Things have been interesting the past few months, between online streaming and socially distanced live shows being the only methods to get your live music fix. We’re hopeful that things will continue to improve in New York State and surrounding areas so we can get back to having the best live music offerings in the country.
To get an idea of where things are at in the Capital Region, catch up with a Who’s Who of the Albany music scene thanks to Albany EventsVideo Podcast series. You’ll find interviews and insight from Frankie Cavone at Mirth Films, Luke Malamood from Hartley’s Encore, Art Fredette of RadioRadioX, the team at The Spot 518, and staff from the Albany Events team. Between the 16 (and counting) episodes, you’ll get an idea of what the past few months have been like for musicians, videographers, publishers, photographers, event planners and more!
My Morning Jacket announced on Tuesday July 7 that their new record THE WATERFALL II would be released the following Friday with a special live stream the night before. This record had been teased over the last five years since THEWATERFALL was released in 2015, as they recorded enough material for a follow up. The first record was a break up record and THEWATERFALLII continues that theme, enrolling a dreamy southern rock as if the Beach Boys and Allman Brothers birthed a new cosmic force that is the ever evolving style of MMJ from album to album.
This new record was recorded seven years ago in Stinson Beach, CA and though three of the tracks had been heard as part of a Holiday release (“Welcome Home”), a soundtrack (“The First Time”), and a single (“Magic Bullet”), they fit so well into this psychedelic pop record that after 20 years as a band, it continues to showcase and highlight all the members. The back line of Tom Blankenship and Patrick Hallahan are tight and true, letting Jim James explore with his incredible vocal range, while Carl Broemel’s guitar work weaves pattens through the record like birds in flight across a melting Pacific sunset. Bo Koster really shines on these tracks as well with his fantastic work on keys and backing vocals adding a radiant shine over the entire piece of art. Brittany Howard of The Alabama Shakes also lays down back up vocals.
https://www.youtube.com/watch?v=28twddwXhJc
THE WATERFALL II opens with “Spinning My Wheels,” which the band performed on Jimmy Fallon July 15. “Hypnotized from doing the same old thing, It don’t matter where you settle down, It sure don’t matter where they put you in the ground, they only point of things is to break the spell and to love another day and live to tell,” sings James. What a fitting way to start this very hypnotizing track. As mentioned, the theme of breaking up lingers, but in this writer’s opinion, the message is one of peace and tranquility in discovering that change is what you needed most. Track two, “Still Thinkin’,” starts out almost as a bouncy pop song and then delves into a wondrous cave a la Pink Floyd or “Dondante” from MMJ’s album Z 15 years prior. “Climbing The Ladder” has some amazing tempo changes that keep the listener on their toes and remains very upbeat. One could potentially see this as a fun opening song when live music comes back or first encore song.
The second act of the record begins with “Feel You” and this is where the album starts to move into that dreamy phase, with a sentiment sung wonderfully and guitar interludes that drift like wind across the waves. It soars and moves as the band feels so tight but so loose at the same time. This is sure to be a fan favorite. “Beautiful Love (Wasn’t Enough)” hits with biting lyrics and guitar solos, and that dreaminess turns into a locomotor chugging through. One could almost see this track on the Dylan album Blood On The Tracks. That driving force comes through again on “Magic Bullet,” reminiscent of MMJ’s work on Evil Urges’ “Highly Suspicious” or Circuital’s “Holding Onto Black Metal.” If we still had Prince, this might be the music he would be making.
The third act as part of one gorgeous record begins with “Run It.” The song itself is a meditation, a call for self discovery and a call for healing, the perfect song for a global pandemic, a Sunday morning, a drive through the country, and anyone searching for a bit of peace in their life. “If you ain’t to kind, you ain’t my type, I’m gonna run you out the door, Don’t need that, Don’t need ya anymore…” Koster’s keys over the beat, Jame’s warm voice, Broemel’s sly guitar might make this the song of the summer. As the song drifts away, don’t take your eyes off the road because you will get hit by what will most likely become a barnburner at live shows.
The first two minutes of “Wasted” set up a groove that Koster and Blankenship start turning up the dial on until it becomes a full on rocker. Just when you have spent every emotion you have on this record, and being floored by the penultimate track, “Welcome Home,” centers you again. The song is like the last kiss of sun across the ocean as night sets in. The placement of each song on this record will keep it flying off shelves at vinyl stores as it is truly a full album. “Send bad habits on their way, let a new year start today, open arms are saying to you, welcome home, and as the snow glazed all the trees, I let my thoughts flow of the breeze, and the air rushed in my lungs saying to me , welcome home,” sings James with another sentiment of being born again. Everyone is hoping for a new beginning in a new year where all people are welcomed home. The final track, “The First Time,” reminds this writer of THEWATERFALL song “Only Memories Remain” which has found new life as a live track and has become part of some amazing sets these gentlemen put on.
THE WATERFALL II is a breath of fresh air, a surprise in these times of seemingly endless bad news. It serves as a bright spot for fans of the band and also came with an announcement that there is another album entirely done, awaiting a release date, hopefully be followed by a run of shows. New listeners of the band will find a group that has been at it for 20 years, from driving in vans, to playing Madison Square Garden on New Years Eve in their first 9 years, and sometimes having to take a breath for themselves. Though their styles keep evolving, the message has always been clear with My Morning Jacket from Louisville, KY – love always wins and in this case can set your mind free.
Soulive’s Alan Evans and his label, Vintage League Music, have released “As Far As We Know,” an uplifting soul ballad by Crushed Velvet and the Velveteers. Featuring an illustrious group of collaborators—including the BT ALC Big Band, Brother GoodLove and more – this project of Evans’ will showcase the multi-instrumentalist’s guitar skills.
At a time where the world might seem bleak and divided, Crushed Velvet and the Velveteers are here with a gentle track that carries a unifying message of peace, singing,
As far as we know / We ain’t too different / You and I could spend all our time / Make this world a better ride / Imagine the difference if we try.
Evans says of the collaborative project:
“I originally wrote the music for ‘As Far As We Know’ back in May 2019 with another VLM project in mind. I knew that I wanted to have Stephane (Brother GoodLove) singing on this song from the beginning. I didn’t realize that Stephane would turn that working title into such beautiful and powerful lyrics—I was really blown away when he sent me the first demo of the vocal and couldn’t wait to get it into full production but for whatever reason, it wasn’t the right time. But once I had the idea for the new Crushed Velvet and the Velveteers album, ‘As Far As You Know’ being included was a no brainer. So during quarantine, Stephane cut the vocals and I called on my Vintage League Music family of musicians to fill out the song and the rest is history. Without a doubt, it’s one of my favorite songs I’ve ever written.”
Alan Evans
Stephane Detchou, who performs under the moniker Brother GoodLove, was born in Montreal to Cameroonian parents and has been surrounded by music his entire life. Genres like folk, jazz, soul, rock and reggae were central in his upbringing and would come to influence the music he would later produce. It is within soul where he explores his identity and sense of self, reflects on the world and contributes to a future he believes in—and “As Far As We Know” is no exception, a song in which he penned the lyrics for.
In addition to Brother GoodLove, “As Far As We Know” also features Darby Wolf on piano, Alex Lee-Clark and Brian Thomas of BT ALC Big Band on the horns, Ryan Hommel on acoustic baritone guitar, and Cynthia Tolson on the strings.
The official music video for “As Far As We Know,” directed by Samuel Hall, sees Brother GoodLove travel around Washington, D.C. while pondering the profound message of his lyrics, including footage captured during the current Black Lives Matters protests in the area.
One of the newest bands to come out of New York City‘s Indie underground, Burning Bicycles makes their debut with the single “Moonlight.” Originally released April 13, this track serves both as an acknowledgment of NYC’s crisis with COVID-19 and a call for hope amid the chaos.
In this track you can hear the Burning Bicycles leaning into their psychedelic rock roots, crafting a dreamy track that pairs a mellow glimmering guitar with a laid back beat. Burning Bicycles states that “Moonlight’ encourages our fans to be aware of the world around them, but not to give up on their dreams and ambitions: regardless of the conditions we face.”
I couldn’t agree more with their assessment and the chorus perfectly exemplifies their intent, further adding to the inspiring and uplifting tone of the track.
“Don’t break away, Look around at the world that you stay, Living in and, Don’t let them take, All your dreams it’s the reason why you live”
Be sure to check out Burning Bicycles newest single, “War” and find them on their Facebook for updates on their coming releases.
While recent racial tensions surrounding police-brutality have garnered the general public’s attention, another divisive issue has picked up steam as of late. Public figures such as, Ice Cube, former NBA player Stephen Jackson and Philadelphia Eagles wide receiver DeSean Jackson have posted social media doctrines acknowledging that the first of the Jewish people were indeed Black, and those we recognize as Hispanic and Native Americans, are actually decedents of the Black Hebrew Israelites. This sparked backlash with some labeling DeSean Jackson and Ice Cube as anti-Semitic and accusing them of spreading misinformation. While present-day celebrities take the brunt of the repercussions, these claims have been uttered by influential figures in the past.
On November 7, 1995, GZA of the Wu Tang Clan released his second studio album, Liquid Swords. With no made-for-radio records, the project still debuted at number 9 on the Billboard charts and has since been certified platinum. A critically-acclaimed album, Liquid Swords is multi-faceted and backed by complex lyrics, it explores themes such as crime, philosophy and chess. And although GZA is recognized as the most lyrically potent of the Clan, the most compelling of the 13 tracks – and the album’s outro — came from protégé Killah Priest. Aptly titled “B.I.B.L.E” (Basic Instructions Before Leaving Earth), the 4th disciple produced record explores the religious fallacies that have been instilled within the Black community, as well as the hypocrisies within organized religion that many children are forced to accept.
In an interview with Righteous Disorder Tv, Killah Priest divulges how his record made the cut, “it was a process, I just kicked a rhyme for GZA one day before it was even a song and GZA always loved that verse,” and soon after, it was turned into a full song. With the album’s producer — and Wu Tang Clan leader — RZA not sure of its placement within the project, it was turned into a bonus track.
The song begins with Killah Priest repeating the acronym four times before transitioning into the hook
“Life is a test, many quest the Universe and through my research I felt joy and hurt, the first shall be last and the last shall be first. Basic instructions before leaving earth.”
With two lines, he sets the stage for the record’s theme. Acknowledging the joy in finding out the truth about his race and the feelings of sadness that come with the truth. The hook ends with “the first shall be last and the last will be first.” A reference to Genesis chapter 25, verse 23, “Two nations are in your womb, and two peoples from within you will be separated; one people will be stronger than the other, and the older will serve the younger.’”
Priest begins the first verse discussing his interest in the bible and why it is so important to him,
Explored my history that was untold and watched mysteries unfold and drop a jewel on them like Solomon, but never follow men cause if you do your brain hollower than space oblivia or the abyss.
He is ignoring the teachings of the church and doing his own research on the bible and what it means, as well as, who it is meant for. As he learns more, he uncovers new mysteries that he was never taught, and he begins to teach others what he has learned. “Never follow men,” speaks to the ideology that God should be the only entity leading one to salvation.
He carries on,
I speak on Jacob, it might take some time up, and too much knowledge, it might break up the rhyme. I did it anyway, just to wake up the mind of those who kiss stones or prays on carpet. Those who sit home or sell books by the market need to chill and give their mind revived for years religion has done nothing but divide.
The first line serves as a double entendre, as “Jacob” is a known biblical reference, while Jacob Arabo is known popularly within hip hop circles as “Jacob the Jeweler,” for his unique designs of Jewelry — specifically watches — The last two lines throw stones at those who pray and profit off of selling the bible yet, know little of their true history.
On the second verse he advances with his earlier rhetoric on religion and how it has been used to confuse him and his people, while also speaking on the true origins of the White race.
I even learnt that Caucasians were the tribe of Edom the white image of Christ is really Cesare Borgia. And uhh, the second son of Pope Alexander the sixth of Rome and once the picture was shown that’s how the devil tricked my dome.
I prophesized to save man, but no one gives a damn for my nation, the seed of Abraham blessed with the tongue of Hebrew now we strung on needles and some plunging evils. So, study and be wise in these days of darkness, peace to my nephew Marcus.
With a desolate first bar, Killah Priest gives insight into the thoughts of a man who is trying to warn yet, the more he tells people the true history the more they don’t care or take what he says seriously, leaving him frustrated. On the second line, he says that his people are descendants of the biblical figure —Abraham, ascribing to the chosen seed that God prophesized he would be blessed with. At one point his people were blessed in their history and knowledge of Hebrew. Now, they are strung on needles — referencing the many drugs that have been pipelined to Black inner cities — and committing other evil acts. Finishing off by encouraging them to take their knowledge into their own hands.
While Black entertainers continue to receive backlash for their thoughts on Judaism, the authenticity of their claims must be acknowledged. With this record being a quarter-century old, how many more people have already accepted Killah Priest’s claims as their truth? It’s easy to accept the status quo as the truth, challenging accepted ideologies is the only way we can grow as people, and that begins with exploring the possibilities of different origins to every religion, as none belong to any one race.
Upstate’s new live EP, Live at ArtsRiot is the quarantine album we all need right now. This group, formerly known as Upstate Rubdown, has soared through the Hudson Valley region since their debut release in 2015, and in an effort to cure our isolation blues, they have released this live EP to bring us back to the comforting clamor of live shows.
This new release is familiar territory, featuring four songs from their 2019 studio album Healing. The new EP promises the same tight vocal harmonies, intricate lyrics, tight rhythmic strumming, and swirling energy from the first release of these songs. What you may not expect from Live at ArtsRiot is its production value – besides the excellent mixing and mastering, this live performance has eight performers, each with an interesting color to weave in and out of this picture. One of the best examples can be heard in “Who Knows”. The album version tends to rely on the folk-timbred acoustic guitar and standup bass, but the live version is daring in its switch to electric. In one song, a group that was once under the folk umbrella becomes a southern blues band. In the final song of the Live EP “Healing”, the band ditches the honky tonk-style piano solo and tosses in a keyboard for the solo section, marrying folk with almost a jam band timbre to support the blazing sax solo and keep the energy trailing right until the end of the performance.
More than its musical intricacies, this live EP is a reminder of the comradery needed to put on a great show. In addition to having top notch songs, this band has a responsive following, which you can hear cheering throughout the entire EP. The vocalists have audible excitement in their voices, and with so many musicians on stage, you’re able to hear the push and pull of instruments to provide a strong and creative backdrop for the tight vocal harmonies that push centerfold. This is a sound you can only get from a live show, and with performances few and far between these days, we can’t help but thank Upstate for reminding us of the live show vibes we miss so much.
p.s., Upstate is headed to Rochester on October 16, and will hopefully visit ArtsRiot again this year, but check their website and Facebook to be sure.
Sisters Kelly and Kat were in high school when they found a Facebook post that encouraged them to participate in the Disney and Kohl’s National Sing Your Frozen Heart Out Contest. To their success, the sisters won the contest and made an appearance during the American Music Awards. Life took them on a different direction, deciding from that day forward they would pursue a musical career as a singer songwriter duo.
The singer-songwriter duo perform at local bars in Long Island and continue to write songs on a daily basis. Their music comprises elements of rock, pop, and jazz accompanied with their soft vocals and smooth harmonies.
Kelly and Kat’s new single “We Were” is a piano ballad that shows the discomfort in remembering the good times of a past relationship. Their previous singles like “One Day” describes the confidence in moving forward from a relationship while “Nobody Knows” explains the significance of learning to accept yourself.
Music has allowed the sisters to form a strong bond. Kelly and Kat share their thoughts on the impact it has had on their lives:
I’m happy with our path and the way that everything turned out. We both knew we wanted to do music and we really love what we do. I love waking up every day and seeing this as a part of my life.
-Kelly
I’ve always wanted to make music that can be a support system for others. There is nothing more intimate than helping someone through music.
-Kat
Check out NYSMusic’s coverage of Kelly and Kat’s release of their debut single “One Day” from 2019.
Today was unlike past pandemic-era Mondays for Phish fans, who were teased with a video of guitarist Trey Anastasio from what appears to be Phish’s Barn Studio in Vermont.
The video, shared via Jambase, was taken by Trey’s daughter Eliza Anastasio and posted to her Instagram stories.
Fittingly, Eliza used the original music of “2001” (née “Also Sprach Zarathrusta”) to demonstrate her dad’s new gear on stage.
Could Phish have something in store of fans in terms of a live stream from The Barn? Given the Dinner and a Movie series each Tuesday night, it’s possible that live performances are on tap, akin to Goose‘s successful Bingo Tour.
On July 13, 1995, Phish was the musical guest on The Late Show with David Letterman. “Julius” was performed with support from The Late Show Band as well as Dave “The Truth” Grippo on saxophone. The second of nine performances at The Ed Sullivan Theater, Phish performed on Letterman over a span of 20 years to highlight upcoming shows and recent releases. Their Letterman performance would be their last show until late September that year.
The band’s first performance included, at Dave’s supposed request, “Chalkdust Torture,” which was performed on the afternoon of the band’s first ever show at Madison Square Garden, December 30, 1994. Jerry Seinfeld was the first guest that night, which led to this iconic photo:
On June 21, 2004, the band memorably performed atop the Ed Sullivan Theater marquee to a crowd of hundreds dancing in the street on Broadway. Then in 2014, on the same night they performed “The Line,” they also treated a lucky group of fans to a set from the same stage where The Beatles made their American debut. Check out the setlist here.
Pat Metheny, Bill Frisell, Vernon Reid, Marc Ribot and Mary Halvorsen. One look at the list of progressive jazz guitar all-stars who have named Michael Gregory Jackson as an influence demonstrates the continued resonance and relevance of his four-decades of exceptionally creative music-making.
Jackson was barely out of his teens when he came to prominence in the adventurous New York City Loft Jazz scene of the 1970s, first with The Oliver Lake Quartet then his own edge-pushing solo albums like “Clarity” and “Gifts.” Over the years, he has crafted a continually evolving, uniquely genre-skipping discography, with a cliché-free musical architecture that is all his own. Jackson has explored everything from the furthest out in free jazz to the Stevie Wonder-inspired R&B popcraft of 80’s releases like the Nile Rodgers-produced “Situation X.” Then there’s the bare-bones singer-songwriter with guitar chops acousticity of his small label CDs of the 90s and early 00s like “The Way We Used to Do” and “Red,” two recent albums he played on and produced for acclaimed trumpeter Wadada Leo Smith and a recent slate of recordings with his Clarity Quartet, cut with his European band during his frequent forays in Denmark.
Jackson’s latest release is something splendid from his archives, a 1994 live recording by a nine-piece unit of an emotional original work, “Change: A Suite for Nelson Mandela.” It’s fuses knotty ensemble melodies and fiery soloing, with a sung poetry that celebrates the end of Apartheid and Mandela’s triumphant journey from political prisoner to President of South Africa.
The peace unfolds quietly, with mournful string chording of keyboardist John Livermore serving as the backdrop for a four-minute solo by trumpeter Stephen Haynes. Here, Haynes travels from quiet loneliness to screaming wails to musically illustrate Mandela’s long struggle. His dramatic and narrative playing, with its many slurs and stabs, brings to mind the late great Lester Bowie of Art Ensemble of Chicago fame.
The main body of the song is a driving, up-tempo swing, with Jackson vocalizing a call for unity, a celebrating of the changes in South Africa and the need for similar movement here in the U.S, aided by a trio of female singers, Tamsen Fynn, Eva Fierstein and Sara Lazare. It’s a heady mix of jazz, soul and sizzling rock reminiscent of some of the pieces from one of my favorite Jackson albums, 1979’s “Heart and Center.”
There’s more hard drive following in a long tenor sax solo by Chuck Langford, in a call and response with Jackson singing the tune’s main refrain “change will grace us all.” Things change up again in the fourth movement, where Jackson showcases his wonderfully avant/blues approach in a long expressionistic solo, over an almost offbeat reggae/funk pulse from drummer Joe Fitzpatrick and bassist Chris Murch. As the solo climaxes, the horns join with stabs and long chords that propel Jackson to more fiery chromatic soloing and chording, before a roar of ensemble screams as Jackson sings out “change.” The piece closes with a reprise of the intro synth chording and the applause of an appreciative audience that experienced this musical journey. It’s something that is sorely needed by all music lovers in these Quarantine times, a reminder of what we miss most – the live music experience.
This new release, and many of his remastered albums and other limited-edition singles and album outtakes (check out the bad-assed wah wah playing on “Miles OG”!) are available at his Bandcamp site and on Spotify.
