NYS Music 202​0

Category: Media

  • The Grateful Dead Take A Step Back To Rochester: November 21, 1978

    Western New York has always provided safe haven for the Grateful Dead and among their more popular stops in the region is Rochester, specifically the War Memorial. The band would play 15 known gigs in the Flower City during their historic touring career. Ten of them would be in this building. Unfortunately, the later part of this 1978 tour had to be cut short due to an ailing Jerry Garcia. But there were certainly heaters to be had before then, this show among them.

    After an opening roar of electric guitars, the show begins in earnest with “Promised Land,” a popular Chuck Berry cover. Keith Godchaux plays some inspired keys on this one behind the guitar play and makes his presence felt early. Afterwards comes the first of three “Take A Step Back” announcements from Bob Weir, looking out for the “bug-eyed” folks in the front row. Once that’s accomplished, the instrumental into of “They Love Each Other” kicks in with Jerry Garcia manning the vocals. Unfortunately, some feedback issues mar this one a little bit early on. It’s salvaged though with a delightful Garcia solo and the continued strong play of Godchaux on keys.

    Following an extended tuning break, the band bursts into “Cassidy,” with Donna Jean Godchaux now added to the vocal mix. It’s is a tidy yet superb version with the whole band in full synchronicity. This lays the foundation that’s topped with another poignant Garcia solo.

    Grateful Dead Rochester

    Choosing not to run with this momentum, another tuning break follows which seems to fuel the rabid audience even further. Out of this, “Dire Wolf” rears its head. Garcia’s vocals seem to improve a little on this one from earlier in the show before he infuses it with his traditional guitar licks.

    Then comes round two of “Take A Step Back.” This time Weir’s pleas for the people on the floor to move back as much as they can is accompanied by a spattering of “Finiculi Finicula” from the band. Afterwards, Weir stays on the mic for lead vocals and leads the band through their Western classic, “Me And My Uncle.” They waste literally no time at its conclusion before launching into a raging “Big River,” thanks to an ultra-seamless transition they’ve perfected for these songs.

    Things then slow down a bit with the relaxed pace of the “Row Jimmy” that follows. Jerry and Donna Jean’s vocals eventually merge nicely in this delicate yet fairly straight forward version. Afterwards, it’s Weir’s turn once again as he leads the Dead through “New Minglewood Blues.” Believe it or not, the five-show gap between its last performance was actually a fairly large one for this first set standard. Another opening set regular, “Loser,” follows before one last notable segue closes things out. A raucous “Jack Straw” that’s fueled by some blistering Garcia-supplied guitar licks towards the end. Before the last “wine” is even finished being sung, “Deal” starts up instantly. This concludes a first set that’s fairly standard in terms of song selection, but executed to near perfection.

    Grateful Dead Rochester

    The second set begins with one last plea from Weir to everyone on the floor to move back as much as possible. Then the Dead are off and running with “Bertha.” This longtime first set staple had now shifted to a regular spot in the second one in 1978. Starting with this tour and well into 1979, it was featured in the second set each time. And it was followed every time by a cover of The Rascals’ “Good Lovin’.” Tonight would be no different. While it may not have the same cachet as other traditional song pairings, “Bertha” > “Good Lovin’” was a verified couple from the middle of 1977 until late 1979, appearing next to each other every time played.

    Jerry Garcia then leads the group through “Stagger Lee,” a cover of a traditional folk song about the murder of Billy Lyons by “Stag” Lee Shelton in 1985. Lloyd Price would later find fame with it thanks to his 1959 recording that topped the charts. After this rather atypical beginning to the second set, things begin to take a more familiar turn. “Estimated Prophet” sees Weir’s wailing vocals paired with Donna Jean’s harmonies that give it a nice touch. But the highlight is the tail end that sees Garcia gradually escalate a mesmerizing sequence through his guitar’s signature tone for this song. Bassist Phil Lesh is also heavily involved as the jam progresses.

    Then, somewhat suddenly, Garcia pivots and begins strumming the opening rhythms to “Eyes Of The World.” This version is vintage 1978, with Garcia again taking lead and navigating the rest of the band through this beautifully crisp and funky rendition.

    Grateful Dead Rochester

    As the “Eyes” jam slowly peters out, The Rhythm Devils then take things over. Drummers Bill Kreutzmann and Mickey Hart get their moment in the sun with an all out 10-minute percussive assault in the traditional “Drums” section. The ecstatic War Memorial crowd and their approval can be heard loudly throughout.

    After a brief “Space” section, the beginning of “Not Fade Away” starts in almost comical fashion with Garcia coming in extremely late on the beginning vocal section. It gets cleaned up nicely though and eventually stretches out into a full-fledged jam that melodiously stretches well past the ten-minute mark. Weir’s frenetic rhythm guitar play back Garcia wonderfully before the jam devolves into a slower pace and “Black Peter” appears. This, too, extends nicely with a patient and deliberate pace that’s peppered with more brilliant Garcia guitar fills.

    The show maintains its vague theme of some odd song placements with a “Truckin’” that closes out the second set. The Rochester crowd once again noticeably voices their approval after the “New York’s got the ways and means” line as well as the nod to Buffalo.

    In true Chuck Berry “bookending” fashion, the show ends with another cover of his, a quick romp through “Johnny B. Goode.” This puts the finishing touches on the fourth of ten overall shows the Grateful Dead played at the Rochester War Memorial.

    Grateful Dead – War Memorial, Rochester, NY 11/21/78

    I: Promised Land, They Love Each Other, Cassidy, Dire Wolf, Me & My Uncle> Big River, Row Jimmy, Minglewood Blues, Loser, Jack Straw, Deal
    II: Bertha> Good Lovin’, Stagger Lee, Estimated Prophet> Eyes Of The World> Drums> Space> Not Fade Away> Black Peter> Truckin’
    E: Johnny B. Goode

    Grateful Dead Rochester

  • Ugly Muppets and many more featured on this week’s EQXposure

    Each Sunday evening from 7-9pm you’ll find EQXposure on WEQX, featuring two hours of local music from up and coming artists. Tune into WEQX.com this Sunday night to hear the latest from Saratoga’s Ugly Muppets and many more!

    ugly muppets

    WEQX has long been the preeminent independent station in the Capital Region of New York, broadcasting from Southern VT to an ever-expanding listening audience. NYS Music brings you a preview of artists to discover each week, just a taste of the talent waiting to be discovered by fans like you.

    Ugly Muppets – Rocket Science

    Ugly Muppets is a three piece psychedelic indie garage band coming from the sewers of Saratoga Springs, and straight into your heart. With fuzzed-our guitars, blistering kazoos, and sometimes-on-key vocals, people have said of the band, “Oh yeah, I think I’ve heard of them.”

    This group of proto-post-punk weirdos includes Josh Clark (vocals, guitar, bass), Daniel Burt (vocals, drums), and Jeremy Katz (vocals, bass, guitar, kazoo, synth, production)

    Pulling on influences including The Stooges, Brian Jonestown Massacre, Black Rebel Motorcycle Club, The Black Angels, Black Lips, Black Flag, Black Sabbath, and pretty much any band with black in the name, and for Josh Clark, Oasis, Ugly Muppets has been together for five years, while performing in various bands since high school both independently and together.

    The sound of Ugly Muppets is has an overall character that is as much a result of wanting to create something raw while embracing the happy accidents.

    Ugly Muppets have well crafted songs that retain a raw production quality, which ties the full band sound together and in a way, becomes a character, if not member of the overall band.

    Katz says of their sound, “We used a franken-rig of all our collective gear to do the recording and tracked as much as we could live so the sounds already had their own unique character, which we tried to lean into when we did the mixing,” with Burt adding, “It took us a while to form a sound we where happy with, a heavy garage influence was inevitable considering the music we were listening to and the gear we were working with.”

  • “It Was the Music” Celebrates the Lives and Love of Larry Campbell and Teresa Williams

    Update: On January 17 at 8PM ET, the fourth episode of It Was The Music will feature a special livestream event featuring Larry Campbell and Teresa Williams along with special guests Rosanne Cash, John Leventhal, and Buddy Miller. The livestream, available on FANS, will be hosted by David Keith.

    It Was the Music

    It Was The Music, a film in 10 episodes chronicling the lives and love of musicians Larry Campbell and Teresa Williams, will premiere on Sunday, December 13. Directed by award-winning filmmaker Mark Moskowitz, It Was the Music serves as both a musical odyssey and deeply personal love story of Campbell and Williams in search of their “music utopia.”

    Having embarked on a joint musical career, It Was the Music sees the Woodstock couple packing their bags, guitars, amps, and 30-year marriage into their SUV and setting out across America to sing their own extraordinary songs along with riveting interpretations of beloved gospel, blues, country, and classic rock ‘n’ roll.

    A three-time GRAMMY® Award-winning multi-instrumentalist, producer, singer-songwriter, and bandleader from New York City, Campbell is a veteran musician hailed for his work with artists including as Levon Helm, Phil Lesh, Bob Dylan, The Black Crowes, among others.

    Williams, an exceptional alto singer and actor known for her highly acclaimed roles as Sara Carter in Keep On The Sunny Side and the title role in Always….Patsy Cline, has also served as a vocalist for Emmylou Harris, Jackson Browne, Phil Lesh and Friends and Peter Wolf, to name but a few.

    Accompanying It Was the Music is a stellar soundtrack gathering previously unreleased music from Campbell and Williams, including new renditions of songs made famous by The Band, Grateful Dead, Little Feat, Buffalo Springfield, and more. The soundtrack features performances from Campbell and Williams who are joined by friends such as friends as Patty Griffin, Buddy Miller, Bill Payne, and the late Levon Helm’s world famous Midnight Ramble Band. The first track “It Ain’t Gonna Be A Good Night”has been released with the full soundtrack due out December 6. Pre-order and find more info about the film series here. 

    It Was the Music is first and foremost a love story, with Larry Campbell and Teresa Williams showing how love can create the music and how the music can bring us together. The film follows Campbell and Williams over 15 months on the road, starting point on a Friday afternoon at Williams’ seventh generation farm in Peckerwood Point, TN, traveling to Campbell’s native New York City and finally the couple’s home in Woodstock.

    Along the way they stop at recording studios, clubs, and theatres across the country, with highlights including exclusive live performances from intimate venues and jam-packed music festivals. The finale of the film features parts of the star-studded “The Last Waltz 40th Anniversary Celebration” presented by Lincoln Center at NYC’s Damrosch Park.

    Along with the couple’s own personal story, It Was the Music includes exclusive interviews and never-before-seen performances from Jackson Browne, Rosanne Cash, William Bell, Jorma Kaukonen, Jack Casady, Phil Lesh, Jerry Douglas, Jerron “Blind Boy” Paxton, Garland Jeffreys, Happy Traum, David Bromberg, and many more.

    Director Mark Moskowitz says of It Was the Music:

    It Was the Music is about what music means to us, the way my film, Stone Reader, is about what books means to us, and my upcoming film, Art Stops Here, is about what art means to us. In the end, these films are about us, how people respond to the arts. Not quite documentary, not quite reality, not quite memoir, not quite even story, It Was the Music is referential, memory-like. It’s allusive. Things touch other things…much like a song.”

    It Was the Music premieres Sunday, December 13, with new episodes debuting every Sunday, except on January 3 – two episodes will be available on January 10.

  • moe. to Premiere ‘Not Normal’ from Palace Theatre on November 19

    Before moe. hit the Drive-In circuit this fall, they made a stop to the familiar confines of the Palace Theatre in Albany for a performance that was far from normal. Setting up in the lobby of the Palace, the band performed and recorded a ‘playthrough’ of their new album Not Normal, premiering Thursday, November 19 at 8:30pm on moe.’s YouTube Channel.

    moe not normal
    photo by Frankie Cavone

    Not Normal is the second album to be released by moe. in 2020. The first This is Not, We Are, was shared with fans through weekly videos in May and June. There are no details yet on the five-track studio release, adding a shroud of mystery to the evening’s performance.

    moe not normal
    photo by Frankie Cavone

    On Friday, November 20, Not Normal will be released digitally, and This is Not, We Are will have its long-awaited physical release.

    Pre-order physical copies of Not Normal & enter to win a signed test pressing here.

    Read mo(r)e. on NYS Music

    This is Not, We Are: The latest track, “Dangerous Game,” written by Al Schnier, gives us two takes – one from the studio spliced with a live version from the song’s debut at the State Theatre in Portland, ME on February 16, 2019. Schnier explains about the song:

    “This song came from me watching and reading a little bit too much news these days. I don’t want to say that this song is political in nature; it’s more about the personalities of the people in power and maybe the cult of personality and those things we all contend with. I don’t want it to come across as some leftist, liberal rant against the current people in power. It’s more a song about my personal concerns about anyone who would be in a position of power.”

  • Shubh Saran Becoming a Musical Medium of Genres

    Brooklyn based musical fusion, Shubh Saran, is Becoming a musical world map for genres. In a cell-phone driven society, you would open your GPS to navigate outward. Saran, 29, becomes a medium, channeling a multitude of genres inward and back out through his compositions. The Indian native fuses traditional music, with punk, blues, rock and his head-on studies in Jazz.

    The Delhi high school student made Berklee dream come true, honed his passion amongst a “best-of-the-best” melting pot at the college. He has resided in multiple countries, grabbing musical influence at every turn, and it shows. Now calling New York home, Saran’s latest creation, Becoming, is a must explore.

    The title track and lead single off the album was originally released Nov. 12, 2019.

    The 5-track EP is an navigation to new color palettes that will re-texture the ears of the most seasoned listener. The goal is not a means to an end; It is an exposition of clashing sounds that provoke a journey of unforeseen turns.

    Take The title track “Becoming” as example. Saran cresendos into a collapsing overture, filled with dual-drum-sets, arching strings and key pads. Everything peaks at once until Saran reels you back in with his ethereal guitar passage. It draws you into the basement of Berklee’s practice rooms and jam-sessions; the moment where you are sucked in reverse to the doorway, as an unknown musical fusion burst from its seams.

    Pairs of drums, Saxophones and strings create a flam-like density. An illusion of the same track being overlapped in slight delay should sound abrasive yet this creates an ever-expanding feeling. The 5:09 track feels like one deep inhale. Its healing breath ends abruptly.

    ‘Becoming’ definitely wasn’t written as the single off the album, nor was the EP supposed to be named after the song, or vice versa. As I started writing it, though, I began to realize that this is the anthemic song that really sums up the whole message of the EP.” 

    Shubh Saran
    Shubh Saran Becoming – Released February 10, 2020

    Saran’s musical quests become physical as he travels across the globe with his work. Strength, musical and cultural growth bloom in the cyclical nature of Suran’s playing. Most recently he took this EP on tour to with performances and workshops across New Delhi, Goa, Gurgaon and Mumbai. “I compose in a modern jazz sort of idiom, but I decided to revisit the music I grew up with as a teenager… it was Blink-182, punk rock, Green Day, the kind of music you don”t associate with ”serious music”,” Saran told Outlook India. Saran is giving back, filling the music void he had as a high school student. He excites the musical realm and young artists alike.

    “I’ve always liked artists who have long music careers, where their first album is really different from their last album, and you can see the evolution and influences over time. I’m just celebrating that by being who I am as a musician.”

    Track Listing:
    1. Becoming
    2. Storm
    3. Safe
    4. Comfort (feat. Hannah Sumner and JAE SOTO)
    5. Dust

  • Grateful Dead & Friends Surprise Bill Graham’s Fillmore East: 11/16/70

    One of the better Grateful Dead shows at the Fillmore East was aided by its surprise attack. Allegedly, two nights before at the same venue, Grace Slick, on behalf of Bill Graham, announced an impromptu “pop-up” show with Jefferson Airplane and the Dead at the same venue that would take place just days later. Since Slick was still pregnant at the time, Jefferson Airplane wound up being replaced as the opener by Hot Tuna. The New Riders of the Purple Sage played an opening set as well as was customary for this tour.

    There’s also some previous controversy surrounding this show. For years, it’s been misidentified as an 11/23/70 show at the Anderson Theater in New York City. After a Bill Graham introduction, the band is off and running immediately with a “Casey Jones” that ably motors down the tracks. Next, Bob Weir leads them through the traditional first set stalwart of “Me and My Uncle.”

    Oddly, the house PA seems to cut in after this with a recording of Elton John’s take on “Honkey Tonk Women.” This leads into a a cut version “Friend of the Devil.” Despite this lapse, Garcia’s vocals sound pristine in the recording and the band is on point. Then, after essentially a “no huddle” transition, a short yet crisp version of “Cold Rain and Snow” takes place. Afterwards, Pigpen finally gets to take lead for a while as he leads the Dead through a cover of Slim Harpo’s blue standard “I’m A King Bee.” The opening harmonica solo and later interludes between that and guitar solos stretch this one out into a healthy, bluesy jam.

    Grateful Dead Fillmore East

    Another classic first set pairing ensues with “China Cat Sunflower,” eventually joined by its traditional partner, “I Know You Rider.” A seemingly quick transition jam later sees the band in full vocal harmony on this spirited take of yet another classic blues cover.

    At this point, a special guest joins them on stage in the form of Traffic’s Steve Winwood. The blues sentiment that had been previously established seems to carry right over to the cover of Otis Redding’s “Hard To Handle” that follows. Once again, Pigpen lends his signature vocal prowess to this classic Dead cover. Winwood’s backing on Pigpen’s Hammond organ is immediately felt and can be heard throughout. This one gets into a serious jam with Pigpen taking a backseat and Winwood soloing on top of the groove. Then came the relatively new “Big Railroad Blues,” yet another cover, written by Noah Lewis of Cannon’s Jug Stompers that dates all the way back to 1928.

    Right after, the heavily percussive intro of “Not Fade Away” begins with. Chris Wood and Jim Capaldi of Traffic join the band on a half-hearted attempt at the vocals. This eventually evolves into a deep, drum-led jam. More splendid Winwood outbursts later lead into “Goin’ Down The Road Feelin’ Bad” with Garcia and Weir reassuming command. Surprisingly, at its conclusion, this shifts right back into one more quick take of “Not Fade Away,” albeit this time with Weir confidently taking the lead on vocals.

    Grateful Dead Fillmore East

    After more than three minutes of a break between songs, Weir once again takes lead on the “Mama Tried” that follows. This is followed by one of the better two-song sequences of the evening. The relatively fresh “Truckin’,” debuted only months earlier at the Fillmore West, follows. Hot Tuna’s Will Scarlet adds a touch of harmonica to this one. Another percussive laden jam follows that seamlessly steers itself into a mesmerizing version of “The Other One.”

    The jam that ensues gets spacey midway through before settling back into its normal progression. This is followed with the unofficial encore of “Uncle John’s Band” with more early harmonica fills from Will Scarlet – a near acoustic version until the drums kick in. It’s still fairly new song at this time, but this version is flawless as it continues to build its reputation. This put the cap on the Dead’s “surprise” Fillmore East gig.

  • Son of a Gun and many more featured on this week’s EQXposure

    Each Sunday evening from 7-9pm you’ll find EQXposure on WEQX, featuring two hours of local music from up and coming artists. Tune into WEQX.com this Sunday night to hear the latest EP from Albany’s Son of a Gun and many more!

    WEQX has long been the preeminent independent station in the Capital Region of New York, broadcasting from Southern VT to an ever-expanding listening audience. NYS Music brings you a preview of artists to discover each week, just a taste of the talent waiting to be discovered by fans like you.

    Son of a Gun – “Call of Days Past,” “Wind of Change,” and more!

    In Fall 2018 Ben Sokol (vocals/guitar), Tyler Treacy (bass) and Rob Piccola (drums) started jamming through a mutual friend who worked at a music store. Rob had a place to jam and Ben and Tyler had been playing together in another band that had gone through some lineup changes. It was time for something new. It was clear pretty quickly that the chemistry was good. Work began immediately on some songs Ben had written and as Tyler and Rob contributed their pieces to them an overall sound took shape. From there, Son of a Gun was born.

    son of a gun

    Ben would often (and still does) record rudimentary versions of his original songs with the basic structures and lyrics on an acoustic guitar, and Tyler and Rob would come up with parts. Those parts would almost always get tossed at the next rehearsal, the band preferring the material they would come up with on the fly when improvising off each other.

    The songs still stay between the lines of the basic structure that was written, but they end up with a more custom paint job, and that can be true at live shows too. They wouldn’t consider themselves a jam band, but the hunt for new sonic territory is always there, and each show has moments of spontaneity. The band started to make the rounds locally, and sold out their first show at Albany’s Jupiter Hall. It was a kickoff to winning over audiences all over Upstate New York.

    Crowds overwhelmingly responded positively wherever the band played, and their connection with the original songs was especially apparent, Lyrically the songs deal with subject matter that sometimes comes from Ben’s personal life, but other times the narrator of the song may be a character. Regardless, Ben doesn’t mince words. Whether he’s writing about something he’s been through, something he’s seen from others, or something else entirely, if you listen to the songs, you’re going to know how he feels about it.

    The simple beauty that makes it work is that you’ve felt like that too. The band self-recorded their eponymous debut album at Rob’s studio (Sundog Sound) in Voorheesville, NY, and released it in January 2020, just in time to begin cancelling touring opportunities that had begun to materialize. The band did what the band does, and hit the rehearsal room again with a new batch of songs. As of this writing an EP has been recorded and the guys are working to get it mixed, mastered, and digitally released in the early part of 2021. The plan is to get back to torching stages as soon as possible, hopefully to support the EP that’s coming your way!

  • Noon Fifteen gets “Easy” in new interactive 360′ video

    Despite anxiety and unease in the air all around the globe, Ithaca’s soul/rock/pop/prog ensemble Noon Fifteen returns to Finish What You Started, their series of thematic releases with a focus of confronting your fears. Three new songs from the collection — “Dinosaurs,” “Easy,” and “Scared To” — will be released via the band’s podcast and YouTube channel between Halloween and Thanksgiving, coinciding with the 2020 U.S. Presidential election and the waning of this frightening year.

    The first release of the three, “Easy,” tackles internal and external conflicts that keep us standing still, pairing with the soon to be released “Scared To.” Watch the video from vocalist/guitarist Mandy Goldman.

    Additionally, keyboardist Samuel B. Lupowitz’s composition “Dinosaurs” examines the danger and violence wrought by outmoded political philosophies.

    Though the COVID-19 pandemic has kept Noon Fifteen apart for most of 2020, the band members have remained productive. Goldman, Lupowitz, Harry Nichols (bass/vocals), Joe Massa (guitar), and Phil Shay (drums/vocals have released two standalone singles this year, “Thaw” in March and the found-sounds creation “Outside” in August. Pre-quarantine, on Halloween 2019, the band released their 22-minute rock opera, At the Festival.

    The initial installments in the Finish What You Started song cycle, “The Cell,” “The Tick,” and the title track, were released in the summer of 2019 during Noon Fifteen’s “Julyfecta” run of shows. While those tracks were recorded in a tiny studio at Cornell University, the new releases continue the band’s collaboration with Chris Ploss at Sunwood Recording in Trumansburg, NY, with mid-pandemic finishing touches recorded at Lupowitz and Goldman’s new home studio in Ithaca.

    Noon Fifteen Easy

    Each of the Finish What You Started track is accompanied by an interactive 360* video, allowing the viewer to observe the band’s performance from the center of the recording studio. A behind-the-scenes podcast, hosted by Dan Cole, founder and longtime host of WVBR-FM’s “Tuesdays with the Band,” will reveal details about the writing and recording of the songs, as well as the band’s influences, inspirations, and offbeat sense of humor.

    Since their 2017 debut, Volume 1, Noon Fifteen has leveraged a why-not, can-do attitude and a proudly DIY aesthetic to present their music to the world. As we said of their debut, Noon Fifteen is “a small town band with a big imagination,” with five friends aiming to deliver fun, forward-thinking songs bathed in layered vocals and old school instrumentation. 

    The final installments of Finish What You Started will be released in 2021.

  • Watch the George Floyd-inspired “The Ultimate Litmus” featuring Wynton Marsalis

    The election may be over, but the people and causes that pushed for change are still making their voices heard. “The Ultimate Litmus” was written by Carlos Henriquez and Jenny Hersch, in response to the protests sparked by the May 25 death of George Floyd. The pair have produced an accompanying music video for the song, featuring Jazz at Lincoln Center Managing and Artistic Director Wynton Marsalis on both vocals and trumpet.

    https://www.youtube.com/watch?v=H5N6FCNN8X4

    Hersch says of the song,

    I wrote a verse of poetry on June 2. It just poured out. On June 9, I wrote verses two and three. I have poetic thoughts but I don’t often write them down. Carlos Henriquez (bassist and arranger, Jazz at Lincoln Center Orchestra) and I have worked on several projects together over the past few years involving music for kids. I sent him the lyrics and asked him to write a brass band arrangement.

    Jenny Hersch

    Using a New Orleans street sound seemed to be the best choice given the circumstances behind the lyrics, with emotion and energy being simultaneously expressed.

    I gave the vocals a try in a rhythmic spoken-word style over Carlos’s MIDI file and immediately called Bryan R. Smith, a photographer friend in NYC to ask for the use of the protest pictures he took in New York, Washington D.C. and Minnesota. Carlos then called Dwight Adams (trumpet), Jeffrey Miller (trombone), Ibanda Ruhumbika (tuba) and Ali Jackson (percussion) to record their parts from home.

    Jenny Hersch

    With the track laid down, Carlos played a rough audio mix of “The Ultimate Litmus” for Wynton Marsalis in early September. Marsalis was moved by the project and offered to recorded the vocal track and a trumpet solo, which he did in early October.

    the ultimate litmus
    Protesters walk across the Brooklyn Bridge into Manhattan during a demonstration over the death of George Floyd by a Minneapolis police officer on June 6, 2020 in New York. Photo by Bryan Smith

    The video was assembled by a team of recent Berklee College graduate Alex Leiva (sound) and Shannon Magnaldi (video), a recent Massachusetts College of Art grad. “The Ultimate Litmus” features Dwight Adams and Wynton Marsalis on trumpet, Jeffery Miller (trombone), Ibanda Ruhumbika (tuba), and Ali Jackson (percussion).

    Lyrics for The Ultimate Litmus, by Jenny Hersch

    A bottomless pit of pandemonium
    A breaking point?
    A tipping point?
    No quick fix outcome

    A state of being?
    A state of mind?
    Is it an absence of mind?
    Where is the presence of mind?

    Confusion …. Delusion
    No illusions
    No stop gap brawl
    In it for the long haul

    A faction reaction
    No abstraction
    Identity …. Integrity
    Conformity …. Community

    Relationships based on tolerance not trust?
    Is it them or is it US?

    Protest
    No contest
    24    7
    With no rest

    Pros and cons
    A long list at best
    Overwhelmed by stress
    In need of a life vest

    Constitution …. Restitution
    Persecution …. Absolution
    Abusers …. Accusers
    For the foreseeable future

    Civic values
    Civic virtue
    Reeling …. kneeling
    Rail against the curfew

    Fleet of feet
    Running from a browbeat
    Bias
    Is a one way street

    Who will bear witness
    The ultimate litmus
    A test of wills
    What values instilled

    No justice
    No peace
    May wonders
    NEVER cease

    ACTION
    Is gaining traction
    Words are not enough
    Need satisfaction

    Lines of questioning
    Is what we’re expecting
    Fear of the unknown
    Will compassion be shown

    What is the hold up
    We’re all thunderstruck
    No sit down strike
    Throngs are running amok

    Painted into a corner
    No clear path forward
    Blurred on the periphery
    The slope is very slippery

    Tears are to be expected
    We’re so disconnected
    Celebrate our differences
    While honoring our preferences

    Human rights
    Are bona fide
    Like clockwork
    Like predicting the tides

    400 years
    Of victimization
    We need a DO-OVER
    In this nation

  • Photo Gallery: Goose Celebrate a Delayed Halloween at South Farms

    Indie-Jam darlings Goose returned to South Farms for their Halloween shows, held November 6 and 7. The week delay was due in part to the torrential rain that hit the Northeast in the last days of October, causing the ground to be too soft for vehicles to enter in Morris, CT. Fans didn’t seem to mind. Celebrating a week late, and turned out in costumes, they were ready for one final dose of Goose Drive-In shows.

    goose halloween

    The shows brought out fans, good jams and a couple debuts from Goose. In the first set of Friday night’s show, “It Burns Within” was busted out for the first time since 2014. The second set saw the debut of pre-Goose band Vasudo’s “Empress of Organos,” which segued into a cover of The Band’s “Don’t Do It,” a fan favorite. Later in the same set, the new “Earthling or Alien” debuted, with pro-shot footage released from the set.

    Setlist: Goose at South Farms, Morris, CT – Friday, November 6, 2020

    Set 1: Lily’s Tiger > Butter Rum, The Whales, It Burns Within, All I Need > Secret Agent Man, Into the Myst
    Set 2: Empress of Organos* > Don’t Do It, Creatures > Honeybee, Your Ocean, Earthling or Alien?^, Yeti
    Encore: Ghostbusters Rap
    *First Time Played
    ^debut

    Saturday was ‘Halloween’ for fans, with costumes galore and the final show for Goose this Drive-In season. A theme of ‘Donnie Darko at The Farms’ reflected on the 2001 cult-hit Donnie Darko, with band members wearing costumes related to the movie – Ric Mitarotonda in the title character’s skeleton costume and Trevor Weeks playing the role of Darko’s imaginary rabbit friend, Frank.

    Debuts were on tap throughout the night, with an apropos cover of Echo & The Bunnymen’s “The Killing Moon” hitting on the Halloween and Donnie Darko theme to start the night. Two bands from the 80s and 90s were found at the end of Set one and start of Set two, with Tears for Fears “Head Over Heels” and Duran Duran’s “Notorious,” respectively. Original pairing “Seekers on the Ridge pt. 1” > “Seekers on the Ridge pt. 2” came in the middle of Set two, ahead of the ever popular “Hot Tea” and “Wysteria Lane.” A little more Tears for Fears came in the form of “Mad World” to wrap up the themed affair.

    Setlist: Goose at South Farms, Morris, CT – Saturday, November 7, 2020

    Set 1: The Killing Moon*, Arrow, Doobie Song, Slow Ready, Jive 1 > Jive Lee, Head Over Heels*

    Set 2: Notorious*, Tumble, Seekers on the Ridge pt. 1* > Seekers on the Ridge pt. 2*, Hot Tea, Wysteria Lane> Head Over Heels Reprise

    Encore: Mad World

    * debut

    photos by Chad Anderson

    “Halloween” night