We have entered the beginning weeks of October, and Halloween is coming very soon. In sight of this, Proctors and the Capital Repertory Theatre are presenting two haunted walking tours in Schenectady and Albany. theREP have partnered with the Original Albany Ghost Tour’s Maeve McEneny-Johnson for their outdoor “City Séance” ghost tour.
The walking ghost tour paints a mystifying lore of some important people in Albany’s history. Dates are scheduled for Oct. 14, 16, 21 and the 23 at 7 pm. There is an alternative date of October 28 at 7 pm, in case of any inclement weather.
Proctors will also close the month with a two-day interactive event. The event will take place on the October 23rd and October 24th. The event titled “F.F. Proctor & the Case of the Missing Deed,” leaves guests with the task of saving Proctors from rival greedy bank.
Per the site, “guests have the mission of saving Proctors from certain destruction by a greedy bank due to a missing deed that Mr. Proctor himself hid. Locked in the building, guests scour the dark corners and passageways of the historic venue in search of cyphers and clues left behind over 90 years ago. “
The tour is part escape room and part haunted tour and will allow guests to explore and experience areas of Proctors. Guests also have the chance to look for clues and solve puzzles on the interactive tour.
The event list the tours will run in 90-minute increments with scheduled tour times on October 23rd, at 6 and 8 pm, and October 24th, at 4, 6, and 8pm. Each tour will accommodate 10 people. Participants are also required to wear a mask due to CO-VID 19 regulations for both tours.
For more information regarding either event, visit the City Séance and the Proctors event sites for ticket prices, event information, and safety protocols. A great alternative for those who want to leave the house, but also desire a safe, fun, Halloween experience.
As Election Day looms closer, musicians and cultural workers across the country are taking part in Lift Every Vote 2020. A daily sunset series meant to inspire voters, LEV 2020 began on October 3 in New York’s Washington Square Park. Performers at the inaugural event included Carmen Rodgers, C. Anthony Bryant, and the Blacksmiths Band, with contributions from activist collective the Wide Awakes.
https://www.instagram.com/p/CF7dIrRJEuQ/
The idea for LEV 2020 came about after George Floyd’s murder, when The Blacksmiths and Wide Awakes organized peaceful rallies in New York City. Jazz musician and double bassist Russell Hall led a second line marching band, combining music and joy with activism.
Music has a magical way of bringing people together. We want this thing to really take off. We hope artists will take this challenge seriously, not only driving voter registration and turnout with the beauty of music, art and performance, but also energizing communities in all fifty states.
Russell Hall
Musicians, poets, dancers, and other artists are encouraged to share their sunset performances with the hashtag #lifteveryvote. The movement now has 80 ambassadors, including record producer Arthur Baker, actor Gina Belafonte, and visual artist Hank Willis Thomas. Besides the Wide Awakes, LEV 2020 is also partnering with Headcount, Black Rock Coalition, and Rock the Vote.
The name “Lift Every Vote” is a play on “Lift Every Voice and Sing,” the Black national anthem. Composed by brothers James Weldon Johnson and J. Rosamond Johnson, it was performed during week 1 of this year’s NFL season for the first time in the league’s 100-year history. Considering its message of hope, liberty, and progress, it’s a natural choice for encouraging democracy.
“With the pandemic crushing live entertainment and performing arts, one critical step in its resuscitation is using the power of music and art to ensure that we can get back on track in our society,” said Simon Rentner, LEV 2020 co-founder. “We hope this challenge will motivate all creators — from any genre, medium, or creative sphere — to safely amplify the importance of a functioning democracy, not just through the echo chambers of our social media.”
Aqueous announces their plans to perform at the Silver Lake Twin Drive-In. The drive-in is located in Perry, NY on October 24, 2020.
This will be Silver Lake Twin Drive-In third time to host Aqueous. The drive-In also hosted two nights of live Aqueous fun, from the safety of viewers cars, back in August. This socially distanced concert experience is becoming a normality across the United States due to the ongoing Covid-19 pandemic. The Silver Lake Twin Drive-In is located at 7037 Chapman Ave in Perry, NY. The Silver Lake Twin Drive-In produces weekend film features on two outdoor screens with a casual restaurant, mini-golf & more on-site.
The gates for the show will open at 5pm at the Silver Lake Twin Drive-In and Aqueous will be live in front of screen one at the drive-in from 6PM – 9PM. Tickets are going on sale at 10AM on October 9, 2020. The general admission for the show will be $125 for a four-person carload. The VIP tickets for the show will be $175 for a four-person carload. The VIP tickets include admission to show, parking spot in the first two rows, limited edition poster. Individual add-ons for cars over four people will be $40 per person for general admission and $60 per person for VIP ticket holders.
All the parking at the event will be designated by Drive-In Security. Management has final authority over where viewers may park. VIP parking will be in the first 2 rows of the Drive-In while general admission vehicle parking will be on a first-come-first-park basis behind the first 2 rows. To help with the obstruction of guests’ view, vans, trucks, and SUVs will be asked to park on one side of the snack bar or in the last three rows of the theater. To comply with social distancing guidelines, all vehicles must park at least 6 feet away from neighboring vehicles. Once parked, do not move your vehicle. If you choose to leave in your vehicle, you will not be permitted to re-enter the drive-in.
People will be allowed to sit outside their vehicles or in the back of a pickup truck as long as the patrons remain a minimum of 6 feet away from other guests. Face masks are not required unless you are in a public area within 6 feet of other guests. All guests must remain inside or near their vehicles at all times except for bathroom trips, to visit the snack bar or Charcoal Corral restaurant, walking your dog, or walking to a designated smoking area. All guests must wear face masks whenever they are in a public area within 6 feet of other guests until further notice.
For more information on Aqueous and their upcoming shows visit their website.
Harlem-native, Kyle Stockman, has suffered through an unexpected 2020 along with many fellow Americans. After receiving buzz on singles “Opal” and “Sunday,” the Shooting Star singer believed it was best to combine his passion and interests by majoring in music at Hudson Valley Community College.
The curriculum was not as progressive as Stockman had hoped. He already self-taught much of the course. Out of that, came Solace. A multi-instrumental laden record that serves as a chameleon amongst the genres. Containing elements of folk, pop, rock and R&B.
With the worldwide COVID-19 pandemic making classes virtual, he decided this was the time to abandon ship and focus on his latest. Stockman’s retreat to the studio ensued, trying out new beats and entering his sound.
“That’s what my music is geared for, I love the dark rawness of songs that bring out emotion.”
Kyle Stockman
In it, Stockman croons about a breakup. First, he tries to find closure in a relationship’s end, dejectedly singing, “you left the heart baby, but you took my soul. It’s clear you don’t care about the way things go.”
He goes on hashing out his feelings towards his significant other. He searches for “solace” in the solitude that comes with life after a breakup.
“I make music for people who could be going through a break up, or lost someone close to them, [anything] that’s hard to deal with that at the moment,” says the indie crooner. Stockman is having fun making records and puts his soul into his music.
His brand of Indie-pop R&B is drawn from the likes of Frank Ocean. “Frank Ocean is who I’m into the most right now. I love his album Blonde for its simplicity [and] the rawness the emotion it incites. For me, that project was a masterpiece. I know that it got a lot of mixed reviews at the time but, the more I listened, the more I got what he was trying to convey. I try to make my music the same way, so you can feel the emotion.”
The Grateful Dead‘s 1983 fall tour saw the band playing a slew of shows in the Northeast in October. After two shows at Madison Square Garden the week before, and two more at the Hartford Civic Center, the Dead made their way Upstate and paid a visit to Lake Placid and the Olympic Center.
Only a few years ago, this venue housed one of the greatest upsets in sports history thanks to the “Miracle On Ice” in the 1980 Winter Olympics. Now it was the Dead’s turn to leave their mark on the place. This would be the only show in Lake Placid the band would ever play. Fans dubbed the tour stop as the ‘Special Olympics for Jerry’s Kids at Lake Acid,’ and where the opportunity presented itself, covered up the ‘PL’ in ‘Placid’ at every sign to the journey to the Olympic Town for added effect.
Most Grateful Dead shows are known for fun first sets that set the mood before things “take off” in the second one. This may be one of the few shows that goes against that notion thanks to such a powerful opening set. Some early warm up tones of “Sugaree” can be heard before the band launches into the real things. Garcia leads the way with some blistering guitar licks with the rest of the band just trying to keep up. It results in a near 17-minute version that’s arguably one of the best jams of the night – rare for an opener.
This opening burst of energy reemerges in the “Little Red Rooster” that picks up soon afterwards. With sublime bluesy licks provided by Garcia on guitar, Bob Weir’s customary growling vocals and beautiful organ fills from Brent Mydland, this one is a true group effort. A steadily building jam that slowly grows in intensity makes this a memorable “Rooster” that stretches past the nine-minute mark.
Things then slow down a tad with the “Friend of the Devil” that comes next, played in its slower tempo. Afterwards, Weir reassumes vocal duties and leads the band through a standard run through of “My Brother Esau.”
But that frenetic energy displayed in the opening 1-2 punch doesn’t seem to reemerge until the jam that arises from “Bird Song.” With more intricate guitar work laid down by Garcia, this one takes after its namesake and soars. An appreciative crowd make their feelings well known at the end of this one.
There’s no let up in the rest of the set. Weir belts out the lyrics to a quick but powerful “Hell In A Bucket” that includes a brief “Mustang Sally” quote towards the end. At its conclusion, Garcia immediately drops the opening guitar lick to “Deal” and the band is off and running again. The high octane, extended jam that results from this one stretches this “Deal” well past the ten-minute make and serves as an appropriate closer to an absolutely fiery opening set.
While the second set may not offer up as much firepower as its predecessor, there are some memorable moments to be sure. “Touch of Grey,” a newer song at the time that would later propel the Dead to a new level of stardom, begins the set. Despite some brief feedback issues, it gets a nice hand from the crowd when all is said and done.
“Samson and Delilah” produces more high energy interplay between band members, with bassist Phil Lesh making his presence clearly felt on this one. Then comes a bust out of sorts in “To Lay Me Down,” the first one played in 82 shows. Though it shows little signs of rust as more poignant guitar work and delicate vocals from Garcia pepper this one throughout.
Despite some early fumbling of the lyrics in the “Terrapin Station” that comes later, the band makes up for it with a beautifully patient and well executed version. The heavily percussive outro jam then bleeds right into the beginning of the traditional “Drums” segment, like it has so many times.
After some heavy noodling from Garcia in “Space,” showcasing all sorts of guitar effects, “The Wheel” slowly emerges. The revved up Lake Placid crowd is audibly charged up for this one. Allegedly, crowd members in both the concourse and lower bowl linked arms and danced arm in arm around the arena during this one. What a sight that must have been.
The second set comes to a close with a couple of longtime covers that the Dead have perfected by now. “Goin’ Down The Road Feelin’ Bad” sees the crowd getting into it once more, vigorously clapping along in time. This is followed up by The Rascals’ “Good Lovin’,” giving Garcia one last chance to lay down some impressive guitar solos. And Bob Weir’s Pigepn-esque “rap” at the end sends the crowd into a frenzy.
One more cover choice ends this one. Perhaps in a nod to John Lennon’s birthday which is October 9th, the Dead trot out The Beatles’ “Revolution” for the encore. It almost sounds like a slower version of “Deal” at first. And with that, the band’s lone performance in Lake Placid was complete. This was no “Miracle” though, just another Grateful Dead show.
Grateful Dead Olympic Center – Lake Placid, NY 10/17/83
Set 1: Sugaree> Little Red Rooster, Friend Of The Devil, My Brother Esau, Bird Song, Hell In A Bucket> Deal Set 2: Touch Of Grey> Samson & Delilah, To Lay Me Down, Women Are Smarter, Terrapin Station> Drums> Space> The Wheel> I Need A Miracle> Goin’ Down The Road> Good Lovin’ Encore: Revolution
Jack White filled in as musical guest for the second episode of the 46th season of SNL, hosted by Bill Burr. Called in last minute to replace country singer Morgan Wallan, White and his power trio including Dominic Davis (bass), and Daru Jones (drums) first performed a medley of “Ball and Biscuit,” “Don’t Hurt Yourself” and “Jesus Is Coming Soon,” and “Lazaretto” off White’s second solo album later in the show.
This was the fourth time Jack White performed on Saturday Night Live, going back to 2002. The first performance began with the infectious riff of “Don’t Hurt Yourself” from White’s collaboration with Beyoncé, before transitioning into “Ball and Biscuit” from The White Stripes’ fourth album, Elephant, which also featured a nod to Blind Willie Johnson’s “Jesus Is Coming Soon.”
As noted by Benjy Eisen on Twitter, “Jesus is Coming Soon” has a COVID-19 tie-in, as the original song was written about the 1918 H1N1 influenza that killed over 50 million people worldwide, and includes the lines “It was an epidemic/It floated through the air.”
“Lazaretto,” the title track of White’s GRAMMY-winning sophomore solo album followed as the second performance of the evening. Bassist Davis wore a shirt that read PRINE, a nod to the late singer/songwriter John Prine, on what would have been his 80th birthday.
White gave a subtle nod to the late Eddie Van Halen during “Lazaretto,” using a model of guitar similar to Eddie Van Halen’s, but also playing a finger tapping solo mid-song, a signature move of Van Halen’s.
The White Stripes Greatest Hits arrives on December 4 on Third Man Records/Columbia Records.
From October 14-24, the Chautauqua Institution will be hosting the Jazz at Lincoln Center Orchestra (JLCO) septet with Wynton Marsalis for a ten day residency. The residency will focus on improvisation, blues, and swing.
The performances will take place at Elizabeth S. Lenna Hall and will be released to stream at a later date on the CHQ Assembly Video Platform. However, the concerts will also be available live through brunches and meals that CHQ is offering.
Additionally, Wynton Marsalis will present three live conversations at Chautauqua on the CHQ Assembly Virtual Porch. JLCO musicians and leaders will also teach a series of multiple courses on jazz classics and culture via the CHQ Assembly Classroom (dates and times below).
“This residency provides the opportunity for Jazz at Lincoln Center and Chautauqua Institution to deepen our relationship, which has always been about exploring important issues through art and conversation,” said Deborah Sunya Moore, vice president of performing and visual arts. “This residency will feature online performances, conversations, and classes offered for the Chautauqua Assembly community as well as communities across the globe with which JLCO has existing relationships.”
Watch past performances of Wynton Marsalis and Jazz at Lincoln Center Orchestra at Chautauqua here.
The Ever Fonky Lowdown composed by Wynton Marsalis Tuesday, October 20 • 10:30 a.m. EDT
Freedom Suite composed by Sonny Rollins Tuesday, October 20 • 1:30 p.m. EDT
Presidential Suite: Eight Variations on Freedom: Part 1 Wednesday, October 21 • 10:30 a.m. EDT
Presidential Suite: Eight Variations on Freedom: Part 2 Wednesday, October 21 • 1:30 p.m. EDT Charlie Parker Centennial: Freedom to Take Flight Thursday, October 22 • 10:30 a.m. EDT
Freedom Across the Pond: Jazz in the U.K. Thursday, October 22 • 1:30 p.m. EDT
We Insist! Max Roach’s Freedom Now Suite Friday, October 23 • 10:30 a.m. EDT
Freedom of Expression: Latin Jazz in New York City Friday, October 23 • 1:30 p.m. EDT
Phish guitarist and New York City resident Trey Anastasio kicked off his eight-week virtual residency at the Beacon Theater last night, delivering the kind of live music we’re all starving for right now. Appropriately named “The Beacon Jams,” this Friday night, and the next seven as well, will serve as a weekly musical oasis for a world currently deprived of massive live shows and indoor concerts. Broadcast by twitch.tv, Trey and friends delivered two-plus hours of music spanning the musician’s prolific career.
Tonight’s performance was essentially a stripped down version of the current Trey Anastasio Band configuration. Longtime stalwarts Tony Markellis and Russ Lawton manned the bass and drums, respectively. Cyro Baptista was behind the percussion kit, and delightfully present and high in the mix all night. And a spry Ray Paczkowski added his signature sound on keys for most of the night. Jeff Tanski, a friend, theatrical collaborator and fellow NYC resident, would also sit in on piano for a few songs.
One of the more interesting aspects of the show was that instead of a typical stage setup with the band facing the seats, the back of the stage was opened up entirely for the cameras and the band faced the opposite direction. With the majestic yet empty Beacon Theater as the backdrop, the night started off aptly with “Corona.” Making its first live appearance since a 4/27/18 Trey show in New Orleans, this set the tone nicely with a short but passionate outburst of a jam.
The “Blaze On” that followed carried things even further. Cyro and his wearable rub board gave it a nice percussive touch early. And the extended jam that ensued had everyone getting in on it courtesy of rotational solos before Trey put the finishing touches on it.
He had a noticeably fun time all night “breaking the fourth wall” after songs and mentioning/thanking the twitch chat room that was shown in front of him on a monitor. and mentions/thanks the chat room. After some playful banter, it was time for “I Never Left Home,” one of the many new Trey songs from his new Lonely Trip album that was recently produced and released while in quarantine. The echoe-y vocal effects and spellbinding dark and psychedelic jam that this evoked in its first live showing just oozes with Phish potential.
The ensuing “Soul Planet” featured another extended jam, this time fueled by Russ on drums. Trey then took a quick moment between songs to read some more chat room messages and also wish his Mom a happy birthday. Jeff Tanski then came out for “Shade” on piano with Ray moving over to the organ.
Photo: Angela Cranford/MSG Entertainment
“Dark and Down,” a classic TAB song then followed before the debut of another Lonely Trip song “A Wave of Hope.” The upbeat lyrics and positive sentiment noting “this too shall pass” carried right over into the next song, “If I Could See The World,” another new Lonely Trip number.
Things then shifted from inspirational to funky through the “Sand” that followed. With Ray heavy on the clav per usual. this one is given the full treatment with pulsating rhythm supplied by Russ and Tony and another passionate Trey solo on top of it all.
One of the true highlights of the evening was the “Stash” that immediately followed. This would be the only “old school” Phish song played tonight and it was anything but traditional. Trey was only accompanied by Jeff Tanski on piano and Cyro who added a mesmerizing percussive element simply by clapping along in various rhythms. This all served to create an acoustic “Stash” of sorts that is a must hear.
The Phish vibes were out once again in full force in the “Everything’s Right” that came later. Cyro began this one with what seemed to be percussive ping-pong paddles of some sort before a Russ shuffle beat steered the song into its familiar beginning.
Although he never left the stage, some true acoustic songs seemed to begin the unofficial “encore.” This included a tender rendition of “The Inlaw Josie Wales,” a song Phish hasn’t tackled in 20 years, although it does get some run through TAB. This also gave Trey a chance to talk about the rehabilitation house that proceeds from this residency are going towards, obviously a project near and dear to Trey’s heart.
“46 Days” saw the rest of the band then come out and finish things off in style. This marked the end of night one with another seven Friday nights of Beacon Jams lined up to follow. It’s fairly clear that each night will feature new guests, stories and interaction with Trey via twitch, and live music that’s good for the soul.
Trey Anastasio “Beacon Jams” Beacon Theater – New York, NY 10/9/20
Corona > Blaze On, I Never Left Home [1], Soul Planet, Shade [2], Dark and Down, A Wave of Hope[1], If I Could See The World[1] > Sand, Stash [3], When the Words Go Away [4], Everything’s Right > …And Flew Away[1], The Inlaw Josie Wales [5], Sunset Days [6], 46 Days
[1] Debut. [2] Jeff Tanski on piano. [3] Only Trey, Jeff Tanski on piano, and Cyro clapping. [4] Debut; Trey solo acoustic. [5] Only Trey on acoustic and Jeff Tanski on piano. [6] Trey solo acoustic.
Griselda emcees refuse to rest on their laurels. A week after the label’s visionary/founder Westside Gunn released what he announced would be his final album, his cousin — and arguably the label’s best rapper — announced his latest project and it is more star-studded than ever. Burden of Proof, the upcoming studio album from rapper Benny The Butcher will bookend what has been an increasingly productive year for the Buffalo-bred rap crew.
While the album’s existence was no surprise (Benny the Butcher had been teasing a project for weeks on his various social media outlets), the Shady records signee revealed a list of features as well as a release date. October 16th will see the release of the much-anticipated project, which is two weeks after Westside Gunn’s WHO MADE THE SUNSHINE and a month after Conway the Machine’s From King To A GOD.
With Griselda’s ever-growing popularity, we are starting to see more diverse features and song choices in each respective album. Known for their grungy street-tales, chorus and catchy melodies aren’t a part of the Griselda package, yet this list of features gives a hint that this latest project will see BTB try his hand at different song arrangements. Produced entirely by famed producer Hit-Boy (who also handled the entirety of the production on Nas’ latest album), Burden Of Proof will feature the likes of Lil Wayne, Big Sean, Rick Ross, Freddie Gibbs, West Coat emcee Dom Kennedy, popular up-and-coming R&B songstress Queen Najia, as well as his cousins and frequent collaborators, Conway the Machine and Westside Gunn. This is an important album in what seems to be a concentrated effort to solidify the Buffalo trio as the prominent emcees in not just their city, but the whole state of New York as a whole, a tittle that has never been held by anyone not from the five boroughs.
Each Sunday evening from 7-9pm you’ll find EQXposure on WEQX, featuring two hours of local music from up and coming artists. Tune into WEQX.com this Sunday night to hear music from Ciarra Fragale and many more!
WEQX has long been the preeminent independent station in the Capital Region of New York, broadcasting from Southern VT to an ever-expanding listening audience. NYS Music brings you a preview of artists to discover each week, just a taste of the talent waiting to be discovered by fans like you.
Ciarra Fragale – “Miss That” and “Too Good For You Baby”
Ciarra Fragale is an indie pop act born and raised in New York’s Hudson Valley. By blending the nostalgic traditions of songwriting with unique new-wave sensibilities, she creates a sound all her own. Ciarra spent years playing solo, until early last year when she joined forces with Kingston drummer Eli Marzano. Since then they have brought their dynamic set all across the Northeast, opening for renowned acts like Sammy Rae & the Friends. Ciarra relocated to North Adams, MA at the end of last year and just last weekend sold out two shows at Mass MoCA, her first shows since March.
After the release of my second LP, Call It What You Will, I found myself already collecting a bunch of new material. Last fall, I visited a friend of mine’s studio (Sleeper Cave Records) while I was passing through for a show and really fell in love with the space. I had been familiar with [Andy’s] engineering work, as a lot of my friends had recorded with him. After a few conversations, we went in to record “Too Good (For You, Baby)” and quickly realized that we weren’t just recording a single—we were making a record. We’ve been plugging away on it ever since. It feels really good to push the envelope. I just know so much more now than I did when I was making the previous records, both as an artist and as a producer. I’m really excited to share these new songs, most of which no one has never really heard. The climate is different now…usually you write a new song and you try it out at a few shows to gauge interest. Since that is not really an option right now, we’re just going for it on this record and it feels quite liberating. The collection of songs on this album feel like my most honest, which is why I decided to make the record self-titled. This new album is not necessarily a “quarantine record,” even though a lot of the songs were written during this tumultuous time. They are just a snapshot of where I am, right now.
EQXPosure will open the show 7pm Ciarra’s “Miss That” and later play “Too Good For You Baby” later in the 7 o’clock hour.
