This week, Rochester’s Haewa embarks on a four-show run in May, taking them to Albany, Plymouth, NH and Burlington, VT, then back home to Rochester on May 10, where they will open up for Consider the Source at Flour City Station.
Originally a trio, Haewa started in 2011 with a foundation of fearless improvisation. They soon transformed into the four piece band they are today, featuring founding members Collin Jones (guitar) and Ben Chilbert (bass), as well as the newer additions of Troy Evan’s (keyboardist/synth wizard) and Marco Cirigliano (powerhouse drum master). The band’s roots allow their collaboration to create a unique sound that balances the sonic landscape between utter chaos and pure bliss.
Haewa’s matured sound encompasses unique songwriting, in depth instrumental compositions, as well as pure improvisation and vocals. Combining the spirit of rock-n-roll with trance-like, electronic influences and funk, Haewa commands their audience down the musical road less taken, into a familiar yet enlightening unknown.
Catch Haewa in Albany on May 2, Plymouth, NH on May 3, Burlington, VT on May 4, and back home in Rochester, supporting Consider the Source on May 10.
How would you describe the voice of Marcus Ruggiero? Start with the wind, a soft breeze which just captures your attention. Then feel your heartbeat, the deep, soulful sound reverberates with the rhythm of your heart. You can definitely hear a Cat Stevens tone about his voice, however, depending upon the song, a hint of Darius Rucker can be heard as well. Alone, his voice would be enough, but add to it the wailing guitar of Joe Mele, Sonny Speed at the keyboards, James Cappello driving the bass, and Brian Melick on his eclectic mix of percussion and you have nothing short of perfection in the form of Side Show Gypsy. Playing the second show of a ten-concert series in the lead up to a new album release, Side Show Gypsy treated Saratoga fans to a night of music that was full of emotion and left the crowd clamoring for even more.
The night of Sunday, April 14 was a special night for all of the Capital Region’s music and entertainment scene at Proctors Theatre. It was the first ever Eddie’s – the Capital Region Thomas Edison Music Awards. The Eddie’s were formed this year by Jim Murphy (marketing and corporate development director at Proctors Collaborative) and Salvatore Prizio (program director at Proctors). It provided an opportunity to amplify, empower, and celebrate all creative professionals that are vital to the Capital Region’s growing music scene. Thirty-three categories, ranging from best photographer, soloist, music venue, and others, and three people’s choice categories, were voted on by the public. Two 2019 Inductees, songwriter, Kevin McKrell, and Music Mobile founder, Ruth Pelham, were inducted into the N.Y. Capital Region Thomas Edison Music Hall of Fame.
As a creative professional in the visual arts, photography, and journalism scene, it was an honor to attend and be a part of this show at Proctors. It was a blast being a part of this show with other creative musicians, photographers, publications, and music patrons. The awards show gave patrons an opportunity to learn more about the musicians, bands, publications, music promoters, photographers, venues, radio hosts, and other creatives that make up our music scene in the Capital Region. It was a great event to support all the nominees and winners that make up our growing scene.
This year’s 2019 Inductees for the NY Capital Region Thomas Edison Music Hall of Fame included songwriter and visual artist, Kevin McKrell and Music Mobile Founder, Ruth Pelham. The video presentations and the speeches that both McKrell and Pelham gave to the audience were both interesting and inspiring, particularly Pelham’s. It was interesting to see how McKrell’s Celtic music and his portrait art of musicians that he created inspired him to become a visual artist and a successful musician who previously performed at the esteemed Carnegie Hall.
Girl Blue with Jamie from Chromoscope Video Productions, accepting the award for “Best Music Video” for “Dreams”Sara Ayers and Paul Jossman accepting the award for “Best Arts Publication” for Nippertown.comA photo video montage shown on the screen held in memory of Caroline MotherJudge.Kevin McKrell,songwriter and recipient of The Eddie’s Artistic Lifetime Achievement Award.Music Mobile Founder, Ruth Pelham, the recipient of The Eddies Lifetime Achievement Award for Music Education or Community Impact.
When I first interviewed Katie Louise, it was hard to wrap my brain around her talent. A classically trained pianist who is now trying to break into the pop scene? How is that even possible?
Well, she proved it’s possible. She’s even proved it’s not only a formidable attempt, it’s a smash hit.
The seven song EP, Unleash, released March 15. Louise and her team kicked off the new album with a show at Jupiter Hall.
Before I heard the full EP, I spoke with Louise. I had listened to two songs before the interview. Even then, I knew she was onto something special. The sultry “Imprisoned in Paradise” is slow, but poignant and powerful. I could feel her emotion throughout the song, and could identify with her rhetorical opener (Why would I want to sit all day and stare at only black and white?). Louise’s ability to speak about how she can see things and feel things, that those around her do not understand, is phenomenal. I felt her pain. “Imprisoned in Paradise” is truly one of my favorites on the EP, which is hard to believe because I’m a die-hard rock ‘n’ roll, go as fast as you can music fan.
spotify:album:6JAdwa5YmQtd4fjh60xXp2
Another true highlight is “Broken,” which Louise told me was one of the first songs she wrote. Another sultry, breathy ballad, Louise is able to use language as a medium to communicate the pain and sorrow the song is based on. A gentle piano melody supports her gentle, but strong voice: “I need you to hear me before we’re fighting because I don’t want to lose you / but I can’t do this without you / I need you to love me when I’m not broken.”
This is by far the strongest lyric in the song written by Louise, with her vocals bringing you to the scene of her pain, with a front row seat to watch it all unfold. I felt this lyric; I was able to relate my own emotional journey and feel the exact same pain. As the song picks up, the song becomes a little faster and is complimented with a drum beat that brings the element of pop into the forefront.
Louise talked about how this EP was a work of “baggage,” as she used some of the harder parts of her childhood and earlier life as a vehicle for her songwriting. Each song demonstrates a different part of her journey, with “Damn Good” bringing a danceable beat and feel-good lyrics (I ain’t gonna lie/ life is pretty damn good/ and I’m sure as hell proud of it) to an album of raw pain and redemption. The guitar solo also gives rock listeners, like myself, something to latch onto, making sure almost any listener has something they like within the brief EP.
Louise’s piano skills are not lost in this album. The solo in “Unleash” gives you just a taste of what she is capable of. I truly felt an old soul in this solo, as if I’ve heard this a million times, yet not heard it at all. Louise uses her impressive talent to introduce you to the world of piano in a way you might have never seen it before. As she’s clearly demonstrated, piano doesn’t have to be classical; it can be the melody and co-star of a modern pop album.
If I had to pick only one song from this album, it would be “You Can’t Talk To A Woman Like That.” A female empowerment anthem about what women want in a relationship and the bouncy beat will have you singing along with your sunglasses on, and windows down, as you drive home. The lyrics will have you singing for days (trust me, I sang it on loop for almost a week), while subconsciously thinking about what a woman should, or should not, demand in her life. The lyrics (You call it feminist/ I call it common sense/ and maybe baby you should get some of it) gives the listener an insight of the woman Louise is; you understand she’s here to fight for the respect, platform and place she rightfully deserves in the music industry, and for that matter, life in general.
Overall, Katie Louise has made a formidable splash into the scene with her first EP. I’m already a huge fan.
This article was originally published by The Spot 518, is property of Spotlight Newspapers in Albany, N.Y., and appears as a special to NYSMusic. TheSpot518 and NYSMusic work in partnership to provide readers with in-depth coverage on the local music scene in the Capital District and New York state, respectively. For more, visit TheSpot518.com
Jocelyn and Chris broke into Billboard’s Top 40 in the Adult Album Alternative chart with “Red Stops Traffic,” the third single off their 2017 release, “Go.” The album as a whole was Jocelyn and Chris’ most successful release. It peaked at No. 2 on Relix’s Jamband Top 30, and stayed there for three straight months. Perhaps what’s most notable fact about the album is it was produced while Chris was still attending Harvard.
The Jocelyn and Chris team chase radio play. It involves networking, sending tapes, exchanging phone calls and logging miles between more than 120 radio stations that fall under the AAA format. When “Outta My Head” debuted with Parade Magazine last November, David Bourgeois, the band’s manager at Bridge Road Entertainment, said it caught the attention of different radio stations. And, that’s exactly the point they’re trying to make.
The Fun in the Fight, promises to be a venture that will take the band into new territory. It’s debut track “Outta My Head” starts off with Jocelyn singing over Chris’ bluesy guitar riffs, but it then turns into something different. It swiftly progresses into a layered, contemporary production; it’s uptempo and hook-focused. It is the most commercial-leaning song the two have yet to produce. And, that’s just the beginning. Other songs within the 11-track album suggest Jocelyn and Chris could take aim at alternative radio in addition to the AAA and jam-band genres they are accustom to playing.
The album’s opening track sets the table for Jocelyn and Chris’ styling of a new generation of classic rock, featuring Danny Louis of Govt’ Mule. “Witness” is a love letter to all artists that have influenced the sister-brother duo since they were young children. A powerful guitar riff leaves bread crumbs in a lyrical homage to Ozzy Osbourne, Prince, Pink Floyd and more.
Any given live, Jocelyn and Chris, performance is defined by both power and energy. “Kill in the Cure” may best capture that. It’s a controlled burn, with emotional vocals from Jocelyn and metronomic guitar playing from Chris. It’s an appropriate segue to “Outta My Head,” which within itself, beautifully progresses from Jocelyn’s lyrics to a craftily layered track worthy of its debut status.
Chris plays a mean blues guitar and it stands out on a track that also features Beau Sasser on the Hammond Organ. The two are paired well on this darkly powerful, midtempo groove.
“Don’t Hang Up” is a stop-and-listen track. Dark lyrics reveal one side of an intimate phone conversation from someone desperate and contrite. Jocelyn’s voice is front and center in a ballad that lingers on through the next track. A stark contrast to “Problematic,” which follows with a pure rock riff.
Featuring Vulpeck’s Cory Wong on lead guitar and Louis again, this time on the Hammond, “Be That as it May” is an all-out jam. It starts slow and busts out into a stomping, danceable track. “Original” is yet another track that’s going to get you up and moving.
“Things I’ll Never Know” is a retro ballad that, again, reveals the roots to Jocelyn and Chris’ influences. More organ in the back, allowing Jocelyn to take the listener to church on this love song.
The album ends on two fun tracks, “The Western” and “Weatherman.” “The Western” is a story, as one would imagine, with pistols and a climactic duel, complete with a trumpet that will place you into the middle of a spaghetti western. The flute playing in “The Weatherman” accentuates yet another retro track that harkens back to the wistful ballads of Linda Ronstadt and Dan Fogelberg that dominated radio play in the 70s.
Jocelyn and Chris Arndt have shown versatility, and The Fun in the Fight showcases an effort that should help push the band out in front of different audiences. It’s a road map of where the two have been over the past several years and it shows where they plan on going from there. Should you be one of those who has not yet picked up on this duo, pick this up.
This article was originally published by The Spot 518, is property of Spotlight Newspapers in Albany, N.Y., and appears as a special to NYSMusic. TheSpot518 and NYSMusic work in partnership to provide readers with in-depth coverage on the local music scene in the Capital District and New York state, respectively. For more, visit TheSpot518.com
The Albany music scene has lost a legend as musician, Nippertown founder and former Times Union music writer Greg Haymes passed away on Wednesday, April 10.
Haymes founded Nippertown, focusing on the Capital District music scene that he championed over more than 40 years as a musician, artist and writer.
Known as Sarge Blotto to his many fans, Greg was the voice behind Blotto’s 1981 hit “I Wanna be a Lifeguard,” the video of which aired on the first day of MTV.
More than a few writers and photographers at NYS Music got their start through Nippertown and Greg’s impact is a great loss for us and the Capital District music and arts scene.
In a 2003 interview, Jon Fishman said “Look, Trey shits music.” He would know, having played with Trey since 1983 and observed his obsessive song-writing habits. Fishman joined Trey for the first time in a side project, the brand new Ghosts of the Forest, which debuted this month in Portland, ME. When Trey spoke during the encore at The Palace Theatre in Albany on Tuesday, April 9, he said he hoped to play music for 50 more years, and given Trey’s workload – writing Kazvot Vaxt and Ghosts of the Forest nearly back to back – and his increasingly positive outlook on life, that task is not out of reach.
This is Trey who is the unofficial celebrity spokesman for Light (now, with MORE brightness!). He’s been dropping notes of light in songs for a decade now, and with Ghosts of the Forest, we may have hit a new peak with Trey’s profoundly personal and positive lyrics. Trey spoke about Albany as being his second home, and close to those he loves in Burlington and New York City, and how excited he was to bring this new project to the Palace and a sold out ‘hometown’ crowd.
With a band consisting of Fishman on the kit (sans muumuu, he looks like your neighbor who side-gigs as a session drummer), a healthy Ray Paczkowski behind the keyboards, and Jennifer Hartswick and Celisse Henderson who provided gospel hued vocals that not only backed up Trey, but added a sonic layer to the group’s psychedelic rock. Saratoga Springs’ Tony Markellis took up bass duties, as he has in every side project Trey has had since 8 Foot Fluorescent Tubes debuted in 1998 at Higher Ground. Energy in the room was palpable, as many eschewed listening to the recordings of shows from earlier this month for a first-look experience that is otherwise hard to come by. Even the album won’t be released until April 12, making this a nearly-virgin experience for the majority of fans in attendance.
The production design by Abigail Holmes, who worked on Stop Making Sense and The Wall among many other shows, created a playground for her to color, using LED screens behind thin tapestries affixed with folded white paper in sweeping patterns. The symphony of light accented the music and was choreographed to each song of the night. During “The Green Truth,” a rainbow LED projection of Trey floated behind the band across the stage, while a stratified nighttime rainforest sky filled the stage during “Mint Siren Dream,” bringing the audience to Pandora for a brief moment.
Ghosts of the Forest can be translated as deep memories in our mind, and throughout the songs, themes of loss, love and decade-long friendship were present. Trey lost close friend Chris “CCott” Cottrell to cancer recently, and the experience led to a number of the songs performed by Ghosts of the Forest. Trey spoke to Rolling Stone about playing acoustic guitar while CCott was in his final stages, and would play as he went in and out of consciousness. “Drift While You’re Sleeping” draws from that, while having a mid-1970s psychedelic rock feel – think Derek and the Dominoes with space built in for Trey to stretch.
“Beneath a Sea of Stars Parts 1 & 2” was a fun Beatles-esque rocker, with a third part to close the set. “Stumble into Flight” had direct hints of Phish – “Pigtail” meets “Cool Amber and Mercury” with a dash of Steely Dan mixed in. “Ruby Waves” jumped out as a late 70s Neil Diamond show-stopper on steroids. A highlight among the night was “A Light Beyond the Dream,” with lights cascading as if entering a stained glass window and beaming on the congregation, combined with encouraging lyrics of not giving up hope.
This is prophetic Trey: upbeat, happy, and encouraging, dad-like at times but not playing dad-rock. Ghosts of the Forest is a culmination of Trey’s last decade of writing. Trey said he wants to play for another 50 years. This is just the beginning.
Trey Anastasio – Ghosts of the Forest – Palace Theatre, Albany, NY – April 9, 2019
Setlist: Piano intro, Ghosts of the Forest, Drift While You’re Sleeping, Friend, Sightless Escape, Halfway Home, If Again, In Long Lines, There’s a Path Above, About to Run, The Green Truth, Beneath a Sea of Stars Parts 1 & 2, Mint Siren Dream, Stumble Into Flight, Ruby Waves, Shadows Thrown By Fire, Wider, A Light Beyond The Dream, In This Bubble, Beneath a Sea of Stars Part 3 (blue)
Music transcends all. The staff (more like family) at Modern Day Music School, snugly located in an unassuming plaza on Route 9, understand this. All family members use this knowledge to make a difference in the lives of those they touch. The school, known for its powerhouse students Moriah Formica and Madison VanDenburg, has more behind the door, and in its heart, than the voices it trains and musicians it tunes.
“I once had a student who had a friend pass away and for whatever reason, she couldn’t go to the wake,” said vocal coach and musical instructor, Laura Beth Johnson. “The student came in here and said, ‘I want to write a song about this.’ So, we put pen to paper and she was able to write through the grief and use her music as a way to channel that grief into something positive and productive.
“I was so grateful and honored to be a part of that process and help her find her voice,” said Johnson.
Johnson (one of fourJohnson family members who work at the studio) was amazed at how her student has grown since that day.
“She’s writing all the time,” said Johnson. “It has given her the confidence she needs and she has blossomed since that day into even more of an artist.”
This is just one example of the way that Modern Day Music School is able to be there for its students. In music, you’re vulnerable. You’re open. You’re bearing your soul. For some, it’s incredibly intimidating at first. For others, it’s a relief right away. For all, the studio is a sanctuary; a place where they can be free, vulnerable and most importantly, themselves.
“The students develop these incredible bonds with their coaches and teachers that makes them want to work even harder,” owner Paul Benedetti said. “They come in for this 30-minute session. Sometimes, they only sing for about five minutes of that. They’re working through something tough in their personal life and they feel safe enough to come in here and talk to us. We want them to feel safe.”
These bonds were evident as our staff visited the studio on a rainy Friday afternoon. As pictures were being taken, Formica and VanDenburg were belting into a mic. Their vocal coach, Lesley O’Donnell, was standing outside the sound-proof booth. The doors were open, the vibe was good. As the girls tried to find their pitch, O’Donnell was offering encouraging words even though the girls were just goofing around.
“There it is!,” O’Donnell exclaimed as the teen stars belted out an impressive harmony. “There we go! Awesome!” A smile spread across her face. “It’s amazing,” she said.
Benedetti started Modern Day Music School in 2011 with a partner, who he bought out in 2013. The need for the school was a response to his own son’s musical talent. When his oldest son was a teenager, he was playing drums and decided he wanted to start a band. The problem was, there was nowhere in the area that made it easy to coordinate young musicians who wanted to get together with peers. Benedetti said it was a “nightmare” because there was always curve balls thrown; some kids really wanted to play, while others weren’t ready for the commitment it held. On top of that, where the bands would eventually play weren’t kid-friendly. The teens would play at house parties, where Benedetti didn’t feel was a good place for these young musicians.
“I come from the studio business and I’ve been playing, teaching and singing forever,” he said. “My partner and I had a thought during this time period; wouldn’t it be awesome to create a space where these kids could find like-minded students, and even better, have a safe space to play?”
The school opened with its well-known band program. Essentially, students signed up and are paired into a band with three to four other students with the same essential goal. Benedetti said these kids usually don’t know one another at first, and even more, they don’t always want to play the same thing or even like the same music.
“It’s not only a music session, it’s team-building,” he said. “These kids learn that you sometimes have to work with people you wouldn’t pick at first for whatever reason. That’s something you’ll run into regardless of where you end up in life.”
It sometimes takes a bit for the band to adapt. The band program is offered in three-month sessions. Despite the initial uncertainty, the kids not only learn to work well together, but they become friends and will often ask to play together again at the beginning of the new session.
“They’ll want to do more, work harder and see where they could potentially go as a cohesive unit,” said Benedetti. “If we feel it works as a whole, we will happily try to accommodate those requests.”
The band program eventually was joined by music lessons when Benedetti realized how needed it was. Now, the studio employs at least a dozen coaches with all different abilities and talents. While those like Formica and VanDenburg are jumping into the mainstream, 7-year-old Ella Dane Morgan is a student with a different passion — performing on stage. At 5 years old, she was starring with pop sensation Sara Bareilles in the singer’s smash hit “Waitress.”
“I have reverse stage fright,” Morgan explained. “I don’t really like performing in front of friends and family, but I love performing on stage.”
Morgan’s mother Laura agreed, explaining she’s had to physically carry a crying Morgan as she pleaded to get back on stage, long after the curtains closed.
“We were bitten by the Broadway bug at a young age,”said Laura Morgan. “Once she got the taste for it, she wanted in. We sometimes commute between here and the city three to four days a week for whatever she has going on.”
The young Broadway star has learned so much from her three years of instruction. Laura Morgan said they picked Modern Day Music School because of the school’s command of music — they know what they’re doing. There are not a lot of roles for children on Broadway, but the Morgans have made it work and the young star has been consistently in her element, doing what she loves most.
“I’ve learned to belt by opening up my mouth like a cave,” Ella said. “I pretend I’m stuffing all of these marshmallows in my mouth. It’s helped.”
Another belter, 11-year-old Ashlynn Boyce, has been working on the same techniques. The two-time winner of Clifton Park American Idol has always known she could sing, surprising even her parents.
“I was shocked when I first heard her,” Boyce’s father, Jesse, said. “None of our family has this skill and she can command it so well.”
Boyce has been attending Modern Day Music School for two years. Having just relocated from Pittstown, Boyce and her dad were passing through one day and she saw the sign for the school.
“I just knew I wanted to go here,” she said. As shy as she is, she knows what she wants. “I had a feeling about it.”
Jesse Boyce put all his trust in Benedetti. Soon Boyce, who was sent home early from Clifton Park American Idol the first year she tried out, was in command of her talent like never before.
“She can be so successful at this,” he said. “You just want the best for your kid. No place is perfect, but this is pretty close.”
Boyce said her warmups have completely changed her. They help her get ready for the big notes she loves to hit, ones she hopes to sing with Demi Lovato someday. Two years later, she still wants to go here. It’s become as much of a sanctuary for her as anyone.
Students like Boyce are how the teachers summarized what they feel the school does for students. The initial intimidation of coming in and bearing a part of your soul that many are self-conscious about — even those who know they have talent — is overridden when they step into that studio and feel validation about something they’ve worked on for so long.
“It’s music. That’s what we know,” said O’Donnell. “It makes sense for us to teach it. We are simply the vehicles for these kids to hone in on the thing they love so much.”
Tony Garza, the jack of all trades of the school, agrees. Garza teaches guitar, bass and ukelele. He is the head of the school’s Little Rockers program and is the rock school director. For him, it comes down to helping the students learn important life lessons, like they have to be ok with not being perfect.
“I always tell my students they are good, they are special and they are worthy,” Garza explained. “I want to help them find their voice.”
Katie Johnson, another vocal coach and the song writing teacher, agreed. “Music has changed the lives of these kids, and they’ve changed all of us,” she said. “They come in not believing in themselves and they find who they are through the music.”
The teachers are assisted by the helpful Benedetti and Cailin Burke, the studio manager. Burke explained students are not just randomly assigned — rather, the studio takes the talents of each individual into consideration and pairs them with the coach that can address those specific needs.
“No curriculum here,” was echoed by every single employee of the studio. Benedetti added, “We use music that the students want to learn about to construct our lessons. If they love Taylor Swift, we will visit her music and learn notes, harmonies and how the song is constructed. We want to make learning fun for these students. Curriculum is great, but we want to take an individualized approach to each student. This is not one size fits all.”
Eighteen-year-old Formica, 17-year-old VanDenburg and 15-year-old Cassie Cenzano are on their way to superstardom. All three said they owe so much to their coaches; while it’s taught them how to sing, it’s also taught them how not to.
“I hate it when people come up to me and tell me how they’ve never taken lessons,” said Formica. “We take pride in our lessons because they’ve taught us how to maintain our voices. Not taking lessons is great, but when you accidentally blow out your voice because you didn’t maintain it, that’s definitely not fun.”
Formica and Cenzano landed at Modern Day Music School around the same time, right after the school opened. Formica is a rock powerhouse, effortlessly having both the voice and stage presence to make audiences question why rock went away. Cenzano is influenced by the sultry vocals of Adele and Stevie Nicks, a stark contrast to Formica. VanDenburg finds her influence in singers like Celine Dion and once said she prides herself in the ability to sing ballads “decently well.” As her recent appearance on “American Idol” has shown, she was maintaining the level-headed kindness and humility all three girls embody.
“Moriah was actually the one who encouraged me to come here,” said VanDenburg. “I think that’s what sets this place apart from everywhere else. It’s welcoming, it’s chill and our coaches genuinely want to get involved in our lives and provide the support we need outside of this.”
Cenzano agreed. Her low, soothing voice articulates her gratefulness to the studio for its ability to reach out to her. She’s in the studio too, working as hard as her peers.
“The key to these lessons is listening and taking it all in,” she said. “We all practice a lot. We’re open to what we’re being told. We want to learn.
“Being a musician is always in you,” Formica concluded. “True artists, like the three of us and those who are here with us, love music in all of its forms, and we love that we can make our own music.”
Benedetti chalks up his impressive staff and students to the “vibe” he puts out. While they frequently get applications for new employees, Benedetti said it’s so much more than having the ability to sing or play.
“If you can come in here and you have the talent, great,” he said. “But the vibe is so important. We want to create a modern, safe, welcoming space. We want to give our students an experience, not just a lesson.”
Modern Day Music School is actually looking to expand its team, with Benedetti promising new staff members will have the qualifications, vibe and personality its customers have come to know and love.
“When we are told by parents that their child is excited about that 30-minute lesson, I know we are doing something right,” he said. “It’s 30 minutes, once a week. Yet, the students long for the time here. They have siblings come and hang out while they practice, and we provide a space for them to grow too with whatever they need.
“I know we are doing something right when we see these kids so happy,” he concluded. “We want things to make sense for each individual student, and we think we’re achieving that.”
This article was originally published by The Spot 518, is property of Spotlight Newspapers in Albany, N.Y., and appears as a special to NYSMusic. TheSpot518 and NYSMusic work in partnership to provide readers with in-depth coverage on the local music scene in the Capital District and New York state, respectively. For more, visit TheSpot518.com
Experience Hendrix is a collection of famous guitarists covering some of Jimi Hendrix’s most well-known tunes. From classics like “Foxy Lady” and “Purple Haze” to Hendrix influenced versions of Dylan’s “All Along the Watchtower” and Howling Wolf’s “Killing Floor”.
Featuring Billy Cox (from Jimi Hendrix Experience / Band Of Gypsys), Joe Satriani, Dave Mustaine (from Megadeth), Jonny Lang, Dweezil Zappa, Eric Johnson, Doug “dUg” Pinnick (from King’s X), Chris Layton (from Stevie Ray Vaughan & Double Trouble), Mato Nanji (from Indigenous), Kenny Aronoff, The Slide Brothers, Henri Brown, Kevin McCormick, and Taj Mahal.
Setlist with Artists
Set 1: Freedom – Billy Cox, Dweezil Zappa, Chris Layton Foxy Lady – Billy Cox, Chuck Campbell, Mato , Chris Layton Power of Soul – Eric Johnson, Kevin Mccormick , Chris Layton Love or Confusion – Eric Johnson, Dweezil Zappa, Chris Layton Bold As Love – Eric Johnson, Dweezil Zappa, Chris Layton Are You Experienced? – Eric Johnson, Chris Layton The Sky Is Crying – Mayo Nanji, Chuck Campbell, Calvin Cook, Chris Layton All Along the Watchtower – Jonny Lang, Eric Johnson, Chris Layton The Wind Cries Mary – Jonny Lang, Eric Johnson, Chris Layton Spanish Castle Magic – Jonny Lang, Mato Nanji , Chris Layton Fire – Jonny Lang, Dave Mustaine, Chris Layton Purple Haze – Jonny Lang, Dave Mustaine , Chris Layton Stone Free – Billy Cox, Dave Mustaine, Mato Nanji , Chris Layton Set 2: Killing Floor – Taj Mahal, Mato Nanji, Chuck Campbell, Slide Brothers, Chris Layton Catfish Blues – Taj Mahal, Mato Nanji, Chuck Campbell, Slide Brothers, Chris Layton Hey Joe – Billy Cox, Taj Mahal, Mato Nanji, Slide Brothers, Chris Layton Red House – Billy Cox, Calvin Cook, Mato Nanji, Slide Brothers, Chris Layton You Got Me Floating – Billy Cox, Jonny Lang, Mato Nanji, Slide Brothers, Chris Layton Crosstown Traffic – Joe Satriani, Doug Pinnick, Kenny Aronoff Voodoo Child – Joe Satriani, Doug Pinnick, Kenny Aronoff If 6 Was 9 – Joe Satriani, Doug Pinnick, Kenny Aronoff 3rd Stone From the Sun – Joe Satriani, Doug Pinnick, Kenny Aronoff Voodoo Child – Joe Satriani, Doug Pinnick, Kenny Aronoff
It was Funk Night at the Rustic Barn Pub. Beau Sasser’s Escape Plan, featuring Albany’s Justin Henricks, brought out the funk, as they welcomed spring in their return to the venue.
The Northampton, Massachusetts-based band features: vocalist Beau Sasser double-timing on Hammond Organ, guitarist Dan Thomas, drummer Jimmy “The Italian Stallion” Robitaille, vocalist Ali McGuirk and Justin Henricks on guitar and vocals. Together, this border-crossed band got fans to dance and enjoy an evening of funk, blues and soul, on a snow-covered spring night.
“We’re keeping Aretha Franklin in our hearts,” called out McGuirk after covering her own unique spin on Bad Company’s “Rock Steady.” McGuirk and company throughout their two sets, paid homage to the late soul singer in their beautiful renditions of “Baby I Love You,” “(You Make Me Feel Like) A Natural Woman,” and “Save Me!!” Franklin’s music, especially in the genres of funk, blues, and soul, had made an impact on Beau Sasser’s Escape Plan. Through Sasser’s tasty piano solos and McGuirk’s sassy vocals, they were able to breathe new life into these iconic songs.
Being in their lineup for six months, the group decided to stick with playing cover songs for the show. Hearing the musical tightness of each cover being performed, you wouldn’t realize that they’ve been an ensemble for such a short period of time. Their sets were tight and entertaining and each song performed was covered with its own musical twist, that was unique and captivating to their audience.
From their up-tempo disco version of Stevie Wonder’s “Signed Sealed Delivered,” to playing a Frank Zappa tune that was inspired by both “Sticky Feet” and Sasser’s “Feeling Alright” (Joe Cocker) piano rhythm and a shortened, jazzy Allman Brothers Band “Whipping Post,” it was interesting to watch and hear these iconic tunes being covered well. Their cover of James’ Brown’s “Cold Sweat,” allowed you to observe the band’s chemistry, topped with outstanding soloing among Sasser, Thomas, Henricks and Robitaille, who played the drums with assistance of a tambourine to make additional noise in the jam-based song.
McGuirk returned to the stage for their final set to sing, “Can’t Hide Love,” “Taxman” (The Beatles), “Love the One You’re With” (Crosby, Sills, and Nash), “Save Me” (Aretha Franklin) which included Thomas using his lighter as a slide to perform his solo since leaving his slide upstairs, among other 60s-70s inspired songs that were enticing! McGuirk, apart from her work in Beau Sasser’s Escape Plan, will be performing in Woodstock on April 11, although little details are known about the time and venue of where her solo gig will take place. She announced her upcoming show towards the later part of the gig after performing a great rendition of “Taxman.”
Their musicality and the talent that each member expressed through guitar riffs, piano soloing and vocals left you impressed. The audience and venue were moved by their music. They wanted to hear two encore songs that the band had never performed live. One of which was “Uncle Remus” (Frank Zappa) sung by Sesser and another featuring McGuirk on lead vocals, to close out the evening.
Spring fever sprung at the Rustic Barn Pub as Beau Sasser’s Escape Plan came into town shaking those winter blues away, and to welcome spring with some good funk, blues and soul.
This article was originally published by The Spot 518.
