NYS Music 20​19

Category: Funk/Soul/R&B

  • Hearing Aide: Freekbass ‘All The Way This. All The Way That.’

    Hail the almighty bass – a beautiful cornerstone of countless bands through history. Its versatility is a product of its transformation over time, to become a tool that is both seismic and transient. With such a dichotomy, the possibilities are endless, and that attracts some of the most sagacious of musical minds. Chris “Freekbass” Sherman is one such person; his bombastic aesthetic and revolutionary playing style is evened out by his time learning from one of the most accurate and revolutionary funk bassists of all time (Boosty Collins).

    In this focused yet unrestrained way, Freekbass explores the extremes of his instrument while never venturing too far into the obscene, instead riding the line of being an accessible yet progressive artist. Freekbass himself is one of the true cornerstones of a band, with a physical image formed around his vision and shaped by the eccentric. In this new album, All The Way This. All The Way That., Freekbass puts on a clinic for bass enthusiasts, as he invites along a cast of immensely talented musicians to create a work that takes the listener on a travel through funk music’s past, present, and future.

    The band on this album is stellar in every performance aspect. The Freekbass Experience is composed of all-star players Rico Lewis on drums (George Clinton & Parliament-Funkadelic), Sky White on keys (Foxy Shazam), and Sammi Garett on vocals (Turkuaz). Every track is unique in its usage of the band, with Freekbass’ bass lines acting as a centerpiece for most tracks, developed further by his supporting cast. In general, each song could be described as being steeped in a sort of chaotic beauty, creating a very instrumentally deep album that breathes an air of robustness. This is one of the things that defines Freekbass’ aesthetic in a way; from his image to his stage presence, it’s wild, yet neither ignorant nor forced. It’s large, but never overwhelming.

    “Blizzard Lizard” offers a great look at this dynamic. A soft opening gets the listener comfortable before the bass slaps them awake, ushering in a groove so funky it warrants a spray of Glade air freshener. While this track has a darker mood, the energy remains potent as heavily effected guitar and synth lines swirl above a dark, black-hole of bass.

    Much of the time though, the album has a brighter nature with springy instrumentals and sing-able hooks. An unrelenting pulse between the bass and the drums sets the tone in “You Make Me Wanna Dance.” Here, the vocals sit nicely in an agile arrangement with a lot of interplay between the organ and bass. Added strings nod to older funk and disco. Vocal “ooh’s” on top of that work to create a cinematic atmosphere – a unique experience in a mostly pocket-funk styled song. One thing that stands out here, as well as in numerous places elsewhere on the album, are the transitions between the song’s parts. There is a well-phrased melodic line in “You Make Me Wanna Dance,” much like something out of a Stevie Wonder song. In the more 80’s funk-pop styled song, “Your Love Is Always On Time,” you find a lot of bass fills between side-chained sub-bass and drum breaks ala Prince. And speaking to that point, it’s evident that these modern funk figures, such as Stevie and Prince, lent as much influence to this album as did pioneers like James Brown and P-Funk.

    The intricacies in more pop-oriented songs are a testament to the skill of the band on this record. Take “Steppin’ Outta Line” – this song could have easily gotten away with a simple drum beat; bass drum on the one, snare drum on the two, and so on. Instead, you’ll notice that the bass drum lines up almost perfectly with the bass line, which does move around a fair amount without becoming too evasive. One of the lyrics on this song offer a great explanation as to why this type of intricacy is preferred to the more modern simplicity in this funk-pop: “Some may conform with the norm of the time / Others fly the coop / Steppin’ out of line.”

    Composition on this album stands out in a big way against the back drop of good-ol’-fun funk jams. Accessible and technical! Modern, yet paying homage to what made this type of music so intriguing to begin with.

    The closing song, “Thrust”, sends the album out on a high note, acting as a good cap to a breakthrough album. The chorus holds strong as an earworm. The drums are accurately performed, filling out their function as the co-equal to the bass while breaking out in fills at just the right time; vocals are layered so thick that they are felt seismically. It’s just as much as the bass, though their presence makes it so a voice never get lost in the mix. This chorus is likely the strongest on the album, and along with the chipper instrumental, it is a great end to an absolute trip. As the song fades out, the need to listen through again will surely arise.

    Chris Sherman’s on-stage persona is a sight to witness. That taken along with this new album, one should expect to be seeing the name Freekbass more and more over the next year. Make sure to listen on Spotify, and visit Freekbass’ website for upcoming show information as well as live content. Follow on Instagram, Twitter, Facebook and more! And if you’re in NYS, you can see him in Marlboro for Mazzstock 2019, playing onstage with Zach Deputy.

    Key Tracks: Thrust, Fre3kroNomoKon, Gotta Get Back To You

  • In Focus: 10th Boston Calling Music Festival Highlights

    Over Memorial Day weekend the city of Boston hosted the 10th Boston Calling Music Festival, located on Harvard University’s amazing campus. The Harvard athletic complex is beautiful and gave some luxury to the festival experience, where each stage was constructed on the Astro turf fields. There was a three-stage setup with the two main stages next to each other, separated by a replica Green Monster that read: “You Are Our People” across the top.

    Each day was filled with great acts and music fans with a great energy. Here are some of the best things we saw during this festival weekend:

    Brandi Carlile

    She greeted her audience, “Hello Rock n Roll People.” She plugged in and was off, on one the best sets of the weekend. Highlights included opening song, “Hold Out Your Hand,” which every fan in attendance was singing word for word. Amazing covers of “Babe I’m Gonna Leave You” and Joni Mitchell’s “A Case of You” followed. Brandi and her band put on one of the most special sets.

    Anderson .Paak and The Free Nationals

    From the moment his drum set rose from the bottom of the stage, .Paak and his band brought funk and soul to the main stage the second night with their amazing songs and musicianship. Anderson .Paak and The Free Nationals are one of the top live music acts doing it right now; it’s amazing to see the growth and following that has already surrounded theses musicians. The highlight of the set was the guest appearance by Lil Nas X, and the duet of “Old Town Road”

    Travis Scott

    Music festival performances are special, you want to see and artist give their all and hold nothing back – that’s where Travis Scott delivers. His live show was top notch, out-of-control fun. The stage was adorned with a fifty-foot teddy bear, timely pyro technics, and amazing visuals and lights that covered everything on the stage. His stage presences and hype helped make this performance one for the Boston Calling history books.

    Tame Impala

    Kevin Parker informed the audience that he recently fell off a roof during a photo shoot and was taking lots of pain meds. That being said, it had little to no effect on Tame Impala’s headlining set Saturday night. The sets was like a slow burning fire, slowly progressing until an explosion. It was the bands hit song, “Elephant.” Confetti, smoke and lasers took over the crowd, as this song flipped everyone from a calm somber mood, to 150 MPH hauling down the highway. Impala knows how to entertain a festival crowd, period, allowing them to deliver one of the best sets of the weekend.

    Twenty-One Pilots

    Prior to this festival there was  a lot of hype about Twenty One Pilots being a headliner. The magic of live music, proof you can’t judge a book by its cover surpassed the hype, tenfold. This was more than just a set of music it was a full stage show, opening with a knight igniting a car on stage to start the set, confetti and fire, and a cinematic storytelling element.

    Over all, the 10th edition of Boston Calling Music Festival was a success. Music fans were treated to an amazing weekend with clear weather and one of the most eclectic lineups for the 2019 festival season. Great food and that ‘home team comradery’ within the heart of Boston, made this year’s festival one to remember. We are looking forward to what comes next for this premier music festival.  

  • Summer Camp: Wet, Hot, Dreamy American Summer

    It rained, it scorched, a few artists had to cancel due to travel issues, but that did not stop Summer Camp from being an absolute blast! A festival full of ups and downs but mostly a lot of awesome, jaw-dropping moments of improvisation and collaboration, beauty, artistry, community, and fun.

    Summer Camp, what a line up! Many sets of Umphrey’s Mcgee, moe., plus Pigeons Playing Ping Pong, Lotus, STS9, Gramatik, Space Jesus, Papadosio, and so so many more! Unfortunately not all major acts performed due to various issues, some weather related – Space Jesus, Govinda, Blackstar, & Rebelution were some of the acts that were unable to perform.

    moe. in full bubble mode.

    The pre party did not look so promising on Wednesday night. In a nearby arcade bar in Peoria, just twenty minutes outside the festival, the sky was black and the lighting fierce. Tornado warnings broke up the chill vibe of the bar as it interrupted old hits like “Electric Feel” by MGMT.

    But alas the rain stopped, as it always does. The sun came out and the patrons lined up at the entrance. God bless the express lane for media and the friendly folk who pointed out that media does not have to wait over an hour in the sun just to have their items inspected.

    Umphrey’s McGee at the Sunshine stage. We’ll miss you, Jefferson Waful. (UM lighting designer to retire from touring at end of year).

    Jay Blakesburg was directing the video team and filming patrons as they entered. The pre party featured some amazing acts like STS9, EOTO, Keller Williams, & Spafford, plus late night by Umphrey’s & Here Come The Mummies. Now that’s how you kick off a festival!

    Spafford played an incredible “All In” as well as “The Reprise” amongst their shred-filled set. Umphrey’s Mcgee played some strong first sets including songs like “Andy’s Last Beer” and “Syncopated Strangers.” STS9’s ‘Axe The Cables’ set was filled with groove including a masterful “Mischief of a Sleepwalker” > “New Dawn New Day” > “Mischief of a Sleepwalker .”

    Taz sits in with Pigeons Playing Ping Pong at the Moonshine Stage.

    Friday started off with Brandon “Taz” Niederauer. Now this kid can shred. “Fire on the Mountain” > “BlackBird” was phenomenal, heart touching, and ever so appropriate. Keller Williams’ Pettygrass with the Hillbenders was cancelled due to some lighting, a storm was coming that never came. Music is back on! moe., Exmag, Spafford, Karl Denson, Here Come The Mummies, Ghost Light (Tommy Hamilton still has the tape on his guitar from Shpongle Live Red Rocks!) and Pigeons Playing Ping Pong were all happy to oblige.

    Since Rebelution was cancelled, moe. & Pigeons Playing Ping Pong put together a set. At first it was moe. with Jeremy Schon, but what happened next was really impressive. While playing the same song (“Cissy Strut” by The Meters), members of moe. on stage switched with the Pigeons guys backstage, switching bands while maintaining the same jam ! Crazy impressive. Other songs played included “Get Back” by The Beatles, “Deal”, and “Sympathy For The Devil” by The Rolling Stones.

    Aqueous at the Moonshine Stage.

    Umphrey’s McGee performed Anchor Drops in its entirety during their evening set, filled with virtuoso shredding and improvisation.

    Some heavy hitting bass music on Friday by Zeds Dead, Tokimonsta, Flux Pavilion was followed by Ryan Stasik’s side project Doom Flamingo at the Campfire Stage who are definitely an act worth seeing.

    Mihali sits in with Big Gigantic at the Sunshine Stage.

    Saturday looked very promising, especially during the epic Big Gigantic set with an unexpected sit in by Mihali of Twiddle. But alas, during Umphrey’s set, the rain came in and washed it all away, along with several sets including those of Space Jesus & Manic Focus.

    Saturday also featured amazing performances by Chromeo Live, Cory Wong of Vulfpeck, Blues Traveler with a sit in Mihali of Twiddle and a separate one from Al Schnier of moe. , Andy Frasco with a sit in from Gumby himself! (by sit in what is meant is that Andy invited someone in a Gumby suit from the crowd to dance on stage as he shoved mushrooms in the costume’s mouth and finished Gumby off with his band members with an implied circle jerk).

    Cory Wong at the Moonshine Stage.

    So spirits were a little low Saturday night in the rain. Some major acts had gotten cancelled and the rain was not letting up. But indoor stages were still on! lespecial saved the day. Space Jesus did not get to play but he was rocking out to lespecial for the entirety of the set front row. With a little support from ‘his uncle,’ Luke Bemand and the lespecial boys crushed the late night Saturday set including the lespecial heavy hitter “Fruit Wolf Dance.” All those folks who may have been somewhere else were now packed and raging lespecial. Their tight, hard rock, danceable groove was perfect for this night. What better Primus song to play after a torrential rain storm… My name is mud!

    lespecial at The Soulshine Tent.

    Sunday funday. Never miss a Sunday show right? Chris Robinson Brotherhood was in the house, Oteil & Friends, Eric Krasno, Papadosio, The Werks, Ben Harper… the jam was strong with this day.

    Aqueous put on a particularly solid set to kick off the day featuring a live debut of “APunk” by Vampire Weekend. Umphrey’s, bringing the heat after having one of their Saturday night sets rained out, included “Whitehouse Road” by Tyler Childers with a special sit in from Arlo McKinley and Allie Kral from Yonder Mountain String Band. Umphrey’s McGee closed up their set with “Outshined” by Soundgarden.

    Neal Casal, Weedie Braimah, and Oteil Burbridge of Oteil & Friends at The Moonshine Stage.

    Oteil & Krasno in the VIP Lounge was beautiful, featuring masterful renditions of Dead songs such as “Help On The Way.” Oteil & Friends featured Jeff Chimenti, Krasno, Neal Casal, Weedie Braimah, John Kimock, and Alfreda Gerald. Now that was a set filled with such tight, progressive jams. It really flowed, had a direction, and was sonically impressive.

    Chris Robinson Brotherhood put on an incredible set with songs like “Rare Birds” and “Venus In Chrome” was played with precision and whole lot of energy.

    Chris Robinson Brotherhood at the Sunshine Stage.

    moe. busted out some live debut covers including “Rebell Yell” & “Turning Japanese.” This set featured masterful, psychedelic stage lighting complete with UV reacting bubbles!

    “Loving Cup” by The Rolling Stones was played at least twice that day by different bands, so that should tell you what kind of Sunday it was. A fun one. It was a Sunday Funday! Ben Harper & The Innocent Nocturnals proved to be intimate, full of masterful blues, and virtuoso musicianship including a Buddy Miles cover, “Them Changes.”

    Ben Harper & The Innocent Nocturnals at the Sunshine Stage.

    Lotus played a particularly awesome set, including a particularly groovey “Eats The light.” It flowed very well and people danced from the very first note until the end of the encore. Lotus is a nice happy medium between jam and electronica, where they can satisfy musical preferences of different tastes with the same song. Someone who loves to hear someone play guitar can appreciate their guitar playing, but someone who just wants to dance to a catchy beat can also do so at Lotus.

    Summer Camp had some heavy hitting bass music to close out the festival featuring Gramatik, Squnto, & Borgore. Borgore dropped old classic dance songs that everyone knew like “Sandstorm.”

    Mike Rempel of Lotus at the Sunshine Stage.

    Overall, Summer Camp was a success! Thousands of strangers gathered to celebrate freedom, music, and art. Summer Camp is a magical place full of amazing people, incredible music, inspiring art, and a thriving community that is held together by the love of music.

  • Music Haven announces 30th Summer Series in Schenectady

    For thirty years the Music Haven Concert Series has been bringing musicians from around the world to the capital region and this year to celebrate the 30th anniversary of the summer series they are also adding eight additional events, including theater and film.

    The seven Sunday shows feature artists from five continents, with special guests including Eddies lifetime achievement winner Kevin McKrell on July 28th opening for Ireland’s Seamus Egan (founder of the band Solas).

    Music Haven’s Founder and Producing Artistic Director Mona Golub announcing the lineup.
    Photo by Ed Conway

    Music Haven is also bringing Shakespeare back to Schenectady’s Central Park with two evenings of A Midsummer Night’s Dream. They will also be introducing a Broadway karaoke night, called Hamiltunes, a first of its kind event.

    Along with great entertainment the concert series has great food vendors, specialty beers, ice cream and other novelties making it a treat for the whole family. It’s no wonder that Music Haven won this year’s Eddie for Concert Series of the Year for enriching the cultural experiences of the region.

    2019 Concert Series (Sundays, 7 p.m.)

    July 7—Raghu Dixit
    Dubbed “India’s biggest cultural export” by The Guardian, Raghu Dixit’s contemporary global sound embraces elements of rock and hip hop, while rooted to India’s rich cultural heritage.
    Special Guests: Crossroads—Jay Gandhi & Yacouba Sissoko
    Sponsored by M&T Bank, Ellis Medicine, Fingerpaint

    July 14—Casuarina
    Named for the street where the band formed, Casuarina has gone from humble Rio de Janiero beginnings to rarified status as one of Brazil’s finest, sultriest Samba combos.
    Special Guests: Eduardo de Carvahlo e Forró de Bom
    Sponsored by Freihofer’s, The Salmon Law Firm, Goya

    The Garifuna Collective

    July 21—The Garifuna Collective
    Garifuna Collective preserves traditional Caribbean coastal rhythms like Wanaragua and the semi-sacred Hungu-Hungu with turtle shells, jawbones, guitars, bass and spiritual singing.
    Special Guest: Bodoma Garifuna Culture Band
    Sponsored by Benchemark Printing, Ben & Jerry’s, Snapple

    July 28—Seamus Egan Project
    Simply put, Solas founder and multi-instrumentalist Seamus Egan is a giant in the world of Irish traditional music, and he returns to his roots with a top notch quartet.
    Special Guest: Kevin McKrell
    Sponsored by Galesi Group, Carlilian Foundation

    Aug. 4—Thornetta Davis
    Multiple award-winner “Detroit’s Queen of the Blues,” Thornetta Davis has sung her truth alongside Bonnie Raitt, Kid Rock, Bob Seeger, and a host of blues luminaries.
    Special Guest: Tas Cru
    Sponsored by MVP Health Care, CDTA, Rivers Casino & Resort, WEXT 97.7/106.1

    Aug. 11—Cimarrón
    Like the Spanish Fandango, the Colombian Joropo that Cimarrón brings from the plains of the Orinoco River, is fierce, stomping and virtuosic.
    Special Guests: Sten & Maria Z.
    Sponsored by FAM Funds, Bustelo Coffee, SAVI

    Aug. 18—Jupiter & Okwess
    Kinshasa-born “Jupiter” Bokondji’s band Okwess marries the American funk heard during his youth in Germany with the Congolese Rumba of his homeland.
    Special Guests: TBA
    Sponsored by Lia Auto Group, Polar Beverages, WEXT

    Additional Performances (7 p.m.)

    Wednesday, July 17—The Turbans—Global dance party

    Thursday, July 18—Hamiltunes: An American Singalong

    Thursday, July 25—Huntertones—Horn-driven jazz/funk

    Friday and Saturday, July 26–27—Will Kempe’s Players: A Midsummer Night’s Dream —Shakespeare in the park

    Wednesday, July 31—A Tribute to Nick Brignola—Jazz

    Friday, Aug. 9—School of the Performing Arts at Proctors—Broadway Cabaret

    Saturday, Aug. 10—The Schenectady Symphony Orchestra—Pops and classical

    Friday, Aug. 16—Woodstock: Three Days that Defined a Generation
    —Premiere screening of new PBS Documentary

  • The String Cheese Incident Delivers Heady Queso at 25th Anniversary Run

    Colorado’s The String Cheese Incident graced the tri-state area with a 3-night run at the storied Capitol Theatre in Port Chester, NY to celebrate twenty-five years as a band. This run featured numerous rare covers, the spirit of Jerry Garcia, NOLA style marching into the crowd, and special guests. The band includes Michael Kang (electric mandolin/fiddle), Michael Travis (drums), Kyle Hollingsworth (Keyboards/Synth), Billy Nershi (electric/acoustic guitar), Keith Moseley (bass) and Jason Hann (percussion).

    Night one started out with a bang, despite the band and crew travelling through the night from Del Fest and arriving at 8 a.m. that morning. The set started with “Believe,” from their 2017 album with the same name. The boys brought a piece of Del Fest to the Capitol Theatre with bluegrass tunes “So Far From Home” > “Cedar Laurels” and energized the crowd with an incredible segue. “Laurels” was last played at Red Rocks in July 2018. “Gone Crooked” is a new tune by Moseley, written with Raymond Baxter, and had a nice old timey feel. Rounding out the set was “BollyMunster” and the psychedelic “Peace of Mine” > “Let’s Go Outside.”

    Michael Kang on the fiddle

    Set 2 began with a SCI classic, “Smile,” played for Nershi’s wife Jillian who was celebrating her birthday that night. Nershi announced that the song was originally written for her. Fan favorite “Desert Dawn” segued into two tunes from The Beatles’ Abbey Road, “Polythene Pam” and “She Came In Through The Bathroom Window.” “Pam” was last played 15 years ago, on 04/04/2004, with six total live appearances in all. While not as rare, “Bathroom Window” was last played two years ago on 08/13/2017.

    These rarities continued the high energy segue chain into the traditional bluegrass tune turned jam monster, “Rivertrance.” A rocking drum segment followed, with only Travis and Hann on stage. The new Dead-influenced Hollingsworth song “Big Reveal” > “All We Got” closed the set, but the show was far from over. SCI encored with their latin classic “San Jose” and then finished “Desert Dawn.”

    Keith Mosely and Michael Kang jam together

    Night two picked up where night one left off. Set one started with “Vertigo” and the segue sandwich of “Black and White” > “Can’t Wait Another Day” > “Midnight Moonlight,” the latter being a cover of Peter Rowan for the Jerry Garcia side project, Old and in the Way. The party then went into high gear as the band dove into “Valley of the Jig,” a SCI dancehall beast that is a reworked version of the traditional bluegrass tune, “Red Haired Boy.” The set closed out with Untying the Not’s “Sirens” > the quintessential “Restless Wind.”

    SCI covers The Talking Head’s “Burning Down The House”

    Set two continued with jam vehicles “Just One Story” > “Rosie.” “Song In My Head” then proceeded, from the album of the same name, followed by their debut of the Jerry Garcia Band cover, “Tore Up Over You.” “45th of November,” from the album One Step Closer, started a funk and psychedelic sequence that reminded the Northeast who SCI is. This began with a segue into the Talking Head’s “Burning Down the House.” The walls of the Capitol Theatre were filled with projections of fire. This cover was last played on 10/29/16 at Hulaween. The jazz-jam monster by The Weather Report “Birdland” > “Wheel Hoss” > “Birdland” > “Just One Story” closed out set two. Apparently, the band was also supposed to play “Jellyfish,” but scrapped the song based on time constraints. Capitol Theatre owner and jamband promoter Pete Shapiro was in the crowd tonight and addressed the audience before the boys returned for the encore. Nershi’s timeless bluegrass tune about rekindling lost love, “Bar Stool,” ended the show.

    Pete Shapiro, owner of the Capitol Theatre, addresses the audience

    Night three began with the band announcing, “Never miss a Monday night show.” The venue was half full, and those in attendance were in for a cheesy treat. The show started on a high note with “You’ve Got The World” and Believe’s “Sweet Spot.” The perennial fan favorite plus bluegrass tune “Little Hands” included a tight jam and segue into “Don’t It Make You Wanna Dance,” a Jerry Jeff Walker cover. Kang’s “Beautiful,” also from Believe, led into the introduction of their friend, guitarist Scott Sharad. He joined the band on stage for a rocking version of “Outside And Inside” > “Hot’ Lanta.”

    Billy Nershi

    SCI seemed determined to top each setlist, and the last set was no exception. All six members started the second set by marching into the floor NOLA style, and played an acoustic version of “Dark Hollow.” This song was last played almost 13 years ago at the Tweeter Center on 07/15/2006. “Into The Blue” preceded the always inspiring “Joyful Sound” > “Rumble” and got the crowd moving again. The Keller Williams cover “Best Feeling” launched into a dark reggae jam and segued into The Police’s “Walking On The Moon.” This is the third time they have played this unique cover. “Moon” went back into “Feeling” and then transitioned into Song in my Head’s “Colliding.” Another quintessential String Cheese Incident classic and jam beast, “Texas,” closed out this sensational set. Peter Gabriel’s “Shaking The Tree,” last played 03/18/2017, ended the run and sent the hard core fans home happy. The Northeast awaits the return of this gouda band.

    Setlists courtesy of friendsofcheese.com

    Saturday, May 25, 2019

    Set One: Believe, So Far From Home > Cedar Laurels, Gone Crooked, BollyMunster, Piece Of Mine > Let’s Go Outside

    Set Two: Smile, Desert Dawn > Polythene Pam > She Came In Through The Bathroom Window > Rivertrance > Drums, The Big Reveal > All We Got

    Encore: San Jose > Desert Dawn

    Sunday, May 26, 2019

    Set One: Vertigo, Black and White > Can’t Wait Another Day > Midnight Moonlight, Valley Of The Jig, Sirens > Restless Wind

    Set Two: Just One Story > Rosie, Song In My Head, Tore Up Over You, 45th of November > Burning Down The House, Birdland > Wheel Hoss > Birdland > Just One Story

    Encore: Barstool

    Monday, May 27, 2019

    Set One: You’ve Got The World, Sweet Spot, Little Hands > Don’t It Make You Wanna Dance, Beautiful, Outside And Inside1 > Hot ‘Lanta1

    Set Two: Dark Hollow2, Into The Blue, Joyful Sound > Rumble, Best Feeling > Walking On The Moon > Best Feeling > Colliding, Texas

    Encore: Shakin’ The Tree

    Notes 1 with Scott Sharrard on electic guitar, 2 Unplugged, Acoustic

  • Karla Bonoff Gets Personal At The Egg

    Karla Bonoff had a wry smile on her face at The Egg Friday, May 10 as she recalled an audience member at a previous show shouting play something cheerful!

    “I’m trying,” muttered Bonoff ruefully, pausing a beat. “Actually, I told her she’s at the wrong show.”

    Accompanied by the exceptionally tasteful guitarist, Nina Gerber, Bonoff alternated between acoustic guitar and grand piano, singing every number except for Gerber’s solo instrumental version of Clive Gregson’s “It’s All Just Talk.” The 67-year-old Bonoff is blessed with a powerful voice, yet she’s most comfortable expressing melancholy and yearning, as exemplified by “Please Be the One” and “Someone to Lay Down Beside Me.”

    Karla Bonoff

    A succession of such downcast material doesn’t necessarily sound like a fun Friday night, but thankfully Bonoff has become something of a raconteur, displaying a sly sense of humor that appears only intermittently in her lyrics. She spoke fondly of her early years, recalling all the “icky boyfriends” who inspired “Trouble Again” and remembering open mike nights at the Troubadour where she first heard Jackson Browne unveil “Something Fine.”

    Karla Bonoff and Gerber finished strong with a couple of disparate cover versions. An up-tempo rendition of “Personally” was set up nicely by Bonoff.

    “I’m gonna play a tune I didn’t write — it was my only hit, technically. Number 11 on the Billboard charts! The way I found this song was my dear old friend Glenn Frey, a great collector of obscure R&B tunes, played me this record by Jackie Moore from the mid-seventies.”

    (I said) “Wow, what a great tune — I can’t believe that hasn’t been a hit for anybody!”

    Frey: “Yeah, you know, I was thinking I should send this to Bonnie Raitt.”

    Cue much laughter from the audience. “Hi Glenn,” continued Bonoff.

    “Here I am, right here. So, I didn’t let him send it to Bonnie. I recorded it and it was a hit. This record had horns on it and strings and the Eagles singing background vocals and all this stuff — a big record. So I didn’t really over the years play it very much. I didn’t feel like I could really reproduce that big record. But I don’t give a shit anymore!”

    Karla Bonoff

    The subsequent version of “Personally” was a nice shot of adrenaline after so many ballads, but Bonoff slowed things down for the finale.

    “I was taking guitar lessons (in the late sixties) from a great musician: Frank Hamilton who was in the Weavers on and off with Pete Seeger. He taught in a little guitar store in the heart of Hollywood called Barney Kessel’s Music World. He taught me a lot of arrangements they used to play in the Weavers. When I recorded it I was lucky enough to have James Taylor and J.D. Souther play on it, but they couldn’t quite make it here tonight.”

    And in fact no one missed them, as Bonoff and Gerber meshed beautifully on a gorgeous rendition of the Irish folk ballad “The Water is Wide.” It was a fitting end to a lovely evening at the Egg.

    Setlist: Home, Baja, Oklahoma, Trouble Again, Something Fine (Jackson Browne), Daddy’s Little Girl, Rose in the Garden, Restless Nights, Tell Me Why, It’s All Just Talk (Clive Gregson), Please Be the One, Falling Star, Carry Me Home, Lose Again, Someone to Lay Down Beside Me, Personally (Paul Kelly), The Water is Wide*

    *(traditional, arranged by Frank Hamilton, Pete Seeger & Karla Bonoff)

  • Kat Wright and The Old Main Take on Clinton

    The Kirkland Art Center in Clinton was recently the scene for Kat Wright‘s return to her upstate roots. The Rochester-born chanteuse and her band performed a soulful, sometimes funky, 22-song set to a sold out audience at this small venue in Central New York.

    NPR once described Wright as a mix of Amy Winehouse and Bonnie Raitt. It’s easy to note tones of Susan Tedeschi in her delivery as well. This served Wright well later in the set when she and guitarist, Bob Wagner, teamed for a stirring duet of Tedeschi Trucks Band’s “Shelter.”

    Kat Wright 

    Wright’s band is one of the tightest around, making due without the presence of keyboardist, Shane Hardiman, who was missing due to health issues. Wright made note of the spaciousness to her right and wished Hardiman well in his recovery.

    Wright commands your attention with her presence and her voice. As soon as she opens her mouth, the notes pour out effortlessly. She possesses that rare quality of projecting deep soulful notes with what may seem to the onlooker as pure ease.

    Their set opened with an instrumental jam sans Wright, where the band: Bob Wagner (guitar), Josh Weinstein (bass), Colin Jalbert (drums), Jake Whitesell (tenor sax), and Phil Rodriguez (trumpet), displayed their chops right out of the gate.

    Wright joined the fellas for a sultry, soulful performance of “All About You” to get things rolling. The standing room only audience was rapt with the voice coming from the stage while the band provided a jazzy backdrop.

    Throughout the course of the night, Wright wowed with her voice while the band did the same. There were points during the show where the band seemed like they were ready to let rip but were holding back just a bit, to allow Wright to shine. These moments were sparse and when they let loose; they really let loose.

    This is a well-educated outfit, as shown in covers of blues classics from Howlin’ Wolf and Junior Wells and their jaw-dropping version of the Tedeschi Trucks Band’s “Shelter.” This is a band that wears its influences on their sleeves. If you want funk, they can funk you up with the best of them. If you want soulful ballads, you got it. Blues? Indeed. Kat Wright is one to check out.

    The night’s opener was the Utica-based Americana band, The Old Main. Their brand of music is rife with foot-stompers and tender ballads with the ability to flat-out rock. They’re a band on the rise around New York State, but knew their role on this night as the opening act. Humble and funny, they quickly won the audience over with witty, self-deprecating banter between songs and a solid set of original material spanning their two studio albums, as well as a new, as-yet-unnamed song.

    The Old Main

    The band, consisting of stand-up bassist Nash Robb, guitarist Seth Becker, drummer Mitch Eckler, and banjoist Dusty Elmer, rolled through a solid eight song set, incorporating an enthusiastic jam session that had Eckler using Robb’s bass as an adjunct to his drum kit during “Tuesday.” Robb and Owen offer some of the best harmonizing in Americana today with Eckler providing additional harmonies to add an extra punch. Elmer’s picking is effortless. The Old Main did exactly what they set out to do for this show — provide solid opening band material while winning over new fans.

    Kat Wright will be performing at the moe.down Festival in Turin Fourth of July Weekend. The Old Main will be performing at Woods Fest 2 in Westernville on August 10. Both bands are well worth checking out.

     

  • The Big Takeover Announces New Single, Tour Dates

    By Maddi Annunziata, Contributing Writer

    New York seven-piece band, The Big Takeover, perfectly fuses big band Motown with Jamaican pop roots, making it nearly impossible not to dance along. In their new single “Shy.” they offer an upbeat, retro tune that stays with you,  keeping you bopping around all day. This is the first single released from the band’s upcoming fourth album, and it’s filled with powerful horns, a foot-stomping beat, and soulful vocals.


    Despite its cheery, optimistic sound, the single has a rather somber story. Powerhouse singer/songwriter, Nee Nee Rushie, tells us about a love triangle, and everyone involved is too shy to communicate with each other and see their own truth. “I was trying to tell a very specific story, because I’ve written many stories that are left up to interpretation,” she elaborates, “feeling shy is an inexplicable and intriguing human behavior that most humans should be able to relate to.” “Shy” has an incredibly rich, boppy, and sweet sound that flows through you in a way that you can’t help but dance across the room. Listen to the single below or check it out through your favorite streaming platform here.

    The Big Takeover has been making a name for itself recently, sharing the stage with major acts such as The Wailers, Sister Sparrow, Jefferson Starship, and Pete Seeger. In 2018 they completed a 12-state tour and performed at Omaha’s Jazz on the Green festival.

    In addition to writing their new album, which is set to release later this year, The Big Takeover is set to appear at a number of notable music festivals this summer, including  Strangecreek in Greenfield, MA this weekend, Mountain Jam, and Musikfest. Check out the dates below to see when they’re playing near you.

    The Big Takeover Tour Dates:

    May 24 – Strangecreek Festival –  Greenfield, MA

    May 25 – Cisco Brewers – Portsmouth, NH

    May 30 – Lukin’s – Utica, NY

    May 31 – Red Square – Burlington, VT

    June 1 – Newburyport Brewing Co. – Newburyport, MA

    June 2 – Strawberry Jam – Turin, NY

    June 7 – Waterhole – Saranac Lake, NY

    June 8 – Burlington Discover Jazz – Burlington, VT

    June 9 – Earth Sky Time – Bennington, VT

    June 14 – Mountain Jam – Bethel, NY

    June 15 – Clearwater Festival – Croton On Hudson, NY  

    June 23 – Unifier Festival – Tolland, MA

    June 30 – Cisco Brewers – Nantucket, MA

    July 3 – The Promenade at Sagemore – Marlton, NJ

    July 5 – First Fee Friday Eve – Shelburne, VT

    July 6 – Dockside Park – Cold Spring, NY

    Aug. 1 – CFCU Summer Concert Series – Ithaca, NY

    Aug. 3 – Reggae Festival – Woodstock, NY

    Aug. 8 – Musikfest – Bethlehem, PA

    Sept. 7 – Drum Boogie Festival – Woodstock, NY

    Sept. 14 – Gloucester, MA @ Gloucester Harvest Fest

    Sept. 21 – B-Side Ballroom – Oneonta, NY

    Sept 28 – Canjam Festival – Pottstown, PA

  • Hearing Aide: Vacation Daze ‘The Upswing’

    If you’re ready to step off the beaten path of musical genres, let Vacation Daze be your tour guide. The Rochester band’s latest release, The Upswing, leads the listener on a voyage through a fusion of sounds, to a place where the lines between pop, jazz, and prog rock blur seamlessly. Your destination? An exotic clime brimming over with effervescent sonic euphoria.

    Vacation Daze

    The Upswing starts with a twinkly, jazzy composition, over which vocalist Ian Egling sings about not conforming to norms and expectations. “I am no one’s open tab,” he declares early on in the song. The album then meanders through aural explorations, soaring to the heights of alt pop in “Faberge” and delving deep into some funky soul in the jam “It’s a Comet.”

    The dreamy guitar notes opening of “Tin Can Telephone” set the tone for the nostalgic verses about first love. “But I still see you in my dreams sometimes like some ticky-tacky tin can phone / Strung up high from the window pane of a future that I’d never know.”

    At about this point, it becomes apparent that this is not only a journey of sound, but also a spiritual foray, a vantage point from which to see the past but also turn to what’s on the horizon. In “Magic Mirror,” Egling sings about how easy things were in the beginning, “Then it’s one thing leads to another / And it becomes the common cure that ails you / Do you want to know who you are?”

    When you’re ready to take a sabbatical from the norm, seek out The Upswing by Vacation Daze on Bandcamp and Spotify. The album was recorded at Rochester’s Wicked Squid Studios, with Vacation Daze album art by Kitty Box Press.


  • The New Mastersounds To Invade Brooklyn Bowl

    The New Mastersounds will hone in on Brooklyn Bowl Friday, May 17 and Saturday, May 18 for two nights, back-to-back, in honor of their 20th anniversary of creating music together. The intimate yet energetic venue encapsulates the explosive nature of the band – that is, if their kinetic energy can be jam packed into such a short window.

    Each night will host two evening sets and a Saturday matinee. Friday will feature support from Lamar Williams Jr. on vocals, saxophonist, Jason Mingledorff and Mike Olmos on trumpet on top of the Leeds-based quartet. Doors at 6 pm. Set one at 8:45 pm and a follow up set at 10:15 pm.

    Saturday brings on a support band, Control The Sound, for an all ages show with doors at noon. Later on, The New Mastersounds reignite for a recurrence of Friday’s collaboration, mirroring an identical lineup and set times.

    The New Mastersounds

    Check out “Shake It” HERE

    The time to celebrate is now. The band’s vast accomplishments and endless discography is complimented by the recent 7” record release. A-side’s “Shake It,” featuring Brooklyn Bowl guest Williams Jr. and B-Side’s “Permission to Land,” featuring Jeff Franca are quintessential NMS, horn-driving and grooving from the start. Written and recorded in Denver, CO, the record was put out by guitarist’s Eddie Roberts own label, Color Red. The release coincided with the two-night appearance at House of Blues New Orleans earlier this month during Jazz Fest. Respectively so, it would only be appropriate to give New York the same courtesy.

    More inside The New Mastersounds:

    From Leeds, United Kingdom, to the heart of American soul, The New Mastersounds are intuitive to a sonic mold created by their audience. Over the past 20 years, NMS have emerged as one of the prominent bands in a new-funk scene. Elevator-esque consciousness fuses with razor-sharp funk and syncopated drums that results in a dancing frenzy.

    The band’s short instrumental songs, what drummer Simon Allen, refers to as a post-Grateful Dead jam band scene with a “snappy, quirky funk,” stretches across the pond. Distinctive as Tatton’s Hammond organ itself, the band shimmers, shines and grooves beyond belief. NMS are hard to stump, fueled by necessity, gritty grooves and the deep rhythms that leak through the cracks of a late-night dance club rage. New generations of people flood, in an overwhelming word-of-mouth craze.

    NMS engages the audience directly and harnesses their energy. All of this translates to a unique concept that Allen refers to as “believing in the groove.” By stripping the groove down and keeping it going, it makes the music consistent. Suddenly, fans hip to the groove burst out in dance. NMS generated this loop-like feel of today’s electronic music to give listeners something to hold on to.

    At its core, NMS found a common interest in Black American music in the 1960s spun by DJs in Leeds. EDM Electronica was hip and the band quickly began to add this ammunition into their arsenal.

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