Matt Smith, a Capital District-raised, Austin-based artist, has released eight new albums as well as ten digital releases from Smith’s catalog of recordings. The albums will be available everywhere music is streamed or bought. Hard copies of the album are available through Austin’s Waterloo Records.
Smith has been working on the flagship release, Being Human, for four years. The song addresses broad themes of love, death and spirituality, along with timely issues such as immigration, narcissism and addiction.
Parlor is a solo acoustic instrumental album recorded entirely on an 1890’s Thompson and Odell parlor guitar that has been handed down through four generations of the Smith family. Chop Shop – Live at Strange Brew was recorded at the legendary south Austin venue during the band’s weekly Sunday afternoon residency.
When asked about why releasing now, Matt Smith said, “It’s an election year and there’s COVID. I had them all ready, and rather than dribble them out, why not put it all out at once? That way, I can get back to work on new material.”
Growing up in a musical household, it was in Oakley’s blood to seek out a stage of his own to command. Both Oakley’s mother and father were talented musicians, with his mother playing bass guitar and his father singing in modern rock and blues bands. Oakley’s Uncle Craig was also a well known jazz drummer, having played with artists such as The Beach Boys and Bob Hope.
The song came from a run of dates my band and I were on and I really took notice of how there was always one woman in the room that just stopped the place. I was amazed at the power these woman had and that’s where the last line of the chorus “Don’t you know you front row women get me every time” comes from.
Kolby Oakley on “Front Row Woman”
In January 2016, Oakley packed his guitar and moved from Upstate New York to Nashville to begin the next chapter of his career. Since moving to Nashville, Oakley has released multiple songs including “Moonshine Stand,” “Mud Bog” and “I’m Here.” Oakley says, “It took me some time to find who I am as an artist and where my place is in music as a whole. My latest music includes all my influences from Country, Rock and Blues, which delivers the Outlaw Country/Rock sound you hear on my latest work. ”
The 13th studio album from legendary Queens rapper Nas was released on August 21 through Mass Appeal Records. Composed of twelve tracks and one bonus record, the project was produced solely by California native Hit-Boy, a well-known producer who has made a name for himself for producing records with artists the likes of Kanye West, Jay-Z, Drake, Big Sean and more.
Following the lackluster reception to his previous body of work, Nasir, King’s Disease had fans skeptical, wondering what the fabled emcee had left. Would the album feel as uninspired as its predecessor or, would it be as acclaimed as 2012’s Life is Good? Other concerns arose when the track list was revealed, as Anderson .Paak, Lil Durk, Fivio Foreign and A$ap Ferg held the guest spots, which led the public to assume that Nas would try to conform and abandon his timeless style for a more modern trend of music.
These doubts were surely put to rest after the intro track and realized that Nas wasn’t conforming but taking his style and meshing it with more modern sounding beats and production. He effortlessly got into his pockets and felt comfortable from start-to-finish.
The album cover goes consists of Cupid-like babies. Some are black, others white, with wings of angels but colored red as if they were demons holding up a plaque that is covered by dirt. Nas’ name appears on the plaque, while one of the babies holds a crown. There is a rusty bloody machete on the table with fruit, gold, a skeleton head, the head of a hog, a serpent and flowers from a garden.
Throughout his last couple of projects Nas has been made his spiritual beliefs apparent and this album cover reflects that. King’s disease is defined as a disease where affluent people eat poorly, invest poorly and have bad relationships, which leads to one’s downfall. Nas touches on business and health throughout the project but the theme he harkens on the most is love and relationships. On multiple songs he tells stories of failed romantic relationships, or how relationships work poorly within the black community. Nas also touches on the struggles of the black community as a whole throughout.
Hit-Boy did a masterful job with the beats. The album has a classical sound to it, with a couple of instruments being played in the background on the majority of the tracks, combined with the heavy bass that is preferred in today’s rap music.
The story-telling is a highlight of the album. He didn’t do it too often but, when he did, they were amazing. On the record, “Car #85,” we get Nas at his descriptive best as he tells tales of his close run-ins with the law, his trips to hang out with friends, as well as his attempts of keeping a romantic relationship alive. All precipitated by this car service that he would use exclusively.
The length of the album was a plus – short and succinct, thus making it an easy listen, although several records felt short. Nas is known to rap multiple verses yet, on this project, it seemed like he would give one or two concise verses so as to not prolong the records.
And while many of the features were surprising, he did a great job of staying true to himself while letting other artists shine in their own lanes. He didn’t try to step on their toes and in return, they didn’t step on his. If there can be a complaint, it’s that the contrasting sounds made for songs sounding entirely different when a new act was introduced. For example, in the Lil Durk-assisted “Til The War is Won.” Nas raps for two verses and basically hands the record off to Lil Durk for the last minute or so. This also happened with his song with Anderson .Paak “All Bad,” which sounds like an Anderson .Paak song featuring Nas.
While having a great theme, Nas fails to focus on it for the entirety of the album. And at times, it feels like he was running down bullet points instead of detailed explanations. Nas is knowledgeable, but at times he doesn’t explain his knowledge – he just puts the knowledge out there for fans to either get it or not. This was a problem from his last release Nasir, where fans reduced many of lines to him being a conspiracy theorist.
Full Circle
“10 Points” is a record which embodies where Nas is in life. The song consists of him kicking game to the youth, explaining, “Take it from a street dude, you don’t need to be a street dude. Get a lawyer, read your contract, and eat food.” The way he delivers his rhymes in a smooth cool manner is what separates Nas from a lot of emcees, still.
He also addressed the longstanding rumors of him copying the late Tupac Shakur’s ‘Thug Life’ tattoo, rapping, “Pac saw the chain, got his medallion, I want it. Insinuate imitation cause I copied his stomach. Kings honor kings, straight from my pops to my son’s sh*t.” This was his way of laying to rest how his ‘Godson’ tattoo mirrored Tupac and a ‘Thug Life’ tattoo both being placed across their stomachs. The beat switch on this track was flawless and was the highlight of Hit-Boy’s production.
Nas also gave shootouts to legendary NBA player Kobe Bryant and rap legend Nipsey Hussle, rhyming, “Rest in Peace Kobe and Nip that’s off the rip.” People forget that Nas once ripped Kobe on his Street Disciple album on the track “These are our Hero’s” where he went at the then troubled NBA star for his alleged rape case allegations in 2003. It was refreshing to hear Nas ignore old wounds and pay respects to Bryant, although the two had reconciled long before his death.
Other great records include “Blue Benz,” “Car #85,” “27 Summers,” and “The Definition.” The beats for “Blue Benz” and “27 Summers” stand out.
Nas and Hit-Boy complimented each other well. Hit-Boy showcased his range as a producer while showing Nas’ ability to adapt to the new climate of music. Nas works best on more simplistic beats, with some drum patterns and instruments in the background to boost his message and it was cool that he was allowed to still find his pocket.
Nas meshed with many of the features on the album and it was great to see the return of his group, The Firm, on the song “Full Circle.” King’s Disease is a good album, and while it isn’t Nas’ best work, it wasn’t expected to be. It’s just good to hear one of the genre’s all-time greats still delivering quality music.The album is a solid 7.5 out of 10 and we look forward to what more Nas has to offer.
The non-profit Giant Art Steps have announced a new series of performances honoring the legacy of U.S. Representative and civil rights leader John Lewis. “Walk with the Wind” will occur on The Mall in NYC’s famous Central at 1 p.m. Featuring acoustic music and small groups, the series is free for those attending.
While the special series began on August 28th with a performance by Wayne Escoffery’s trio, there are numerous other opportunities to catch feature performances. Upcoming on September 19th is Giant Step Arts’ own Leap Day Trio featuring drummer Matt Wilson, bassist/vocalist Mimi Jones and saxophonist Jeff Lederer. On September 20th, vibraphonist and Blue Note recording artist Joel Ross Quartet with saxophonist Sergio Tabanico, drummer Craig Weinrib and bassist Rashaan Carter will perform.
The pandemic has been disastrous for musicians, many of whom normally earn a living through live performances and tours. We’ve presented and recorded music in various venues, including partnering with the non-profit Jazz Gallery, but the current circumstances have forced us to improvise. We wanted to find a way to continue supporting musicians, bring them together with audiences, safely, and enable them to have a payday! Walk with the Wind, honoring the legacy of the great American John Lewis, is one way we are accomplishing this, and the response has been tremendous. Our goal is to raise enough money from foundations and donors so that we can have performances each spring and fall.
Jimmy Katz
Giant Art Steps was created in January 2018 by Jimmy and Dena Katz. Both renowned jazz photographers, the Katzs set out to provide an environment for modern jazz’s most ingenious artists without the confinements of making a profit. Membership into the non-profit is by invitation only, where jazz artists are given control over their artistic projects. Giant Step Arts provides substantial financial and artistic resources for those bold musicians ready to take their careers to uncharted territory.
Giant Step Arts [is] a nonprofit dedicated to giving underappreciated but visionary jazz musicians the support they need to make quality live albums. Palmer is a…thrifty improviser with a vast dynamic range and an ambitious composer.
Giovanni Russonello, The New York Times
Upcoming Show Schedule:
Sept. 19– Leap Day Trio
Sept. 20 – Joel Ross Quartet with saxophonist Sergio Tabanico, drummer Craig Weinrib and bassist Rashaan Carter
Sept. 26 – Drummer Nasheet Waits with saxophonist Mark Turner and bassist Rashaan Carter
Sept. 27 – Immanuel Wilkins with drummer Nazir Ebo and bassist Burniss Earl Travis
Oct. 3 – Saxophonist Melissa Aldena with bassist Pablo Menares, drummer TBA
Oct. 4 – Saxophonist Darius Jones with drummer Gerald Cleaver and bassist Dezron Douglas
The nation’s largest and best-known Hispanic pop culture and music festival has announced the initial lineup of performers. Dubbed “Calle Ocho Live“, the Hispanic Heritage Month-themed event will take place October 4th via live stream and broadcast TV.
Among the stars joining the growing roster are Gloria Estefan, Camilo, Jessi Uribe, Jorge Celedón, and Bobby Pulido. These artists join previously announced Mau y Ricky, Ivy Queen, who is performing an epic virtual duet with the late Celia Cruz, and Tito Puente, Jr., who is performing a virtual duet with his late all-star father Tito Puente and many more.
The Calle Ocho Festival was originally slated for March before cancellation due to the COVID-19 pandemic. That is when the organizers of Carnaval Miami, Kiwanis Club of Little Havana, collaborated with Manny Ruiz, the creator of Altisimo Live and Hispanicize and Ralph Paniagua, creator of Atlantino, to bring the festival back to life.
The three-hour live stream will include interactive experiences to win prizes as well as pre-recorded performances from music artists, entertainers, comedians, and social media influencers.
“We said we would create a strong, inclusive, and powerful line-up that captured the diversity of Latino tastes, genres, and cultures, and that’s what we’ve done here. Through Calle Ocho Live, we’re not only stretching to do well for the families we serve through the Kiwanis of Little Havana Foundation but also through the way we reflect the evolution of Latinos in America.”
Jorge Fernandez, president of the Kiwanis of Little Havana/Carnaval Miami
Featuring live and pre-recorded performances from top Latin music artists, celebrities, and social media personalities, Calle Ocho Live will also highlight stories from the families served by the Kiwanis of Little Havana Foundation.
Funds raised from the event will be used by the Kiwanis Club of Little Havana to assist South Florida families who are in need of things like college scholarships, emergency financial assistance, holiday gifts, and any other support during the COVID-19 pandemic.
Viewers will be able to watch the festival for free on over a dozen broadcasting stations and their respective socials, along with Calle Ocho Live’s YouTube, Facebook Live and Twitter. Attendees are being encouraged to donate $8 or more prior to or during the festival to the Kiwanis Foundation.
For more information, visit the Calle Ocho Live Instagram page.
Ruby Mack, a new all-female folk band, already makes waves and questions society as we know it with their debut album Devil Told Me, out on October 23.
Photo credit Gianna Colson
In their new album, feminist folk ensemble Ruby Mack turns a traditional bible story completely on its head. What if Eve had eaten the Garden of Eden’s forbidden fruit without shame and then shared her knowledge with the world? In Devil Told Me, Ruby Mack tell their story as direct descendants from that Eve.
Named after Massachuttes’ Pioneer Valley’s Ruby McIntosh Apple, Ruby Mack is made up of Emma Ayres (Vocals/guitar), Abbie Duquette (bass uke), Zoe Young (guitar/vocals), and Abs Kahler (fiddle). In their upcoming album, these strong musicians dig deeper into what it really means to be a woman, or even to reject this label. Devil Told Me closely examines several stories, mythologies, and societal norms that we have been taught to accept without question. These feminists will push social boundaries aside with the release of their album on October 23.
Ruby Mack’s music explores topics left unsaid in traditional folk music. The group tells in “Breadwinner” that they want to be the relationship’s provider as women. The softer “Milktooth” encourages listeners to become fully themselves despite rigid societal rules. The song expresses developing and growing up. “It’s about rejecting the ways in which we are initially told who we are and what we are” notes guitar-vocalist Ayres with the lyrics “Always fighting in this civil war/ Since the devil told me I was born a girl.”
Ruby Mack has come into their own in Massachusetts. “I definitely found my identity as a musician in this place,” Duquette expresses. “The support encouragement I found in the area made me feel like I too could be an artist.” The group has felt united with the music culture of the area. “There’s such an amazing culture of folk music in the valley”, says Kahler, “and we’ve been inspired by so many queer folk artists here.” The band claims their corner of Pioneer Valley, MA area as one of the strongest inspirations for Devil Told Me.
Photo credit Gianna Colson
Listeners can appreciate this album even more today while missing concerts due to COVID-19. The tracks were recorded in an old church, and each song has a strong live feel to it, demanding attention with its energy. Young explains that it was important for the album “to have that special magic of a collaborative performance,” and the result does not disappoint.
The four friends have passionately worked together to create something both beautiful and impactful, starring memorable harmonies and strings as well as poignant lyrics. Farce The Music released a single from the album, “Machine Man,” which is available now. Kahler calls it “an ode to the blue-collar workers, the skilled laborers, without whom the fabric of the lives we live would surely unravel.”
Syracuse native Martin Sexton is set to play a live concert at New York’s oldest operating drive-in, Fingerlakes Drive-In in Auburn. Announced earlier this week by Creative Concerts and Fingerlakes Drive-In, the concert will take place September 19 at 6PM.
With social distancing guidelines in place, each car pass sold will be for standard passenger vehicles only. There has been a limit of four concertgoers per vehicle allowed.
Martin Sexton got his start serenading the streets and subways of Boston during the early 90’s. Not only have fans heard his explosive voice in famous venues across the world but also many of his songs have been featured in spotlight TV shows such as Scrubs and Parenthood to name a few.
The American Singer-Songwriter has produced nine studio albums including his most current release “Mixtape of the Open Road.” After a successful tour, a decision was made to keep going with more performances beginning with the Fingerlakes Drive-In.
His authentic style of artistry has Billboard magazine calling him “The real thing, people.” Furthermore Rollingstone noted Sexton has “Outstanding taste in songwriting as well as a soul-marinated voice.”
Tickets to the live event are on sale now here. NYS Music is running a contest for one car pass to Martin Sexton on the 19th, and Allman Betts Band on Friday the 18th. For more info, enter on Facebook, Twitter and Instagram!
Live music is back in Connecticut thanks to South Farms – the venue has figured out the formula for a socially distanced Drive-In shows. Billy Strings made a stop on his abbreviated tour, and Warren Haynes planned five shows, kicking off this past weekend on September 12.
The Sunday show found Warren Haynes and Gov’t Mule’s Danny Louis performing two stripped down sets of classic rock covers and Mule tunes, amid a gorgeous backdrop in the Western Connecticut.
Haynes will return to South Farms for three more shows on October 1, 8 and 15. Tickets are still available and can be purchased here.
Setlist: Warren Haynes with Danny Louis, South Farms, Morris, CT, September 13, 2020
Set 1: Don’t Know Where We’re Going (But We’ll Get There), Glory Road, Blue Maiden’s Tale, Love’s Open Door, Working Class Hero, Traveling Tune, Forsaken Savior, It Hurts Me Too
Set 2: Southern Accents, Melissa, Child of the Earth, Two of a Kind, Workin’ on a Full House, Beautifully Broken, Captured, Turn On Your Love Light, Smokestack Lightning
“A Spirit,” a melodic jazz single by Buffalo’s Donny Frauenhofer is the latest quarantine composition from the Intrepid Travelers frontman.
Frauenhofer plays piano on “A Spirit,” and also handled production, mixing and mastering. Colin Brydalski plays bass and behind the drum kit is Isaiah Griffin. Support these musicians through Patreon, and read below for Frauenhofer’s take on “A Spirit.”
This composition is one that I’m most proud of. I wrote it in one night during the quarantine, and the name comes from the sensation of being alone, but not feeling alone. Whether you call it a muse, a ghost, a spirit, a god, a manifestation of your own subconscious – sometimes things that seem separate from ourselves visit us to deliver a message. I’m not interested in the explanation of why or what this sensation is, but rather communicating the sensation itself. This song is both the product of that, and expresses that feeling.
Twenty years ago, on September 14, 2000, Phish performed to a rain-soaked crowd at Darien Lake Performing Arts Center. The last stop in New York on their Fall 2000 tour, this show would later be released as Live Phish, Vol. 3 in Septmeber, 2001.
Art by Drew Suto
This was also Phish’s last show in New York until December 31, 2002 at Madison Square Garden, which ended the band’s hiatus that began on October 7, 2000. The band played six shows in the Northeast on their Fall 2000 tour, as they headed to the Midwest and, eventually, the West Coast to cap off their first 17 years as a band and take a much needed break from the road. The Darien Lake show was the fifth of these shows, and major storm be damned, fans flocked to Western New York in search of one final taste of Phish for the foreseeable future.
In releasing this show just a year later, as part of their then-new Live Phish series, it certified the excellence in playing throughout the show. Trey Anastasio spoke to Relix Magazine in the August 2001 issue and referenced the show’s inclusion in Live Phish.
There are also three shows from 2000 in the series. Page and I picked one of them because it has this version of ‘Carini’ that I’m convinced is the greatest version of all time. I’m not convinced that it’s the whole greatest show of all time, but I love this version of ‘Carini.’ I also like the song list, because if you didn’t like Phish and you heard this set, it would be very interesting. There’s ‘Punch You In the Eye,’ ‘Reba,’ [Neil Young’s] ‘Albuquerque’ and ‘Carini.’ I think it sounds like such a weird band.” Trey cracks up. “Those four songs in a row? You can’t make any sense of it. The ‘Carini’ is like 15 or 20 minutes long or something. It’s a complete metal meltdown. It’s the bass and drumming in the background that I really liked. It’s really strange. Nobody’s playing the beat at all. Those guys are playing in quarter time and the guitar and keyboards are just creating this wash of color on top of this heavy booming. It’s right after ‘Albuquerque,’ which has harmonies and then this heavy metal thing. If you kind of step away from it, they’re both really odd.”
Trey Anastasio, Relix Magazine, August 2001
It had rained all day at Darien Center, and would downpour more during the show, a seemingly never-ending torrent of water from the sky. Anastasio summed up the first set well, noting a band and fan favorite version of “Carini” amid a six-song set that was capped by “The Oh Kee Pah Ceremony” > “Suzy Greenberg,” with the latter being jammed well beyond the normal confines of the set closer.
Set 2 opened with “Drowned,” apropos for the downpour that drenched the crowd on the lawn throughout the evening. Dave Calarco, aka Mr. Miner, shared his take on this hallmark version of The Who classic.
“Delving into abstract psychedelia and ambient madness, this was arguably the craziest and most “out-there,” terrorizing, and successful jams of the fall- all wrapped into one. Accessing alien atmospheres during this mind-bending excursion, this jam illustrated the ’99-’00 millennial exploration of abstract soundscapes, an element of the band’s creative direction during these years.”
After 30 minutes of “Drowned,” Phish moved onto another song originating from their Halloween musical costumes of the past, with Talking Heads’ “Crosseyed and Painless.” 11 minutes later, the mellow and rare “Dog Faced Boy” shone some light after more than 40 minutes of dark jams, followed by “Prince Caspian” and Rolling Stones’ “Loving Cup to close the set.
A unique encore followed, featuring three songs, two of which were still relatively new to the Phish repertoire – “Driver,” “The Inlaw Josie Wales” – and one of their most well known tunes, “Sample in a Jar.” The rain let up in the last half hour of the show, but spirits were far from dampened on this night. Some fans in attendance bid farewell to Phish, not knowing when the band’s self-imposed hiatus would bring them back.
