NYS Music 20​19

Category: Rochester

  • WAR: Doctors of Music To Harmonize MLK’s Manhattan Square in Rochester

    We, the people, live in a world of deception and violence, plagued with its unknown burden at every corner. What is so beautiful about the human race, is that we are natural born fighters. Hence, we must wage WAR. Our allies, the multi-platinum, genre-less fusion group WAR, have been by our side since their inception in 1969. You are familiar with their renowned hits “Why Can’t We Be Friends,” “Low Rider” and “The World Is A Ghetto.” Fifty years later, and more than 50 million records sold, founder and last standing original member, Leroy “Lonnie” Jordan is rooted in the bands original message of peace, the people and love.

    Paralleling messages of Martin Luther King Jr., it is extraordinarily special that the band will be performing at King’s Memorial Square in Manhattan Park in Rochester, NY on Thursday July 25. WAR will headline alongside stout openers Taz Niederauer and Grupo NextLevel apart of Five Star Bank’s Party in the Park series. Tickets can be purchased here or at the doors for $7 –  VIP, season passes and amenities available, where kids 12 and under are free. Bazaar in the Park, a collection of rotating local artists and vendors selling unique wares across from the fountains will return as well.

    war
    Lonnie Jordan @ Paramount Hudson Valley in Peeskill, NY. Photo By NYS’ Mickey Deneher.

    “People can remember that this gentleman, Martin Luther King, was a non-violent. Thats bottom line. He had the same message we did through our music. He was a doctor of communication and a troubadour himself. He preached NON-violence, that’s the key. The fact that he could get so many people together to march and express that, and show that you can stand up against violence when you’re together as one – totally for peace. 

    WAR was well ahead of their time back in 1969, so much that their sheer versatility hindered them, unable to be classified for any awards or music recognition. Their timeless approach and harmony proved in the long run and has earned WAR the title of the first and most successful musical crossover phenomenon, that forever fused rock, jazz, Latin and R&B, while transcending racial and cultural barriers with a multi-ethnic line-up.” Lonnie didn’t even think their music would play on the radio, in shock.

    war
    WAR @ Paramount Hudson Valley. Photo By NYS’ Mickey Deneher.

    Multi-instrumentalist Lonnie Jordan has been a last-standing original member for over 20 years – keeping the essence of WAR alive. “We’re still a jam band like we were back then. I still feel blessed by the people that stayed and supported us over the years. Thank God we have different genres of music that can put us on any stage at any time. It’s been a good ride, and I don’t plan to drop anytime soon [chuckling]. This is my healing power – for me and the people – I am a doctor of music. 

    Lonnie dubs WAR as universal street music, which is way beyond the mass of categories that the band carries. 

    WAR Press Photo by Dan Atiliano.

    “This goes into the universal. Even other aliens from other planets can groove off of our music and understand it. That’s all it is: grooves and messages. Our Rock and roll hall of fans [the people and fans] – they put us here and can take us out.

    Lonnie Jordan, WAR.

    With age comes experience and Lonnie definitely has some stories to tell, all of which are built and prided in his people. When Lonnie speaks of the people, better known as the bands’ rock and roll hall of fans, there is no doubt Lonnie is speaking to the world in its entirety – down to each molecule, to the stars and beyond. “Just like Jimi Hendrix used to say: are you experienced? Well, we took that message and said: yes we are experienced – because everyday is a new song. We realized it everytime we go into the studio, our engineer would turn the tape on and we would just jam,” said Jordan. In fact, Lonnie said that Hendrix jammed with them back in the day, including the night before Jimi passed. 

    Everything shapes WAR and Lonnie himself. From listening to his mother play old classics from Jimmy and Tommy Dorsey, Harry James, Glenn Miller and all of the bands serving our country as far as entertaining the troops, to old black and white films, Lonnie was on the hook. He broke out into Frank Sinatra’s “Laura” after mentioning the title and drifting off into a melody across the phone line. 

    A pivotal song inspiring Lonnie, as well as black and white films, humming across the phone.

    “All of these movies had beautiful love stories, and they had beautiful music – and that is what inspired me. I was a couch potato as a kid – laying on the floor right in front of the TV (with no room on the couch). After pretty much being tortured by four brothers, and you’re the youngest , all I did was cry. And my brothers used to always tease me and say: Oh yo- you gonna be a singer; you scream loud. And indeed I did,” said Lonnie, reminiscing with spurts of laughter. 

    Lonnie connects with his rock and roll hall of fans. Photo By NYS’ Mickey Deneher.

    From there Lonnie stuttered on a backlog of musical influences from: Ray Charles, Elvis Presley – when country western music was actually country and western, Ray Price, Bill Evans, Coltrane, Monk, Billie Holliday-types, James Brown, and a slew of Latin influences from Tito Puente and blues acts Jimmy Reed and Memphis Slim. The list goes on, including Bellafonte, “when it wasn’t even called reggae – it was calypso. That’s what I brought to the table back in the day, bringing all these genres together in one salad bowl – that is what WAR is all about,” said Lonnie.

    WAR’s Mission states: Our instruments and voices became our weapons of choice and the songs our ammunition. We spoke out against racism, hunger, gangs, crimes, and turf wars, as we embraced all people with hope and the spirit of brotherhood. It’s just as apropos today. Lonnie takes this one step further. 

    “We We were raging against wars – a sign of the times. The Vietnam war was raging so we said: hey we are gonna call ourselves WAR – our basis behind it is to wage war, to stop the war and to stop wars in our own neighborhood back in those days. And just let people know they do have a choice not to use guns and bombs, (rather) to use love, or for musicians use your instrument to shoot out rhythms and melodies and most of all harmony – harmony bringing people together; it is also apart of music. We are doctors of communication. Thats how we express ourselves.

    “Turf all looks the same. The ground all looks the same. The jungle, concrete, all looks the same. If you asked me to categorize it – I can’t – I conveniently do not remember, especially at 71.

    Lonnie Jordan

    Unfortunately the bad people [in this world] outweigh the good; the only way the good people can stand strong, and stronger, is by coming together with peace because love outweighs people – bottom line.” 

    ‘It’s all the same’ – Photo By NYS’ Mickey Deneher @ Paramount Hudson Valley in Peeskill, NY

    Be sure to catch WAR this Sunday (7:30-8:30 Set) at Great South Bay Music Festival, and stay tuned for our set coverage on War!

    See NYS’ Complete Festival Guide

  • 10 Artists You Need to Know from Rochester Jazz Fest

    “It’s not who you know, it’s who you don’t know;” the well-worn oft-repeated mantra of the Rochester International Jazz Festival not only rings true but pays dividends when heeded. Over 18 years the producers have followed a successful formula mixing well-known talent, historically-significant acts or tributes, returning favorites, local talent, up-and-comers, and unknown, sometimes unpronounceable names from places spanning the globe.

    It’s these last two that tend to define our Jazz Fest experiences. Other than their status as unknowns, the other thread common to these artists was their ability to make sixty minutes feel like thirty. We weren’t checking the clock or getting antsy for the sets that lied ahead, our attention was commanded in full. These are the 10 artists that blew us away most in 2019 at Rochester Jazz Festival, artists you should most definitely give a listen to.

    Girls in Airports

    A Danish quintet featuring no girls, actually had to leave one of their members behind at the airport, as sax player Martin Stender’s visa was denied. It didn’t matter much to our ears as remaining members: Lars Greve (sax), Mathias Holm (keys), Victor Dybbroe (percussion) and Mads Forsby (drums), were still one of the highlights of the festival. The band, together ten years, moved between ethereal soundscapes, intense evil marches and organ-rich spacey grooves, mixing in infectious rhythms and melodies along the way. Their music would only be called jazz because, what else would you call it.

    Kit Downes

    So much great music is played in three beautiful churches during the Rochester International Jazz Festival. Rarely does the church become the instrument. Kit Downes, a British keys player who we’ll hear from again, below, took on the task of playing the Christ Church’s Craighead-Saunders organ, the most accurate baroque organ in the Western Hemisphere. It sits above the pews in the balcony so a video feed was provided for the audience. The action of Downes playing the organ was almost as intriguing as the sounds filling the great hall. Almost but not quite.

    As the sounds were some of the most unique and exciting we have ever heard at the festival. He played melodic and accessible pieces mixed with some longer, more improv-heavy works. The highest notes chimed like jingle bells and the lowest were guttural deep rumbling moans that were felt as much as heard. It was a cultural experience beyond just a set of music at a festival, and one we won’t soon forget.

    Enemy

    Kit Downes was back the next night playing the piano in a trio, joined by Frans Petter Eldh on bass and James Maddren on drums. This was not a set where the audience would be clapping mid-song for impressive solos, because there were no solos. Or were they always soloing? It was an intense tangle of piano, bass and drums that was constantly in motion – flowing in waves of energy that always seemed to trend upwards with little in the way of ebbing. They could be melodic or dissonant, rocking or sparsely quiet, but always together.

    Trish Clowes My Iris

    In what became a three-day British jazz game of Six Degrees of Separation, Enemy drummer, James Maddren, was back at the Christ Church the next day as a part of saxophonist Trish Clowes’ band. Ross Stanley on organ and piano and Chris Montague (from NYS Music’s favorite of the 2015 festival, Troyka) on guitar.

    Montague had proven to be a marvel on his last visit, and Trish Clowes bears the band’s namesake, but this was a band’s band with no clear leader musically. The sound varied from number to number: high speed melodic chases, punchy avant garde jams, spacey organic textures and even Weather-Report-inspired rock fusion. As if that range wasn’t enough, they also added recorded samples on “I.F.” and Clowes, singing on the beautifully meandering epic “Free to Fall.”

    Give a listen/look at their brand new video for a song inspired by the great sci-fi film, Arrival.

    Thomas Backman

    Swedish reed player Thomas Backman, last seen at the Jazz Fest as a part of Klabbes Bank (yet another NYS Music fave) in 2017, returned with his own unit. He was backed by keys, drums and bass, with the women on keys and drums taking vocal duties on various tunes. They seemed to make their way through their 2018 debut in order, possibly in full. Each player was a creative mastermind, maximizing their possible range and output. Whether teetering into techno, bursting into bombast, or coasting quietly on a beautiful melody, the quartet had the audience rapt for the full hour.

    David Helbock’s Random/Control

    Austrian pianist, David Helbock, brought his Random/Control group which was as interesting a trio as you’ll find. Johannes Bar played sousaphone, trumpet, an interesting wood block didgeridoo, various percussion, electronics, and at one point a long plastic tube with a red horn attached to the end. Andreas Broger played multiple reeds sometimes two at a time. Helbock was a non-traditional player, diving inside the piano almost as much as on the keys, while also banging a kick drum and wood blocks. All three played the piano together at one point, knocking on it inside and out. They played Duke Ellington’s “In a Sentimental Mood,” Cedar Walton’s “Bolivia,” and John Williams’ theme from the movie “Catch Me If You Can,” but as you can imagine, none of it sounded quite the same.

    Paris Monster

    By now you’re sensing a pattern. Yes, the European groups dominated the festival highlights this year, but there were some wow moments from closer to home as well. This Brooklyn-based duo of Josh Dion on drums, vocals and keys and Geoff Kraly on bass and modular synthesizer, had an in-your-face garage rock energy with some beautiful R&B soulfulness. It was heavily drenched in electronic sounds yet always rooted in the organic. Original songs from their recently released debut were joined by completed deconstructed covers of “Life is a Carnival” and “Have a Talk with God.”

    Nubya Garcia

    OK, back to England for one more amazing artist. While many others wowed us with unusual instrumentation or arrangements, saxophonist Nubya Garcia just wowed us with flat out fiery playing. The festival decided to add some additional Made in the UK sets outside of its usual spot at Christ Church. It was a wise move in the sense that allowed them to book more of the talent bursting forth across the pond, but in this case the outdoor Jazz Street Stage was an odd placement. Garcia’s quartet, including Sam Jones on drums, Taber Gable on keys and Daniel Casimir on bass, weren’t playing the most accessible music that would normally grace the free stage. The nuances of what they were laying down were difficult to parse out among the drinking partying masses. On the other hand, it was a great opportunity for the non-Club Pass crowd to see such a high level of playing and composition. Garcia didn’t impress with the amount of notes she played, rather with the power and thoughtfulness put into each one. Rochester caught her on her first ever North American jaunt and certainly caught a rising star, one to keep an eye on for sure.

    Spaga

    The Disco Biscuits’ Aron Magner has put together a new piano trio with some of his Philadelphia buddies, Jason Fratacelli on upright bass and Matt Scarano on drums. The music certainly hews more toward traditional jazz from his usual jam-tronica fare, but in their live set, one of their first-ever, it proved to be anything but traditional. It was a roller coaster ride for the ears: spaciness climbed to full-on rock which fell back back down. Funky rocking electronic turned into catchy piano melodies and back again. Magner spent almost as much time playing electronic as he did acoustic and Fratacelli ran his bass through enough filters to escape the limits of his acoustic instrument on many occasions. So much to say, that this wasn’t your average jazz piano trio and the whooping and dancing crowd made that all the more clear. They were tight, unique and exciting.

    Give a listen (debut album to be released July 19):

    Jon Stickley Trio

    A trio from Asheville, consisting of Jon Stickley on guitar, Lindsay Pruett on fiddle and Hunter Deacon on drums, have all the makings of a great Americana act. And while that is where they are generally categorized, they are so much more than that. Stickley is a guitar whiz and can flatpick with the best of them, but he’s just as happy to sit back on a bass line for bit or shred out a headbanging rock riff. Likewise, Pruett also has the chops to run with any bluegrass unit, but doesn’t rest there long with this trio. Deacon is a flurry of activity on the drums, jumping from jazz to techno to rock, sometimes in the same song. Even an old fiddle tune like “Jerusalem Ridge” gets dressed up and knocked down with dance-ready beats and guitar pyrotechnics. Individually they are all musicians of remarkable talent, but as showcased in their sets at the new-to-the-festival Geva Fielding Stage, the bands most brilliant moments were when they locked together as a threesome, which they exhibited more often than not.

    Best of the Rest

    It wasn’t entirely “who we didn’t know” for the full nine days of the festival, we caught plenty of greatness from proven talents. Bill Frisell was back again with his trio of Kenny Wolleson and Tony Scher and they played two hour-plus sets with nearly no breaks – from blues to Beatles to Bacharach to Bill, unbelievable through and through. Vibraphonist Stefon Harris and his quintet Blackout schooled the audience in music as art, both with their phenomenal playing and in Harris’ frequent asides. Local sacred steel legends, The Campbell Brothers, blessed the audience with their breathtaking interpretation of John Coltrane’s “A Love Supreme” in addition to opening up a Sunday evening church service at the Squeezers Stage with their usual roof-raising fare.

    Cyro Baptista premiered his new quintet which was filled with worldly and joyful sounds from his “weapons of mass percussion.” Guitarist Lionel Loueke and Raul Midon shared the Kilbourn Stage for a set that mostly saw them go their separate ways. Both showcased their incredible guitar and vocal prowess, but only combined forces on two tunes. Loueke took on the first 30 minutes of the set, while Midon played his own full hour set, taking the full festival set time over by 40 minutes. Even so it was difficult for anyone to walk away, and encores were still called out for. Alas, another edition of the Rochester International Jazz Festival is now in the books, see you all again next year!

  • Joywave Captivates Hometown Crowd at Premier of The Possession Sessions

    Joywave made their triumphant return to the Bug Jar on June 29, their first headlining show there in four years. The performance, the first in their intimate The Possession Sessions series, sold out in 45 minutes. A second set was added later in the evening, which also sold out.

    The excitement was palpable on Saturday evening as fans lined up around the corner to get inside. Most were die-hard fans, longtime supporters of their hometown heroes, with a light sprinkling of first-time show goers. 

    The Possession Sessions

    There were no support acts on this show. Joywave took to the stage and started off the night with the live debut of their new release “Like A Kennedy.” The audience stood in rapt attention during the heartfelt anthem. “My TV’s talking to itself again. Do we shoot ‘em all dead? Or should we let ‘em all in?” Daniel Armbruster pondered in this poignant, introspective song about media burnout. 

    The Possession Sessions

    The crowd went wild when they launched into “Blastoffff.” Despite the heat of the midsummer day and the sweltering stagnant air in the venue, the band was wearing coordinating track suits – all in white except Daniel’s red pants. Drummer Paul Brenner went at the kit so hard that he cut his thumb, splattering blood onto his outfit. Rounding out the alt rock quintet were Joseph Morinelli (guitar), Kevin Mahoney (bass) and Benjamin Bailey (keyboards and guitar).

    The Possession Sessions

    Armbruster used every inch available of the stage (even when the corners made his mic squeak). His hand movements and sweeping arm gestures whipped the audience into a frenzy as he worked the crowd the way a conductor leads an orchestra. Mid-set, they shared another new song – never before heard by fans. “Obsession” is aptly named. Immediately, we were infatuated with the song’s fixating beat and twinkly synth interlude. 

    Between songs, Armbruster filled in the audience on recent events, announcing that they just flew in late the night before from filming a new video, dropping the bomb that The Possession Sessions is so named because it’s a reference to the name of an LP, and that the full length album would be out next year. To this last bit of info, some impatient fans expressed their discontent, in the Bug Jar tradition of good-natured heckling. “Are you booing me?” Armbruster shot back incredulously. 

    Everyone was singing along to crowd favorites like “Parade” and “Traveling at the Speed of Light,” but not as many people were familiar with the words to “True Grit.” The song from their 2012 EP Koda Vista hasn’t been played live often in the past few years. Just before starting “Content,” Armbruster asked the guys in the booth to make the next one “extra spooky.” They delivered an amazing light show, cranking the strobes during the breakdown. It feel like we were in the midst of a stop-motion video. 

    An avid supporter of the hometown music scene, Armbruster encouraged the crowd to continue to come out to see live music and to support other local musicians and acts, like Ishmael Raps, The Demos, Mikaela Davis, and Maybird. (Fun fact: Armbruster recently produced The Demos’ latest EP If You Only Knew.)

    The rest of the show ran together as the adrenaline hit full force. The camera got packed away, and I let myself get swept up in the waves of euphoria. Fellow Rochesterians, friends old and new, jumped up and down and sang along to beloved Joywave hits in unison. The show culminated in a finale featuring “Tongues” and “Destruction.” With a final wave, they made their exit.

    The outro playing as people reluctantly shuffled out was the recorded version of two of the songs off the new album, including “Obsession.”  Remnants of items from their last album Content were on sale by the door and people were glad to help clear out the inventory to make way for merch promoting the new album. 

    A second set (also sold out) was slated to start later that evening. The Possession Sessions will also be held in LA on July 9 (sold out), July 11 in Brooklyn (sold out), and November 20 in London. Joywave is also on the bill for several summer festivals throughout the US. Information and tickets are available at JoywaveMusic.com.

    Setlist: Like A Kennedy, Blastofff, Somebody New, It’s A Trip, Obsession, Parade, Traveling at the Speed of Light, True Grit, Now, Content, Shutdown, Doubt, Nice House, Tongues, Destruction

  • Joywave Returns with New Single and Show Announcements

    Joywave dropped the first single off their highly-anticipated third album, Like a Kennedy. In conjunction with the release, they announced “The Possession Sessions,” a handful of show dates including intimate shows in Rochester on June 29 and Brooklyn on July 11. The hometown show in Rochester at The Bug Jar sold out in a few hours, and a second-late night set has just been added. Tickets are on sale here. See the complete list of upcoming shows below.

    In a commentary that is available to stream now, Armbruster explains:

    “I think a lot of people will probably try to fit this song into some type of political narrative, but that’s really not the point. It’s a song about complete exhaustion and media burnout. It’s an anti-chaos song. Every screen you walk by DEMANDS your attention. Everything is BREAKING NEWS in all caps. It’s a really difficult time to think about the mundane small-scale things that have been the focus of human existence until very recently. I don’t think people should check out, but I think it’s beneficial to at least zoom out and not take the bait every time. It feels like everything is designed to keep us enraged 24 hours a day. We deserve a little sanity.”

    – Daniel Armbruster

    The Possession Sessions:

    June 29 – Rochester, NY – The Bug Jar

    JULY 9 – Los Angeles, CA – The Moroccan Lounge

    July 11 – Brooklyn, NY – Elsewhere (Zone One)

    July 13 – Chicago, IL – Taste of Chicago

    July 18 – Fayetteville, AR – Free Summer Concert Series at JBGB *

    July 19 – Kansas City, MO – Coors Light Block Party *

    August 10 – Redmond, WA – 107.7 The End Presents Summer Camp *

    November 20 – London, UK – The Lexington

  • NYS Music Guide: Rochester International Jazz Festival 2019

    June 21, 2019 is just around the corner, which means summer is almost here and, more importantly, the 18th edition of Rochester International Jazz Festival is about to begin.

    Jazz Fest is a comforting tradition on the Rochester scene, but that embraces great change with each year. It is continually being modified to adjust to forces out of the producers control and in an effort to create a perfected festival experience.

    This year sees some big changes. For one, the title sponsor is now CGI taking over for longtime sponsor Xerox. The footprint of the festival is also changing quite a bit. Harro East and Anthology are no longer venues. They are replaced by Geva: two venues in one place, Fielding Stage and Wilson Stage. Also, M&T Pavilion Squeezers Stage is housed in a new tent on Parcel 5.

    What hasn’t changed is nine straight days of world-spanning A-class music. We don’t really think you can go wrong with this year’s lineup, but here are some suggestions to help guide you on your way.

    Jam-adjacent

    Some musicians, better known for their involvement in jam bands, will be performing at the fest. Percussion master Cyro Baptista and singer Jennifer Hartswick, both members of the Trey Anastasio Band, are bringing their equally compelling solo bands. Hartswick will be joined by Nick Cassarino on guitar. Aron Magner, of the trance fusion Disco Biscuits, has a brand new jazz trio called Spaga, who will be playing one of their first shows together.

    Cyro Baptista

    Mon, June 24
    5:30 PM & 7:30 PM
    Geva Theatre Center – Wilson Stage

    Jennifer Hartswick and Nick Cassarino

    Fri, June 21
    6:00 PM & 10:00 PM
    Montage Music Hall

    Spaga

    Fri, June 28
    6:00 PM & 10:00 PM
    The Wilder Room

    Americana

    While not exclusively held at the new Geva Theater Fielding Stage, this venue will be home to a slew of excellent Americana artists: Acoustic guitar phenom, Jon Stickley, will be with his well-travelled trio; One-man wonder, The Suitcase Junket, will wow with his bag of tricks; and Circus No. 9 brings their unique blend of progressive bluegrass sounds.

    Jon Stickley Trio

    Sat, June 29
    6:30 PM & 8:30 PM
    Geva Theatre Center – Fielding Stage

    The Suitcase Junket

    Fri, June 28
    7:00 PM
    City of Rochester Midtown Stage     Presented by Rochester Regional Health
    FREE

    Circus No. 9

    Sun, June 23
    6:30 PM & 8:30 PM
    Geva Theatre Center – Fielding Stage

    Instrumentalists

    It isn’t easy for an artist to make an instrument you’ve heard countless times seem new again, but these groups are each defying that on their respective tools of the trade. Adam Ben Ezra on bass, Stefon Harris on vibes, and, newcomer from across the pond, Nubya Garcia on sax . All are can’t miss players playing at this year’s festival.

    Adam Ben Ezra

    Mon, June 24
    5:45 PM & 7:45 PM
    Hatch Recital Hall

    Tue, Jun 25
    6:30 PM & 8:30 PM
    Geva Theatre Center – Fielding Stage

    Stefon Harris and Blackout

    Sun, June 23
    6:00 PM & 9:00 PM
    Kilbourn Hall

    Nubya Garcia

    Fri, Jun 28
    7:30 PM & 9:30 PM
    City of Rochester Jazz Street Stage
    FREE

    Party Time

    It’s summer, it’s a festival and sometimes you’re just going to want to get up and dance. These bands will offer that opportunity. Another brilliant young product of the UK, Kansas Smitty’s House Band, sounds decidedly American covering a wide range of styles. Empire Strikes Brass appropriately strikes a balance between evil, spacey and horn-y, while Aquaducks get a bit more down and dirty with their funky output.

    Kansas Smitty’s House Band

    Fri, June 28
    5:30 PM & 7:30 PM
    Geva Theatre Center – Wilson Stage

    Sat, June 29
    6:00 PM & 9:00 PM
    Kilbourn Hall

    Empire Strikes Brass

    Sat, June 22
    8:30 PM & 10:00 PM
    Rochester Regional Health Big Tent

    The Aquaducks

    Mon, June 24
    7:30 PM & 9:30 PM
    City of Rochester Jazz Street Stage
    FREE

    Tue, June 25
    7:00 PM & 9:00 PM
    Fusion Stage
    FREE

    Adventurous

    The Nordic and Euro Jazz Now Series at the Lutheran Church is our go-to spot for musicians painting outside of the lines, challenging our sensibilities. When in doubt, you can go there blind and there’s a good chance you’ll catch something mystifying. Although, it isn’t the only place to seek adventure. These three artists will definitely take you there, so don’t miss ’em!

    Ozmosys

    Tue, June 25
    7:00 PM & 9:15 PM
    Temple Building Theater

    Thomas Backman

    Wed, June 26
    7:30 PM & 9:30 PM
    Lutheran Church of the Reformation – Nordic & Euro Jazz Now Series

    Enemy

    Mon, June 24
    6:45 PM & 9:45 PM
    Christ Church

    Must See Again

    “It’s not who you know, it’s who you don’t know” has been the festival’s mantra from the beginning. Though after 18 years, there will be plenty of returnees who you definitely know. This year, three guitarists are standing out on our list of must-see-agains. Bill Frisell, who has brought a number of different bands to his seven festival appearances, returns with his trio. Ron Artis II and the Truth was a “wow” discovery last year, and Scott Sharrard is always a sure bet for some hot jams.

    Bill Frisell Trio

    Sat, June 22
    7:00 PM & 9:15 PM
    Temple Building Theater

    Ron Artis II and the Truth

    Thu, June 27
    7:00 PM & 8:45 PM
    M&T Pavilion – Squeezers Stage

    Fri, June 28
    8:30 PM & 10:00 PM
    Rochester Regional Health Big Tent

    Scott Sharrard

    Fri, Jun 21
    8:30 PM & 10:00 PM
    Rochester Regional Health Big Tent

    Sat, June 22
    7:00 PM & 8:45 PM
    M&T Pavilion – Squeezers Stage

    Local Flavor

    At a festival with some of best from across the globe, there’s still plenty of space carved out for the incredible amount of talent we have right here in Rochester. Proceedings on the Jazz Street Stage get started daily by younger sets from local schools and bands. They get the Big Tent and Squeezers Stage moving with free early sets and keep the Fusion Stage grooving throughout midweek. Plenty more regional artists get sprinkled in throughout. Here are three Rochestarians you definitely don’t want to miss.

    The Campbell Brothers

    Sun, June 23
    7:00 PM & 8:45 PM
    M&T Pavilion – Squeezers Stage

    Herb Smith Freedom Trio

    Wed, June 26
    4:30 PM
    M&T Pavilion – Squeezers Stage
    FREE

    Dawn Thomson’s Imagine That

    Sat, Jun 22
    6:00 PM & 10:00 PM
    The Wilder Room

    More so than ever before, we’re just scratching the surface here. There is nary a wrong turn to make, so get out there and try something new. See the full lineup and all the details at the highly informative Rochester Jazz Fest web site, and stay tuned to our twitter feed for daily updates.

  • Hearing Aide: Sarah Eide ‘Dreams on Hold’

    Parenthood is rarely extolled in music. It’s hard to find songs that explore the joys and challenges that come with raising kids. On one side of the chasm are chipper children’s tunes by artists like Raffi, and on the other side were songs of lament about missing out on the joys of parenting, like in Harry Chapin’s “Cat’s In The Cradle.” Sarah Eide boldly explores the role of motherhood versus the road not taken in her debut album Dreams on Hold.

    The album starts with the upbeat “Big Mover,” a song about watching a child play, and savoring these moments knowing that time, like childhood, is fleeting. It flows nicely into “The Bridge Song.” In an age when the powers that be are talking about building walls to keep people apart, it’s refreshing to hear a song about bridges that connect people.

    The more reflective “Journey Song” follows. The lap steel, upright bass, and fiddle play a prominent role in this one. It’s a turning point in the album, heralding in more pensive pieces. It’s not just a lyrical shift, but also a compositional shift. The instrumentation becomes more complex, interweaving tributes to music of the past and fusing it with modern sensibilities. There’s a little boogie woogie here and a sprinkling of jazz there, which pays tribute to Americana and serves as a compass pointing the way for the future of the genre.

    The poignant lullaby “Little O” was written by Eide after returning home from tour. It’s a heart-rending song about the emotional cost of being a professional musician – being torn between her personal aspirations and the realities of motherhood. “Dreams on Hold” offers some resolution to the conflict. The jazzy song showcases Eide’s ability to pair a storyline with music as the song builds to a dramatic climax and ends with whimsical curly-cue notes on piano, fiddle, and trumpet.

    Like the opening songs, “Shadow” feels like a children’s song but also has a deeper meaning. Eide can’t shake her little shadow, a child who copies everything she does. But childrens’ astute perceptions are reflected back to us like a mirror, and show us things which may not be the most flattering. “Cry Cry Cry” explores the burnout of parenting day in and day out, providing contrast with the upbeat style of New Orleans Jazz.

    In “The Journey,” Eide brings all the conflicts of past/present and dreams/realities to resolution through acts of patience, forgiveness, and unconditional love.

    Eide takes a lot of chances on this album, exposing her vulnerabilities. Dreams on Hold is a bold musical endeavor exploring the monumental role of adults in shaping future generations. It balances whimsy and gravity, swooping gracefully between the dizzying heights of playful jazz down to the roots of plaintive folk ballads. Even those who haven’t faced the joys and challenges of parenthood will relate to the lyrical themes struggling to balance personal goals with relationships, to capture a fleeting moment in time, and to honor the musical traditions while trying to expand the boundaries.

    The production value on the album is high – from the technicality of Eide’s arrangements to the flawless performances by some of Chicago’s well-known contemporary musicians, to the artwork and presentation. The album was self-produced by Eide and recorded in Chicago, prior to Eide’s relocation to Rochester, NY. Engineering was done by Yuri Lysoivanov. It was mixed and mastered by Anthony Gravino (with the exception of “Shadow,” which was mixed by Lysoivanov). Studio musicians include jazz drummer Jon Deitemyer, Shane Jonas of the Low Down Brass Band, Joe Camarillo of The Waco Brothers, and Jess McIntosh who plays fiddle for Al Scorch. The CD comes in a 6-panel case, with artwork by Betony Coons featuring collage images of children, mountains, flowers growing, and musical instruments.

    Dreams on Hold is available for purchase online. Follow Sarah Eide on Facebook, Twitter, and Instagram for updates and events.

  • Hearing Aide: Stella Hill ‘EP’

    Sit back, unwind and enjoy the sounds that modern American music was built upon. Stella Hill has created a soft, personal collection peppered with the quintessential sounds of what made Americana music so influential. Listeners will find everything from alt-country rock with a 90s vibe to tasty New-Orleans jazz in their upcoming EP release, available Monday, June 10.

    Overall, we have a very diverse EP. It’s somber but also calming and complex. Group founders, and husband and wife, Josh Massicot (keys) and Liz Ristow (violin) write songs inspired by Bob Dylan, Randy Newman, Norah Jones, Jackson Browne and many more. Listeners will find angelic harmonization from the lead vocalists and perfectly balanced, blended instrumentation throughout the entirety of the album. Stella Hill has created a familiar sound and has managed to add a unique flair thanks to an eight-piece orchestra. String sections fill in the gaps and breathes an etherial flavor to a time tested Americana sound. Tracks like “Gold” and “Tupelo” are solid when performed by a three piece band, but really come to life with help from a set of strings.

    These tracks aren’t something listeners should pick apart. Something so soft, well produced and blended should be taken at face value. Stella Hill has created a simply pleasant, bitesize atmosphere that just about anyone can enjoy in the right setting. They album drops next week and will be available for download on their Bandcamp page, but you can listen to the single, “Fifteen” right now.

    Key Tracks: Gold, Tupelo, Faded at the Seams

  • Losers Club Rock Montage at Debut Show

    The neon sign outside Montage Music Hall was a beacon in the night, drawing music lovers into the heart of Rochester for the first live performance by Losers Club on Friday, May 31. The project is new, but members are seasoned musicians who have been playing out in bands for years. The downtown venue was packed with their friends, family, and fans.

    Losers Club debut performance – Photo by Corrine Cummings

    Losers Club took to the stage. Cody Wagner took his place behind the drum kit. Andy Champion picked up his bass. Aidan Snyder and Nate Blasdell strapped on their guitars. Then, Blasdell took a spot center stage, in front of the mic. Blasdell has been in several bands (The Bunny The Bear, I Set My Friends On Fire), but this is his first time as front man. Blasdell thanked everyone for coming before delving into their set.

    Bassist, Andy Champion – Photo by Corrine Cummings

    Rocking rhythms and pop hooks paved the way for emotional lyrics, oozing with unapologetic honesty. Between songs, Blasdell told the crowd a little about how the band was conceived, during a snow day this past winter. The band members came together after knowing each other for years through the local music scene. He also talked about the origin of the band name, and how Losers Club is about embracing the feeling of not fitting in.

    Guitarist, Aidan Snyder. Photo by Corrine Cummings

    The set was full of original songs, but they threw in one cover. Mid-set they got the crowd singing along to a rocking rendition of Lil Uzi Vert’s “All My Friends Are Dead.” Losers Club came out of the gate strong for their first show. It’s clear this new band is one to watch.

    Opening for Losers Club was indie pop band So Last Year. The five piece powerhouse gave an energetic performance. The set included sing-along faves from their albums In The Light Of Summer and It’s Later Than You Think. They’ve since been writing and recording for their next release, and on this night they played the soon-to-be-released song “Already Gone.”

    So Last Year building steam, for an energetic set – Corinne Cummings

    All photos taken by Corrine Cummings.

  • 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.

  • 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.


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