NYS Music 20​19

Category: Regions

  • 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

  • Into the Mystic brings music of Van Morrison to Skyloft

    Into the Mystic – six musicians from the Burlington, Vermont area plus a ringer guitarist from neighboring New Hampshire – paid tribute to the artistry of Van Morrison at Skyloft in Crossgates Mall on Saturday May 18.

    For nearly two hours the septet ranged through the early years of Morrison’s catalog, focusing mostly on his heralded seventies period. With Avery Cooper contributing on sax (plus some lovely flute on “Tupelo Honey”) and Gordon Clark on trombone, Into the Mystic resembles a stripped-down version of Morrison’s 1973 Caledonia Soul Orchestra.

    The Caledonia ensemble featured a string section as well as horns, but Into the Mystic was content to embellish every song (except “Bulbs”) with peppy horn arrangements. They certainly did justice to such early hits as “Wild Night,” “Domino” and “Caravan,” but the charts were even more intriguing when ITM explored less familiar eighties compositions, such as “Dweller on the Threshold,” “Cleaning Windows” and “Tore Down a la Rimbaud.”

    Justin Panigutti, on vocals and rhythm guitar, had perhaps the toughest job of anyone in the septet, emulating Morrison’s gruff vocals, his penchant for wordless exclamations and exhortations, and even occasionally Van’s patented leg kick and arm thrust.

    Into the Mystic
    The Alchemystics

    Panigutti’s love for Van’s music was evident – in fact, it was clear that the entire band enjoyed their work. Guitarist Daniel Rahilly didn’t have much room to show off, but on “Kingdom Hall” he unleashed a pithy stinging solo with a studied nonchalance that evoked Robbie Robertson.

    Setlist: Wavelength, Kingdom Hall, And It Stoned Me, Warm Love, Dweller on the Threshold, Glad Tidings, Wild Night, Domino, Cleaning Windows, I’ve Been Working, Tupelo Honey, Sweet Thing, Tore Down a la Rimbaud, Satisfied, Bulbs, Into the Mystic, St. Dominic’s Preview, Caravan

  • In Focus: Shakey Graves With Illiterate Light

    Shakey Graves With Illiterate Light – May 15, 2019 at Upstate Concert Hall in Clifton Park, NY.

    Unofficial Setlist: Hard Wired*, Nobody’s Fool*, Roll the Bones, Built to Roam*, Georgia Moon*, Pansy Waltz, Mansion Door, Dining Alone, Big Bad Wolf, Dearly Departed, Family and Genus, The Perfect Parts, Word of Mouth*, Tomorrow*.

    Encore: Late July.

    *Performed Solo Acoustic

    Illiterate Light

  • In Focus: Eric Krasno closes out Blue Note Residency

    On Sunday, May 19, Eric Krasno closed out his residency at the famous Blue Note Jazz Club with an amazing night of music and special guests. The eight-show residency concluded with two sets with the house band: keyboardist/vocalist Nigel Hall, drummer Louis Cato, and bassist Chris Loftlin

    Krasno welcomed previously announced guest bassist MonoNeon, as well as surprised guest saxophonist James Casey and lap-steel god Robert Randolph to close out this special run. This amazing group of musicians was such a treat and really seemed to be a close-knit group of friends, a quality that shines through in the music.  

  • Relix Live Music Conference Brings Industry Experts Together in Brooklyn

    Brooklyn Bowl was host to the 3rd annual Relix Live Music Conference this past week, featuring speakers from every corner of the live music industry. Attendees gathered, eager to absorb as much knowledge as possible from the scheduled panels, ready to gain inspiration in one of the most iconic venues in the live music scene. Peter Shapiro, Seth Hurwitz, David Fricke and Warren Haynes were a few of the legends that sat on stage to share their insight.  

    Throughout the two-day conference, there was one common denominator – community.  It is clear that the live music industry has created a family comprised of staff, fans and artists themselves. The live music scene provides a sense of “home.”  

    Day 2- A Conversation With Warren Haynes & Rolling Stone’s David Fricke
    Day 2- In Conversation: Peter Shapiro & Seth Hurwitz

    The Relix Live Music Conference showcased entrepreneurs, activists, journalists and everything in between. One of the conference’s highlights included a panel on social media featuring Roger McNamee, a Silicon Valley venture capitalist and author of the book Zucked. In the panel moderated by Dean Budnick of Relix, McNamee discussed the ubiquity of social media in our lives today and what companies like Facebook and Google do to retain as much data about us as they can. One particular poignant comment by McNamee was that despite his resistance to Facebook, the bands he’s involved in need the platform to stay viable.

    Not only did Brooklyn Bowl and Peter Shapiro host a great networking and professional event, they also hosted some incredible bands to close out the event.  

    Midnight North and Lucky Chops took the stage, one that had just been warmed up by a who’s-who of the music industry, to provide a night of music that certainly did justice. Midnight North is a San Francisco based Rock/Americana band with a tight, timeless sound. Guitar, vocals and charisma from Grahame Lesh led the band through a thoughtful set of true rock ‘n’ roll.  

    Lucky Chops, a New York City-based brass band with a self-dubbed genre, “Happy Horns,” closed out the night with a huge breath of wind instrument spectacle. Comprised of Josh Holcomb (trombone), Daro Behroozi (tenor sax), Joshua Gawel (trumpet), Charles Sams IV (drums) and the incredible Raphael Buyo, aka Patchy Brian Sousaphone. The band closed out the third show of its Brooklyn Bowl album release residency in support of their soon-to-be-released crowd-funded album with a hefty mix of new songs and their longtime repertoire. Keeping with the beat of the previous two shows, Lucky Chops welcomed several friends to the stage including former bandmates, high school band classmates, and a special guest from Snarky Puppy.

    In Focus with Midnight North

    In Focus with Lucky Chops

  • In Focus: Jackie Greene Serenades City Winery

    On Friday, May 17, Americana singer/guitarist Jackie Greene treated an intimate City Winery crowd to an acoustic evening filled with rare catalog classics and his take on many classic rock hits. His second of a two-set evening, accompanied by Nathan Dale on guitar and vocals and special guest Leslie Mendleson on vocals and piano, showcased why he is one of the top musicians around today.

    This was a special, intimate setting for the musician who is usually flanking some of the biggest names in music with his soulful electric guitar. On this evening in a small venue like City Winery, donning only an acoustic guitar, Jackie told a different story using his amazingly rich voice and soulful lyrics. Known for his ties to the Grateful Dead family, he treated fans to stellar renditions of “Brokedown Palace” and “Peggy O.” But it was the stripped down version of Bob Dylan’s “Don’t Think Twice it’s Alright” that made this evening a special one.  

    Setlist: Don’t Let the Devil Take Your Mind, Brokedown Emotion, Slip Slidin’ Away, Gone Wanderin’, Honey I Been Thinking About You, Never Satisfied, Mexican Girl, Animal, Don’t Think Twice It’s All Right, Shaken, Breakdown, Trust Somebody, Don’t Let Me Down, Scarlet Begonias, That’s What Love Will Make You Do, Brokedown Palace, Ball and Chain, Peggy O

  • Hearing Aide: Dopapod ‘Emit Time’

    Some say that time is an illusion, a human construct, a shimmer in the otherwise bright light of life. The passage of time, however, is a certainty, leaving its trace strewn throughout the landscape and in between the years as they come and go. After a one-year hiatus, preceded by a decade of non-stop creativity, the jam scene powerhouse quartet Dopapod has set May 24 as the day to unveil to the world their interpretation of this concept, ironically immortalized via their latest album, Emit Time.

    Dopapod has always had a knack for tricking time. Odd time signatures, overlapping melodic content, and live improvisation that extends the length of their songs beyond their studio counterparts mark the bulk of their compositions. Their palindromic album titles wink to the infinite nature of time and they’ve broken the rules in the past by performing intricate works in reverse. This new collection is a true emission of time, containing never-before-heard songs among others that have been in the live rotation for a few years. As many creative people will tell you, true artists must have the ability and see the necessity to keep pushing forward, to embrace the inevitability of growth and change. This band has taken strands of their DNA and weaved them into works that feel fresh. They are unfamiliar in their display yet familiar to the Dopapod formula of rock solid rhythms,

    The album opens with a lone pulsating organ that bursts wide open into a deep-pocket funk beat with a chomping guitar riff. “Numbers Need Humans” is a testament to the “live in the moment” attitude that energizes so much of the progressive jam scene. As was proven with the first song in the second set at the band’s recent Capitol Theatre reunion gig, this track is a great opener, prepping listeners by reminding them, “Time is all we have / So let’s have a good time.” Placed before a tightly executed guitar solo, the lyrics operate as a thematic entrance for the topic at hand through the rest of the album. “Tick tock, hands move around the clock / On the dot, that’s when time stops.”

    Following in the order of when it was released as a single, “Test of Time” comes second. This 7-minute, multi-section, progressive number is evidence that the layers time has piled onto this group are beginning to show signs of evolution. Guitarist Rob Compa leads the way, singing through a “gateway to another time.” Next to a familiar synth hook, sure to cue Eli’s signature head-bop, there is a rocking chorus and expressive singing, something that has made more and more of an appearance in Dopapod music on the last few albums and certainly on this one.

    “23 Forever” gives bassist Chuck Jones a turn on lead vocals, bringing his sense of humor to a memorable and extremely catchy chorus. This song feels like the band is revisiting a funny memory and having a good laugh about it. Another new song, “Live In The Dream” offers a consistent mid-tempo groove that gets progressively aggressive leading up to its guitar solo crescendo. A descending vocal round, “..live in the dream, live in the dream, live in the dream,” leads the song down to a decisive close.

    For the most part, this collection of songs is the most thematic that Dopapod has released as an album. As mentioned by Eli in the bands press release for Emit Time, “Interestingly, we had been developing a semi-concept album about time and time travel before the hiatus.” In combination with the feelings from that hiatus, a new album about time and time travel feels pretty appropriate.

    Still leaving room for some road tested material, “Superbowl” and “Weedie” give the album a taste of the past. “Superbowl,” a song debuted in 2016, slows up the pace but is a well-crafted atmospheric blend of synthesizer, orchestral strings, and resounding guitar. From there, “Weedie” hits with a guitar-heavy rock riff. Again, the lyrical content refers to the mindful present-living ethos, “We have our ups and downs / But life is lived in the now.”

    “Landmines” is another debut that starts to bring the album down on its two-song final descent. The bulk of this song is based on a down-tempo 16th note groove, accentuated by a tinge of spy-guitar reminiscent of something to be found in a classic James Bond film. The mid-section, however, creates a distinct change with a straightforward rock progression and brief organ solo. As it peaks, the main theme is called back as Rob plays passionately with a slide. The final track, “Whale (I Am),” is a beautifully executed landing that pairs a drifting and uncluttered tone with delicate keyboard lines and airy vocals.

    Though the album seems short in length at 8 songs, it clocks in around 45 minutes in total. It does unload a powerful punch with its production and covers a lot of ground, but it still feels like there is room to tag on one or two more tracks. “Superbowl” begins to feel a tad drawn out at the end and the album’s finale might benefit from a more energetic closing jam. Dopapod fans are a hungry bunch and when you’re as creative as these guys, new songs are always welcomed.

    Dopapod has executed their return well. They have managed to keep their fan base interested and committed for an entire year, without playing a single show, just by promising to come back. They made good on that promise, they have fresh material to present, and are keeping their appearances this summer to a unique minimum. The focus on ideas relating to time make this a relatable and inspiring listen. The band does a great job of exploring creative opportunities here, testing the potential of their inventive approach to music by applying it in new ways, taking them in new directions.

    Key Tracks: “Numbers Need Humans,” “Live In The Dream” and “Weedie.”

  • Tennessee’s Bonnaroo Arch Roo-ined

    The famed Bonnaroo Arch has been demolished, confirmed directly from Bonaroo’s social media accounts,. After buzz was created from posts about the arch being ‘destroyed’ and ‘burned in a fire,’ the iconic landmark on The Farm was put into question. It was engulfed in flames – rightfully so – due to structural deficiencies.

    Check out Part 1 and Part 2 of NYS Music’s Bonnaroo Coverage in 2018.

    The Bonnaroo Arch has draped the festival’s skyline since its inception in 2002. Over the years, its changing face has remained a rite of passage for new and returning festival junkies – illuminating the night’s sky as late night jam-sessions and raves blare till dawn.

    bonnaroo arch

    Bonnaroo 2021 Update:

    We want to thank you for being a loyal Bonnaroovian, and we appreciate your patience as we navigate the best options to ensure we can be together on the Farm in 2021. 

    The dates we originally announced for Bonnaroo Music & Arts Festival 2021 have changed.  Bonnaroo will now take place on September 2-5, 2021.  Information on lineup, camping and accommodations will be available at a later date.

    We encourage you to rollover your tickets to the new dates, however, we will make refunds available for those who cannot attend.

  • Marty O’Reilly and the Old Soul Orchestra Make Triumphant Return to Rochester

    It took over two years for Honest Folk to get Marty O’Reilly and the Old Soul Orchestra to Rochester the first time, but just over a year to get them back. The band didn’t remember exactly what they played, but they remembered it and had been thinking about that show ever since. The crowd likely didn’t remember what they played either, but they, too, recalled its greatness and returned in big numbers to sell out Good Luck.

    Marty O'Reilly and the Old Soul Orchestra

    Regardless of the exactness of their memory, the band tried to mix it up a bit so as not to give Rochester the same show again. Old rarities and new songs alike got sprinkled into the set, which would have sounded different either way. This is a band that plays to the moment, each one different, and so the shows follows suit.

    Each member of the Old Soul Orchestra plays a simple acoustic instrument making the amount of sound the quartet outputs all the more remarkable. They squeezed their instruments for all they’re worth.

    Drummer Matt Goff hit, scraped, tapped, banged and shook with sticks, brushes, mallets, hands and various percussive toys, constantly building and breaking the music through interesting changes and movements. His solos showed off a jazzman’s touch, as melodic as they were rhythmic. Bassist Ben Berry plucked, bowed and knocked his upright in both a backing and leading capacity (particularly nicely on “Alone at the Table”), stretching out with solos fit for a psychedelic rock band. Fiddler Chris Lynch frequently handled the main melodic punches, maximizing the instrument’s capabilities by employing both the traditional bowing and also picking it mandolin-style. Lynch used pedals, adding extra flavor with the most overtly non-natural sounds of the evening: spacey echoes here, dripping psychedelia there, etcetera.

    Marty O'Reilly and the Old Soul Orchestra

    O’Reilly himself stuck with the same resonator guitar throughout the night, through thick and thin. When the reverb was acting up due to the vibrations in the stage, he turned it off and made do without. When his high E string broke near the end of the first set he played “Cinnamon Tree” solo because he didn’t need it for that song. Though, midway through, he realized actually he did. But again he made it work. Whether picking, sliding, strumming or soloing, that singular guitar was all he needed.

    Mixed in with originals, like “Dempsey” and “Letters,” they also tossed in a few tunes that weren’t exactly covers, but more accurately renditions of old blues tunes. The words are the same but in their hands the music becomes something quite different. You’ve never quite heard “Samson and Delilah” or “Smokestack Lightning” quite like they play them. They played a newer blues rendition that is still in “discovery mode” as they work through it during their live shows. Appropriately, it was an interpretation of “Death Letter” by Son House, who famously was rediscovered while living in Rochester.

    It could certainly be said after their second visit, that Marty O’Reilly and the Old Soul Orchestra have officially been discovered by Rochester too. Perhaps on their next visit they’ll outgrow the coziness of Good Luck. Make sure you’re there when they do.

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