Category: Interviews

Rita Ryan of WVKR Marks 300th Episode of LocalMotion

Ever since übermanager Albert Grossman and his top client Bob Dylan moved up to Woodstock in the Sixties, the Hudson Valley has been a hot bed of popular music-making. It’s been the longtime residence of many of the best-known names in rock, folk and jazz and the site of a multitude of legendary recording studios where they waxed their classic albums. It’s also been home to an ever-changing array of clubs and tiny bars where the stars who call the area home can be found sharing their world class talent with intimate audiences.

Since 2015, Rita Ryan has been passionately profiling this ever-evolving scene on LocalMotion, a weekly two-hour, free-form broadcast on Vassar’s non-commercial radio station, WVKR, 91.3 FM.

Unlike some area shows that claim to be dedicated to “homegrown” talent (but are too often peppered with musicians from Austin, Nashville, Brooklyn and more in my listening!), Rita has kept her focus 100% local.

The second hour of her weekly Wednesday broadcast traditionally features interviews with many of extraordinary music-makers who call the Hudson Valley their home. Her guests have included Lovin’ Spoonful songsmith John Sebastian, jazz great Jack DeJohnette, dobro master Cindy Cashdollar, roots music maven Amy Helm, bass masters Tony Levin (King Crimson, Peter Gabriel) and Gail Ann Dorsey (David Bowie) and Stevie Wonder producer/electronic music pioneer the late Malcolm Cecil, to name just a few. Rita also interviews stars who swing through so frequently for performances that they seem like locals, like the six-time interviewed Jefferson Airplane/Hot Tuna guitarist Jorma Kaukonen.

Ryan has also explored the local scene in interviews with club owners like Neil Howard of Colony Woodstock, Lizzie Vann of The Bearsville Theater and the late Tony Falco of Live at the Falcon. She’s also talked with music producers/recording engineers like Jerry Marotta of Dreamland Studios, David Baron (The Lumineers, Lenny Kravitz) and Scott Petito (The Band, The Fugs, Mercury Rev). And every week, she clues her audience in on the best live music coming to area venues, shows that she will often be frequenting herself.

The first hour of LocalMotion is dedicated to spinning a truly diverse selection of new sounds from local musicians. Her playlist spans rock, blues, folk, Americana, rockabilly, jazz and even the occasional electronic and experimental offering.

Earlier this month, Rita celebrated her 300^th episode with a return interview with her first guests, Larry Campbell and his partner Teresa Williams. Here is a look at the past and what’s ahead for Rita and LocalMotion.

Sal Cataldi: To begin, what is your connection to the Hudson Valley?

Rita Ryan: I consider myself a native to the area. I moved to Tivoli in Dutchess County in 1972 while in elementary school. I was born in Long Island and then my family moved to Germany, where I went to school through 2^nd grade. My mom was from Germany as are most of my entire family, and for the exception of one cousin, they all still live there.

My interest in music started with my mother. There was always music on in the house. She listened to classical and German music and I remember Engelbert Humperdinck, Frank Sinatra, Glen Campbell and others being played on either albums or cassettes. As a young teenager, I would spend my weekly allowance by going to Caldor in Kingston on a Friday night to buy vinyl or a book. The first album I bought was Tapestry by Carole King.

SC: How did you connect with WVKR?

RR: I began working at a commercial radio station in 2010 doing advertising sales. I had no intention or ever thought of being on air. At one point, the station where I was working was holding a contest. We planned on doing a one-hour live broadcast at a remote store location to announce the winner. No DJ was available to go do the broadcast, so the owner of the station suggested I go do this live remote! I laughed at him saying, other than voicing commercials, I have never been on air! He told me to go try it anyway, So I did. My client, the store where the live broadcast was to be at, also encouraged me. So, there I was (laughs). My first broadcast was a live one, for one hour. I immediately felt very comfortable being on air. It just felt natural. Of course, I was nervous at first, but not for more than a few minutes. It really was easy and fun!

Not long after, the station where I was working offered me a show, while I also held down my sales job. I took them up on the offer and was able to pre-record my shows. For a while, I was the weeknight evening show host. Soon, that became too much for me with my regular job so I hosted a show on Saturday afternoons. I did this for several years before I left that job.

When I left, I knew I was going to miss hosting a radio show. A few months into a new job, an acquaintance called me and said he missed hearing me on air. He asked if I ever heard of WVKR and that I should try contacting them. I thought about it for a few days and decided to make the call – I mean I had nothing to lose, right? I called WVKR in June 2015 and the General Manager called me back immediately. I had given him my background and my idea of starting a show focused on music in the area, the local scene. I wanted to start hosting interviews with musicians that live here and those coming to the area to perform in our venues. They said they were actually looking for someone to host such as show, so the rest is history (laughs).

SC: What is the format of LocalMotion and how has it changed over the years?

RR: The greatest aspect of WVKR is that it’s a college radio station, at Vassar College, so it’s completely free-form, like in the good old days. It’s run by a Student Executive Board that has help from Vassar’s staff. It’s a non-commercial station. No advertising. So, all DJ’s format their own shows to their liking.

At first, in 2015, it began as a one-hour show. It pretty quickly moved into a weekly two-hour block, Wednesdays, from 4 – 6 pm. The format really hasn’t changed since the show began.

I always spend one of the hours hosting an interview and the second hour promoting musicians who will be playing in the area and new releases from local musicians. I also host a segment called “Musical Happenings” where I give info from venues as to who will be playing there. I’m a huge supporter of the local live music scene. I typically go out at least once per week to enjoy live music, if not more.

SC: Unlike some radio shows in the Hudson Valley that claim to be local, yours truly is, 100% in my opinion. It seems to be all about musicians who live in their area or the big names who pass through regularly, like Jorma Kaukonen, who almost seem like locals. Is it a hard to promise to always deliver a full slate of local music?

RR: It’s not hard at all to keep my show truly local because we have such an incredible and diverse scene of music in the area. There’s always someone coming to perform at an area venue to interview and many of those live right in the area. I do interview national and internationally renowned musicians but only because/when they perform in our area. There’s never a shortage. I typically book my guests 6 to 8 weeks in advance!

SC: So, what are some of your favorite venues in the area, old and new?

RR: I don’t think it would be fair of me to say what my favorite area venues are as there are so many! I say to people, go support music at all local venues and see which you like best and keep going to support the music!

SC: How has the Hudson Valley music scene evolved over the years and where is it headed?

RR: Well, it’s definitely evolved over the decades and, I believe, we’re in a time now when it is truly exploding in the area. For example, look at Woodstock. The newly renovated and restored Bearsville Theatre is back in full swing, Levon Helm Studios (home of the legendary Midnight Ramble shows), The Colony (also renovated and restored), Station Bar, Pearl Moon and the Woodstock Playhouse are all top-notch live music spots. We’re also in an area where there are world class recording studios which brings many musicians here from all around the globe.

I believe the music and arts scene will continue to grow in this area. We are incredibly lucky to live not just in a visually beautiful area, but also an area filled with culture of every stripe.

SC: Now that you’ve celebrated your 300^th show, can you let us know who some of your favorite guests has been?

RR: This is another question that’s difficult to answer about favorite guests because there are really too many to say. I typically respond to that question by saying it’s the last guest I had on the show (laughs)!

Since 2015, I’ve hosted over 290 interviews as most every episode has a guest. I was most nervous for my first ever interview. I remember it like it was yesterday. I began the show in July 2015. I remember when I first conceptualized the show and sharing my idea with Larry Campbell at shows when I’d see him perform. He would say to me: “Rita, when you get that show, let me know. I’ll be happy to be your first guest.” Well, I got the show and Larry held true to his word. My first guests on LocalMotion on 91.3 WVKR were Larry Campbell and Teresa Williams. I prepared for over 5 hours for my first interview. I was so nervous but it went so well.

Since LocalMotion airs live, so I don’t have the luxury of edits. The next time I saw Larry in person after our interview, he told me it was one of the best radio interviews he’s ever done in his career. That to me was the highest honor I could be given.

I haven’t been too nervous interviewing since my first show. I get excited with anticipation for each and every guest. I do lots of “homework” to prepare for my interviews and I absolutely have the time of my life doing them.

SC: As a listener, I know you give every genre of music a spin, from folk and Americana through to jazz and experimental. So, do you have any personal favorites on the new local talent front?

RR: I dislike giving out my favorites, just like I don’t do a “Top 10” end of year album release list any longer. I mean, after all, who am I to say! My favorites are just that, my favorites. Doesn’t mean anyone else would agree. I do play music I’m not particularly fond of, that isn’t really to my taste sometimes, because I only think it’s fair to promote all worthy musicians in the area.

SC: Anyone who follows you on social media knows, your daughter is quite a serious musician. Tell us a little about her?

RR: Well, here I could go on and on! My daughter Caroline recently turned 21. I began introducing her to the arts when she was maybe 4 years old. Her first live theatre event was The Nutcracker at Bardavon Theatre in Poughkeepsie. We would go annually while she was young. Shortly thereafter, I took her to NYC and we began seeing Broadway shows.

She began playing violin in 4^th grade. We rented her a violin because we weren’t sure how long she’d stick with the instrument. She stayed with it for one year then began playing cello. But she didn’t like playing the cello as much as the violin, so she went back to her violin. We gave her private lessons immediately and she just loved her teacher. We also learned of an organization in Dutchess County called “Stringendo.” It was an orchestra school for students from 1^st through 12^th grade that met each Saturday during the school year. You had to audition to get in. There were numerous levels in the school and Caroline began in “Prelude.” She stayed in that school for 8 years throughout high school. This school was invaluable to her. She would not be the musician she is today without having those years in that school. Also, her private lesson violin teacher, Kate Rymph, who taught her first lesson until she graduated high school was instrumental in transforming Caroline into the musician she is today.

She will be graduating Ithaca College in December 2022 with a degree in Music Performance, a degree in Economics and a minor in Art History. She recently performed her Senior Recital and it was inspiring to see how far she’s come as a violinist. I could not possibly be prouder of my daughter. Not because of her talent as a musician, but because of the woman she’s become. I’m an incredibly lucky woman to be her mom. It’s the honor of my lifetime.

SC: Any local musicians you still want to interview but haven’t?

RR: Funny you should ask that! It just recently happened that I did interview two musicians who I’ve been wanting to interview the past 6 years! I had the great honor of interviewing John Sebastian and Jack DeJohnette. They had both been on my list and what an honor for me to have had the opportunity to talk with both of them. Both American icons.

I’m looking forward to continuing LocalMotion. It’s a lot of work but when you’re passionate about something it’s worth it. It’s a true honor to be hosting this weekly show. I look forward to seeing the show grow further and keeping up with all the incredible new music that’s coming out. Please support live music – especially local live music!

SC: How can people listen to LocalMotion?

RR: Several ways! The old-fashioned way if you’re in the area on the radio dial at 91.3 FM, also online at wvkr.org or on the app TuneInRadio under WVKR. I also record and upload each interview on my YouTube channel. Please consider subscribing to the channel at “LocalMotion on 91.3 WVKR hosted by Rita Ryan.” All interviews are also uploaded as a podcast which you can listen to on several streaming platforms such as Spotify, Apple Music, etc. You can even keep track on my Facebook page which features links to interviews, videos I shoot at local concerts and more.

December 21, 2021
Lil Cease performs at Alien Opera House, Reflects on the Moment

The Alien Opera House hosted a Sunday farmer’s market with live music throughout the day on Sunday, December 12. The holiday festive green Sunday on the north side featured performances by Lil Cease, Ryan Mackie, Ebb n Flow with Mozay Calloway, Joe Driscoll, and DJ R Hop. Sound beats by Scott Gagnon.

The Sunday matinee headliner was the Frank White Experience with special guest Lil’ Cease of the original Bad Boy Record label. The ensemble consisting of Deyquan Bowens, Thomas Carter, Danielle Mitchell, Jay Lock, Emanuel Washington and Skribe Da God laid down a live studio session vibe to the music of Notorious B.I.G. Skunk City’s Emmanuel Washington held down the neo-soul beats on drums for the holiday event. He even had Byron Cage carry the groove on the kit for the encore.

Lil Cease has been in the studio for countless legendary sessions with Brooklyn artist Notorious B.I.G. He took some time before his set at The Alien Opera House to speak with NYS Music about the surroundings:

Matthew Romano: There’s a lot of artists here today all inspired by having you in the building on this 12 21 Sunday. Do you remember a specific session that just came out of nowhere to form something significant?

Lil Cease: Yea that happened to me while working with producer Harry Fraud and French Montana. It was the first time I started recording records on the spot. I would write my rhymes right there and they’d have the music ready to go. We cut a track in two hours tops. You got to take advantage of the moment, ya know? If I went home and messed with it I’d try to refurbish it and wouldn’t be the same. I did my best records like that. Sometimes you gotta take the energy of something around you and run with it. BIG used to do that with songs all the time, he would listen to people and conversations around him and bring it to the booth. We’d be in the studio smoking and he would just go record on the spot… Plans to leave, throw the keys to Little Cease (uh-huh) Pull the truck up front, and roll up the next blunt. It’s like yo we just did that… (laughter)

Writing about your surroundings is really powerful.
Lil Cease

MR: What kind of funk music is an influence on you?

LC: I mean I listen to a bunch of stuff. Is Earth Wind and Fire considered funk? I mean it’s all just music. I listen to music. Once I started learning to DJ I realized how music works. You want to say every rapper is a jazz artist? I have sampled jazz music before. It’s just beats that play, they run, Like Rain Dance.. that’s Crush on You! I didn’t know we sampled other people’s music, I was fifteen years old just thinking the producer made the beat. After I heard the original I said damn we should have left the horns in it.

Photo by Ryan Mackie

Lil Cease joined the experience on the spot for a live “Crush on You” at the Opera house in 12 21. The Frank White Experience also brought “Machine Gun Funk” and “Dead Wrong” among many other B.I.G record classics to the masses. Deep Cuts like “One More Chance” and “Sky is the Limit” really hit hard in the Sunday crowd. Whatever art you dabble in you can guarantee to have a meeting of the minds at this space on Syracuse’s north side. You never know what what will happen in the Alien opera house world. Stay Tuned.

We Love Ya”ll Syracuse. The Vibe here is great. RIP B.I.G. Life is short, lets try and bring some peace in this world. Love and appreciate Ya’ll
Lil Cease

https://www.youtube.com/watch?v=-gIn9InatFY

Photo Gallery by Ryan Mackie

December 17, 2021
G Love Talks Empire State Memories ahead of Bringing the Juice to New York in 2022

G Love has been running the roads since his first American tour in 1994. He’s ready to return in 2022 with his band The Juice, starting in January, as part of a national tour. G Love & The Juice album been nominated for his first Grammy nomination for Best Contemporary Blues Album as well. Throw in a live from home Christmas special to end this year to celebrate the holidays proper before heading back on tour.

G Love is also an active artist. At his December 2017 annual trip to Art Basel in Miami he came to be involved with the community’s first NFT. G love is releasing Juice Gang the first series of 10,000 unique pieces regenerative NFT. They are all based on the animations by artist Andre Solar. He did all the animated videos for the Grammy nominated album. I saw G Love perform at Blackbird Ordinary that year in Miami. In true holiday spirit, he took some time to talk about his past, present, and future music with NYS Music this December.

Matthew Romano: I was watching your Instagram live to get filled in on the announcements of the various projects you have coming up. I like how you did it while driving To the Beacon Theater for the Midnight Rider Gregg Allman’s birthday show. It reminded me of Summer 2006 when you killed harp and a freestyle live with Dave Matthews Band in Pittsburgh for Smooth Rider

G Love: (laughter) Dave’s probably the sweetest, humblest, most welcoming guy. That be being said I always say stupid shit to him. The first thing was during the 1994 horde tour in the catering line in Orchard Beach, Maine. I was a little shy then. This guy came up to me and said, “Your G love, I love your record.” I said thanks. He said I’m Dave Matthews and I’m like cool. What’s your band? Dave has taken us on the road through Canada and the States over the years. The musicianship with those guys is just unreal. That’s always an immediate “Yes” when that call comes up.

MR: Like when Leo Kottke met Bob Dylan? How about when you were on a full Philadelphonic Sound Bill you shared with Hall and Oates at Constellation Brands Center in Canandaigua, New York in August 2019. That was all Philadelphia music in the Finger Lakes that evening.

GL: I was really blown away by Darryl’s voice still being so strong. Just so great hearing all those tunes I grew up on the radio ya know? All those hits & the cool banter in between songs. They put on a hell of a show and I was glad to be a part of it.

MR: Lets jump cut to your most recent remix release with B Real & Slightly Stoopid on Everyday People.

GL: I cut that in Long Beach with Miguel. Very intricate stuff with each verse. Kyle McDonald of Slightly Stoopid is a really special and unique musician to me and many people. The way he makes beats and delivers flows is to the point where I can’t figure out where the “1” is (laughter) I was real pleased with how my rhymes came out. For Jon Phillips to say we’re gonna put B Real on this track… I was like to the moon. He’s in my top 5 MC’s. The first time I heard Cypress Hill it scared the shit out of me. To come full circle and be on a track with an all time inspiration was a real blessing.

MR: Yea man, it has a Kokua Festival sound to it. From the cold winter shores of Boston to the sunny skies of the San Diego and everywhere in between. Your setup in Cape Cod transcends coasts as well. That Kokua vibe. Your live feeds from home really showed a true homegrown set up. Looking forward to the Christmas special from the colder Orleans for the holidays.

MR: January 2022 has you back on Tour though with the Juice that stops in Buffalo and Brooklyn. How did you connect with Amy Bowles and Aaron Bellamy? I used to see them play with Sam Kininger in the same clubs the Special Sauce would hit in 2006.

GL: Yea they’re now in the super Juice. I love playing with those guys. The juice is kind of an eclectic collective. The unit on tour coming through your neck of the woods will have Chuck Trace on drums, Van Gordon Martin on guitar and Jimmy “Jazz” Prestcott on bass. That being said, the special sauce is well intact and will continue to do shows . The pandemic kind of created a pivot to open new doors to connect with great musicians from New England like the Bellamy’s. It feels like the right time to do a different show with a new sound. It’s gonna be rocking.

MR: Musicians in New York State helped find that same silver lining for new creations. What New York State gigs have you played that stick out over the years?

GL: What pops in to mind was Irving plaza one night where Chris Robinson sat in. He’s always been big bro status. We did our version of the Beatles “Help”. He sang the shit out of that. Actually the night we got signed is something worth talking about. We came down to New York City from Boston for these showcases back in the day in front of the labels and industry folks. We had two shows. One was at the CBGB gallery packed with Industry people; it was right next to the original CBGB club. Ya know we played it and did what we needed to.

But then after that show I felt very… “fuck this man, fuck this vibe”. The next show later that night was at the Bitter End on Bleecker street. So I’ll never forget Jimmy Jazz and I scored a piece of hash on the corner and twisted it up real quick on the street. I remember saying…” I don’t give a fuck about this bull shit.”

We went in to Bitter End that night and it only had one table filled in the back. I remember going in and playing a set that was really potent. You know just for us?
G Love

MR: How was just playing the Beacon Theater for Gregg Allman’s birthday as part of the Allman Family Revival?

GL: The whole thing has been an amazing journey. Devon and I are very close. We had a band called jam town right before ABB did their thing. Devon wanted to take some time after his father passed before these tributes because he needed it. He wanted to let the dust settle out of respect for his father. He finally had the fruition of the dream going on the road recently. It’s so special to be part of the extended family. We toured with the Allman’s during the H.O.R.D.E. tour in ’95 where Warren would take me under his wing. There’s that legacy and comradery at the Beacon. It wasn’t planned for the show at the Beacon to be on Greggs Birthday. It just serendipitously was the available date they had for it. Devon loved that. I even got to do Cold Beverages with the cast . Then to get out front and share the mic with Devon for One Way Out surrounded by these other great musicians was an honor.

MR: I just saw Eric Gales for the first time a couple months ago who joined you at the Beacon on “One Way Out”

GL: He’s so cool man. I just saw him for the first time too and got to hang with him. Sweetest guy and his wife LaDonna. He’s the fucking man.

MR: We know the coldest beverages ever served live was to the thirsty Woodstock 99 crowd in Rome, New York. Speaking of Cold Beverages I remember years ago seeing you at a club in NYC for a Raconteurs show. Jack White said to you backstage “well if it isn’t Mr. Cold beverages” I think it was at Terminal Five.

GL: (laughter) That’s right it was at Terminal Five. I didn’t play with them but I came to the show. Another little side secret story from when we played Pontiac Michigan in 1994 during our first US tour. We played a cool show. There were a lot of Detroit artists at that gig like Kid Rock and Jack White. They told me years later that performance inspired them along their way. Pretty cool to hear that kind of thing.

MR: Keller Williams covered Back of the Bus at a recent gig of his I was at. Thank you for being an inspiration to New York musicians as well. John McConnell music and I cover 50 ways to leave your lover with our own split take on the original. I was able to get feedback from Steve Gadd on the grooves origins in March. Same concept though as putting your own style on it like you did in the studio with the Avett Brothers. It’s wide open for interpretation.

GL: Awesome. My manager said since you can’t make a hit why don’t you cover one? (Laughter) I said all right, let’s cut 50 ways. The beat is so iconic so I’m like OK let’s get away from that. When I play it live with Chuck we do the Steve Gadd beat but when I play it with house man we do it like the studio.

MR: As far as your illustrious career in song writing goes, I have to ask about songs like “Willow Tree’ and “When We Meet Again” where the sentiment sounds organic and from in the moment.

GL: Yea its about making things personable. You try to capture an emotion and a feeling of a certain thing around you. “When We Meet again” I remember specifically it being a spring day..you know the opener…Spring time is here the wind from the south blows strong and warm to clean up your house. Then I went back to the golden first year I had as a street musician where I met my band and the corner bar The Plough and Stars we played at in Boston which was important to us. Same with Willow Tree. I was living across from the Delaware River and the Penn Treaty park across had a lot of Willow Trees.

The park had a bunch of willow trees and I always loved them. I thought about the relationship between the river and the willow tree is so symbiotic. I also used that as a metaphor for a love song too ya know?
G Love

Full G Love & The Juice 2022 Tour Dates

New York Dates:

January 24, 2022: Tralf Music Hall, Buffalo

January 27, 2022: Brooklyn Bowl, Brooklyn

August 21, 2022: Saratoga Performing Arts Center **with Dispatch and O.A.R

December 16, 2021
Dave Hanlon Trio at the 443: Cookbook Fish Recipe interview

Dave Hanlon brought his power jazz trio to the 443 Social Club & Lounge on Friday, December 3rd with Ron France on bass and Ed Vivenzio on keys in tow. The trio delivered a Blue Note style-esque performance of their take on classic funk jazz compositions. Twenty seven pieces were on the set list to be exact. All performed with the same on the spot fervor that all good jazz is created in.

The group put their spin on greats by Thelonius Monk, Chick Corea, Herbie Hancock, Steely Dan and a rock block of Joe Sample cuts. The trio did a classic two set & encore performance for the candle lit table crowd at 443. Without a doubt the 443 is Syracuse’s most intimate room for those looking to really listen to the notes coming off the bandstand. Dave Hanlon shared the 2005 and 2015 SAMMY awards with Phish drummer and Syracuse native Jon Fishman.

Fishman was inducted as a lifetime achievement award recipient in 2015 and he naturally introduced Dave Hanlon into the Hall of Fame at The Dinosaur BBQ & Eastwood’s Palace Theater in 2005. A 13 year old Fishman once took lessons from Hanlon. Jon brought the sheet music Hanlon gave him at their first lesson to the induction ceremony. “Can you believe that? I flipped out.” Dave Hanlon still has various projects he dabbles with as we approach the end of this year. He took some time to talk with NYS music at Syracuse’s Blue Note style room, the 443, for a chat.

Matthew Romano: Steve Gadd spoke of the Ridgecrest Inn in Rochester where he could watch legendary drummers perform up close. With the same as my proximity to you on the bandstand at 443 tonight. What were some memories of live music you attended in New York State that you can remember as an influence that started to instill a groove in you?

Dave Hanlon: Mahavishnu Orchestra & Ravi Shankar at Syracuse University quad. Billy Cobham on drums absolutely blew me away in 1972. Wait not the quad… it was SkyTop field on SU Campus.

MR: What about on the gigging side and educationally?

DH: My first kit was from Stagnitta music and I used a trash can for the snare drum. I took a couple lessons at Stagnitta music but it was at Auburn Community College with Dick Howard were I took my first lessons. From there I went to Detroit to finish college and started playing out in bands. Not studying music, just gigging. Back to Syracuse I was part of a big regional band called DOVE. It was a great rock and roll experience. After that ended I went to New York City to study at the percussion center with Norman Grossman. There I met Jim Chapin for a few lessons. Chapin is notable for his independence jazz drumming book. So that combination was a huge influence. I’d take the train to New York for class during the day and then to Buddy Rich’s club at night. I’d sit and watch him play with his six piece band. Next I went to Los Angeles. It was big as I did a clinic with Louie Bellson who originated the double bass drums. At 28, I did a show at the Los Angeles Percussion school as a guest, not a student. I performed with him in front of 250 other drummers. It was the highest pressure situation I’ve ever found myself in but a dream come true.

When I came back to Syracuse I formed my first solo funky five piece jazz band. In 1976 we got a 13 month residency at the “Spirit of 35” on Carrier Circle where Joeys is now. It helped really give us time to hone our skills balls out ya know? All instrumental. We even had Edgar Winter come sit and play a whole set with us after a show he had in Syracuse. The promoters brought him to hear us. It was well before cell phones and the word still got out so it went to the standing room only in 15 minutes. It was definitely the most memorable moment there.

In 1977 I joined the band CRAC and their original album All For You was re released in 2020 by King Underground Record Company out of England on Vinyl. From there I recorded with Duke Jupiter out of Rochester on two of their albums on Mercury Records. Duke Jupiter made its way in to Rochester music hall of fame in 2014. In the 1980’s I formed the first cookbook band which was all instrumental that had a year long residency at the Lost Horizon. Ava Andrews joined me on vocals for the next version of the cook book and she remained an original member with me for 34 years. Funky Jazz Band formed in 2016 as fresh five instrumental. The trio out of it works well for a lot of other style rooms. Diana Jacobs Band out of Auburn I collaborated with in 2018 that has a full horn section, we just released “Love Each Other, Love Our World” the day after Thanksgiving this year. The CD just made its way to Soundgarden with streaming options available soon.

MR: What great studio sessions have you recorded on?

DH: I love being a part of Studio Jams with producer Tom Emmi in Philadelphia. The concept is to get different musicians together completely unprepared, roll the tape and see what they come up with. We might pick a song from another artist and put our own stamp on it. It’s educational and entertaining. I’ve done 15 of them. They do it all over the country. I was able to do Herbie Hancock’s Watermelon Man at Sub Cat Studios in Syracuse that got over 2 million views and counting. Everyone donates their time to simply give back to the music. It’s a really beautiful thing. He arranged a series for fallen artists titled “Lest We Forget” as well so that their musical groove can live on.

MR: What is your angle over time on dealing with the composition & improvisation world that we dabble in daily. Those moments that can’t be recreated concept ya know?

DH: The creative process is key especially for jazz musicians who are supposed to be free to create. The preparations for studio jams are like night and day. You just go for it and you don’t even know it’s coming. You’re in the moment. But Lest we forget that also takes a lot of preparation because you got to know that tune the best you can on behalf of that fallen artist. Always different, you know what I mean?

DH: The trio and five piece funky jazz band are also examples. There’s the head, bridge and the solo section of the tune. For the most part for consistency you want to stay in the groove for the song but when solo times open up your creative freedom kicks in. Staying in the context of the song can help you work on your creativity. One of things drummers have at their command, I’f they have that command… is dynamics. We don’t have that many notes to deal with. Dynamics give us a much greater vocabulary. My approach to music is to become the best as I can be in my sense of dynamics within the context of music and the song. It creates tremendous tension and release. When you go to a concert there’s dynamics that people don’t realize they respond to.

When there’s a solo section and the whole band just brings it down from this really loud piece to almost silence. Whats the response? The audience loves it. The effect musically is very powerful
Dave Hanlon

MR: It is powerful. That Jon Fishman Radio City show I sent you from October has a moment like that during “In Rounds”. You’ve got this five piece playing a song for the first time in their third ever live set in Rockefeller. Everyone’s bouncing off ideas. Ya know? 27 minutes into it the funky groove turns to air on Radio City’s great proscenium arch, before falling back to bring it home.

DH: Yea that was a beautiful concert. That’s the beauty of when musicians are listening really to each other and not themselves. That won’t happen otherwise. I wasn’t aware of that percussionist. He was excellent. That was my first time seeing Jon perform with a percussionist and they played off each other remarkably well.

MR: Steve Gadd played with Cyro Baptista on Paul Simon’s Rhythm of the Saints and was unfamiliar with Phish. I’ve seen Jon perform live with percussionist Gionavvi Hidalgo for a cover of Little Feats Waiting for Columbus album on Halloween in Atlantic City. He has a great live version of Surrender to Air from the Academy in New York City with Oteil Burbridge and Sun Ra Orkestra

DH: It was great to be able to reunite with him at Studio jams of all places after 37 years in August of 2015. We spent the afternoon while he had time in between shows in Philadelphia. We just did five songs off the cuff with three other guys. Its Your Thing (Isley Brothers), Hottentot (MMW with Scofield), Freeway Jam (Jeff Beck), Ode to Billy Joe (Bobby Gentry) and Cantaloupe Woman (Grant Green). Yea we had those lessons but this was our first time playing together. It was just like being with an old friend. It was really cool. Jon’s a down home guy, there’s no air to him. He’s just a cat that wants to play. He also happens to be in one of the most popular bands in the world.

It was great to see Fish at a Charlie Bertini’s Apple Jazz Band gig. I played at Little York Pavilion in Preble, New York. That ensemble played the Southern tier for thirty years.
Dave Hanlon

Dave Hanlon Trio (Ron France-bass & Ed Vivenzio- keys) The 443 Social Club and Lounge, December 3 2021

Set 1: Cold Duck (Eddie Harris & Les McCann), Ruby (Ray Charles), Chain Reaction (Diana Ross), Fe Fi Fo (Wayne Shorter), 7 Steps/ Song Father ( Miles Davis), Carmel (Joe Sample), Randy Uptown, Round Midnite (Thelonius Monk), Sermonized (Joe Sample), Blue Bossa (Joe Henderson), Human Nature (Micheal Jackson), A Child is Born (Thad Jones & Mel Lewis Orchestra), Spain (Chick Corea)

Set 2: Maputo (Bob James & David Sanborn), Ricky Don’t Lose that Number (Steely Dan), Hippies on the corner (Joe Sample), Bottswanna Bossa (David Benoit), Aja (Steely Dan with Steve Gadd), Watermelon Man (Herbie Hancock), Christmastime is here (Vince Guaraldi), Spellbound (Joe Sample), Girl From Ipanema (Stan Getz and Joeao GIlberto), Jellybeans & Chocolate (David Benoit), Pointciena (Ahmad Jamal), If you want me to stay (Sly Stone), Sudden Samba (Neil Larsen)

Encore: Freedom @ Midnite (David Benoit)

Dave Hanlon Drum Kit

December 13, 2021
Vanessa Collier Storytellers Gig at the 443 Social Club

Vanessa Collier was an absolute stand out at the 2021 New York State Blues Festival grand return to the State fairgrounds this past June. She treated Syracuse’s most intimate venue, the 443 Social Club & Lounge to a blue note-esque performance on Thursday December 2nd. Club owner Julie B Leone told NYS music that it was their fastest show to sell out in under 24 hours.

Photo by Steve Moore

Vanessa Collier gave a two set and encore performance to match everyone’s delight at the 443. Vanessa serves up three courses of art as she is a saxophonist, vocalist, and songwriter. She whipped up table side sax solos at the 443 while taking a stroll through the crowd. The 443 social club creates an ambience much like the “storytellers” series that many artists have been a part of. Vanessa told the crowd about her various family influences on certain numbers. She had Syracuse’s Byron Cage on drums and William Gorman on keys. Andrew Cane from San Diego on bass and Shemekia Copeland’s guitarist Arthur Neilson from Brooklyn.

Photo by Steve Moore

Her four album names should help give some insight on the kind of grooves they laid down at 443, Heart Soul & Saxophone, Meeting my Shadow, Honey Up, and Heart on the Line. She kept the spontaneity in the show vibrant by switching to steel guitar for a cover of Bonnie Raitt’s “Blender Blues”.

Vanessa credited stories like To Kill a Mockingbird and The Greek Myth of Icarus to the crowd as an inspiration before performing her original “Icarus” off her Honey Up Album…

It’s a song about little Icarus when he is just dreaming of taking that flight and its sort of a song to everybody to chase your dreams and never let anybody tell you that you can’t do something
Vanessa Collier

Vanessa took some time after the gig to post up at one of the 443 social club tables for a talk with NYS Music about music & her history,

Matthew Romano: Is there a memory of a show you’ve played or attended in New York state that sticks out as a meaningful experience? J.V Collier told me he used to go to where Jaco Pastorius slept in Central Park for inspiration.

Vanessa Collier: For sure, that’s a great question. I remember it being special because it was my very first gig opening for Bruce Katz at The Falcon in Marlboro, New York. Things come full circle. It was my first time seeing his guitar player Chris Vitarello and now I’ve played with him a bunch in my band. So we keep it going, it’s connected.

MR: It is connected. Bruce Katz used to play with Gregg Allman at our Blues Festivals like you did this year. I couldn’t help but notice a song you played tonight titled “If Only” The sentiment seemed very familiar with the “when I get this..then that will bring happiness” concept that a lot of people fall to. The sax solo at the end had a Leroi Moore like tone too. Would you mind talking about that tune?

VC: Sure, my whole thought process behind the new record was to try and write story songs. Some of them are based on true things, some are not. This one is close to me. I’ve had a person in my life who’s constantly unhappy and nothing is ever enough ya know what i mean? It was inspired by this person and just a reminder to always live life to the fullest and to live with what you got to find a way to be happy.

MR: I know exactly what you mean. With this on the go lifestyle all you have is the moment. Hard to sacrifice that time to be unhappy.

VC: Amen.

MR: My third and final question here at 443 is about two books that we have in common, Questlove’s Creative Quest and The Devil’s Horn: The Story of the Saxophone from noisy novelty to king of cool. What’s cool that sticks out to you from those two great reads?

VC: That’s killer. I respect Quest’s love and knowledge for the music. It’s not a surface level thing with him. It’s all life. He knows every groove from every single song he’s heard. From a DJ perspective and then a drummer angle is great. I know I was gonna re read it again when i get into a new record.
The thing I love about the devil’s horn is that I didn’t know Adolphe Sax’s story as much. Ya know that he almost died so many times and they murdered his assistant thinking it was him. To me what I loved is that the saxophone has this history of challenge and yet it still brings out something beautiful. I love that the inventor of the sax was that way too . He went through a lot of struggle to create this beautiful instrument.

MR: I love how the saxophone survived the Vatican when they tried to outlaw it because of its effects. What’s the oldest room you’ve ever played in?

VC: We’ve played a lot of converted churches that are now venues. So those are always awesome with just the acoustics in the room alone.

MR: There is two floor opera house near here that is an old theater church now used for music & art in Syracuse’s Little Italy you should play next.

VC: Yes, please.(laughter)

Gallery by 443 Patron Steve Moore:

December 9, 2021
Catching Up With Irv Da God: Talks Come Up, Upcoming Project, Verzuz Battles & More

In our current social-economic climate, many gage an artist based on their mainstream success. Did they have a big hit record? Top-selling album? Never mind the fact that outside of the music industry’s true 1%, streaming is a non-factor.

Hence, despite our emotional attachment to art, the music industry is a business and should be handled as such. Take Queens native, Irv Da God (Born Derrick Duke Irvin), for instance. His foray into the music industry was not based on a pipe dream of having a chart-topping hit or selling a million units. Rather, steadily establishing himself through various ventures and building a following.

Fortunately, Irvin’s upbringing during the rugged 90’s era Queens prepared him for an equally — for different reasons — cutthroat world.

As we got older, we all dealt with the obstacles as everyone’s trying to survive, get money. You just had to be always on point [and] never be caught slipping.

As he sheds light on his days as an aspiring hooper running the streets of Queens, it becomes ever apparent that Irvin is a by-product of his environment.

His production company, Block Boy Media, LLC, has directed, filmed, and edited productions for the likes of Dave East, Cam’ron, Chubbie Baby, Coi Leray, Lil Durk, Avianne & Co. Jewelers, among others. Yet, it is a passion that can be traced back to his childhood.

I was really into films since a kid. We had the VHS tapes and I used to drag my mom to the Africans and make her buy all the bootlegs. Back then we didn’t have cellphones, so I would just watch a lot of VHS tapes, I had at least 100 movies.

After being inspired by the countless hours of film study and the budding acting career of his self-admitted “rap superhero” and fellow Queens MC, Sticky Fingaz, Irvin took his hustle to the next level. He saved and enrolled himself into a six-month course at New York Film Academy where soon after he was making money recording and editing music videos for artists, as well as his own productions.

While admittedly a basketball head for large portions of his upbrining, the influence of hip hop is never too far away from inner-city youth.

His label, Block Boy Mafia, Inc, was home to his first studio album, Thirty 3, in 2019 and in 2020, B.B.M. released their first studio collaborative album, Son Day.

Irvin speaks of his Block Boy Mafia family with great hubris, acknowledging their status as family rather than business associates, yet lamented the fact that he seemed to care more about the preparation and overall success of the collective than others. As he matures in the industry, he’s made the conscious decision to prioritize Irv Da God and lay the foundation which he hopes his crew will build upon.

I can keep the family together, but I can’t make the decisions for the family all the time. When everybody has opinions, I have to let everybody be who they want to be.

In Irvin’s eyes, it’s all for the greater good, as he embodies the Block Boy moniker. On the block one would typically hang out with family, close friends and acquaintances and that is how he envisions his long-term success.

I just want to do it with my friends, the people I looked up to, [spent time] around and people we came across in our lifetime.

As he continues to spotlight, Irv Da God, it’s clear that “the block” is never too far away. It was only earlier this year that Irvin teamed up with Onyx’s own, Sticky Fingaz, and Bizkit of B.N.B. to release “Fearless,” a collaborative track made for the Vitor Belfort vs Evander Holyfield boxing match on Triller Fight Club.

Tasked with leadership for long periods of time, Irvin’s relationship with Freddo Starr and Sticky Fingaz feels like a breath of fresh air for the Hollis, Queens native, as Sticky and Freddo are two of hip hop’s most successful rappers-turned-actors.

They’re such good people man and show a lot of brotherly love,” Irvin says of the duo. “I’m a rap artist now and they’re my first rap brothers in the game.

His latest endeavor, a red-carpet appearance at the TrillerVerz battle in Hollywood, CA between Bone-Thugs-N-Harmony and Three 6 Mafia to promote the “Fearless” record, reiterated why he has stood on his family-oriented principles. After a chippy contest, that even included a near-altercation between the two legendary hip hop groups, it was Three 6 Mafia’s camaraderie that won Irvin over, despite being a bigger fan of Bone-Thugs.

People are big into energy nowadays. You can tell which groups are organized and you can tell which ones don’t really deal with each other anymore. You grow together, you have to keep the synergy in alignment, I feel like Juicy J and Three 6 Mafia definitely had the energy, they had the crowd jumping. It was like they were back in time to when the records first hit the club.

As he enters the next phase of his development, Irv Da God is preparing to independently release his sophomore project, Irvin Jackson. A soundtrack album set serve as the score for an upcoming tv series aptly named, Block Boy: Behind The Lights, Irvin is looking to showcase some of the very best from Block Boy Mafia.

I’m just giving people different styles of me. I’m really just showing people the growth of my career and my music. When I first came out, I might have been a little hard and aggressive on my Thirty 3 album. The traction was great, but it doesn’t show my diverse side. I’m not giving people pain, but I’m giving people experience.

As he comes up in the game, Irvin doesn’t seem mystified by the thought of bright lights. Despite being a Las Vegas resident, he keeps his city close to heart and speaks of the relationships he’s made along the way with gratitude. Whether it be Boston Rob for connecting him to Sticky Fingaz, Bronx MC Haddy Racks, A$AP Ferg and Dave East as old friends whose success have inspired him.

One thing people got to understand is that we made it already, everything else is just understanding the business and getting with the right people. These videos and these movies are edited, real life ain’t.

December 9, 2021
Graham Nash Talks New Book “A Life in Focus,” Joni Mitchell, CSNY and The Beatles at 92Y
On Sunday, December 5th, music legend, photographer and artist Graham Nash sat down with Alan Light, one of America’s leading music journalists, to reflect on more than fifty years of an extraordinary life as captured in his new book of personal photography: A Life in Focus: The Photography of Graham Nash.

Graham Nash and Alan Light at 92Y in New York City

A Life in Focus: The Photography of Graham Nash includes an extensive collection of color and black and white photographs from the personal collection of Nash. Many of his photographs depict intimate moments with family and friends including Joni Mitchell, Stephen Stills, David Crosby and Neil Young. Other pictures in the book include fellow artists like Bob Dylan, Mama Cass, Twiggy and Johnny Cash.

During the interview, which took place at the 92Y cultural center in New York City, Graham discussed how he became interested in photography at a young age as well as how some CSNY songs like “Ohio” were created. Another very interesting story he told was how he met The Beatles in 1959 before they were even called The Beatles. You can hear that story below from his appearance on The Late Show With Stephen Colbert. He also took questions from some audience members who were lucky enough to have their question chosen.

Graham will be doing a similar appearance through Bookends in New Jersey on Wednesday, December 8th. You can purchase tickets to that event here. Every ticket comes with an autographed copy of his book which makes it well worth the price of admission. He also announced an upcoming tour starting in the Spring of 2022. You can see all of the dates as well as purchase tickets here.
December 7, 2021
The Sound of Life in the Air – Classical Flutist Melanie Chirignan Speaks of the Vibrancy and Variation Hidden in the Classical World

Originally from Hauppauge, Melanie Chirignan is a flautist known for her musicality and versatility of repertoire. Her eclectic tastes have led Melanie to collaborate with many different performers and ensembles.

Melanie earned her Bachelor’s in Music Performance and Music Education graduating magna cum laude from SUNY Fredonia and her Master’s degree in Flute Performance at the Hartt School. She has taught general music, chorus, and orchestra, and has taught every level from elementary school to conservatory level students. Melanie has taught workshops on the “Origins of South American Folk Music” through Hartford Performs, with Alturas Duo. An adjunct faculty at the College of Saint Rose, she is also a member of Quintocracy, who are artists in residence at Troy Savings Bank Music Hall.

Interview by Liam Sweeney, for RadioRadioX/The Xperience Monthly

RRX: Many people take classical instrument lessons when they grow up, few pursue it, and you have. And not only have you beat the odds, you’re pretty much one of the people boosting the odds for others. How do you think you were able to beat the odds and wind up with a classical career?

MC: Wow, thank you for the huge compliment. Well, everyone that sticks with music at all has some talent, so that’s not it. I treat it like a job because it is, and I persevered and practiced a lot for many, many years. Also, I really love chamber music. Concerts are the highlight of the month, so I make sure to keep scheduling things. When I find a piece I want to play, I find the players, and create an event. I keep finding pieces I must play, and so it goes on.

RRX: You are a flautist, which for the uninitiated, means you play the flute. You also play piccolo and alto flute. I think many people, including our readers, might be hard-pressed to tell the difference between these based on sound alone. How would you describe the differences in these three instruments?

MC: The piccolo is smaller and requires much more precision than the flute. It’s like it has a smaller bullseye, and the tiniest lip movement or change in air speed will be heard. It is an octave higher and can really sing out over an entire orchestra. It’s small but mighty. The alto flute is much bigger than the flute. It has a more hollow, mellow sound than the flute. Many people like the alto flute best because they find the more diffuse tone pleasant. I like the flute best because of the bigger dynamic range (it can play louder and softer than alto flute) and I like its richness, how it has more harmonics in the sound.

RRX: You’ve played in so many places, including, but certainly not limited to the Smithsonian Museum of Natural History, Albany Pro Musica, Glens Falls Symphony Orchestra, Troy Savings Bank Music Hall, and Proctors. If all the places you’ve played were in a lifeboat, it would sink. Describe one that has a special meaning to you.

MC: The Troy Savings Bank Music Hall is so acoustically perfect; it is literally awe-inspiring. The sensation is that the hall supports your sound and helps you play your best. This is why the hall has such an internationally known reputation. For me, I’m so thrilled to have a residency there with my wind quintet Quintocracy, and Jon Elbaum and the staff are so great to work with-those things help make it stand out as outstanding to me too.

RRX: We are used to covering the more rock ‘n’ roll side of things. And we do so because it’s not just a music, it’s a story. Insane tours, bar fights, Egos left and right. But classical is different. It seems closed off, hermetically sealed from drama. Is it? Are there adventures that go beyond the movements? Is the community just organized differently?

MC: I think for me, I try to take life’s drama and use it to play as musically as possible. I remember after my first heartbreak, my teacher told me to use those feelings to play, and we came back to Debussy’s Syrinx. Unlike pop music, classical musicians strive to never play the same phrase exactly the same. We come up with variations constantly, and so I think being attuned to the nuances that are your human emotions helps your musical expression. That being said, there is of course drama. Look at Mozart in the Jungle! Luckily, I got to be an extra in, and never experienced anything like that. Although we as classical musicians may look like we have it all together, my duo partner once forgot his pants-well his concert pants, he had jeans on.

RRX: The flute and the piccolo are woodwinds. Their drivers are breath. And unlike singing, which is basically simple to do but impossible to master, some feel that woodwinds are just impossible to do. And you’re performing for an hour or more sometimes, which makes it harder. Is there a breathing technique that makes it easier?

MC: You’re correct that the flute is a tough instrument for air usage. It wastes the most air out of all the winds because there isn’t a mouthpiece to blow into that is sealed. Air gets blown across and there is wasted air, unlike the clarinet, oboe, bassoon, or any brass instrument. However, you learn to be efficient with your embouchure (the shape of your mouth), and with your air. I think if you’re used to practicing for a couple of hours a day, then you just get used to the breathing, you’re trained for it and have that endurance built up. I think practicing yoga has helped me with body awareness and breathing. Since I’m small, I make sure my cardio game is strong, which also helps my flute playing. I remember my undergrad teacher telling me she started running a few months before having to play the Neilson concerto to build up her lung capacity.

RRX: You teach as an adjunct professor at Saint Rose, and privately. And you teach all levels, from elementary school to conservatory level students. When I hear “conservatory” I think, are there named levels of learning? What does a conservatory student learn that’s different from a student just below that level? Is it just gradual?

MC: A conservatory is different from a liberal arts education in that you’re only learning music. My extraordinary high school flute teacher, Michelle LaPorte, convinced me that I should go for a liberal arts education so that I would be a more well-rounded person. The idea is that being well-rounded would be reflected in your artistry as a more engaged, fulfilled listening experience. I think she was right, but I did go to a conservatory for my master’s degree to fine-tune my playing.

RRX: This is where you answer the question I didn’t ask. Longest breath? Pied piper’s type of flute? Educate, enlighten, emote – the floor is yours.

MC: We keep hearing that classical music is dying, but it’s not. It’s just being re-birthed in different, more creative ways. Groupmuse for instance, is an organization that facilitates people to have BYOB chamber music house concerts. It has launched and is thriving in many cities as well as internationally. Also, I think with more awareness, women composers and black composers that weren’t previously published or brought into the classical canon are beginning to. I think there’s some great changes ahead.

For more info on Melanie Chirignan and to subscribe to her mailing list, visit MelanieChirignan.org

December 1, 2021
Samantha Fish Returns to Homer Center for the Arts: Talks about Her New York Journey

Coming fresh off the heels of a Halloween show at Stephen Talk House in the Hamptons, Samantha Fish brought her band to Homer Center for the Arts in Homer, New York on November 3. They laid down some voodoo, bulletproof blues to the 150 year old brick Baptist venue with the center stage having taken on a Jimi Hendrix “Electric Church” vibe this season.

Photo by Perri Sage

This past Summer Fish performed a festival with Eric Gales who just played the Center in October. Alongside Gales and fellow blues disciples Robert Cray, Ana Popovic, and Kingfish who played the night before her at the Electric Church this season. Fish covered new material from her 12th official album release Faster. She spoke to NYS music about her journey of playing New York State over the years. This tour included stops in Brooklyn, Amagansett, Buffalo, Homer, and Albany.

Samantha Fish spoke with Matthew Romano of NYS Music about her thoughts on performing across New York State:

I remember we did the Dinosaur BBQ circuit for a while. It was always fun, the food was so killer, and the room so intimate. It took on a Groundhog day like vibe after a while there because it always so great. We got the run of the gamut from Buffalo down to these towns like Homer all the way to New York City.
My memories of playing Manhattan always stick out. I remember how special it was playing The Cutting Room for the first time. A different energy around those days, with that pressure of getting through the city and to the gig on time. Ya know that New York expectation after the ticket to the show is bought…OK I have to win Ya’ll over now but it keeps you on your toes. I love playing New York.
We have great people out this way. Its more or less about the people…they travel from all over to see us. This is my third time playing here at Homer Center for the Arts. What I love about this venue is that it is a listening room. The audience gets quiet at the right times and really can feel the music the way we do. A place like this tonight is a warm welcome from start to finish.
Samantha Fish

Photo by Perri Sage

The eighteen-song set featured Samantha killing the slide on the legendary cigar box guitar. A similar style model Paul McCartney slid on “Cut Me Some Slack” at Madison Square Garden with Nirvana on December 12, 2012. “Bulletproof” off her Kill or Be Kind record kicked some 12 bar blues to close the show out…You got me trained to sit on a stage Not show my rage for you You got my love, it’s not enough I need to prove it to you.

Fish invited Jonathon Long out for the encore for a spin of a 1937 delta blues song “Shake Em on Down” by Bukka White. The same year this song was released the cigar box guitar had a resurgence and was heavily played in the jug band and delta blues scene circuit. A much needed source of entertainment in trying times. In true jug band fashion fashion Long used the Homer stage mic as a slide to accent Fish’s guitar to help close the evening out. If you caught a glimpse of the Center’s stained glass windows fogged up at the end of the night you know why. Catch Fish before she heads across the pond to Europe in 2022.

Photo by Perri Sage

Samantha Fish – Homer Center for the Arts, Homer, NY – November 3rd 2021

Setlist: Loud, All Ice No Whiskey, Twisted Ambition, Chills and Fever, Forever Together, Highway, Hypnotic, Better Be Lonely, Kill or Be Kind, Watch it Die, Solo acoustic X2, Go Home, Bitch on the Run, So Called Lover, Faster, Dreamgirl, Bulletproof

Encore: Shake Em on Down with Jonathon Long

Photo Gallery by Perri Sage:

November 25, 2021
Interview: Arlo Guthrie Carries on Thanksgiving Traditions and Fulfills Family Legacy

Tucked away in the quaint Massachusetts town of Great Barrington stands an old church. The site would be unremarkable had it not been for the events that unfolded there beginning Thanksgiving 1965. At that time, the church belonged to Alice and Ray Brock, who invited some friends over for the holiday. Amongst the guests was their former student, Arlo Guthrie.

What started as a benevolent offer to take out the trash led to an incredulous turn of events, which ultimately resulted in Guthrie being deemed ineligible for the Vietnam War draft. Guthrie captured the story in the 20-minute long satirical folk song “Alice’s Restaurant Masacree.” The saga struck a chord with the anti-war counterculture, propelling Guthrie into the spotlight and solidifying his path as a career musician.

Arlo Guthrie “Back By Popular Demand” Tour – photo by Mickey Deneher

Within two years, Guthrie had recorded the song as Side A of his debut album, closed out the Newport Folk Festival, and played Carnegie Hall.

“My life went from being your average small club circuit performer to someone playing theaters and stadiums almost overnight,” Guthrie told NYS Music. “At least it seemed that way to me, although it probably took a couple of years.”

The song also inspired a feature-length movie, back in a day when few musicians were afforded such an opportunity. “Alice’s Restaurant” starred Guthrie, Pete Seeger, Officer Obie, and the judge playing themselves, with Alice Brock in a cameo role. Even though the story was partially fictionalized, it was filmed in and around the places where the actual events took place.

“Arthur Penn (who had just finished filming Bonnie & Clyde) heard the record when it came out in 1967,” recalled Guthrie. “He also happened to live in Stockbridge, where the events took place. He thought it would be a great idea to make it into a movie. And he did.”

photo by Mickey Deneher

Fifty years later, the church still stands. Guthrie purchased the property in 1991 and turned it into a community center. There’s been plenty of work to do on the historic building, which has been standing nearly two hundred years.

“Not only have we been steadily restoring it, but we actually re-consecrated it as a church (ours is an inter-faith church and an educational organization). So we continue to have services as one would expect.”

In addition to spiritual services, visitors of the The Guthrie Center at Old Trinity Church can also partake in cultural events and contribute to humanitarian efforts.

About these events, Guthrie said, “Some are seasonal, and others run all year long. Our Troubadour music series runs throughout the summer. There are a number of special yearly events – an annual walk-a-thon that helps people and families dealing with Huntington’s Disease, an annual Thanksgiving Dinner That Can’t Be Beat (we have free lunches once a week all year long, but Thanksgiving is special).”

photo by Mickey Deneher

In addition to restoring and contributing to the operations at the church, Guthrie continues to perform. His father, Woody Guthrie, always dreamed of having a family band to take on tour. Arlo Guthrie was able to bring this dream to fruition. His children, Abe and Sarah Lee Guthrie, and several other family members have become professional musicians. The Guthrie family is halfway through their Re: Generation Tour. Guthrie and several members of the family will be sharing the stage at Carnegie Hall on Saturday, November 25 for the annual Thanksgiving concert. This year commemorates fifty years since Guthrie’s Carnegie debut.

Another holiday tradition is for radio stations across the nation to play “Alice’s Restaurant” on Thanksgiving Day. Although Guthrie has stated in interviews that he doesn’t listen to the song on Thanksgiving, he does gather with friends and family to give thanks.

“I am especially grateful for the friends I’ve walked this earth with,” said Guthrie. “Many are now gone, and some remain. I’m grateful to have met them all especially my wife, Jackie who left us in 2012. There’s new friends to make and places yet to visit. If I’m around long enough I’ll do that too.”

The Guthrie Center at The Old Trinity Church in Great Barrington, Massachusetts is open to visitors during special events and Tuesdays through Saturdays from 10am-4pm. Spiritual services are held on Sundays at 11am.

November 25, 2021