NYS Music 202​0

Category: Blues/Jazz

  • Bela Fleck & The Flecktones Add Four New York Stops to 30th Anniversary Tour

    In celebration of 30 years of being a innovative quartet, Grammy winners Bela Fleck & The Flecktones have added several new stops to their summer 2020 North America tour. Four stops along the way will be in New York including March 25 in Ithaca, March 28 in Stony Brook, and June 3 in Albany before their tour concludes on June 5 in Port Chester.

    Formed in 1988 by NYC native Bela Fleck for a PBS series special Lonesome Pine Special, the group consists of banjoist Bela Fleck, harmonica and keyboardist Howard Levy, bassist Victor Wooten, and percussionist / drumitarist Roy “Future Man” Wooten. A year later in 1989 is when the group began touring, creating a sound that could never be labeled. Playing all manners of genres – from classical and jazz, to bluegrass and African music, to electric blues and Eastern European folk – breaking music barriers has been the common denominator propelling this group forward.

    “The band is a creative idealistic project, one that somehow connects with people in a profound way,” says Béla. “Nothing about any of that has changed in 30 years.   The Flecktones are touring for the sheer love of playing and celebrating our friendship. That’s why we get together these days.”

    “What I needed,” replied banjo innovator when asked about the 1989 formation of Béla Fleck & The Flecktones, “were people that were kind of freaks.  Each person had to be an equal or more, and that’s what made it work when I ran into these guys and we started playing together.”

    See the full list of tour dates below. Tickets are on sale now.

    Béla Fleck & The Flecktones 30th Anniversary Tour

    March 21 – Spirit of the Suwannee Music Park – Live Oak, FL 

    March 22 – Jefferson Center – Roanoke, VA 

    March 24 – Community Arts Center – Williamsport, PA 

    March 25 – The State Theatre of Ithaca – Ithaca, NY 

    March 26 – The Capitol Center for the Arts – Concord, NH 

    March 27 – Berklee Performance Center – Boston, MA 

    March 28 – Staller Center for the Arts at Stony Brook University –   Stony Brook, NY 

    March 29 – Santander Performing Arts Center – Reading, PA

    Apr. 4 – Savannah Music Festival – Savannah, GA 

    Apr. 5 – Belk Theater – Charlotte, NC 

    May 23 – Delfest – Cumberland, MD 

    May 24 – The Clay Center – Charleston, WV 

    May 26 – The Southern Theatre – Columbus, OH 

    May 27 – Thomas Wolfe Auditorium – Asheville, NC 

    May 28 – Paramount Bristol – Bristol, TN 

    May 29 – The Carolina Theatre of Durham – Durham, NC 

    May 30 – Harrison Opera House – Norfolk, VA 

    June 2  – Lebanon Opera House – Lebanon, NH 

    June 3 – The Egg Performing Arts Center – Albany, NY 

    June 4 – Garde Arts Center – New London, CT 

    June 5 – The Capitol Theatre – Port Chester, NY 

  • The 2020 Rock and Roll Playhouse Includes Multiple Shows in New York

    The Rock and Roll Playhouse has expanded to include even more dates across the United States, including many in New York City. The performances will also make their way to Brooklyn Bowl in Nashville, Cubby Bear in Chicago, The Varsity Theater in Minneapolis, and Terrapin Crossroads in San Rafael, CA. 

    The Rock and Roll Playhouse is a family-minded live event series that tries to find new ways to inspire creativity and particularly foster a relationship between children and music. It’s a national concert series that gives back to local communities. The program has donated to the Can’d Aid Foundation’s Tunes Programs, VH-1 Save the Music Foundation, and Keep the Music Alive, as well as ticket donations to local school fundraisers and auctions.

    The event series will make stops at Brooklyn Bowl New York, Garcia’s at the Capitol Theatre in Port Chester, NY, Industry City in Brooklyn and Rockefeller Center in New York City. For more information and to purchase tickets visit The Rock and Roll Playhouse official site. 

    The Rock and Roll Playhouse 2020 Winter/Spring Tour Dates:

    Ardmore Music Hall – Philadelphia, PA 

    2/8 – Purple Party ft. Music of Prince and More for Kids with Johnny Shortcake

    3/29 – The Music of Phish for Kids ft. Bathtub Gin 

    Brooklyn Bowl New York – Brooklyn, NY 

    2/9 – The Music of Grateful Dead for Kids

    2/16 – Purple Party ft. Music of Prince and More for Kids

    2/23 – Mardi Gras Celebration for Kids ft. Black Tie Brass 

    3/1 – The Music of Fleetwood Mac for Kids

    3/8 – The Music of Phish for Kids ft. Uncle Ebenezer – Purim Celebration with Because Jewish

    3/15 – The Music of Grateful Dead for Kids // Family-friendly Tribute to Phil Lesh Celebrating his 80th Birthday

    3/22 – Broadway Rock for Kids ft. Musicians and Singers Direct from Broadway  

    3/29 – The Music of Dave Matthews Band for Kids ft. Rhyme and Reason 

    Brooklyn Bowl Nashville – Nashville, TN

    3/29 – The Music of Grateful Dead for Kids ft. Los Colognes 

    4/19 – The Music of Queen for Kids

    5/10 – Music of The Beatles for Kids // Mother’s Day Celebration 

    Brooklyn Bowl Las Vegas – Las Vegas, NV

    2/22 – Purple Party ft. Music of Prince and More for Kids! 

    3/28 – The Music of Grateful Dead for Kids 

    Bluebird Theater – Denver, CO

    2/8 – The Music of Phish for Kids ft. Kings of Prussia 

    Garcia’s at the Capitol Theatre – Port Chester, NY 

    2/15 – The Music of Queen for Kids

    2/29 – Music of The Beatles for Kids

    3/15 – The Music of Grateful Dead for Kids // Family-friendly Tribute to Phil Lesh Celebrating his 80th Birthday

    3/21 – Jazz for Kids 

    Charleston Pour House – Charleston, SC

    2/8 – The Music of Phish for Kids w/ Runaway Gin 

    3/14 – The Music of Grateful Dead for Kids // Family-friendly Tribute to Phil Lesh Celebrating his 80th Birthday

    Crystal Ballroom – Portland, OR 

    2/9 – The Music of Talking Heads for Kids

    3/15 – The Music of Grateful Dead for Kids // Family-friendly Tribute to Phil Lesh Celebrating his 80th Birthday

    Fairfield Theatre Company – Fairfield, CT  

    2/9 – The Music of Phish for Kids ft. Uncle Ebenezer 

    3/1 – One Love ft. Music of Bob Marley for Kids and More! 

    Funky Biscuit – Boca Raton, FL

    2/9 – Music of The Beatles for Kids

    Grey Eagle – Asheville, NC 

    2/23 – The Music of Grateful Dead for Kids

    Higher Ground – Burlington, VT

    2/9 – The Music of Grateful Dead for Kids

    3/8 – The Music of Phish for Kids

    Industry City – Brooklyn, NY

    2/8 – One Love ft. Music of Bob Marley for Kids and More w/ David Langlois and the Brooklyners – Bob Marley’s 75th Birthday Celebration  

    2/15 – Music of The Beatles for Kids  

    2/22 – Mardi Gras Celebration for Kids ft. Black Tie Brass

    2/29 – Broadway Rock for Kids ft. Musicians and Singers Direct From Broadway

    3/14 – The Music of Grateful Dead for Kids // Family-friendly Tribute to Phil Lesh Celebrating his 80th Birthday 

    Mohawk- Austin, TX

    2/9 – Purple Party ft. Music of Prince and More for Kids 

    Port City Music Hall – Portland, ME 

    2/9 – Purple Party ft. Music of Prince and More for Kids 

    3/1 – The Music of Phish for Kids 

    Rockefeller Center – New York, NY

    2/9 – Reggae for Kids ft. David Langlois and the Brooklyners  

    Saturn – Birmingham, AL 

    2/9 – The Music of Grateful Dead for Kids

    The Sinclair – Boston, MA 

    2/9 – Purple Party ft. Music of Prince and More for Kids 

    3/8 – The Music of Phish for Kids

    The Stone Pony – Asbury, NJ

    2/9 – Purple Party ft. Music of Prince and More for Kids 

    Sweetwater Music Hall – Mill Valley, CA

    2/8 – Purple Party ft. Music of Prince and More for Kids! 

    3/22 – The Music of Talking Heads for Kids 

    Terminal West – Atlanta, GA

    2/9 – Purple Party ft. Music of Prince and More for Kids! 

    3/22 – The Music of Phish for Kids

    Terrapin Crossroads – San Rafael, CA

    3/14 – The Music of Grateful Dead for Kids // Family-friendly Tribute to Phil Lesh Celebrating his 80th Birthday

    Thalia Hall – Chicago, IL 

    2/9 – Music of The Beatles for Kids (AM Show // SOLD OUT)

    2/9 – Music of The Beatles for Kids (PM Show) 

    3/1 – The Music of Phish for Kids 

    3/29 – The Music of Grateful Dead for Kids

    UC Theatre – Berkeley, CA 

    2/2 – Music of The Beatles for Kids

    Varsity Theater – Minneapolis, MN 

    2/22 – The Music of Grateful Dead for Kids 

  • Sammy Miller and The Congregation Premiers New Video

    Sammy Miller and The Congregation has dropped a music video for “It Gets Better,” the latest single from their album Leaving Egypt. In celebration of this debut, they will be embarking on an 18-city, cross-country tour. Tickets are on sale now and can be purchased HERE.

    The nine piece ensemble was formed in 2014 at The Juilliard School in New York City, where members were students at the time. Starting off they played at various venues around NYC that typically did not host jazz ensembles. Their fan base was built around the van touring life modeled after rock bands, while dazzling listeners with a reconceptualized type of jazz.

     “This is us, I’m proud of it, and I’m eager to embark on our mission to bring joy to people’s lives through music, ” Sammy Miller, founding member of the group, said of the debut album.

    Sammy Miller and The Congregation

    The band lineup includes Sammy Miller, drums and vocals; Sam Crittenden, trombone; Ben Flocks, tenor sax; Sammy’s sister Molly Miller on guitar; Alphonso Horne, trumpet; Corbin Jones, bass and tuba; and David Linard, piano.

    Tour Dates:

    Feb. 12 – California Center for the Arts – Escondido, CA

    Feb. 13 – Campbell Hall – Santa Barbara, CA

    Feb. 16 – Bootleg Theater – Los Angeles, CA

    Feb. 21 – Sweetwater – Mill Valley, CA

    Feb. 22 – Oshman Family JCC – Palo Alto, CA

    Feb. 23 – The Sofia Tsakopoulos Center for the Arts – Sacramento, CA

    Feb. 28 – Dubai Jazz Festival – Dubai, UAE

    March 24 – Vinyl – Atlanta, GA

    March 25 – Isis Music Hall – Asheville, NC

    March 26 – Neighborhood Theatre – Charlotte, NC

    March 27 – Tin Pan – Richmond, VA

    March 28 – Songbyrd – Washington, DC

    March 29 – Sellersville Theater – Sellersville, PA

    March 31 – The Red Room at Cafe 939 – Boston, MA

    May 1 – Thelma Sadoff Center for the Arts – Fond du Lac, WI

    May 2 – Door County Brewing Co. Music Hall – Baileys Harbor, WI

    May 3 – Dakota – Minneapolis, MN

    June 27-28 – Jazz Aspen Snowmass – Aspen, CO

  • Moon Hooch Administer Cave Music to Packed Bowery Ballroom

    Nearly a decade ago, the members of Moon Hooch were busking in the NYC subways, filling the tunnels with their raw and energetic saxophones and percussions. But try not to think of a few musicians, off to the side, with crowds of people just buzzing past minding their own business. Instead, Mike Wilbur, Wenzl McGowen and James Muschler would turn entire subway platforms into tribal dance floors with their beat-infused jazz music. It was not long before the MTA banned them from smaller subway stations and they were bringing their “cave music” above ground to TV shows and sold out music venues.

    Moon Hooch at Bowery Ballroom – Photo: Joseph Buscarello

    The trio of Moon Hooch made their way to Bowery Ballroom this past Thursday, for the second stop on their lengthy world tour. The line to get in extended around the corner before doors opened and the Brooklyn-based band was treated to a warm reception from a room packed with fans and close friends. They hit the stage earlier than the posted set time and kicked into high gear right from the start. At times, more than half the dance floor was turned into a dancing mosh pit; if it wasn’t for the cables plugging their instruments in, I’m sure Mike and Wenzl would have dove right in.

    Moon Hooch at Bowery Ballroom – Photo: Joseph Buscarello

    Even though the group has graduated from the subways to the stage, their sound and live setup remains true to their origins. A modest drum kit sat center stage with an army of saxophones standing at attention off to the side. A makeshift DJ set-up, several props and smaller wind instruments that would appear later in the show all sat on a table.

    Mike Wilbur of Moon Hooch at Bowery Ballroom – Photo: Joseph Buscarello

    A large open area was left to allow for the immensely energetic performance. The music did not skip a beat while the two saxophonists bounced and danced from one side of the stage to the other. Constant swapping of instruments and the use of horn props all led to a very dense and eclectic sound. At one point, a traffic cone was attached to Wenzl’s tenor sax, turning it into a deep-bass horn extending over the heads of the fans in the front row.

    Wenzl McGowen of Moon Hooch at Bowery Ballroom – Photo: Joseph Buscarello

    It does not seem likely that a subway busking performance would have a well planned setlist, and that was also the case for this show. All of the songs were performed as live basement jams, but with a “telepathic” connection between the trio. For almost two hours, the band played nearly non-stop, constantly mixing and improvising the songs that make up their catalog. The madhouse that ensued would not let up until security was forcing people to the exits.

    Moon Hooch at Bowery Ballroom – Photo: Joseph Buscarello

    The band just self-released their 4th LP, Life On Other Planets, earlier this month right before kicking off the tour. Unlike their last three records, the band decided to forgo obsessively producing and mastering tracks and instead attempted to reproduce the raw and unpredictable sound of their live shows. Almost all of the tracks were single-take recordings featuring extensive build ups, driving percussions and ear-ringing, funky sax riffs. The result is a largely successful and unique record. After seeing the show for myself, one could assume the new LP is a live album taken from one of their shows.

    Moon Hooch have dates all across the US through February, then they hit Europe for March and April. Support for these shows comes from Sungazer, The Tangled Roots, The Main Squeeze and Paris Monster. Check out the full list of dates here.

  • NYC Winter Jazz Marathon Takes Over Brooklyn and the Bowl

    The NYC Winter Jazz Fest rolled on with the Jazz Fest Marathon, which included 6 venues in Brooklyn with a myriad of jazz verticals. One ticket was accepted at any location, allowing fans to customize their music experience. This review will focus on coverage from the legendary Brooklyn Bowl, located on the waterfront in Williamsburg.

    Kendra Morris

    Singer-songwriter Kendra Morris and her four-piece band kicked off the festivities with their “soul meets indie” jazz sound. Most of their material was originals written by Morris, and soul-fully executed by her adept band. Her beautiful voice electrified the crowd when she belted out the classic Pink Floyd tune “Shine On You Crazy Diamond.”

    Felix Pastorius and Hipster Assassins

    Felix Pastorius, son of jazz legend Jaco Pastorius, and Hipster Assassins, his experimental bass-driven jazz band, was up next. Their eclectic mix of a guitar, bass, drums and saxophone raised the bar of modern jazz. Their free flowing sound yielded a creative and fresh take on the classic jazz tune, “Butter Biscuit.”

    Kung Fu

    Following Pastorius was Kung Fu, the Connecticut-based jazz group led by guitarist Tim Palmieri, who delivered non-stop funk for the people. Their intense set included a nice groove and contagious stage energy between the band members. Palmieri’s performance was nothing short of legendary, diving on his knees and playing off the energy of the crowd. The band hit a high note during the cover of the jazz classic “Birdland.”

    DJ Logic

    The evening wrapped up with a late night performance by DJ Logic and friends, supported by Billy Martin and Shanir Blumenkranz. This set was filled with beats and scratching, care of DJ Logic. The organic percussion of Martin and the various string instruments played by Blumenkranz created a perfect harmony with the digital elements.

    Tim Palmieri of Kung Fu

    Overall, the NYC Winter Jazz Fest Marathon was a delightful way to enjoy a number of bands under one or more roofs, depending on the tastes of the listener. Head on over to their website for more information about future Jazz Fests.

  • Joe Russo Presents Hooteroll? + Plus! at Winter Jazz Fest; The Bogie Band Debuts

    Winter Jazz Fest continued at Brooklyn Bowl last night with the worldwide debut of The Bogie Band featuring Joe Russo. Opening for Joe Russo Presents Hooteroll? + Plus!, this “no strings attached” powerhouse of wind instruments and drums featured Stuart Bogie on tenor sax fronting a nine-piece band: one flute (sometimes three), two saxophones (tenor and baritone), two trombones, two trumpets, one tuba, one percussion, and one octo-Russo on drums. One minute into the opening set, it became clearly evident that crossing the Verrazzano on a Sunday night after a long and exhausting weekend would be supremely worth it. Stuart Bogie has such an easy way about him, and he was perfectly comfortable on a stage he’s graced many times before, as this collection of Brooklyn’s finest musicians took the stage in front of an eager audience, both respectful and rabid in equal measure.

    The Bogie Band
    Photo credit: Jamie Huenefeld

    Just as I was starting to recognize this local all-star troupe of musicians from Antibalas (Jordan McLean), Rubblebucket (Adam Dotson), and Reverend Vince Anderson’s Love Choir (Smoota, real name Dave Smith), the band toyed with a seemingly appropriate take on the All in the Family theme song. Bogie jumped back and forth between tenor sax and flute, while also playing band director on more than one occasion, both with the crowd and his eponymous band. At one point, he addressed the crowd, “You got one part. It’s to say hey. We’re going to cultivate and nurture a collective force. It could prove useful for more than just this song,” as he coaxed the crowd to join in a deep and guttural heyyy in time with the song’s climax. During a few softer moments, Russo moved from his signature savagery on the drum kit to a xylophone of sorts, stainless steel rectangles on an egg crate, highlighting the beauty of the quieter and more delicate jams. 

    The Bogie Band
    Photo credit: Jamie Huenefeld

    While this debut set was highly anticipated, I perhaps underestimated how hard the music would coax me to dance and sweat. Stuart Bogie is a musician who creates and takes risks, and this one paid off hand over fist. As the 45-minute set came to its unfortunate end, the musicians left the stage single file, in a slow march to Russo’s waning bell play. I’m very much looking forward to seeing more of The Bogie Band featuring Joe Russo, and feeling very grateful to have had the chance to write these words and cover this spectacular debut performance.

    The Bogie Band
    Photo credit: Jamie Huenefeld

    Check out Headrush, Pt. 1, a recently released single on spotify, with a full album coming soon.

    Joe Russo Presents Hooteroll? + Plus!, exploring the works of Jerry Garcia, Howard Wales and others, was the featured set of this Winter Jazz Fest installment. Another all-star cast of musicians featuring Stuart Bogie (tenor sax), Erik Deutsch (keys), Jonathan Goldberger (guitar), Dave Harrington (bass), Kevin Kendrick (vibraphone), Jordan McLean (trumpet), and Joe Russo (drums) recreated Jerry Garcia’s 1971 Hooteroll? album. As Russo would later explain after one of the + Plus! selections, “We’re going to play the whole Hooteroll? record plus. This last song was the Pherboney Love Theme, the first track off my new record. We wanted to intersperse the record with songs that make sense.” Um, good choice, Joe! 

    The Bogie Band
    Photo credit: Jamie Huenefeld

    Last night’s set, and the album upon which it was based, was a master class in guitar-shreddy acid jazz, cut with blues and highly danceable rock ‘n roll, all set to the tempo of Russo and Harrington’s world class rhythm section. Erik Deustch played the role of Howard Wales, Garcia’s partner and mentor of sorts on this storied album, as he graced the crowd with the gorgeous sounds of his vintage Fender Rhodes and Hammond B3. Goldberger melted faces, as he is wont to do, with a variety of stunning solo work on both the electric and acoustic guitars. Kevin Kendrick’s contributions on the vibraphone gave the music an ethereal feel, soft and beautiful. If music satisfied the sense of touch, then Kendrick’s contribution was swathed in velvet. Bogie and McLean’s horn play was the bacon on this jam sandwich, making everything better as it occasionally stole the spotlight. Speaking of spotlights, there were none. Everyone shone. Focus may have drifted from one musician to the next as subtle flourishes highlighted this or that musician, only to realize that the full band was firing on all cylinders at all times. 

    The Bogie Band
    Photo credit: Jamie Huenefeld

    Dave Harrington. Just… WOW. I mean, he’s a guitar player, and a bass is technically a guitar, but he rarely, if ever, plays bass. Maybe it’s like his secret talent. In fact, I don’t know of the last time (which doesn’t mean it didn’t happen) since April of 2017, when this same ensemble recreated Hooteroll? in Port Chester’s Capitol Theatre. Wait, …, what?!?! Dave Harrington may have stolen the show if this wasn’t such a collective project. Tucked behind Russo, he seemed to be soloing all night, never playing the same riff, as his fingers ran up and down the bass with unthinkable speed and dexterity. My hips could barely keep up as my jaw hung open. What he did last night was something special; when this guy picks up a bass again, miss it at your own peril!

    The Bogie Band
    Photo credit: Jamie Huenefeld

    In addition to the awesome musicianship and shared love for Jerry Garcia and this incredible record, the level of trust in the room was a tangible phenomenon that was perhaps the defining factor that put last night’s show into the record books. Let’s remember that Russo, Kendrick, Deutsch and Goldberger all share history with Fat Mama. Harrington and Russo are regulars on the improvisational NYC circuit. Bogie and McLean both play in Antibalas. Bogie plays with JRAD from time to time. Everyone plays with everyone all over the local scene. The comfort and joy that these musicians shared was a joy to behold and manifested itself in every peak and, even more so, quiet valley. From the listener’s perspective, the crowd, too, displayed perfect trust, as we were patient, present, and secure in the knowledge that wherever the music took us is where we were supposed to be. And the band clearly enjoyed the crowd enjoying them, as the room’s energy was in a constant state of reciprocal motion.

    The Bogie Band
    Photo credit: Jamie Huenefeld

    A hundred minutes later, at the culmination of yet another monster jam, Russo just shrugged and gave The Bogie Band mates an “I think we’re done here look,” returning to thunderous applause for a fifteen-minute encore that would bring the show to the two-hour mark, capping off this all-too-rare project for the ages.

  • Harriet Tubman Brings the Prog to NYC Winter Jazzfest

    NYC Winter Jazzfest kicked off last week with over 150 artists spread across more than a dozen venues in the city. We caught up with NYC vets Harriet Tubman at The Sultan Room on Saturday night for a sold out show supporting James “Blood” Ulmer.

    Harriet Tubman at The Sultan Room – Photo: Joseph Buscarello

    The trio has been a staple of the underground jazz scene in New York for more than 20 years and has thus garnered a large following here in the city. Even though Harriet Tubman was billed as the opener, the sold-out crowd was in attendance early to catch a rare live show from the group. After all, there was an 11-year gap between records, spanning the entire decade from 2000-2010.

    J.T. Lewis of Harriet Tubman at The Sultan Room – Photo: Joseph Buscarello

    The trio consists of bassist Melvin Gibbs, guitarist Brandon Ross and drummer J.T. Lewis, and they can easily be described as a “power jazz trio.” Their style is a very heavy and dystopian mix of jazz, funk and psychedelic rock. Think of a jazz-fusion soundtrack for the end of the world and you have yourself a Harriet Tubman record. On their latest release, tracks like “Prototaxite,’”refer to a pre-historic mushroom measuring more than 20 feet high, and “Unseen Advance of the Aquifarian” gives you an idea what you are in for.

    Melvin Gibbs of Harriet Tubman at The Sultan Room – Photo: Joseph Buscarello

    The three musicians have amazing chemistry and produce such dense layers of loops and rhythms that you would think the band is twice as large. A setting like The Sultan Room was an ideal choice for their style. A small, crescent shaped floor with a low standing mezzanine provides an intimate setting to be engulfed by the noise they produce. The vibrant and nu-retro backdrop added to the futuristic aesthetic the band goes for in their sound.

    Brandon Ross of Harriet Tubman at The Sultan Room – Photo: Joseph Buscarello

    The band’s last record, The Terror End of Beauty, came out back in 2018 and, as of right now, they only have a few more US dates scheduled for January, all on the West Coast. Find those dates here and don’t miss a chance to catch this unique avant-garde jazz group in person.

  • Giles Robson: Pure Blues

    Dating back to the late 1800s, the blues have set a musical foundation for many to grow on. From Memphis to Chicago, and Leadbelly to B.B., a great debt is owed to those 12 bars. Giles Robson is just one of those musicians who has drawn from this enduring musical genre. Originally from Jersey in the Channel Islands (a British Crown dependency) and now living in France, he is a Blues Foundation Blues Award winner and the first British or European artist to appear on the prestigious Alligator Records blues label. I had the opportunity to sit down with this harmonica-touting blues man recently as the New Year began, after he wrapped up a 5-day promotional showcase introducing himself to the U.S. – a tour that included his debut American performance at the Colony, in Woodstock, NY.

    Bruce Katz, keyboards; Antar Goodwin, bass, Ray Hangen, drums; Giles Robson, harmonica; Aaron Lieberman, guitar; at Colony, Woodstock N.Y.

    A disciple of the blues, his beliefs are straightforward, “I am under the opinion that the blues is the most incredible, communicative music in the world. So simple, yet it has so much feeling. I feel fortunate I fell in love with it and progressed in it.”

    His journey into music started with the violin at age seven, then on to the saxophone three years later “because I watched a lot of old movies when I was ten or eleven year old,” Robson shares. “They always had the big bands, and I really fell in love with the swing horn lines.” While on a school art trip to Spain, he picked up his first blues harp. “I (had) heard it on the theme tune to Roseanne, a guy named John “Juke” Logan, and I heard Will Smith play it on the Fresh Prince of Bel-Air. I was intrigued by it. When I got back to Jersey, it just so happened that there was an African-American harmonica and guitar duo, Cephas and Wiggins, playing within a week of getting back. My parents sent me to see them and the rest is history. I just got hooked.”

    Formal training helped prepare Giles for his foray into the blues. “My sax teacher was an acid jazz player and got me playing Charlie Parker heads (challenging melodies) and showed me the basics of improvisation. So when I started playing harp, I had that little bit of knowledge to help me out.” When it came to learning the harmonica, “I was teaching myself,” Giles divulges, “I would pretend I was a member of the Muddy Waters band and I would play the same solo along with the record, over and over again. “

    I am under the opinion that the blues is the most incredible, communicative music in the world. So simple, yet it has so much feeling.

    Giles Robson
    Giles Robson, pre-show at Colony, Woodstock N.Y.

    His efforts took hold and in 2007 Giles Robson and The Dirty Aces stepped onto the European music scene, receiving praise in the UK press. “That was an interesting band,” he notes. “I was trying to do a crossover with lots of different elements in it. I was trying to be as original as possible. But I realized my strength was in doing the blues, the pure blues with a little twist. I was getting too rock for blues and too blues for rock. It showed me what can and cannot work. “

    After three recordings with The Dirty Aces, Robson signed with V2 Records in Holland. Now a solo artist, For Those Who Need the Blues was later made. “ We recorded that album in six hours. This was my return to the pure blues,” he professes. With a new record in hand, he was booked at an upcoming festival in Holland under the name Giles Robson and The Dirty Aces. “They were expecting this garage rock. I went over with the band I had just recorded with and did the pure blues. The people went crazy. From that moment on things changed around for me.”

    Giles Robson, Colony, Woodstock N.Y.

    Reflecting on that moment of musical purification, “The blues is always there, and it needs to be.  I met a lot of people on this (current) tour that told me that they got into this music as they got older. Once you get to 40, you’ve probably been through several life events that the blues tackle. Divorce. Relationships. When you’re in your early twenties, pop music works because you’ve not been through any of that heartbreak and such. When you get older you’ve been through it. It’s not a shallow thing. You can’t help but think about things in your life that blues sings about.”

    In December 2017, while performing at a festival in Europe, Robson crossed paths with Grammy-nominated, W.C. Handy Award-winning blues guitarist Joe Louis Walker. Walker saw his performance earlier that day and invited him up to jam during his set. “We got on musically very well. Then we talked for hours after the show about lots of blues music,” Giles recalls. A few months later while touring around Europe and listening to acoustic blues while traveling between shows, Robson started thinking, “I’d love to do an album with someone who could really do this (acoustic blues) music justice, and then the idea came, it was Joe. ”

    Recording session for Journey To The Heart Of The Blues

    “I wanted to hear his voice, which is one of the most incredible voices in the blues,” Robson declares. “I wanted to hear his voice without a band behind him, in an intimate situation. I wanted my harmonica next to that voice. I contacted him and he was very keen on it. It was a beautiful experience.” Journey To The Heart Of The Blues was the end result of this homage to acoustic blues, garnishing a 2019 Acoustic Album of the Year Blues Music Award. Bruce Katz (Gregg Allman, Ronnie Earl, Delbert McClinton, John Hammond,) joined the pair on piano for the recording sessions. “Joe brought Bruce in, an excellent sort of foil for the music. He is a funky player, but has this level of finesse that gave it an extra depth and added synergy in the studio.” Alligator Records picked up the album and it was tracked and mixed at NRS Recording in Catskill, NY for distribution in the U.S.

    I was teaching myself … I would pretend I was a member of the Muddy Waters band and I would play the same solo along with the record, over and over again.

    Giles Robson on learning to play the harmonica

    “The beauty of the blues,” Giles lauds, “is the people already know the chord changes. They are really familiar with it and you put in your own individual harmonica style, or song style, or lyrics. It’s a magical thing. Sometimes musicians lose their way with the music because the technical ego takes over. They say on something as simple as that, I have to do something more complicated. As you get older, it becomes a lot easier to be naturally simple. Just do what is able.”

    Don’t Give Up On The Blues artwork

    His latest recording, Don’t Give Up On The Blues, which came out late September 2019, is a shift from Journey to the Heart of the Blues. Robson puts it this way, “I wanted to do original songs with blues structures. We’ve got original riffs in there, but we wanted to respect the structure and rhythm of the blues.” Capitalizing on their previous success, Bruce Katz joined on for this project. “Bruce is incredibly versed in the traditions of the piano.” Expanding on the approach to the album, “We didn’t use an out and out traditional guitar player or traditional bass player. We didn’t want to be too fussy about it. It is an album that has both the traditional and a splash of dirty.”

    Bruce Katz, keyboards; Aaron Lieberman, guitar; Giles Robson, vocals/harmonica

    As part of the Robson’s showcase tour, Don’t Give Up On The Blues was presented front and center. Backed by Bruce Katz on keyboards, Aaron Lieberman on guitar, Ray Hangen on drums, Antar Goodwin on bass, (who all played on the album) and joined by special guest vocalist Katie Henry, Giles and crew showed why this latest recording has been called, “Retro. Timeless with an edge of modernity so the sound is relevant and fresh today,” by the UK’s Bluesdoodles.com.  I attended the Colony show in Woodstock, NY, where the music expanded and contracted throughout the set, allowing each song the opportunity to offer it’s own blues narrative. As the New Year begins, Don’t give up on the Blues continues to chart high on American and European blues radio.

    Giles Robson, Aaron Lieberman; Colony, Woodstock

    When it comes to blues harp influences, Giles points to the Chicago players.  “All of them,” he says. “Everyone has their own distinct style. Some are very simple but still captivating. Some are very technically advanced and still captivating. They all had feeling and emotion. It’s pretty miraculous what they did with the instrument. The two main guys were Little Walter and Sonny Boy Williamson for me. I listen to them almost on a daily basis. “

    The blues are based in suffering and heartache, but for Robson’s blues, 2020 is looking bright. A new record getting global recognition combined with a touring schedule filled with club and festival dates across the US and Europe, it will be hard to find a downside for this rising blues man. Perchance you run into Giles out on the musical highway, take a moment and imagine you’re both in a James Bond movie. “How would you like your blues, Mr. Robson?” “Pure. Not stirred.”

    Don’t Give Up On The Blues – live

  • Delfeayo Marsalis and his Uptown Jazz Orchestra to Preview New Songs at Rockwood Music Hall

    Legendary trombonist Delfeayo Marsalis and his Uptown Jazz Orchestra will be playing songs off their upcoming album, Jazz Party tonight, Friday Jan. 10, in NYC. The album promises to deliver modernized twists on New Orleans traditions as well as homages to modern jazz musicians. Tickets are still available.

    “Jazz, the indigenous American music, is a music of celebration and optimism. The Uptown Jazz Orchestra is such a fun band that I wanted to capture its uniqueness. The idea was to keep the wide variety of styles that we play but to really capture the joy that is a central trademark of the band.”

    Delfeayo Marsalis

    Jazz Party is set to release on February 7, 2020 via Troubadour Jass Records. It’s Marsalis‘ seventh album as a band leader, and the second major recording with Uptown Jazz Orchestra. It’s a follow-up to 2017’s Kalamazoo.

  • Bonnaroo 2020 Lineup Announced – Tool, Lizzo, Tame Impala Named as Headliners

    The 2020 Bonnaroo lineup was revealed Tuesday morning. The June 11-14 festival returns to Manchester, TN for its 19th year with headliners Tool, Lizzo and Tame Impala.

    Other acts slated to appear this year include the newly reformed Oysterhead (featuring Trey Anastasio of Phish, Stewart Copeland of the Police and Les Claypool of Primus — which will also be performing), Lana Del Ray, Vampire Weekend, Miley Cyrus, King Gizzard and the Lizard Wizard, Jason Isbell and the 400 Unit and Tenacious D.

    Brooklyn’s Turkuaz, which released its latest EP Kuadochrome in November of last year, is performing with former Talking Heads members Jerry Harrison and Adrian Belew as part of a 40th-anniversary tribute to the Heads’ Remain in Light album. Also Nelly will be performing a 20th-anniversary tribute to his Country Grammar album.

    Tickets for Bonnaroo 2020 go on sale Thursday, Jan. 9 at Noon ET at several different price levels. Details can be found here.

    Check out Lizzo’s NPR Tiny Desk Concert below.