The Universe, Liars

  • Empire State Youth Orchestra Celebrates 40 Years At Troy Savings Bank Music Hall

    Members of the Empire State Youth Orchestra shut down the house with a robust symphony performance of four classical pieces at the Troy Savings Bank Music Hall on Saturday night. As the musicians took to the stage, excitement rose in the room as everyone got ready to celebrate ESYO’s 40th Anniversary Celebration. The crowded room had a diverse audience of young and old, supporting family members and fans of classical music alike. Renowned for its amazing acoustics, the Troy Savings Bank Music Hall served as a perfect venue.

    With as much animation as the small box on which he stood would allow, conductor Carlos Agreda drew exactly what was needed out of the 100 Capital Region middle and high school students sitting on stage. 

    Opening the concert was Dmitri Shostakovich’s ‘Festive Overture OP.96.’ This celebrative piece, while the shortest of the night, was the perfect set up for what was to come. ESYO Alumni Kenneth Olsen took the stage to perform the solo of the four movement ‘Concerto for Violoncello and Orchestra’ by Edward Elgar. Hailing from the Albany area and a graduate of Colonie High School, Olsen feverishly tore through the piece all from memory which brought the crowd to their feet in applause.

    After a brief intermission the audience returned to their seats for the final two pieces. First up was the wildly popular Overture to ‘Die Fledermaus’ by Johann Strauss Jr., bringing another witty and playful piece to the set before the musicians settled in for their most complex piece of the night. The grandeur sounds of composer Ottorino Respighi filled the venue as the students undertook the ‘Pines of Rome’ with near perfection. Through four movements, using various melodies and rhythms including a recording of a nightingale, the audience was transported to another time and place.   

    Agreda asked at the beginning of the concert, “Why ESYO? Why should one support the arts?” The smiling faces and teary eyes from nearly every person in the room was answer enough. ESYO provides students a chance at pursuing musical excellence and reminding us all that music speaks where words fail.

    Be sure to check out ESYO’s website for the upcoming 2019-2020 season including their annual Melodies of Christmas at Proctors Theatre in Schenectady.

    ESYO Upcoming Concert Dates

    Nov. 24 – TBA

    Dec. 6 – Fransworth Middle School – Guilderland, NY

    Dec. 15 – Massry Center for the Arts, College of Saint Rose – Albany, NY

    Dec. 19-22 – Proctors Theatre – Schenectady, NY (Melodies of Christmas)

    Feb. 1 – Crossgates Mall – Albany, NY

    Feb. 12 – Clayton B. Bouton High School – Voorheesville, NY

    Feb. 13 – TBA

    Feb. 27 – Massry Center for the Arts, College of Saint Rose – Albany, NY

    Mar. 9 – UAlbany Performing Arts Center – Albany, NY

    Mar. 29 – UAlbany Performing Arts Center – Albany, NY

    Apr. 1 – Proctor’s Theatre – Schenectady, NY

    Apr. 26 – Troy Savings Bank Music Hall

    May 1 – TBA

    May 2 – Arthur Zankel Music Center, Skidmore College – Saratoga Springs, NY

    May 3 – Brown School – Schenectady, NY

    May 10 – Massry Center for the Arts, College of Saint Rose – Albany, NY

    May 17 – Massry Center for the Arts, College of Saint Rose – Albany, NY

    May 31 – Saratoga Performing Arts Center – Saratoga Springs, NY

    June 20 – GE Theatre at Proctors – Schenectady, NY

  • Blues Traveler Celebrates 25 Years of ‘Four’ at the Beacon Theater

    Blues Traveler delivered a healthy dose of Four and a few covers at the Beacon Theater in New York City on Friday night. The band kicked off their Four Live Tour, celebrating the 25th anniversary of their seminal album Four. The audience was mostly full, and loving every nostalgic moment of hearing their favorite songs from the mid ’90s with the stunning architecture of the Beacon Theater serving as a backdrop.

    The current line up in Blues Traveler is John Popper (singer/harmonica), Chan Kinchla (guitar), Brendan Hill (drums), Tad Kinchla (bass), and Ben Wilson (keyboards). This fall, the band is playing Four in its entirety to celebrate the 25th anniversary of the certified platinum album. They did just that and brought back many fun memories of this album.

    The band sprinkled a few covers into the set, including a rocking “One Way Out” by the Allman Brothers and “West L.A. Fadeaway” by the Grateful Dead. They also played a memorable “Shout” by the Isley Brothers.

    Setlist: Just Wait, One Way Out*, Crash Burn, Fallible, Look Around, Stand, Run Around, The Mountains Win Again, Freedom, West L.A. Fadeaway**, Just Wait (reprise), Price to Pay, Brother John, Shout***

    Encore: 12 Swords, The Good, the Bad, and the Ugly, Drum Solo, Hook

    * Allman Brothers Cover

    ** Grateful Dead Cover

    **Isley Brothers Cover

    Catch Blues Traveler on their Four Live tour this fall, and celebrate 25 years of Four with them.

    Upcoming Tour Dates

    Tuesday, Nov. 5 Charlottesville, VA Jefferson Theatre

    Wednesday, Nov. 6 Richmond, VA The National

    Friday, Nov. 8 Louisville, KY Headliners

    Saturday, Nov. 9 St. Louis, MO The Pageant

    Sunday, Nov. 10 Cedar Rapids, IA Paramount Theatre

    Wednesday, Nov. 13 Grand Rapids, MI 20 Monroe Live

    Thursday, Nov 14 Chicago, IL The Vic Theatre

    Friday, Nov. 15 Minneapolis, MN Pantages Theatre

    Sunday, Nov. 17 Madison, WI The Sylvee

  • Pigeons Serve Up Talking Heads Cake in Times Square

    Simple ingredients, assembled one at a time, in careful order add up to more than the sum of their parts. In the kitchen: eggs, flour, water, sugar and heat become cake. Musicians are no different as guitar, drums, and bass join together to become a collective far greater than the sum of their parts. In musical costume, the creative behemoth known as Pigeons Playing Ping Pong, dressed as chefs for their performance of “Stop Making Cake,” sliced a mashup of originals, garnished with Cake and Talking Heads covers for night two on their Halloween run through Boston, New York, and Connecticut.

    Pigeons Talking Heads Cake

    “Macho Man” Andy Frasco & the UN, dressed as their favorite 80s wrestlers, got the crowd going early with a high energy opening set of fun covers and originals, along with a heavy dose of Andy and his shtick. He’s hard not to love, funny as hell, backed by great musicians with a singular desire to party and have a good time. He delivered. Some set highlights included covers of “Baker Street,” “Two Tickets to Paradise,” “Bulls on Parade,” “Tom Sawyer,” “Killing in the Name,” and original “Change of Pace.” Music is just a a part of Andy’s show, as he came down from the stage several times to either smoke a joint with some folks up front, crowd surf, or, best yet, a crowd-surfing pillow fight on an air mattress with Ernie Chang, the UN’s saxophonist.

    Andy’s quote of the night, “I may not be as good at music as everybody else, you know, I’m not the best, but I like to have a good time.” It’s just this type of self-awareness that makes his shtick authentic and his show worth seeing. Bravo, sir.

    Pigeons Talking Heads Cake

    Pigeons Playing Ping Pong in matching chef jackets and hats took the stage shortly after 10:30; the adoring crowd received their “kitchen staff” eagerly: “Scrambled Byrne” Greg Ormont, “Frank Sinatra” Jeremy Schon, “Chef Gator” Alex Pretropolis, and “Baker Ben” Carrey. “Too Long” got the kitchen party going before the band added a few extra ingredients, The West End Blend(er) Horns, for “Burning Up My Time” > “Love You Madly” (Cake) > “Burning Up My Time.” Accompanied by Jeremy Schon’s dizzying solos and Greg Ormont’s chicken scratch guitar, the rhythm section of Ben Carrey on bass and Alex Petropolis on drums drove the crowd into a frenzy all night. Just to highlight that point, the first set drum solo featured Chef Gator playing not only his drum kit, but an assortment of mixing bowls – with a mix of spatulas, whisks, and wooden spoons. “Julia” sandwiched the first Talking Heads cover of the night with “Flowers” to close the 75-minute set. 

    Pigeons Talking Heads Cake

    After a moderate 20-minute break, PPPP returned with “Henrietta” to whip the crowd up some more. The next ingredient was a cover of “Burning Down the House,” which was a highlight cooked to perfection. Just like its first set counterpart, Ben was still way up in the mix, dropping consistent bone-rattling bass-bombs mixed with frenetic beats that kept the crowd moving. The West End Blend horns continued to be in and out, adding beautiful layers of trumpet and trombone solos to the Cake, served up by Pigeon, especially during the “Horizon” > “Sheep Go to Heaven” > “Horizons” combo that ended the set. “Ocean Flows” in the encore slot gave the crowd one more chance to boogie down after several moments of raucous applause.

    It’s always a pleasure to share increasingly bigger rooms with this band, as they continue to grow and please their adoring Flock. Pigeons Playing Ping Pong has a unique creative edge that keeps their fans coming back time after time. Enjoy.

    Pigeons Talking Heads Cake

    Setlist via Phantasy Tour:

    Set 1: Too Long, Burning Up My Time*> Love You Madly (Cake)*> Burning Up My Time> Sunny Day> The Distance (Cake)*> Sunny Day, The Liquid*> The Great Curve (Talking Heads)*> Upfunk> Drums> Upfunk, Julia> Flowers (Talking Heads)*> Julia.

    Set 2: Henrietta, Naive Melody  (Talking Heads)*> Porcupine> Burning Down the House (Talking Heads)*> Porcupine*, Lightning*, Crosseyed and Painless >Horizon*> Sheep Go to Heaven (Cake)*> Horizon.

    Encore: Ocean Flows.

    *w/ West End Blend Horns

  • Goose Visits Flint Tropics, Covers Will Ferrell’s Semi-Pro on Halloween

    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.

    goose semi-pro

    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 semi-pro

    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.”

    goose semi-pro

    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.

    goose semi-pro

    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)

  • Voodoo Music And Arts Experience 2019

    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 N’ Roses, Beck, Post Malone, Brandi Carlile, The National, Interpol, Big Gigantic, and Young the Giant. 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 N’ 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 “Live your life, live your dream, live your truth, be what you want to be, don’t ever let anyone fuckin’ stop you.” A perfect motto for the attitude that the gritty city of New Orleans exudes everyday.

  • In Focus: Aqueous and Lespecial storm Putnam Place

    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

  • Carnegie Hall crowd treated to acoustic Phish from Trey Anastasio

    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.

    Carnegie Hall Trey Anastasio

    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. 

    Carnegie Hall Trey Anastasio

    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.

    Carnegie Hall Trey Anastasio

    “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.

    Carnegie Hall Trey Anastasio

    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.

    Setlist via Phish.net

    Set 1: Theme From the Bottom, Water in the Sky, Ghosts of the Forest, Sample in a Jar, Limb By Limb, Brian and Robert, If I Could, Wolfman’s Brother, The Inlaw Josie Wales, Shade, Mountains in the Mist, Blaze On, Strange Design, Rise/Come Together, Back on the Train, AC/DC Bag, Snowflakes in the Sand, Till We Meet Again, Turtle in the Clouds, Sunset Days, Winterqueen, Everything’s Right > The Wedge, Backwards Down the Number Line > Sand, Say It To Me S.A.N.T.O.S.

    ENCORE: Driver, Summer of ’89, Wilson

  • BRIC Jazz Fest Marathon Runs Through Brooklyn

    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.

  • The Bad Plus Activates Infinity at Hangar Theater in Ithaca

    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)