Category: Manhattan

  • CEG Plans Huge Slate of Phish After Parties NYE Run

    December is here, and that means Phish’s annual four night run at Madison Square Garden is right around the corner. And with those four nights of Phish come… Phish after-parties! CEG Presents has put together an incredible slate of post-shows that you’ll be looking to check out after emptying out on 7th and 8th Avenues following Phish. See below for details on all the great shows you’ll find starting late, December 28-30, plus a special NYE show from The New Mastersounds!

    Click on the band name to browse tickets

    – Saturday, December 28 – Sony Hall

    John Medeski and Billy Martin (Medeski Martin and Wood) will come together with Scott Metzger (JRAD) and Nels Cline (Wilco) for the first time, one night only, for an evening of improvisational music after Phish performs at Madison Square Garden on December 28.

    CEG

    – Saturday December 28 – Rockwood Music Hall Stage 2

    An eclectic jam/funk band, infusing deep psychedelic grooves with improvisational techniques. The ambitiously crafted keyboard mastery, expressive saxophone and immaculate guitar shredding meld into a dynamic fusion. Lean more about The New Motif.

    CEG


    Saturday December 28 – Hill Country     
    CEG

    Saturday December 28 & Sunday December 29 – Gramercy Theatre

    Pink Talking Fish provides their own original musical concept by combining the songbooks of Pink Floyd, Talking Heads and Phish to create a unique experience for live music fans.  The band has added to this concept over the years by adding a 4th Act such as David Bowie, Grateful Dead, Michael Jackson and more.  They have also performed complete albums while intertwining songs from the other 2 Acts into the mix. On December 29 at Gramercy Theatre, PTF will unleash one of the most exciting concepts to date: Pink Talking Fish Are Beastie Boys!  This will be a fusion of Pink Floyd, Talking Heads, Phish AND Beastie Boys. 

    Joining the band will be DJ Logic, who will be assuming the duties of Mix Master Mike and also adding his flavor to songs from the other 3 Acts.  PTF will also be performing ‘Dark Side Of The Moon’ for a NYC Phish After-Party on December 28th, also at Gramercy Theatre.  This will be a full rendition of the Pink Floyd album with Phish and Talking Heads songs intertwined through the album cuts.


    – Sunday December 29 – (le) poisson rouge

    Anybody who’s seen Marco Benevento perform will attest, with eyes closed, smile wide across his face and fingers free-flowing across the keys, he’s a satellite to the muse. With a devout and growing fan-base, Benevento is an artist whose story is only beginning to unfold..


    – Sunday December 29 – Hill Country

    The music of The Grateful Dead transcends time, age and space. Their high energy, soul-touching jams, and family-like environment were central to the counter-culture experience.  Over the past 19 years Dead Sessions has grown to become one of the favorite Grateful Dead experiences in the Northeast. Playing since 1998, the collective is known for their authentic but unique renditions of Grateful Dead classics, thick with spiritual connectivity and heartfelt jams that make the most jaded Deadhead rejoice. Dead Sessions is composed of a rotating cast of musicians throughout the country, but the roots of origin are easily traced to the Green Mountain State. With an unmasked joy that pours off the stage and blurs any boundaries with their audience, the Sessions are beloved by all from the casual fan to the dedicated Terrapin warrior.



    Monday December 30 – (le) poisson rouge

    On December 30, Greenwich Village venue (le) poisson rouge will host Electric In The Village: Ryley Walker, Chris Forsyth, and Garcia Peoples. Guitarist/songwriter Chris Forsyth got his start in Brooklyn’s experimental circles in the early 2000’s, and as the bandleader of Chris Forsyth & the Solar Motel Band, channeled both the psychedelic jamming of the Grateful Dead and the precision of art-punk guitar acts like Television. Illinois-based fingerstyle guitarist and singer-songwriter Ryley Walker adds new flavor to the series; his music has been described as fingerstyle ballads, psychedelic waltzes, and raga-inspired blues. Garcia Peoples is the Brooklyn Sextet blasting through residencies and new songs and sessions and collaborations, leaving a trail of live tapes in their wake, and scaling ever upwards.


    – Tuesday December 31, 2018 – Gramercy Theatre

    The New Mastersounds have been delighting audiences with their infectious brand of funky soul-jazz since they formed in Leeds in 1999. For the first five years of the band’s career they were regulars at the Jazz Café in London, before they began to turn heads on the funk scene in the US, where guitarist/producer/bandleader Eddie Roberts now lives. For over a decade they have been a staple act of the late-night scene during New Orleans’ annual Jazz Fest.

    Though they have collaborated over the years with such musical luminaries as Maceo Parker, Fred Wesley, Corinne Bailey Rae, Art Neville, Bernard Purdie and Lou Donaldson, they are at their best on stage as a tightly-packed quartet – bass, drums, guitar and keyboards – firing scorching grooves off each other and feeding on the energy of the dancers in the front row.

  • Debut performance of Jam Just Happened planned for December 6 at Nublu

    A first of its kind show, Jam Just Happened will bring together the intimacy of a podcast and the uniqueness of a live music experience. The first live performance is set for Friday, December 6, at Nublu NYC. The show will feature guitarist Scott Metzger, drummer Adam Chase, keyboard player Aron Magner, and bass player Jay White. 

    The musicians will bring each of their individual styles together to create something entirely unique for a small audience. A podcast companion will be released after the show. This event is presented by Osiris Media and nugs.net, and will be emceed by Tom Marshall.

  • Karolina Rose adds noir alt-pop twist to Shakira’s “Objection”

    Emerging NYC alt-pop artist Karolina Rose has followed up her well-received single “Greytopia” with a dark spin on Shakira’s legendary “Objection.” The Shakira classic is a sexy yet playful story of a tortured love triangle, and is mirrored here in the indulgent production of Karolina’s high-class offering helmed by Elliot Jacobson (VÉRITÉ, Allie X, Elle King).

    Speaking about her take on “Objection,” Karolina explains: “She’s such a global, iconic superstar and I have loved her songs all my life. I randomly started belting out ‘Objection’ in between a session with my producer Elliot – he then encouraged me to cover the song while putting our own twist on it. We filmed with my friend’s baby to represent motherhood and the Divine Feminine strength. This decision was also intended to be an ode to Shakira, given that she posed with a baby on the iconic artwork for her Oral Fixation, Vol. 1 album.” 

    Compared to the glittery upbeat rhythms in “Greytopia”, the dusky groove of “Objection” perfectly exhibits Karolina’s versatile, unique brand of ‘noir rose pop’: alluring, seductive and layered, with a prick of danger.

    Often focusing on deeper perspectives in her music, the quickly-rising indie singer’s compelling twist on “Objection” sounds gloomier than the original, while still brilliantly channeling its sass, empowerment and frustration.  

    “Objection” is step two in Karolina’s upcoming visual EP project, which will witness the AWAL artist tell a tale of love, loss and healing through four spectacular video experiences. The future is clearly bright for Karolina Rose, a sensational artist unfolding who has the potential to reach the upper echelons of the pop sphere with several more enthralling anthems to come.

  • Roan Yellowthorn releases holiday single “I’ll be Home for Christmas”

    Confessional indie rock musician Roan Yellowthorn (aka Jackie McLean) has released her new holiday single, “I’ll Be Home For Christmas.” Listen on all platforms here or below via Spotify.

    I'll be Home for Christmas
    Photo courtesy of roanyellowthorn.com

    Having released her debut studio album Indigo on Blue Élan Records in 2018, “I’ll Be Home For Christmas” follows her previous holiday single, “River” (featuring Car Astor), which was released on November 1.

    ‘I’ll Be Home For Christmas’ was recorded at Clearlake Studios in North Hollywood, CA. Accompanied by Ty Bailie (Katy Perry), this indie reworking of the classic is ethereal, moody, and melancholy, evoking at once both the wonder and nostalgia often felt during the holiday season.

    Roan will celebrate the release of her new singles with a showcase at Rockwood Music Hall on November 23 and will perform an Official Showcase at SXSW in Austin TX in March 2020. Full tour dates can be found below

    Nov 23 – Rockwood Music Hall, NYC

    Nov 30 – Monopole, Plattsburgh, NY

    Dec 16 – Sofar Sounds, NYC

    Dec 20 – Monopole, Plattsburgh, NY

    Jan 17 – Sofar Sounds, Boston, MA

    Jan 27 – Sofar Sounds, Boston, MA

    March TBD – SXSW, Austin, TX

  • The Residents plan January live video concert of iconic “God in 3 Persons” album at Museum of Modern Art

    Legendary art rockers The Residents, in collaboration with celebrated video artist John Sanborn, will perform their epic 1988 album, God In 3 Persons, at The Museum of Modern Art in New York City on January 24 and 25, 2020. The performances will include eleven performers, featuring a live seven-piece music ensemble. Audiences will witness the terrifying gospel of Mr. X and The Holy Twins, brought to life by legendary SF-based art rockers.

    The story of God In 3 Persons will be told using lurid multi-layered video projections created by Sanborn while The Residents provide live accompaniment with vocalist Laurie Amat.

    God In 3 Persons will be directed for performance by Travis Chamberlain with musical direction by Joshua Raoul Brody and puppetry and background design by Leigh Barbier. Steve Saporito produces.

    In this propulsive and brooding rock oratorio, The Residents’ anonymous lead singer, performing as Mr. X, preaches of his encounters with a pair of ambiguously gendered conjoined twins (portrayed on video by noted genderqueer porn star Jiz Lee). Their physical union has magical healing powers…or so he claims! A confession of faith-mongering complicated by a crisis of desire, God in 3 Persons functions as a darkly twisted cautionary tale about the risk of losing yourself in the process of refusing to accept others in their entirety.

    God in 3 Persons is sung in rhythmic spoken word fashion, similar to the talking blues, and driven by a bombastic and dynamic score derived entirely from the first few bars of the hymn “Holy, Holy, Holy,” along with the melodic hook from the Swinging Medallions 1966 hit “Double Shot of My Baby’s Love.” Despite being one of their most critically successful albums and a fan favorite, God in 3 Persons has never toured as a concert or live performance.

    Performances are January 24 and January 25m with tickets $12 for the general public and free for museum members. Tickets will go on sale at MoMA’s website on January 10 at 9:30 am (for the Jan. 24 show) and January 11 at 9:30 am (for the Jan. 25 shows). 

    Special merchandise is available through an IndieGoGo set up by The Residents for the upcoming performance at MoMA.

    Since their first official release, Santa Dog, in 1972, The Residents have released over sixty albums, numerous music videos and short films, three CD-ROM projects, and ten DVDs. They have undertaken ten major tours and scored multiple films and are considered pioneers in exploring the potential of CD-ROM and similar technologies, having won several awards for their multimedia projects.

    Ralph Records, a record label focusing on avant-garde music, was started by the band. Throughout the group’s existence, the individual members have ostensibly attempted to operate under anonymity, preferring instead to have attention focused on their art output. In public, the group appears silent and costumed, often wearing eyeball helmets, top hats and tails — a long-lasting costume now recognized as its signature iconography.

    In addition to their groundbreaking work in the areas of trance, world fusion, electronica, punk, industrial and lounge music, the group has also been credited with being among the originators of performance art and music video. Two of their videos are in the permanent collection of the Museum of Modern Art and their Freak Show CD- ROM has recently been featured in MoMA’s “Looking at Music 3.0” exhibition. The Theory of Obscurity, a documentary about The Residents, premiered at SXSW in 2015.

  • David Grisman’s Dawg Trio Takes Manhattan

    Armed with a new album and a stellar bluegrass catalog to pull from, the all-star Dawg Trio made beautiful music at the storied Iridium Jazz Club in midtown Manhattan. The evening included plenty of intricate songs, a special guest on the “mouth trumpet,” and a cover last played with Jerry Garcia.

    Dawg Trio
    The Dawg Trio

    The band was led by legendary musician, composer, archivist and frequent Jerry Garcia collaborator, David Grisman on mandolin and vocals. Mr. Grisman was joined by a Steve Martin Prize for Excellence in Banjo and Bluegrass Award-winner Danny Barnes on banjo, guitar and vocals. Grisman’s son, Sam Grisman, completed the trifecta on the upright bass and vocals. 

    Dawg Trio
    David and Sam Grisman

    Grisman began the evening with light hearted humor, asking the crowd, “Does anyone own CD’s anymore?”  The band released a new album in October, appropriately titled Dawg Trio. He mentioned that they had CDs to sell, but wasn’t sure where they were.

    Dawg Trio
    Smiles were frequent at the Dawg Trio

    Grammy-nominated Robert Gurland joined the party during the set, playing one song with his “mouth trumpet.” This impressive skill requires no instruments and sounds very similar to an actual trumpet. His skill and adeptness are reminiscent of Keller Williams, who uses this technique in his solo shows. The entire band was all smiles while Gurland was on stage, and throughout the show.

    Dawg Trio
    Robert Gurland on the mouth trumpet

    Sam Grisman took the helm during “Zadeh’s Waltz” from Dawg Trio. He also filled big shoes by singing Jerry Garcia’s part in “When First Unto This Country.” Prior to the song, Grisman announced that the last time he played this song was with Jerry Garcia. Sam’s vocals were a great tribute to the late Garcia, and showed that he looks forward to a promising musical career.

    Dawg Trio
    Sam Grisman on the upright bass

    Danny Barnes showed his wild talent throughout the evening, but particularly shined during “Super Grits,” from Dawg Trio. His unconventional and wild approach was refreshing and made for deliciously detailed jams. The show wrapped up with the intricate bluegrass standard “Things In Life,” proving that mandolin juggernaut Grisman still has still “got it” after all these years.

    Dawg Trio
    Sam Grisman and Danny Barnes sing their hearts out
  • Return to Roots: Jerron “Blind Boy” Paxton and Jontavious Willis take listeners back in time

    Blues music legend Willie Dixon liked to say, “Blues is the roots, the rest is the fruits,” to explain the influence of that genre on other forms of music. But as the music progresses, the roots of blues music itself are sometimes heard less often, lost in the cacophony of over-amplified electric guitarists with pedalboards the size of dinner tables. Fortunately, two young bluesmen, neither of them more than 33 years old, are preserving and promoting the roots.

    Jerron “Blind Boy” Paxton and Jontavious Willis have paired together for a brief tour that found its way to the Auburn Public Theater on Sunday, November 17. Playing to an intimate, attentive audience of perhaps 60 people.

    Jontavious Willis and Jerron “Blind Boy” Paxton

    Paxton opened the evening, displaying comfortable ease in switching from guitar, to banjo, to harmonica, and then fiddle throughout his set. He covered a range of jazz, ragtime, train songs, and acoustic blues. Incorporating finger-picking, flat-picking, and slide playing styles. Paxton also utilized particularly bawdy humor that was often a staple of both minstrel shows and blues songs that hark back to the ’20s and ’30s. A skilled storyteller, Paxton explained how songs came to influence him, through his family and personal experiences, or through their historical significance. His music can be found here.

    Jerron “Blind Boy” Paxton

    Jontavious Willis followed with more of the same styles of roots and blues music, though many were more contemporary in origin, including original songs of his. A popular performer in Central New York, Willis has also performed in Norwich and Syracuse, and was returning to Auburn after a very well-received show just last year. Willis released his highly acclaimed recording Spectacular Class, in April of this year, produced by Taj Mahal and Keb’ Mo’. It is available here.

    The duo paired for an impromptu song at the back of the audience, before returning to the stage for one final song together. The setting, and smaller crowd, made for a distinct connection between the musicians and the audience, and shaped the evening into an enjoyable journey back to times, places, and songs that impacted what is heard today in blues, roots, Americana music, and more.

    Jerron Paxton and Jontavious Willis ask the audience for one more song.

    NYSMusic.com fans can hear Paxton and Willis at City Vineyard in New York City on Tuesday, November 19, tickets available here, and Thursday, November 21, at the historic Caffé Lena in Saratoga Springs, tickets available here.

  • Old Crow Medicine Show Brought Nashville to the Town Hall

    Adorned in denim, button-up shirts and boots, Old Crow Medicine Show delivered their high energy blue-grass, folk and country to The Town Hall in New York City. Last Thursday they successfully transported the city slicker crowd to their hometown of Nashville, Tennessee. They danced, jammed and harmonized with a celebrated Southern spirit, spiked with outlaw charm.

    Charlie Warsham, an up-and-coming Country music singer/songwriter from Grenada, Mississippi – and current member of Old Crow Medicine Show, kicked off the evening. Armed with an acoustic guitar and his excellent vocals, he delivered a mix of originals and covers, as well as plenty of Southern banter and grace. He closed out his solo set with “Oscar the Angel,” a heartfelt cover of Don Schlitz.

    Charlie Warsham opened up the evening.

    After Warsham got the crowd warmed up, Old Crow Medicine Show took the stage with vigor. The current lineup includes Joe Andrews (pedal steel, dobro, vocals), Morgan Jahnig (Upright bass), Ketch Secor (Fiddle, Haromica, Banjo, Vocals), Cory Younts (Mandolin, Keyboards, Drums, Vocals), Critter Fuqua (Slide Guitar, Banjo, Vocals) and Warsham (guitar, vocals). Band members were often seen jamming from the energy of each other, in synchronized dance-step.

    Old Crow Medicine excels at playing off the energy of each other

    The band played a mix of originals and covers. One notable cover was the stoner gospel tune “I Hope I’m Stoned (When Jesus Takes Me Home),” written by Charlie Warsham and Ashley Monroe for his solo act. The entire group gathered at the front of the stage to harmonize on vocals, with Warhsam taking the lead. The lyrics “A little piece of heaven to take away your blues” are an appropriate description for the incredible show that these talented musicians put on. “Tenneesee Bound,” “Tell It To Me” and “Brushy Mountain Conjugal Trailer” were a few of the originals played this evening.

    Charlie Warsham and Ketch Secor include dance moves while they jam

    Old Crow Medicine Show has a limited number of shows left on their 2019 tour. Hop on over to their tour page for more details.

  • Metropolis Ensemble adds New Performances to 13th Season

    Grammy-nominated Metropolis Ensemble is a dynamically evolving 21st century orchestra with a dedication to creating a future for classical music both of and for the times we live in. Founder and conductor Andrew Cyr, who has been called “a prominent influence in the world of newly emerging music,” by the Washington Post). Metropolis Ensemble exists to support ascending contemporary classical performers and composers, often engaging them with other bleeding-edge cultural innovators and artists through its unique collaborative process.

    This season’s performances reflect Metropolis Ensemble’s ongoing process of forming highly collaborative and nurturing relationships with artists to make and present large-scale projects. Past partnerships include major live presentations and studio recordings with artists such as Avi Avital, Timo Andres, Questlove, William Britelle with Wye Oak and Brooklyn Youth Chorus, and Emily Wells.

    The collective has announced additional performances for their already underway 2019-2020 season. New events will find collaborations with the collective 37d03d at Eaux Claires Hiver in Wisconsin, as well as pop up shows in New York City.

    Several of this season’s events in New York City are being held at Metropolis Ensemble’s pop-up venue called 1 Rivington, which Metropolis launched in 2017 to provide a place for new projects and collaborations to take shape in a supported framework. It has since presented more than 75 performances and commissioned dozens of new works in the loft space. Through these various forms of support and collaboration, Metropolis Ensemble works to re-imagine what a classical music ensemble and community can be in the 21st century. For more information on events, visit their website for details.

    Metropolis Ensemble 2019-2020 season upcoming performances

    11/22-23/19 — Eaux Claires Hiver – Eau Claire, WI (various locations)
    Members of the Metropolis Ensemble community will join the collective 37d03d (“People”) for an immersive weekend of performance and improvisation featuring Ani DiFranco, Aaron Dessner, Justin Vernon, Pieta Brown, Jon Hopkins, Willam Brittelle, and more.

    11/23/19 — Oak and the Ghost: Music of Nathan Schram – NY, NY at 1 Rivington 
    The album release performance for violist Nathan Schram’s Oak and the Ghost (New Amsterdam Records), featuring the Attacca Quartet. Schram’s music meshes the acoustic world of the classical string quartet with the bumps, bruises, and richness of modern electronica.

    12/02/19 — Ecstatic Music: Gaby Moreno, LADAMA and Metropolis Ensemble present ¡Spangled! – NY, NY at Kaufman Music Center
    Guatemalan-born singer-songwriter Gaby Moreno is joined by the women of Latin Alternative quartet LADAMA and the Grammy-nominated chamber orchestra Metropolis Ensemble (Andrew Cyr, conductor) to perform music from ¡Spangled!—her new collaborative album with American musician, songwriter, arranger and producer Van Dyke Parks (Nonesuch Records).

    12/09/19 — JACK Quartet Studio Readings – NY, NY at 1 Rivington
    In partnership with Metropolis Ensemble, JACK Quartet will read and record existing works by artists who may not otherwise have access to professional ensembles and performance space. 

    1/03/20 — Fiona Gillespie and Elliot Cole: Tam Lin – NY, NY at 1 Rivington
    A modern adaptation of the 16th-century Scottish ballad “Tam Lin” — a story of transformation and love to life in a musical drama weaving traditional Celtic, medieval, and modern musical threads.

    4/02/20 — Ecstatic Music: Metropolis Ensemble and Bell Orchestra
    NY, NY at Kaufman Music Center
    A sonorous trip into the energetic abysses and meditative heights of orchestral music from Bell Orchestre’s upcoming third album, House Music, in a large ensemble arrangement by multi-instrumentalist and composer Owen Pallett, featuring Metropolis Ensemble. Bell Orchestre consists of six musical mavericks including Arcade Fire members Sarah Neufeld and Richard Reed Parry. The evening will also feature the world premiere of a new piece, more details to be announced soon.

  • Premiere: The Big Takeover’s lively and soulful”Where Did I Go Wrong?”

    New York reggae-pop band The Big Takeover have released ‘Where Did I go Wrong?,” off the band’s upcoming fifth album Spilling Water. The track was self-produced by The Big Takeover and mixed by Pete Hanlon, and is due out on Friday, November 15.

    Fronted by the charismatic Jamaican-born singer/songwriter Nee Nee Rushie, The Big Takeover blend Jamaican pop traditions with the spirit of Motown and uptown sophistication of the 21st-century retro soul and R&B revival scene. Rushie says of the song:

    “‘Where Did I Go Wrong?’ is a personal experience about being rejected by someone that you know wants to be with you. It explores the complication of feeling someone pushing you away, but reaching out to you at the same time.”

    Where Did I Go Wrong

    The Big Takeover’s sound channels melodic, big band arrangements of 60s and 70s soul music, with high-energy grooves of popular Jamaican music. This rich sound and rigorous touring schedule has led the band to share the stage with The Wailers, Sister Sparrow, Jefferson Starship, Pete Seeger, The Slackers, Toots & The Maytals, and many more. The group’s first single off Spilling Water, “Shy,” was released earlier this summer. An album is expected in 2020.

    In 2018, the band shared a cover of Sophia George’s 1985 dancehall hit, “Girlie Girlie,” which was recorded as part of a UK compilation album featuring 40 covers of classic Trojan Records hits from artists around the world.

    The Big Takeover Tour Dates

    Nov 22 – Battleboro, VT @ Stone Church

    Nov 29 – New York, NY @ DROM

    Jan 10 – Boston, MA @ The Beehive

    Jan 11 – Cambridge, MA @ The Beat Brewhall

    June 13 – Hampton, VA @ Supernova Ska Festival

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