Category: Manhattan

  • Wynton Marsalis seizes attention with ‘The Ever Fonky Lowdown’

    This past week Blue Engine Records released The Ever Fonky Lowdown, Wynton Marsalis’ latest extended composition, a groundbreaking, satirical look at democratic freedom, abuse of power, racism, and cultural corruption.

    The Ever Fonky Lowdown
    Photo by Luigi Beverelli. 2/17/20

    Some of jazz legend Mynton Marsalis’ best work of the last four decades has been influenced by socio-cultural and political issues. In 1985, his Black Codes (From the Underground) won a Grammy, in 1996, Blood on the Fields became the first jazz piece ever to win a Pultzier Prize, All Rise was performed by Symphonic Orchestras all across the world in 2002, and in 2007, From the Plantation to the Penitentiary was said to “[reveal] some important truth about this country with a lot of anger and heart.” It seems only fitting that now, during this historical time of national protest, Wynton Marsalis release a new work that reflects on these human rights issues.

    The Ever Fonky Lowdown directly addresses the racism, deception, and greed that clouds the country’s chances of human rights for all and pushes us further away from democracy. It was written in 2018 to combat human suffering and exploitation on the universal scale, but is now, in 2020, more topical than ever. The album’s narrator, “Mr. Game,” says it himself: “We are here tonight, but this is an international hustle. It has played out many times across time and space and is not specific to any language or race. It takes on different flavors according to people’s taste, but always ends up in the same old place.” These issues have been happening to countless all throughout history, and it is time to strip away the distractions to attack the injustice’s sources directly.

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

    The Orchestra singers act like a narrative Greek chorus and call upon several different forms of jazz, Gospel, American folk, swing, New Orleans funk, and more. The celebratory music is its own character and satirically expresses the joy with which humans hurt one another. The 53 track piece is both entertaining and thought provoking.

    “Usually I research and learn a lot of new material for longer pieces. For this one, I went with music and mythology that I have lived. From the music my father and great New Orleans drummer and composer James Black played in the 60’s, to the funk we played in the 70’s, to the modern jazz we have been blessed to play, teach and shape over these last decades, The Ever Fonky Lowdown is an antidote to the poisonous (and largely unquestioned) cultural mythology that continues to infect our general quality of life.”

    Wynton Marsalis
    The Ever Fonky Lowdown

    Marsalis wants the listener to question what is shown to him: the propaganda, media, and populism. He encourages all to look beyond what is shown to us and find our immediate reality and work to improve it. Essentially, The Ever Fonky Lowdown asks, ‘Where do we go from here?’ Marsalis answers:

    “There’s no real answer on the Left or the Right. The solution lies outside of the game. But, we have to rise above our position on the board to get a broader view…..and then decide individually, if we have the will to fight for a collectively better country (or world) populated with ‘others’. It boils down to the basic question of predation vs. symbiosis—do we want to help one another or exploit each other?”

    Wynton Marsalis

    The Ever Funky Lowdown is available now for streaming or purchasing, and a 2018 live performance is on Facebook.

  • Watch Live Jazz from NYC’s Cafe Bohemia

    Located in Manhattan’s West Village on Barrow Street, Cafe Bohemia originally opened in 1955 and is an historic landmark and jazz club. Frequented by music legends the likes of Miles Davis, Charles Mingus, Canonball Adderley and many others, the venue closed in 1960, and was revived at its original location in October 2019.

    One notable story about Cafe Bohemia comes from June 19, 1955, when Julian and Nat Adderley arrived in New York on a trip as Julian was to work on his Master’s Degree at New York University. That first night in the city the brothers went to the Café Bohemia to hear the Oscar Pettiford band, the house band at the time. The night would prove to be a turning point in Nat’s career.

    cafe bohemia

    Jerome Richardson, the group’s regular saxophonist was unavailable that evening due to a recording session. Pettiford asked Charlie Rouse – who was in the audience – if he would sit in, but Rouse did not have his saxophone with him. Pettiford then noticed another audience member, Adderley, who had a saxophone case with him and told Rouse to ask this unknown man if he could borrow his horn.

    Instead, Rouse asked “Cannonball” Adderley if he would like to sit in with the group. Reluctantly, the leader complied and allowed Adderley to play. Overnight Adderley rose to prominence on the New York jazz scene, and on June 21 he played his first official show at Cafe Bohemia. By October 1957, he was a member of the Miles Davis Sextet.

    cafe bohemia

    More recently, the late Eddy Davis (banjo), Conal Fowkes (bass, vocals), Jon-Erik Kellso (trumpet) and Evan Arntzen (tenor saxophone) performed “My Monday Date?,” by Earl Hines, on December 26, 2019. Video performances below are available thanks to Michael Steinman for his blog JAZZ LIVES.

    Watch Eddy Davis and friends – Jon-Erik Kellso (trumpet), Evan Arntzen (clarinet) and Conal Fowkes (string bass) – pay tribute to the great Jelly Roll Morton with “Good Old New York.”

    The Intimacy of the Blues,” is a haunting piece composed by Billy Strayhorn and an album of the same name for Duke Ellington. Performing at Cafe Bohemia on November 14, 2019, JAZZ LIVES shares video of this pre-Thanksgiving performance in Greenwich Village by Jon-Erik Kellso (trumpet), Evan Arntzen (clarinet), Neal Miner (string bass,) and Chris Flory (guitar). 

    On February 6, 2020, Mara Kaye was joined by friends and musical family Tim McNalley (guitar), Jon-Erik Kellso (trumpet) and Brian Nalepka (string bass). 

    Mara Kaye is joined this time for “Me and MY Chauffeur” by Tim McNalley, (guitar), Albanie Falletta (resonator guitar), Jon-Erik Kellso (trumpet) and Brian Nalepka (string bass). 

    From January 16, 2020, “A Shanty in Old Shanty Town” features Tal Ronen (string bass), Matt Munisteri (guitar), John Allred (trombone), and Jon-Erik Kellso (trumpet). “In a Shanty in Old Shanty Town,” written by Ira Schuster and Jack Little with lyrics by Joe Young, was published in 1932. Ted Lewis and His Band performed it in the film The Crooner in 1932. His version was later released as a single and it went to #1, where it remained for 10 weeks.

  • Boo Riley Shares New Music Video For Single “Boo Riley”

    Boo Riley, a Manhattan-based indie artist, has released a new music video for recent self-titled single “Boo Riley!” The video follows the band through the subway, Tompkins Square Park, and into a gig at Arlene’s Grocery. This rambling video tour of some of New York’s timeless places serves as a little reminder of what New Yorkers can look forward too once the lockdowns end.

    Boo Riley

    This fun yet complex track possesses the detectable influences of the group’s sound. Classic rock, 80’s pop, and indie all blend together for a lovely and uplifting tune.

    On the video, Austin Lesch of Boo Riley shares, “I was listening to Wilco’s ‘Wilco (The Song)’ and loved the lyric ‘this is aural arms open wide, a sonic shoulder for you to cry on.’ I wanted to write a song inspired by that line, but with Boo Riley’s perspective. The video is an extension of this. We wanted to visualize what we were trying to do sonically.”

    For more from Boo Riley follow on Instagram, Facebook, and Twitter.

  • Flashback: Megaforce Records Fifth Anniversary Show at The Ritz – August 10, 1988

    The Ritz in New York City played host to Megaforce Records fifth anniversary show on this day 32 years ago, August 10, 1988. The show featured S.O.D., Anthrax, Overkill, Testament, M.O.D., and King’s X.

    Megaforce Records, of course, was the great east-coast underground metal label from the gods.  Technically, Megaforce was a New Jersey label, not a New York label, but its founders, Johnny and Marsha Zazula, were New Yorkers, and later in the 80s when the label became associated with Atlantic Records, they became more New York-based.  Like the UK’s Neat Records which defined the northern British metal scene in 1980-83 or Minneapolis’ TWIN/TONE or Seattle’s SUB POP later in the 80s, Megaforce was the label that defined the East Coast, North American (and beyond) underground/thrash scene.

    In the early years, almost every release was flawless, you could buy the record based on the label alone: Metallica’s ‘Kill ‘Em All’ and ‘Ride The Lightning’, Raven’s ‘All For One’ and ‘Live At the Inferno’, Anthrax’s ‘Fistful of Metal’, Exciter’s ‘Violence & Force’, Overkill’s ‘Feel The Fire’, the great ‘From The Megavault’ compilation, and S.O.D.’s all-powerful ‘Speak English or Die’, just to name a few. Classic after classic after classic.

    Megaforce Records

    By 1988, when this gig happened, Megaforce had expanded well beyond the literal mom-and-pop operation that had organized gigs by bands like Anvil and Brooklyn’s Riot, brought Venom and Raven over from the UK for the first time, brought west-coasters Metallica out east and released the first Metallica records and first Raven records in the States. By now they were bigger-time, associated with major label Atlantic for most of their acts (except New Yorkers Anthrax, were on Megaforce-Island Records). I was doing a college radio show at WCDB up in Albany and we played piles of new and old Megaforce stuff and the Megaforce folks who serviced college radio were very cool gals. So this show – a Megaforce 5th Anniversary party with a bunch of bands – I had to go.

    I remember I drove down to NYC in whatever crappy old car I was driving in ’88, and met my buddy Steve K, a Brooklyn-ite who did the radio show in Albany with me but had a summer job in Manhattan. I think we got food and drinks at some place Steve knew that would serve underage kids like us, and then found a parking spot and went to the Ritz – and saw Scott Ian from Anthrax walk by with his guitar case. A good start.

    There were numerous bands – see the flyers attached. I think New York legend and KISS guitarist Ace Frehley, who’d just become a solo Megaforce act, was going to play but didn’t, which was fine with me. I love Ace, but it didn’t really fit in my mind what “Megaforce” was. The band all played short sets – either 3 or 5 songs, I think. I was hoping there’d be a surprise Metallica set or something, or maybe Raven or something, but it was not to be – the bands were as advertised, and S.O.D. was playing, which was unusual enough.

    Megaforce Records

    I don’t remember first band Prophet, but they were a bit more lightweight, commercial metal than the usual Mega-bands from what I recall about them, so we either missed or ignored them while getting beer. We managed to figure out how to get served, despite being underage – I’d just turned 20, Steve was younger – and blagged our way up to the balcony “V.I.P.” section. Beer was free up there, and you’d look around and see Danny Lilker from Nuclear Assault over here, Billy Milano from M.O.D./S.O.D. over there, Doug Pinnick from KING’s X walking by (I stopped him and told him how great their debut record was, he could not have been cooler), Rob “Wacko” Hunter who’d just left Raven at a table over there, and most memorably, Joey Ramone, hammered as the day is long, staggering by with a couple of punk rock chicks on each arm. I had to go over to Wacko and let him know I’d always considered Raven one of the great bands ever and he testily said “yeah … USED TO BE,” but was cool and shook my hand.

    Anyway, the bands. Recollections are dim and general, as the ale was flowing, but I remember being blown away by King’s X. This was my first time seeing them, heavy rock with melodic vocal harmonies everywhere, I loved that debut ‘Out of the Silent Planet’ record, and they didn’t even slightly fit on this bill. I recall them opening with “King” and closing with “Visions” and playing one other song. Fantastic band, and one I’ve loved since.

    West Coast thrashers Testament are a great live band, and I’d seen them play with Anthrax the summer before, but they sucked this night. I think they made it through not even two songs before having sound problems, having hissy fits onstage, knocking over their amps mid-song and stomping off. Lame.

    Megaforce Records

    M.O.D. played either before or after Testament (or maybe even after Overkill), were a big Megaforce push in the ’87-88 years, and were good, but I always thought they were a poor-man’s S.O.D. And the real thing was playing later.

    New Jersey thrash kings Overkill ruled, maybe the band of the night. I think they played a couple songs from the then-current ‘Under The Influence’ album, but they definitely played “Rotten To The Core” from the first record, and the place went off – I was down in the pit by then.

    Queens band Anthrax were a very big deal by 1988, so seeing them in a club already seemed unusual and special, even though they’d just graduated to the bigger halls less than a year before. They stuck mostly to the hits (“Indians”, “I’m The Man” I think), but I recall they played “Metal Thrashing Mad” from their debut Megaforce record, if I’m not mistaken, which brought down the house.

    And then: S.O.D. By now everyone in the house (including me), and the band probably too, were well into their cups. I remember Billy, Danny, Scott and Charlie walking on stage, starting with “March of the SOD” and the place exploded into a giant pit, bodies flying everywhere – S.O.D. had only ever played a handful of late ’85 shows when that record came out, and this was the first-ever show after the ‘Speak English or Die’ album had graduated to legendary status. It was like the crossover Beatles had reformed. “United Forces” had the whole place roaring. It went too quick and the gig was over.

    We made it back up to Albany alive somehow. I think I asked Steve to get us out of the city and I’d drive the rest of the way, passed out, and I dimly remember waking up and seeing him driving manically up I-87 with a giant cup of coffee, a Budgie mix-tape that was in my car cranked, and all the windows open. So I left him in charge and passed back out until we reached Albany – I think I had to work in the a.m. anyway. A mighty night. All hail Megaforce Records. 

  • Practice Share New Video for Snappy Single “Sleep in My Clothes”

    NYC-based dance-pop artist Michael Tapper has released the video for his debut single “Sleep In My Clothes” from his new project Practice. The song and video were both made pre-2020 madness, and yet the themes of isolation and self-quarantine root it (maybe too much) into current reality. 

    Practice Michael Tapper

    As an accomplished drummer and indie rock lifer (Tapper was previously the drummer of We Are ScientistsBishopAllenFool’s Gold and Yellow Ostrich), Tapper’s point of self-discovery that led to the creation of his album Not a Game took place in 2013, when he headed out on a 28-day sailing trip from Mexico to Hawaii with his brother-in-law. The album Not a Game represents an exciting new chapter in his career as well as the beginning of something else entirely — a fresh start, sonically and perspective-wise.

    The moniker of Practice itself was borne out of this constant, self-exploratory toil, along with a connection to the practice of meditation itself. NBA legend Allen Iverson’s infamous “practice” speech was another inspiration for the project’s name, and the speech itself is showcased over the rippling synths and hissing snares of album centerpiece “Practice.”

    Speaking about “Sleep In My Clothes” Tapper explains the song’s message on the struggles he’s encountered during this global pandemic:

    Like everyone, coronavirus has upended my life and consumed probably the majority of my waking energy for the past month or so. My wife is a doctor in Manhattan, so we started quarantining before most people (when she’s not at work), concerned that she might bring it home from the hospital and not wanting to spread it to our friends or neighborhood. Our fears were founded because we did get it early, but thankfully our symptoms were mild. During this quarantine time, I was able to finish up preparing this music video for release. As I showed it to a few people, one friend mentioned that it embodies things we’re feeling during this isolation period. As one friend put it: “the vibe of the “Sleep In My Clothes” video is how I feel on a bad day during this quarantine — crying my mascara off (if I even had the will to put any on).”

    The video starts very literally with me waking up in all of my clothes and walking out the door, which is the first verse of the song, but then takes it a step further by diving into a pool fully clothed. Later, the character experiences a sort of baptismal rebirth transformation, ending up completely naked, which is a literal reference to the lyrics but also a metaphor for honesty and vulnerability, which is what’s happening lyrically at the same time.

  • Sunday Jazz: The EarRegulars “Sessions at The Ear Inn”

    Manhattan’s historic The Ear Inn has played a pivotal role in the music scene and beyond. In fact it is the oldest bar in New York City that has continuously served alcohol since 1817.

    The Ear Inn has a very unique history after being open for two centuries. It dates back to a time where there was African aide to George Washington and The Ear served as residence for John Adams and Aaron Burr, among others. The Ear Inn was nicknamed by patrons as an untitled bar (“The Green Door”) for obvious reasons. As a result, the bar is listed on the National Registrar of Historic Buildings.

    ear inn

    Recently unearthed recordings courtest of Jazz Lives feature performances from a bevy of jazz musicians in NYC. Every Sunday night at The Ear Inn was typical – those who knew, knew what to expect – but “typical” was also remarkable. 

    Ear Inn
    The Ear Inn c. 1940 – photo by kathy barbieri

    We start back in October 2008, with a video featuring Howard Alden, alongside Jon-Erik Kellso, Danny Tobias, Harvey Tibbs, Evan Christopher, Dan Block, Sebastien Giradot, and Chuck Redd.

    “Moonglow,” featuring Tamar Korn (vocals), Dan Block (clarinet), and Harvey Tibbs (trombone).

    On June 7, 2009, the EarRegulars included Jon-Erik Kellso and Duke Heitger (trumpet), Matt Munisteri (guitar) and Neal Miner (string bass).

    June 7, 2009 features Duke Heitger (trumpet), Harvey Tibbs (trombone), Dan Block (clarinet), Matt Munisteri (guitar) and Neal Miner (string bass), who summon Louis Armonstrong with “Some of These Days.”

    Two weeks later, on June 21, 2009, featured Jon-Erik Kellso (trumpet) Harvey Tibbs (trombone), Matt Munisteri (guitar), Danny Tobias (cornet) and Jon Burr (string bass).

    On September 6, 2009, enjoy the sounds of Danny Tobias (cornet), Michael Hashim (alto saxophone), James Chirillo (guitar), and Frank Tate (string bass).

    The lineup of EarRegulars on November 8, 2009, featured Jon-Erik Kellso (trumpet), Matt Munisteri (guitar), Harry Allen (tenor saxophone), and Neal Miner (string bass).

    From the EarRegulars’ session on November 22, 2009, the groups includes Jon-Erik Kellso (trumpet), Scott Robinson (reeds), Matt Munisteri (guitar), and Pat O’Leary (string bass).

    From December 6, 2009, enjoy the sounds of Jon-Erik Kellso (trumpet), Harvey Tibbs (trombone), Matt Munisteri (guitar), and Nicki Parrott (string bass) performing “Blues My Naughty Sweety Gives to Me” and “Blues in My Heart.”

    From January 30, 2010, the EarRegulars were Jon-Erik Kellso (trumpet), Dan Block (reeds), Matt Munisteri (guitar), and Pat O’Leary (string bass, cello).  Here’s Billie Holiday’s “I Gotta Right to Sing the Blues.”

    From March 14, 2010, an Ear Inn session featuring Pete Martinez (clarinet), Harvey Tibbs (trombone), Matt Munisteri (guitar), Neal Miner (string bass), performing “I Cover the Waterfront,” appropriate given the rainy night and The Ear Inn’s location near the Hudson River, plus “Deed I Do” by Ruth Etting and “Jazz me Blues” by Tom Delaney.

    From March 21, 2010, the EarRegulars are Jon-Erik Kellso (trumpet), Matt Munisteri (guitar), Scott Robinson (bass sax), Pete Martinez (clarinet) and guest Julian Lage (guitar).

    On Easter Sunday, April 4, 2010, the lineup included Matt Munisteri (guitar), Pete Martinez (clarinet), Charlie Caranicas (trumpet), Pat O’Leary (string bass), and Andy Farber (tenor saxophone), who joins in for the closing number. 

    Later in April 2010, we are joined at The Ear Inn by Jon-Erik Kellso (trumpet), Matt Munisteri (guitar), Harvey Tibbs (trombone) and Jon Burr (string bass).

    Later on, a version of “Crazy Rhythm” by Roger Wolfe Kahn & his Orchestra (1928) featuring Matt Munisteri (guitar), Harry Allen (tenor saxophone), (John Allred (trombone) and Pat O’Leary (string bass).

    From April 18, 2010, enjoy Benny Goodman’s “Avalon” featuring Jon-Erik Kellso (trumpet), Matt Munisteri (electric guitar), Julian Lage (acoustic guitar), Harvey Tibbs (trombone) and Jon Burr (bass).

    Cornetist Marc Caparone joins the band for Ruby Braff’s “One Hour.”

    And finally, Caparone leads the EarRegulars on “Whispering” with Harvey Tibbs, Dan Block (clarinet), Matt Munisteri, Jon Burr, and Julian Lage.

    From April 25, 2010, the EarRegulars were Jon-Erik Kellso (trumpet), Harry Allen (tenor saxophone), Matt Munisteri (guitar) and Neal Miner (string bass). The opening song from a splendid session was a Chicago jazz classic with roots in Oliver and Bix, performed as a Basie stroll.

    You’ll also find Ben Webster’s line on “In a Mellotone,” “Did you call her Today?,” “I Got Rhythm” and “The Jeep is Jumpin’”

    From May 2, 2010, watch Jon-Erik Kellso (trumpet), Andy Farber (tenor saxophone), Matt Munisteri (guitar), and Danton Boller (string bass) played “The Man I Love” (sans Kellso), “Somebody Stole My Gal,” and “Beer Street Blues.”

    From May 9, 2010, aka “Mother’s Night,” where the core quartet is Matt Munisteri (guitar), Jon-Erik Kellso (trumpet), Pat O’Leary (string bass) and Jim Masters (trombone), enjoy “I Found a New Baby,” “It’s the Talk of the Town,” “Please Don’t Talk About me when I’m Gone,” and a closing “Lazy River.”

    Going back to May 16, 2010, the EarRegulars were Jon-Erik Kellso (trumpet), Pete Martinez (clarinet), Matt Munisteri (guitar), and Greg Cohen (string bass). Watch them perform “I Believe in Miracles,” I’m a Ding Dong Daddy from Dumas: Willie the Weeper,” “Mahogany Hall Stomp” and “I’m Confessin’”

    Skip ahead on week to May 23, 2010, and the weekly session included Jon-Erik Kellso (trumpet), Matt Munisteri (guitar), Neal Miner (bass), Scott Robinson (tenor sax and cornet), and guest Julian Lage (guitar). This collection of musician perform “Oh Sister, Ain’t That Hot?,” “On the Sunny Side of the Street,” “Wabash Blues,” and “Struttin’ With Some Barbecue.”

    From May 30, 2010, here are a few combos featuring Danny Tobias (cornet), Chuck Wilson (alto sax), James Chirillo (guitar), Murray Wall (bass) Dan Block (clarinet), Pat O’Leary (cello/bass), and Tony Steele (bass). Various incarnations of these gentlemen feature “Beale Street Blues,” “Ain’t Misbehavin’,” “Love Me or Leave Me,” and “China Boy.”

  • Flashback: Garth Brooks Holds the Largest Concert in Central Park history on this day in 1997

    It’s been 23 years since Garth Brooks rocked the Big Apple with a powerful concert dubbed “Garthstock” in Central Park, and people are still talking about it.

    Garth Brooks Central Park
    An estimated 980,000 people attended the 1997 Garth Brooks concert.

    On August 7, 1997, Brooks decided to perform on the grounds that so many acclaimed musicians had as well. Among the stars to play there were Diana Ross, Elton John and Paul Simon, to name a few. Could Brooks pull off the same notoriety as the past shows?

    Brooks tweets about the 20 year anniversary of the Central Park Concert.

    The pop-country musician started making headlines in the late 1980s, so by 1997, the crowd for his show was expected to reach thousands. Brooks won Country Music Award ‘Entertainer of the Year’ seven times, a first for any artist.

    The significance of this concert came from admittance being free and was broadcast live on HBO. He also had a couple famous special guests by the name of Billy Joel and Don McLean.

    The largest concert held in Central Park.

    The New York City Fire Department said that 980,000 people attended the concert, making it the biggest concert ever. Although there’s debate to whether that number was true, the crowd’s size surpassed all of the past artists.

    https://youtu.be/_ACGXBcA2XI?list=PL4nHA4cnNtyjU2VKrHMIoNt2R4URgrQjt

    On the 20 year anniversary of the Central Park concert, Garth Brooks sat down with ET.

    “I never seen so many people in my life. Try to remember, in my hometown, when I grew up, [there were] probably 17,000 people. So, to look out and see 40 times your hometown out there, it’s like — it was crazy. It was so beautiful.”

    Garth Brooks
  • The Dead Peak at the Beacon For The Last Time: June 15, 1976

    Shortly before the country would celebrate its Bicentennial in 1976, the Grateful Dead would play a show at the Beacon Theatre. This is the second and last time the band would play this New York City venue before upgrading to the larger confines of Madison Square Garden a few years later. They had recently ditched their fabled massive Wall of Sound PA system for a more stripped down and intimate stage setup, opting to let the music speak for itself rather than overpowering the audience. A string of East Coast shows in June of this year would see the band in pristine form as they dusted off some of their classic songs and began to introduce new ones, ushering in a new era of The Grateful Dead.

    The first set starts off in electric fashion thanks a crisp vocal section led by guitarist Bob Weir that helps fuel a cover of “Promised Land” that would make Chuck Berry glow. A slow, drippy “Sugaree” follows that allows fellow guitarist Jerry Garcia a chance to stretch out his vocal chords a bit before a rip roaring “Cassidy” sets the tone for the first set, thanks to accompanying vocal support from Bob Weir and Donna Jean Godchaux.

    Dead Beacon

    An audible first set highlight, based on the crowd reaction alone, is a sultry “Candyman” that places the lyrical craftsmanship of Robert Hunter and the complimentary guitar play from Garcia front and center. Soon after, the ravenous New York City crowd gets a little taste of Grateful Dead shows of old show thanks to a stirring rendition of “It Must Have Been the Roses,” a song the band played extensively in 1974 and a staple of Jerry Garcia Band shows for years to come.

    The first set of this show ends with an impressive sequence of a “Let It Grow” that stretches out all the way to a “Drums”-esque type jam before settling into a set closing “Might As Well.” Even though this tune was also played the night before, it still marked only the sixth time this Dead tune was played live, one they would continue to showcase for another eighteen years,

    Dead Beacon
    Grateful Dead, June 1976

    The band wastes no time in opening the second set with a “Saint Stephen” that immediately explores the given space and stretches into a formidable jam. However, instead of a “William Tell Bridge,” the rhythmic partners of Bill Kreutzmann and Mickey Hart begin the percussive intro of “Not Fade Away,” a Buddy Holly cover that, by now, The Grateful Dead seem to have appropriated as their own.

    Contrary to most Dead shows, the ensuing Beacon “Drums” section gets ripcorded almost instantly in favor of an incredibly emotional “Stella Blue” that’s spearheaded by poignant Garcia-sung lyrics. This particular version is marked by a beautifully patient progression from all parties and is definitely one of the show’s highlights. Garcia’s hauntingly slow delivery of the vocals, matched perfectly by the rest of the band, gives this version a rather emotional feel to it. Take a listen to the entire segment from “Saint Stephen” to “Stella Blue” below – worth the price of admission alone.

    “Samson and Delilah,” a song that made its live debut only weeks earlier in the beginning of the tour, shows off its future potential nicely with a shortlived jam that picks the energy back up before a leisurely “Friend of the Devil” brings things to a crawl again. A manic “Dancin’ in the Streets” then follows as the band seems to delight in varying up the tempo of this second set. The telepathic interplay between Garcia and bassist Phil Lesh is on prime display here.

    Perhaps what makes this show so special is the superb sound quality, thanks to soundboard recordings captured by the band’s longtime live recording engineer Betty Cantor-Jackson. For years, this and the other June ’76 shows were some of the most revered recordings in the tape trading community. Picking up on that, these recordings have since been further polished and remastered and are now available for purchase as part of a 15-disc box set that highlights this special era of Grateful Dead music. It features this and four of the other shows surrounding this one. With production limited to only 12,000 individually numbered copies and a slew of crisp recordings from this seminal era of the band’s history, it’s sure to be a “sound” investment for any fan.

    Grateful Dead Beacon Theatre – New York City, NY

    Set 1: Promised Land, Sugaree, Cassidy, Candyman, The Music Never Stopped, It Must Have Been The Roses, Looks Like Rain, Tennessee Jed, Let It Grow -> Might As Well

    Set 2: Saint Stephen->Not Fade Away->Drums->Stella Blue, Samson & Delilah, Friend Of The Devil, Dancin’ In The Streets->The Wheel->Sugar Magnolia->Scarlet Begonias->Sunshine Daydream

    E: Johnny B. Goode

    Dead Beacon
  • Hudson River Park’s Virtual Summer of Fun is Underway

    NYC’s Hudson River Park is bringing the fun into our homes. Ideal for the bored quarantiner, their Virtual Summer of Fun program offers weekly concerts, fitness classes, STEM lectures, and children’s events. Streaming for free on Facebook Live, there’s something of interest for every age and music taste.

    Hudson River Park
    Hudson River Park

    Hudson River Park’s concert series, Sunset on the Hudson, streams every Thursday at 7:30 p.m. It launched on July 9 with The Big Takeover, a seven-piece reggae band from the Hudson Valley, and is continuing weekly until September 3. On August 27, twin DJs Coco & Breezy are taking the stage. Also known for designing luxury eyewear, their pieces have been worn by the likes of Prince and Lady Gaga. All Sunset on the Hudson performers are local, and the full list reflects a variety of genres and backgrounds.

    “While the world has changed, Hudson River Park remains committed to bringing the joy and excitement of summer to old and new friends from New York City and beyond” said Madelyn Wils, CEO and President of Hudson River Park Trust. “Summer of Fun programs offer more than just education and enjoyment – they provide our community with a way to connect with the Park, their favorite local talent, and each other.”

    Besides the main concert series, the Summer of Fun is also hosting Sunset Salsa on Tuesday nights at 7:30 p.m. Led by Talia Castro-Pozo, who appeared on The Today Show, each event begins with instruction and leads into an hour featuring world class dancers and DJs. And for the jazz-inclined, Annette A. Aguilar is performing with her band StringBeans on Thursday, September 10. Aguilar has previously played percussion for Stevie Wonder and The Grateful Dead.

    The Park’s Hudson RiverKids program runs until the end of August. At 4:00 p.m. every Mondays, a new weekly guest leads a singalong, magic show, or story hour.

    Check out this stream and more through our series NY Stream and Support, where you’ll discover artists around the Empire State streaming nightly, and ways to support musicians and charitable groups close to home!

  • Broadway Buskers Concert Series Returns Virtually

    The Times Square Alliance’s annual Broadway Buskers concert series will pick up again virtually this year starting on July 21 and stream every Tuesday at 7pm until October 27. 

    broadway buskers

    Since its start in 2018, Broadway Buskers has brought Broadway actors and composers’ original work to NYC by hosting live performances in Times Square times so that audience members and Broadway workers could watch before heading to a show. While in-person concerts are out, theatre fans can still watch these weekly concerts to experience the talent the Broadway community has to offer. 

    Tons of familiar faces will be featured over the coming weeks: Rachel Potter (The Addams Family, Evita, Wicked) and Heath Saunders (The Great CometAlice By HeartJesus Christ Superstar Live in Concert) on July 21, Melissa Li & Kit Yan (InterstateMISS STEPCancelled) and Ben Wexler (Washington Square, 2019 Jonathan Larson Grant Winner) on July 28, Lauren Elder (Mary and Max, HairSide Show) and James Harkness (Ain’t Too ProudBeautifulChicago) on August 4, Joey Contreras (Love Me, Love Me NotBreak from the LineJoyride) and Tamika Lawrence (Caroline, or Change, If/ThenCome From Away) on August 11, and additional performers to be announced. The concerts will be streamed every Tuesday at 7PM until October 27. 

    Ben Cameron returns as the curator and host, and for the second year, the Musical Theatre Factory (MTF) co-curates with queer, trans, and BIPOC artists from the MTF community. While the concerts are free, viewers are encouraged to donate to Broadway Cares/Equity Fights AIDS’ COVID-19 Emergency Assistance Fund and the Broadway Advocacy Coalition

    Watch the Broadway Buskers concerts on Tuesdays at 7PM from July 21-October 27 at TSQ.org/BroadwayBuskers or on Facebook.

    Broadway Buskers

    Tune in on August 4th at 7pm ET for Lauren Elder (Mary and Max, HairSide Show) James Harkness (Ain’t Too ProudBeautifulChicago) and Nathan Salstone (Harry Potter and the Cursed Child OBC)

    and on August 11th at 7pm ET for Joey Contreras (Love Me, Love Me NotBreak from the LineJoyride), and Tamika Lawrence (Caroline, or Change, If/ThenCome From Away).

    The August 18th performance will feature a Next to Normal  mini-reunion with performances from both Alice Ripley and J. Robert Spencer.

    Looking ahead to September, Adam Pascal, Zoey’s Extraordinary Playlist‘s Alice Lee, and more, will take the virtual stage in September.

    Broadway Buskers continues Tuesday evenings at 7pm ET through October 27 at Additional performers will be announced at a later date.

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