With divisions across the country on display through peaceful protest and violence, songs of unity and calm are not the first thought, but can provide an escape, even if briefly, giving pause amid the chaos in cities throughout the state and America. One of those songs is “My Sisters and Brothers”
Originally written by Charles Johnson of The Sensational Nightingales, Jerry Garcia Band would perform “My Sisters and Brothers” numerous times from the 1970s through the 1990s, and is featured on Jerry Garcia Band. The version below is the encore of the October 28, 1987 (late) show from the Lunt-Fontanne Theatre in Manhattan.
For the tenth installment of Phish’s Dinner and a Movie, Phish will stream full show video from their December 29, 2018 performance at MSG, and the second in the series from ‘The World’s Most Famous Arena.’
The show was the second night of Phish’s annual New Years Eve run, held at Madison Square Garden every year since 2010 (except 2014) and the 63rd time the Vermont group has played MSG.
Mike Gordon shares a Vegetable Shoyu Ramen recipe with fans, and the Afya Foundation will serve as the non-profit beneficiary for Tuesday’s stream. From their website, Afya Foundation states as their primary mission to improve global health by rescuing surplus medical supplies and delivering them to underserved health systems around the world. During the COVID-19 crisis, Afya has turned their focus and is delivering PPE to New York healthcare workers, with a special focus on healthcare systems supporting vulnerable populations.
To stream Dinner and a Movie, tune into Live Phish or the band’s Facebook page on Tuesday, May 26 at 830 pm ET for the free stream of the December 29, 2018 show at MSG. Read the NYS Music recap from the first night of the 2018 run here.
Set 1: Buried Alive, Blaze On, Turtle in the Clouds, The Sloth, 46 Days > Cities, Corinna, Ya Mar, Wolfman’s Brother
Set 2: Carini -> Tweezer > Death Don’t Hurt Very Long -> Tweezer > No Quarter > Also Sprach Zarathustra > First Tube
Encore: Shine a Light, Tweezer Reprise
Notes: Wolfman’s Brother contained Party Time quotes. Trey teased Can’t Always Listen in the first Tweezer. Tweezer Reprise contained a Death Don’t Hurt Very Long quote.
New York Jazz ensemble Onyx Collective have shared the official music video for their single “Where or When” off of their debut album Manhattan Special: Onyx Collective Plays Rodgers & Hart / Rodgers & Hammerstein. The song itself first appeared as part of Richard Rodgers and Lorenz Hart’s 1934 musical comedy, Babes in Arms. So, while it may be viewed as a cover, Onyx Collective have added their own twist, with a feature from singer and cellist, Kelsey Lu.
Directed by No School & 22 and edited by 22 Note, the video was shot in Paris, France and served as a love letter to the city. Filmed right before the global shutdown as a result of COVID-19, the video sees Lu take to the town in black-and-white video, as the city’s landmarks, transportation services and civilian life are presented to the audience. Yet, it doesn’t feel much like a tour but rather an attempt of capturing the city’s infamous beauty, with Lu’s eerie vocals serving as our guide.
Onyx Collective is a nebulous jazz ensemble, hailing from Manhattan, NY. The group is composed of saxophonist, Isaiah Barr, Austin Williamson (on drums) and are regularly joined by Joshua Benitez on keyboard, Jack Guliemetti on guitar, Felix Pastorius and Spencer Murphy on electric bass, and Dean Torrey and Walter Stinson on upright bass, along with a collection of musicians whom like the official band members all attended New York’s musical conservatory. More recently Onyx Collective toured as A$AP Rocky’s live band.
New York-based electro-pop duo, Palm Suede, is delighted to share their new single “ Fight or Flight” that premiered May 15. The song continues the two’s exploration of battling anxiety while dealing with everyday situations
Palm Suede renders the duos new single “Fight or Flight” balanced in vibrational techno-pop frequency lining a rapture of uptempo synth-balladry. The anthem unclenches the tightly knitted anxieties of windswept dispatches to find symphonic solace in the eye of the storm. The duo dares the frame that social distancing entails disconnection. In primal chemistry of intimacy, mindfulness, and allure the cadence breaks from expectation to fight gravity in every breath of Ellen Hodges’ aerial vocal register.
In the trial between two poles stretched across oceans, the sound transcends the current with an international claim. Crossing over Palm Suede splices lyrical expressions from geometric cadence to take flight in the indulgence of the song’s entrancing backbeat. The duo specially produced Fight or Flight to be able to seductively lure escapism in being centered in one’s own energy.
Helena Hallberg drops “Last Love” to pick us up from where we left off in NYC coffee shops crooning breakups in back alley poetics over bouquets of taunting stanzas. Somewhere between sober and sauced, the disobedient tempo paces folk to a spirited jazz gig in a backroom; challenging the distance between breakups and landslides.
If contemporary feminist acuity impaled the deck to lull and roar all together “I am not here to be your mother, I am not your teacher,” Hallberg’s “Last Love” is an ode to one’s own time. This time she cuts a mischievous long finger to self-realization in the full glory of independence.
Social distancing suddenly doesn’t feel so lonely but instead a sigh of relief for a party of one. If you’re looking for a tack you can play over and over to a thousand different mood sets, Hallberg will cover you in a blanket with the thought of wherever you are is exactly where you’re meant to be if you just own it. If only transistor radios weren’t extinct but mercifully Hallberg’s uptempo asserts itself with the same temporal defiance on Spotify as it might on vinyl.
In the meantime of Hallberg’s next music release, check out her weekly live streams and stay updated with her latest content via Facebook and Instagram.
The Empire State Building synced its lights to Billy Joel’s “Miami 2017” for a unique music-to-light show that served as the surprise finale to Robin Hood and iHeartRadio’s “Rise Up New York” virtual telethon on Friday, May 15, hosted by Tina Fey.
When New York hit PAUSE, that included all live performances on Broadway. Initially planned to shut down until April 12, then until June 7, the goalposts have shifted to Labor Day, September 6 as the earliest Broadway doors will reopen. However, an official return date has not yet been announced.
“While all Broadway shows would love to resume performances as soon as possible, we need to ensure the health and well-being of everyone who comes to the theatre—behind the curtain and in front of it—before shows can return,” said Charlotte St. Martin, president of the Broadway League. “Throughout this challenging time, we have been in close communication with Governor Cuomo’s office and are grateful for his support and leadership as we work together to bring back this vital part of New York City’s economy—and spirit.”
Last year, Broadway attracted a record 15 million people. Producers and labor unions are discussing ways theaters can reopen safely.
Actors’ Equity Association, which represents 51,000 actors and stage managers, called the postponment “difficult but necessary.”
“Before our members can safely return to work, we will need new protocols that protect audiences and workers alike,” said Mary McColl, executive director of the association.
Hours after the latest postponement came word that producers of the upcoming revival of Neil Simon’s “Plaza Suite” have pushed the production to next year. Matthew Broderick and Sarah Jessica Parker will now star in the revival starting in March 2021.
Other shows scheduled to open this spring have abandoned their plans, including “Hangmen” and a revival of Edward Albee’s “Who’s Afraid of Virginia Woolf?”
Additionally, the postponedTony Awards, initially planned for June 7, have not yet been rescheduled.
The New York Guitar Festival has added Grammy-winning guitarist Warren Haynes to the already packed line up for ‘Reverend Gary Davis: In Search of the Harlem Street Singer’. Slated to be a virtually accessible twelve song series, NYGF will release one video performance on their Youtube channel nightly at 4 PM EDT.
Listen to the full collection of audio recordings from Reverend Gary Davis: In Search of the Harlem Street Singer––as debuted yesterday on WNYC’s “New Sounds”––HERE.
While access is free, organizers are asking viewers that can, to make donations to MusiCares. Started by The Recording Academy’s MusicCares COVID-19 Relief Fund, their goal is to help the music communities affected by the Coronavirus pandemic. Listen below to Rosanne Cash & John Leventhal performing ‘Tryin To Get Home’
‘Reverend Gary Davis: In Search of the Harlem Street Singer’ Program Schedule
It seems like not even jail cells can keep Juelz Santana away from what has been his life’s true passion. On March 3, the veteran emcee released the 9thfull-length project of his career, #FREESANTANA. Santana – born LaRon Louis James – was arrested in March 2018 after he fled the scene when TSA found a gun in his bag at Newark Liberty International Airport in New Jersey. Seemingly counting down the days until his rumored summer 2020 release, the rapper’s Twitter page recently posted on behalf of the incarcerated artist, acknowledging the one year anniversary of his incarceration.
The surprisingly cohesive mixtape is packed with star power, featuring the likes of Lil Wayne, 2Chainz, Jeremih, A Boogie wit da Hoodie, Dipset cohort Jim Jones, and younger Harlem native Dave East, along with samples of Drake’s number 1 record, “God’s Plan.”
Juelz Santana uses the 36-minute project to touch on a myriad of topics. On records like “23 & 1,” “Do You Believe” and “In My Life,” he raps introspectively about past friendships and relationships, while reflecting on his incarceration. On “Pink Eagle” and “Ez Work,” he spends time reminding listeners that he’s a respected hustler, with plenty of street tales. The project’s outro record is a sample of Jay – Z’s classic record “Dead Presidents.” Titled “The Get Back,” with a feature from A Boogie wit da Hoodie, Santana reflects with a mixture of street tales, lessons and hope for his future post-release.
At just 23, singer, songwriter, and producer Chelsea Cutler has achieved more than most of us can dream of. Starting off by simply uploading covers from the comfort of her bedroom, Cutler has amassed over 750 million streams across platforms in just two years. Her relatable lyrics and catchy lo-fi beats have positioned her as a rising pop star. Her two sold-out gigs at Terminal 5 in New York City, however, have cemented her there.
Cutler is well-known for her dedicated fan base; her fans don’t just sing along. The crowd at Terminal 5 was no exception. They sang each word, to each song—so much so that Cutler held out her mic on numerous occasions to listen to her chorus.
In a moment of vulnerability, Chelsea Cutler addressed her hometown crowd. “I told my team that maybe we could do Terminal 5, but I didn’t think it would sell out. I was scared…but New York City…you sold this sh*t out in like 10 minutes!”
The audience erupted in cheers, and Cutler continued, “So we added a second show, and I was like we are definitely not selling this one out. And then you guys sold that one out even faster. I love you so much New York City!”
