NYS Music 20​19

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  • Brian Auger and Oblivion Expression Jazz-Mining at The Egg

    Brian Auger and the latest incarnation of Oblivion Express played just six songs in each of their hour-long sets on Sunday, May 5 at The Egg. The modest but appreciative audience was treated to plenty of marvelous solos from both 79-year-old English keyboardist, Auger, and the incredible Australian guitarist, Frank Gambale, a mere stripling at 60.

    Brian Auger

    Earlier versions of Oblivion Express recorded six studio albums from 1971-1975, mining a progressive vein of soul-jazz that also incorporated traces of funk and rock. The current band somehow manages to make all these elements sound relevant and contemporary, even when they’re covering jazz numbers such as Dizzy Gillespie’s “A Night in Tunisia,” Wes Montgomery’s “Bumpin’ on Sunset,” Eddie Harris’ “Freedom Jazz Dance” and Gene McDaniels’ “Compared to What.”

    The current quintet was filled out by relative youngsters: singer/percussionist, Lilliana de los Reyes; bassist, Andreas Geck, and Karma Auger (yes, he’s Brian’s son) on drums. Anyone who thinks nepotism accounts for Karma’s presence should just listen to him – he’s an excellent drummer who doesn’t overplay, yet made the most of his brief solo-spot during the coda of “Whenever You’re Ready.”

    Reyes has a lovely voice and she gained confidence as the evening progressed, stepping out from behind her percussion array, really emoting on a beguiling version of Donovan’s “Season of the Witch.” It was first cut by Auger with Julie Driscoll and the Trinity on their 1967 debut Open.

    “We were recording on clay tablets at the time,” noted Auger. “This tune was a smash all across the Roman Empire.”

    Reyes’ ebullient vocals and the energetic solos from Auger and Gambale were well-suited to the positive messages conveyed by songs such as “Happiness Is Just Around the Bend,” “Straight Ahead,” “Whenever You’re Ready” and “Sundown.” Auger is best-known for a robust Hammond B-3 organ sound, though he also deployed a Korg M3 synthesizer. Gambale was dazzling throughout, with such a clean tone and precise articulation, he demanded attention even when playing rhythm accompaniment behind Auger’s lead on “Compared to What.”

    Brian Auger finished this performance by saying “drive carefully because you never know: I might be walking back to the hotel. Thanks again everybody we will see you in the future.” Though he turns eighty on July 18, he’s got a European tour booked for the fall, and shows few signs of slowing down. Mr. Auger, long may you run.

  • The Masses of Woodstock 1969 Time Travel in a 38-Disc Box Set

    The daunting Woodstock 50 – Back to the Garden – The Definitive 50th Anniversary Archive box set debuts August 2, exactly two weeks before the Woodstock festival revival was said to take place. Limited to 1969 units, the 38-disc box set is completely remastered, spanning the original festival top to bottom. All 433 tracks are catalogued between Friday’s opening set of Richie Havens to Jimi Hendrix, spilling into Monday morning.

    More than half of the total runtime debuts unheard releases. The 267 song homage captures names like Janis Joplin, Grateful Dead, The Who, Creedence Clearwater Revival, Sly and the Family Stone and many greats for the first time.

    Each box comes loaded with a guitar strap, Director’s cut Blu-Ray, prints, writings and other memorabilia. A coffee table book, Woodstock: 3 Days of Peace & Music, fuses visuals with sound and are accompanied by Lang’s insights and memories to 1969.

    The collection is a time-capsule weaved with personality; notably from a replica diary written by an inspired attendee. Stage-banter sucks you into different angles in time – retrospective in particular lights of the festival experience, and flat out rock and roll. The expansive archive captures festival blurbs from random attendees taped by  sound recordist Charles Groesbeek, and backstage audio. Its mass will be organized neatly, day to day. From an analytical measure or for the pure Woodstock-junkie, this box set is remarkable. Experience it day by day as if it were 1969. Price of admission: $799.98

    The Definitive 50th Anniversary Archive can be preordered here.

  • Free ‘Ears & Beers’ Workshop to Open Up Conversation about Hearing Conservation

    Horton, board certified audiologist at Rochester Hearing & Speech Center, will be offering an interactive workshop Ears & Beers at Three Heads Brewing. The free affair takes place on Sunday, May 19 at 1 p.m. Attendees can meet with Horton and his colleagues to obtain a free hearing screening, discounted earplugs, and ear mold impressions for ordering custom ear plugs.

    “This is an important conversation to have,” says audiologist and musician Dr. Greg Horton. “Knowledge is power: educating and empowering musicians to take ownership of their hearing wellness and incorporate hearing into their annual health care routine.”

    “This event is geared towards musicians and people who work in and around music industry – bartenders, security, photographers, and promoters. We’ll cover the science of sound, how prolonged noise exposure can affect our hearing, and how people can protect themselves.”

    While most industries are regulated by oversight agencies which promote and enforce workplace safety, the music industry remains unregulated. What’s more, hearing conservation something that most people are uncomfortable talking about, or acting upon. Horton said that people often wait years after suspecting hearing loss to do something about it.

    Compounding these barriers is the lack of expertise in audiology for those in the music industry. There are only a handful of audiologists in the country who work exclusively with musicians. Horton studied under a couple of these experts when he was earning his doctorate in audiology at Northwestern University.

    “Working with musicians is different than garden-variety audiology,” Horton says. He adds that while most audiologists love working with musicians, when polled, the majority of them say they need more training in this area.

    Professional musicians invest their time in practicing and their money in equipment, but few make the effort to protect their most valuable asset – their hearing. Horton draws a comparison to a professional athlete being assessed by doctors for peak performance. “Why as a musician, wouldn’t you do the same thing?” Asks Horton.

    Few people in the music industry receive annual screenings to monitor changes in hearing. Hearing screenings are usually covered by health insurance, but those who are under-insured or uninsured can look for free screenings at places like health fairs and festivals.

    “Most musicians experience just generic foam earplugs, which are not designed to sound good. People don’t realize there are plugs that can maintain the fidelity of the music, with the ability to keep you at safe exposure.” This is an area where the proverbial ounce of prevention is worth a pound of cure. “People don’t want to spend $200 on a pair of custom ear plugs, but it sure beats $6,000 on hearing aids.”

    Protection goes beyond wearing hearing protection. It’s about awareness of dosage of noise exposure. That dosage can be reduced with things as simple as adjustments to stage plots and the position and distance from sound-emitting equipment.

    “I’ll be dispelling some myths. Like ‘Oh, I don’t play in a metal band, so I don’t need to worry about hearing loss.’ Volume doesn’t discriminate. It all comes down to dosage,” Horton explains. “Think about the violin player that’s been classically trained, putting hundreds upon hundreds hours into playing. A violin by itself may not be loud, but it’s pretty close to your ear, and if you’re someone who’s practicing 6 to 8 hours a day, you’re at risk.”

    As a life-long music lover and musician, hearing conservation is a subject Horton is passionate about. If you’ve ever seen Horton’s band Periodic Table of Elephants, you’ll recognize him as the one passing out complimentary ear plugs to members of the audience.

    This event is made possible with sponsorship from Three Heads Brewing and Rochester Hearing & Speech.

    Three Heads Brewing on Atlantic Avenue is a hot spot for live music and home to a popular Thursday night musician residency. You can find more details and RSVP for this free event here.

    Rochester Hearing & Speech a non-profit organization serving the region for the past 97 years. Their offices are conveniently located throughout Monroe County in Brighton, Greece, and Webster. For more information about this event or to schedule an appointment, email ghorton@rhsc.org.

    Poster design by Ben Frazier

  • Woodstock 50: Lang Accuses Financial Partner of ‘Treachery,’ Plans To Raise $30M By Friday

    The drama surrounding Woodstock 50 continues. It is estimated that Lang will need upwards of $30 million to produce the three-day event at Watkins Glen International Speedway, Aug 16-18. According to Billboard, sources have stated that Lang has until Friday May 10 to raise the funds, which is in addition to the $30 million that Japanese-firm Dentsu has already spent on prospective headliners.

    Sources have also stated that despite Dentsu and other investors pulling out that Lang is adamant that Woodstock 50 will go on. Lang has stated that CID Entertainment would be stepping in to replace Superfly as the festival’s producer, but the company has not officially confirmed. A representative for Lang has approached both Live Nation and AEG (Anschutz Entertainment Group) about investing in the festival, and both promoters were not interested.

    Woodstock 50

    To make matters even more complex, Lang has accused former investors Dentsu of of taking $17 million from a festival bank account, attempting to talk acts into dropping out of the event and pleading with stakeholders to break their contracts. Lang made the accusations in a letter dated Monday, however representatives from Dentsu have stated they did not receive the letter. “We only would ask that you honor the law and your obligations, stop interfering with our efforts to put on this wonderful event and return the $17 million you improperly took,” Lang wrote. Lang also accused Dentsu of “treachery” and wrote that the company’s actions “are neither a legal nor honorable way to do business.” Lang went on to state “We also have evidence that Dentsu representatives have gone so far as to say that should the talent back out of Woodstock, they would be seen favorably by Dentsu and that this could result in their performing (at) the 2020 Summer Olympics in Tokyo, where Dentsu is a major organizer,” Lang wrote. “In these actions too, Dentsu has acted not only without honor, but outside of the law.” Lang went on to say, “In the end, since Dentsu has already abandoned Woodstock, all I ask for is that Dentsu walk away peacefully and allow me to deliver to the people a 50th Anniversary Festival.”

  • Marco Benevento Joyously Delivers at Historic White Eagle

    “We’re having sooooooo much friggin’ fun on this little run of shows!” quipped Marco Benevento in an Instagram post on the afternoon of May 3. Later that night, the sentiment became overtly obvious as Benevento and Co. brought their colorfully energetic mix of pop and rock to Jersey City. White Eagle Hall, an historic venue is situated in the Village neighborhood of downtown Jersey City, welcomed every note as if it knew Marco came home to play.

    Providing a short opening set was New York City native Andrew Fox, a solo singer/producer with a small assembly of toys and knobs but a large sweeping psychedelic soul. Warming up the Jersey crowd with a selection of songs from his recently debuted EP Shock by Shock, Fox sang passionately over a mix of deep bumping bass and sinking synthesizer leads. The live performance of these tracks varies slightly as Fox mixes, filters, and plays keys. A stand out was the funky “John / Candy,” featuring a pop laced guitar riff and chopping snare claps.

    marco benevento white eagle

    In a nod to the oh so obvious theme of welcoming that encompasses Benevento and crew, Fox mentioned that the two had in fact only first met in person just prior to the show. It was just a few weeks ago that Benevento reached out to Fox via the internet and asked him to tag along for a few shows. This speaks volumes to Marco’s openness to opportunity and appreciation.

    After a short break, the headliners appeared to an uproarious applause and took a moment to settle in before jumping right into “Free Us All.” Immediately, the rainbow lights began to blanket the room as the crowd swayed in delight. The trio continued on through a mix of old tunes like “All The Other Dreams,” “Greenpoint,” and “Dropkick.” Still, there was room for a new song debut and announcement that a to-be-titled album is on the way, due out in September.

    marco benevento white eagle

    Dressed in silver sequin jackets and white tees reading “We’re using time for fun” (a song committed to tape on 2007’s Live At Tonic) the trio of Benevento, David Butler and Karina Rykman held on to their smiles as much they did the groove for 2 hours straight. There is an incredible enthusiasm in this group that creates an energy so palpable it’s hard to not participate in the celebration. Marco takes every opportunity available to thank the audience, thank his bandmates, and relish in the feel-good momentum that makes their performances uniquely positive.

    The mid-section of the set brought more from the recent The Story of Fred Short record with the zany “I Can’t See The Light,” a soaring “Stay In Line,” and the bouncy “Walking With Tyrone.” Benevento jumped back and forth between center stage to dance around and sing and then again to his piano rig just in time to walk up and down a solo.

    marco benevento white eagle

    Just after Rykman removed her jacket, but not the smile, Benevento made banter by recalling a previous show where the crowd roared for 10 minutes when he announced the bassist by name. The audience took this obvious cue and cheered ever more loudly as Marco clapped and yelled “KARINAAA” into the mic. It was a cheerful moment that shined a happily embarrassing spotlight on the youngest band member just before she took a distortedly delayed bass solo. This paved the way for the crowd-pleasing cover of the Butthole Surfers 90’s hit “Pepper,” led by Rykman on vocals.

    As is with most musicians, this band and Benevento, especially as the songwriter, gets as much out of sharing in the music as they do playing it. This was evident through the entire set but was most clear when the trio “answered the call” to play “The Real Morning Party,” an infectious pop number that had the entire crowd gleefully singing along to the melodic hook. As the audience bounced up and down in enjoyment, it was hard to tell whether the ground was shaking because of the dancing or because of the powerful rhythm section and soulful jamming.

    marco benevento white eagle

    After one last thank you, the party was brought to a close with the aptly titled finale “At The Show.” Members of the audience were still humming the vocal melody as the three band mates took their final bow at center stage.

    Marco Benevento tour continues on May 10 in Washington D.C. with Andrew Fox.

    *Setlist was not written down and songs were being called out by Marco. The following list was provided by management:

    Free Us All, All The Other Dreams, Solid Gold, Dropkick, Greenpoint, Send Me On A Rocket, Walking With Tyrone, Live a Certain Life, Stay In Line, I Can’t See The Light, Follow The Arrow, Pepper, Witches of Ulster, The Real Morning Party, Oh Baby Can’t You See, At The Show

    marco benevento white eagle
    marco benevento white eagle

  • Western Swing and Waltzes: Colter Wall at the Haunt

    Colter Wall travelled from Saskatchewan in southwestern Canada to grace the stage of The Haunt in Ithaca on Saturday night. Though he had no problems connecting with the sold out crowd. Songs centering around cattle branding, ranching and rodeos were cut with more universal themes like love, friendship, trains, cars and motorcycles.

    He arrived to the stage alone with his guitar and his cowboy hat, appropriately opening the set with the old cowboy song, “Old Paint.” He continued with a more modern tale of his own making, “John Beyers.” His voice, a resonant baritone, is rich like a finely aged whiskey (aged just 23 years in this case) and had a strong presence that echoed throughout the room. Though, possibly, the echo was from the audience, who exuberantly sang along, to each other, to the stage or to themselves.

    A few songs in, Wall’s band joined him on stage. Together a quintet, pedal and lap steels, harmonicas, drums, and bass joined him and his guitar. Each brought their own character to the mix. There was an entire arsenal of harmonicas, and even a jaw harp, to match the mood of every tune. The pedal steel’s howls and whirls intermingled beautifully with the harps in an unexpected and somewhat unusual combination. The steady bopping red and gold paisley covered bass and swinging and tasteful drums held it all together perfectly.

    The set was filled with songs from last year’s release. Songs of the Plains, and 2017’s Colter Wall. The tried and true, the ones everyone knew, were tossed in with something new, like “Western Swing and Waltzes” and also some much older selections, like covers of Ramblin’ Jack Elliot’s “Railroad Bill” and Townes Van Zandt’s “White Freightliner Blues.” No matter their age, coming through the voice of Wall and with the skill of his backing band, it was all sounding great to the adoring crowd.

    Fellow Saskatchewans Kacy and Clayton warmed up the evening. The two cousins played a short set of lovely folk songs but were unfortunately competing with a rowdy crowd anxious to sing and dance to the main attraction. The subtle beauty of their voices and guitars was no match for the clanging of glasses and boisterous barroom conversations, but attentive ears were rewarded with another example of Canada’s increasing and ironic grip on the Americana genre.

  • Alice Frost Wows the Crowd in Hudson Falls

    In a sold out show, a blast to the past of the late ’60s – ’80s progressive rock era, the Alice Frost band had the crowd rocking in their seats to the music of YES! The core of the band started performing in the late ’70s and the friendships made then have endured to this day. The members of this ensemble, original and newly added, have developed a true love for the music and for playing together. The group is composed of experienced area musicians who enjoy the challenge of this complex and beautiful music. On guitars is John Eisenhart who has played in 805, out of Syracuse, Lake City, Blind Design and currently performs around upstate New York as a solo artist.


    John Eisenhart – Guitar

    John has a diverse background which includes a wide range of musical styles. From 17th century classical guitar to delta blues, as well as more popular music, John adds his own style and the audience loves it. Harold “Clutch” Reiser, on drums and percussion, is a founding member of The Maynard Brothers Band, and also played with The Sundowners, Blind Design and other bands. Matt Donnelly, keyboards, plays with The South Street Saints, The Music Box and hosts the Thursday night jam at the Lawrence Street Tavern.

    Matt Donnelly – Keyboardist

    Matt brings years of experience on the keyboards to the Alice Frost band. He currently is associated with many other bands in the upstate New York area. Once you hear his mastery of the keys, you can understand why so many bands want to be associated with him. Frank Esposito, the vocalist, played for Howard Stern’s show and works in the Vibratones. Carl DeSantis jr., on basses and a Berkeley graduate, plays in North Carolina in a number of ensembles. Steve Hymowech, the bassist for Dirt Cheap, assists Alice with extra guitar, vocals, percussion and inspiration. The show encompassed music from the Yes Album, Fragile, Close to the Edge, and Relayer.

    Playing at a high level of difficulty to bring this music to audiences makes the work enjoyable and rewarding, and it was be a show to remember. The May 3 date kicked off the 2019 season for Alice Frost, ending as the headliner to an outdoor prog music festival in the Syracuse area. They have a Facebook page with videos, pictures and more information. 

    Harold “Clutch” Reiser – Drums

    “Clutch” not only sets the beat for the songs, but he did a tympani set which drove the fans wild and onto their feet.


    Steven Hymowech – Acoustic Guitar
    Carl DeSantis Jr. – Bass
    Alice Frost hudson
    Alice Frost hudson

     

  • Griz Crashes into Albany and Brooklyn on Ride Waves Tour

    Future funk and electro-soul artist, Griz, continues to Ride Waves on tour, promoting his new album of the same name across the East Coast. The lineup includes electronic and urban pop producers, Yung Bae and Dwilly, for most of the May shows.

    Ride Waves was produced over a two year hiatus that Griz took from electronic music, in which he addresses socio-cultural issues like gun violence. The DJ, producer and saxophone player recruited talent from Bootsy Collins and Matusyahu to Snoop Dogg and Wiz Khalifa for his 5th studio album that emanates with positivity. The album contains elements of funk, rap, reggae and soul, including moments of reflection from Griz’ life. The track “It Gets Better” is an uplifting collaboration with DRAM that showcases Griz’ saxophone skills, and sends a message of perseverance.

    Join Griz at the Palace Theatre in Albany and King’s Theater in Brooklyn, NY this week for the Ride Waves tour, as well as his signature electronic beats and organic saxophone-funk.

    Upcoming Shows:

    May 6th – Worcester, MA – The Palladium*
    May 8th – Albany, NY – Palace Theatre*
    May 9th – Buffalo, NY – Buffalo Riverworks*
    May 10th – Brooklyn, NY – Kings Theatre*
    May 11th – Philadelphia, PA – The Met*
    May 14th – Louisville, KY – Iroquois Amphitheater*
    May 15th – Columbus, OH – Express Live!*
    May 16th – St. Louis, MO – The Pageant*
    May 17th – Minneapolis, MN – The Armory*
    May 17th-19th – Gulf Shores, AL – Hangout Fest
    May 18th – Kansas City, MO – CrossroadsKC*
    May 27th – Detroit, MI – Movement
    June 9th – Chicago, IL – Spring Awakening
    June 14th – Manchester, TN – Bonnaroo
    June 21st – Heber City, UT – Bonanza Campout
    June 23rd – Dover, DE – Firefly Music Festival
    July 5th – Liempde, NL – We Are Electric
    July 10th-14th – Dour, BE – Dour Festival
    July 12th – Bristol, UK – Nass Festival
    August 2nd-4th – Montreal, QC – Osheaga Festival
    August 9th-11th – Salmo, BC – Shambhala Music Festival

    * = with Yung Bae & Dwilly

    griz ride waves

  • In Focus: Snow Patrol Wildness at Terminal 5

    On April 30, British Rockers, Snow Patrol, brought their 2019 Wildness tour to the beloved Terminal 5. A sold-out crowd was treated to an amazing high energy performance with the band, weaving in and out of their immense catalog. Highlights included: “Take Back the City,” a fan requested “You Could Be Happy,” “Chasing Cars,” and an encore that included “What if This is All The Love You Ever Get?” and “Just Say Yes.” Check out Snow Patrol’s latest album Wildness, it’s perfect for new and old fans alike – a timeless sound and lyrical mastery.

    Setlist: Take Back the City, Chocolate, Crack the Shutters, Empress, Don’t Give In, Open Your Eyes, Run, *(1) You Could Be Happy, Life on Earth, Make This Go On Forever, Shut Your Eyes, Called Out in the Dark, Heal Me, The Lighting Strike (What If This Storm Ends?), Chasing Cars, You’re all I Have.

    *(1) Fan Request

    Encore: What If This Is All the Love You Ever Get?, Just Say Yes.

  • New York Guitar Festival Kicks Off With Tribute to Memphis Minnie

    The 20th annual New York Guitar Festival has a long-standing tradition of paying homage to the cultural impact and musical legacies of iconic guitar players. This year, the festival opens with a tribute to influential blues artist, Memphis Minnie. This free outdoor event takes place Saturday, June 1 at 7 pm at Brookfield Place’s Waterfront Plaza in lower Manhattan.

    The concert will feature musicians across an array of genres, and will include: Marc Ribot, Rafiq Bhatia, Rachael & Vilray (featuring Lake Street Dive’s Rachael Price), Nicole Atkins, Binky Griptite, Kaia Kater, Jontavious Willis, Toshi Reagon, Brandon Ross, Amythyst Kiah, Alsarah and the Nubatones, Brandee Younger, Abdoulaye Alhassane Toure, Banning Eyre, and, Grammy Award-winners, Vernon Reid and Fantastic Negrito.

    Elegant, stylish and tough as shoe leather, she epitomized everything the world loves about America’s most enduring folk music.

    Banning Eyre

    Memphis Minnie was a gifted Delta Blues guitarist who was one of the first to use electric. She pioneered a sound that influenced generations of music to come, including Muddy Waters, Willie Dixon, The Rolling Stones, and Cream. Her song “When The Levee Breaks,” written about the Great Mississippi Flood of 1927 was later covered by Led Zeppelin.

    Additional 20th Anniversary New York Guitar Festival events will be announced soon.  Stay up to date at www.newyorkguitarfestival.org