Category: Features

Twiddle Celebrate Frendsgiving at The Capitol Theatre
On Friday, November 26th, 2021, Vermont jam act Twiddle celebrated “Frendsgiving” (the day after Thanksgiving) with a rich and impressive display of their patented hi-def shredding for a nearly sold-out Capitol Theatre venue in Port Chester, New York.

photo by Filip Zalewski

Formed in 2005, the quartet of Brook Jordan (drums), Zdenek Gubb (bass), Ryan Dempsey (Norb) (keys) and Mihali Savoulidis (guitar/vocals) have quickly ascending the ranks as one of the most buzzed about bands in the jam scene with the most popularity this side of Phish and Pigeons Playing Ping Pong. With an infusion of jazz, classical, bluegrass, funk and a heavy dose of reggae-tinged jams, Twiddle is a unique experience. It may seem an impossibility that one state would be the home of two of the greatest jam bands in the country, but Vermont can currently boast just that. Twiddle fans are very active on the “iTwiddle” Facebook Group page, which serves as a gateway for information, tickets, discussion and show details. Twiddle is seemingly always touring and pleasing their fans with a massive summer festival circuit.

photo by Filip Zalewski

Since 2004, Mihali Savoulidis has consistently elevated Twiddle to unparalleled heights on the winds of his articulately nimble six-string sorcery, genre-bending essence, and soulful vocal eloquence. The Vermont band has headlined hallowed stages in front of sold-out audiences at Red Rocks Amphitheatre and Capitol Theatre in addition to making show-stopping performances at Bonnaroo and Electric Forest and hosting their own annual Tumble Down Festival. Twiddle treats their fans with gratis live show recordings on archive.org. The band has released eight records thus far and specific critical acclaim was directed towards 2017’s Plump. The boys are also well-respected for their involvement in raising funds for their philanthropic White Lights Foundation. One can find info and merch at www.twiddlemusic.com including the most recent musical releases 10/28/21 Eugene and 10/24/21 Santa Clara!

The band has embarked on an ambitious tour this fall season with two stops at The Cap. A virtuoso, constantly showing off his songwriting prowess, Mihali has a refreshing and inspirational outlook on life and coined the phrase “relax and dream.” Having often been labeled by many as “the next Phish” for years, the band delivers a vastly different experience. The Vermont-based quartet held the last three Frendsgiving runs at the Port Chester, New York venue from 2017-2019, and each year has been chock full of surprises and epic sit-ins.

photo by Filip Zalewski

The show Friday night contained many highlights including at 8:08pm when noted troubadour and looping master, Keller Williams, took the stage for a subtle yet electrifying set which culminated with a spicy “Scarlet Begonias.’ Twiddle faced an eager and enthusiastic crowd at 9:34 and delved right into a racous “Zazu’s Flight.” The New Jersey-raised Mihali, dressed in a red tie-dyed outfit complete with tie-dyed sneakers, led the way with long and complex improvisational jams. He was like a knight in shining armor wearing a white hat. The fifteen minute high energy opener showcased each of the band member’s talents with numerous solos.

The music was buoyed by Dempsey’s intense fills and Jordan’s heavy hitting behind the kit. The crowd responded with adulation at the line “Damn I smoke a lot of weed!” The song segued into a tight “Doinkinbonk” and it was danceable until the music turned heavier with the offering of the fun, “Too Many Puppies” where Gubb took over the lead in a rare show of vocal force. There was an intense light show with lasers shooting out into the crowd at various angles and speeds. The crowd plowed through the old ditty “Amydst the Mydst” with authority playing like grizzled veterans as a cohesive unit. At times, Mihali proves to be the master of the axe and he explores new worlds using crescendo to create an effective musical peak. Keller walked out with his acoutisic, creating a fine mix with the band, for an intricate set closer of “Best Feeling.”

photo by Filip Zalewski

The classic song “Apples” opened the second set and delivered just the right tone as an impetus to get the crowd involved for another set of music. It was a lengthy inspired take on the band staple complete with a riff that was reminiscent of Phish’s “Contact.” One of the best songs on Plump is “Every Soul” and this crowd-pleasing version shared here didn’t disappoint. With Norb, adorning a hockey jersey, pounding hard on his five keyboards to lead the intense underlying groove of the tune. The crowd was in a frenzy at this point with the danceable interludes in full effect. Fan favorite and regarded by casual fans as their best song, “Lost in the Cold” ended the second set in a special way. One time child-prodigy, Brandon “Taz” Neiderauer, joined the fray on stage, trading guitar licks with Mihali as only he can adding an adrenaline rush to the proceedings. The reggae-soaked song hit a bouncing level of ecstasy for those in attendance and the band meshed well with Taz. He rejoined the boys for an electric “All Along the Watchtower” encore that would have made Hendrix proud. It was an apropos choice considering Dylan had just played the Cap 2 days before.

When asked about playing someday at the Cap in in 2014, Mihali told me, “The ultimate goal is to get the band to the next level and headline the Capitol Theatre. To get a chance to play at the Cap at some point is insane. It’s a legendary club.” Mihali had dreams and now he can relax knowing he has reached such a lofty goal. They have come a long way since 2004 when Mihali and Ryan were collaborating in their freshmen dorms at Castleton State College and then playing bars and people coming out to hear “Jamflowman” over a decade ago. Now they are bonafide superstars. Don’t forget to catch their New Years show in Worcester!

Twiddle ‘Frendsgiving’ – The Capitol Theatre, Port Chester, NY – November 26, 2021

Set 1: Zazu’s Flight, Doinkinbonk!>Too Many Puppies>Keep Going, Amydst the Myst, Best Feeling¹

Set 2: Apples > Every Soul > Apples, River Drift, The Box, Slippin’ In The Kitchen, Lost In The Cold²

Encore: All Along The Watchtower²

1 w/ Keller Williams
2 w/ Brandon “Taz” Niederauer

Twiddle ‘Frendsgiving’ – The Capitol Theatre, Port Chester, NY – November 27, 2021
Set 1: Blueberry Tumble, GooBerry Jelly, Blueberry Tumble, Hattie’s Jam, When It Rains It Pours, Daydream Farmer¹, Earned To Keep, Mildew Man, Stroganoff

Set 2: Complacent Race, Collective Pulse, The FRENDS Theme, Latin Tang, Tiny Dancer², Brown Chicken Brown Cow³

Encore: Beethoven and Greene

1 Find Your Cloud tease
2 w/ Scott Hannay & Jake Brownstein (Eggy)
3 w/ Zazu’s Flight Reprise

Photos by Filip Zalewski
November 29, 2021
Christone “Kingfish” Ingram Takes The Delta Back Roads to Homer

Christone “Kingfish” Ingram brought his 662: Juke Joint Live (XXIX) tour to the Homer Center for the Arts on Tuesday, November 2. The 62nd annual Grammy awards just nominated the 662 from Alligator Records for Best Traditional Blues Album. Kingfish was in the Southern Tier over the summer with Robert Randolph who spoke with NYS Music at Jus Sum Jazz Lounge in Syracuse. Robert Randolph, who played the New York State Blues fest and Chenango Blues Fest with Kingfish, called the lounge a “Modern Day Juke Joint.”

Kingfish, Niagara Falls

The 22 year old natural blues man from Mississippi reminded everyone in the Empire State what his name is with “She Calls me Kingfish.” He then played his cut that has been dominating the B.B King’s blues satellite radio channel with “Fresh Out.” The studio track features Buddy Guy who has played The Experience Hendrix Tour at the Landmark Theater and the New York State Blues Fest. Kingfish has been interviewed by Sir Elton John during his Rocket Hour podcast. His music even got caught creeping with legendary funkadelic artist Bootsy Collins.

The highlight of the evening’s live performance occurred when Kingfish took his solo during “Too Young to Remember” from the stage into the center’s aisles up through the 2nd floor balcony and back to the bandstand for a 20-minute spectacle. He also quieted the room down with his acoustic play. “I don’t know where I came from or how i got this way, Well I can still hear Grandma saying child you’ve been here…here before.“

The songs off 662 are an homage to where Kingfish grew up. The area code in Northern Mississippi is 662 and Kingfish tells you that there is a church on every corner. Let’s prey that 662 makes its way into the 62nd Grammy awards. The 150 year old Baptist church turned music venue really was a perfect fit for his ensemble to play in rural Homer, New York.

He honored the room’s Jimi Hendrix “Electric Church” energy during the encore with an extended version of “Hey Joe.” Kingfish fell in line with blues disciples Robert Cray, Eric Gales. Ana Popovic , and Samantha Fish who have all rocked the electric church this season.

The Hendrix tune appeared out of thin air during the encore of “Long Distance Woman” from the Grammy-nominated 662 album. Fish sang about life’s distance on the road from the lady that’s always too far apart. “My job keeps me rolling. I never stay in one city too long, being apart and missing your touch, it’s hard to keep a good thing strong.” Kingfish crosses the pond to Europe in 2022.

November 28, 2021
Nicotine Dolls Share “Upset The Neighbors” Single and 2022 NYC Dates

NYC-based Nicotine Dolls shared their new single “Upset the Neighbors,” the latest from the group that formed in 2017 after lead vocalist Sam Cieri and lead guitarist John Hays decided to form a band after meeting on tour. Bassist John Merritt and drummer Abel Tabares joined quickly after.

The band has spent the past 4 years recording and releasing music (produced by Eric Sanderson) as well as producing their own videos. DIY touring and hometown NYC shows are always left shaking from the bands emotional raw and energetic performances. Balancing genre fluidity between alt-rock, pop, and some bits between, the band’s music is always rooted in honesty and the simple complexities of being a person.

This song is two people keeping veering away and distracting themselves from the issues inherent between them. I brought this one to the band feeling like it was right up our alley, big exhilarating sounds tied onto the inevitable weight of the topic. We went in wanting to chase the distraction part of the story, the fun and the show. So, we take that grounding and then thought, what if “I believe in a thing called love” by The Darkness was covered by a 2007 pop punk band? It’s always a good sign if these are the questions you are asking.
Sam Cieri

Nicotine Dolls have three shows planned at Rockwood Music Hall in NYC, with more information available here.

Nicotine Dolls Tour Dates

Jan 13 – New York, NY – Rockwood Music Hall
Feb 17 – New York, NY – Rockwood Music Hall
Mar 17 – New York, NY – Rockwood Music Hall

On December 10, the band released the music video for “Upset the Neighbors” which can be seen below.

Our videos are the other half of what we do and we have a lot of fun making them ourselves. The goal for this was to double down on the fun and make something that didn’t take itself too seriously (like those great Foo Fighters videos). We spent two days creating and filming chaos in our friends apartments and it will go down as the most fun we have had making a video so far. This video is meant to make you smile and laugh and feel good because after the year and a half we have all had that’s what we all (including this band) need.
Sam Cieri, Nicotine Dolls

November 28, 2021
Stars and Behind-the-Scenesters Trace the Rise of the “Rock Concert” in New Oral History

Like rock music itself, the rock concert has very humble, homegrown origins. It started way back in the later 40s/early 50s when radio DJs and record store owners saw them as a way to generate more bucks from the racy new musical style that was igniting the passions of a new, monied class of teenagers. Over time, rock concerts would explode in size, scope and cultural and revenue impact. They evolved from quaint “hops” at high school gyms to a circuit of psychedelicized theatres, then onto sports arenas, stadiums and, ultimately, multiday outdoor festivals. In 2019, before COVID-19 blew it to smithereens, the live music business was a $136 billion-a-year global juggernaut.

With his new book Rock Concert (Grove/Atlantic Press), veteran journalist Marc Myers has marshalled an army to tell the free-wheeling story of the growth of this entertainment staple. Like Legs McNeil’s punk history classic, Please Kill Me and Frank Mastropolo’s recent, Fillmore East: The Venue That Changed Rock History, Myers’ book is a well ordered oral history weaving through decades of fascinating facts and anecdotes. It is told by some of rock’s most iconic stars including Alice Cooper, Ian Anderson, Steve Miller, Roger Walters, Angus Young, Hall & Oates and Bob Weir, as well as an A-list of promoters, managers, songwriters, producers, photographers, sound and lighting techs, filmmakers, fashion designers, roadies and fans. These are the people who witnessed many watershed concerts firsthand, from the days of L.A.’s proto-rock R&B scene through to 1985’s Live Aid, the final event before the era of corporate sponsorship and out of sight ticket prices took hold.

Myers goes back 3,400 years to set the stage for his story. In the book’s preamble, he introduces The Hurrian Songs. This is the world’s oldest known sheet music, tablets from ancient Syria containing tunings and tablature for lyre music meant to be performed before a live audience – the first historical evidence of what would become today’s concert spectaculars. Also noted in the deep history are two Big Band-era pop concert events – Paul Whiteman’s 1924 performance of Gershwin’s Rhapsody in Blue at NYC’s Aeolian Hall and 1938’s Carnival of Swing on Randall’s Island, the first outdoor jazz fest headlined by Benny “King of Swing” Goodman which drew over 20,000 white and black fans.

As stated earlier, the real genesis of the first era of rock concerts is credited to radio DJs. In late 1940s Los Angeles, musician/radio host Johnny Otis commenced his Barrelhouse Club shows in Watts featuring R&B stars of the day. This was followed by shows at additional sites on Central Avenue, many headlined by the original “honking” sax man, Big Jay McNeely, including Hunter Hancock’s popular Midnight Concerts.

The true “rock concert” commenced in Cleveland when Rendezvous Record Store owner Leo Mintz partnered with radio DJ Alan Freed, the man who coined the term rock ‘n’ roll, for events like his Moondog Coronation Ball. With Freed’s move to NYC and radio giant WINS in 1954, he introduced the big concert concept to the Big Apple, with huge shows that ultimately settled at Brooklyn’s Paramount Theater. Myers also quotes the recollections of rockabilly great Wanda Jackson to bring to life the frenzy around Elvis Presley’s early barnstorming tours of the South.

The modern-day rock festival is traced back to George Wein, who inaugurated his annual Newport Jazz Festival in 1954, which included a performance by bluesman-turned-rocker Chuck Berry in its 1958 edition. Wein followed this with the inaugural Newport Folk Festival in 1959, whose headliners like John Baez and Peter Paul and Mary recall performing at what truly might have been the forerunner of Woodstock, the March of Washington. This event which attracted over 250,000 to D.C. in 1964 to hear the political folkies and, more importantly, civil rights leader Martin Luther King.

The Beatles and their manager Brian Epstein are given their due for pioneering the modern stadium tour, beginning with their August 1964 cross country swing to the Hollywood Bowl and their famed Shea Stadium concert in 1965. Of the latter, photographer Henry Diltz relates anecdote about him and Lovin’ Spoonful having to be whisked into the dressing room with the Beatles at the frenzied show. This was when the Spoonful’s lead singer, John Sebastian, was mistaken for Beatle John as they sat in the audience of 50,000 plus. With the help of folks like stage manager-turned-record producer Joe Boyd and folk star Peter Yarrow, Myers clarifies some of the erroneous beliefs around Dylan’s famed, audience inflaming “going electric” set at the Newport Folk Fest in 1965.

Myers then takes readers through the era of the rock theater. This section chronicles the rise of Fillmore’s West and East, the Boston Tea Party, The Avalon, Detroit’s Grande Ballroom, Philly’s Electric Factory and more, and the many innovations they brought in lighting and stage craft and the role emerging FM radio played in their success. There are more great details about how the Bay Area’s Beat poets and their “Happenings” helped usher in the hippies, leading to events like the Human Be-In and the first modern rock festival in 1967, Monterey Pop, another offshoot of a jazz fest inaugurated in 1958. This comes with some great insights from both Monterey Pop filmmaker D.A. Pennebaker and Steve Miller, who was inspired by Hendrix’s musicality but turned off by his and The Who’s guitar bashing antics.

Monterey Pop then led to 1968’s Miami Pop Festival, where we meet Michael Lang, a failed headshop entrepreneur who later play a key role in Woodstock. Myers also relates info about some fests you may have never heard of including Washington’s Skyriver Festival, one promoted by dropping a piano out of a helicopter, along with Atlantic City Pop, which featured 29 acts over three days and drew an audience of 120,000, with no advertising, two weeks before Woodstock ‘69. The author spends a good deal of time clarifying the history of the Woodstock Fest and some legends about how the crowd narrowly escaped mass electrocution during the torrential rain and the importance of the 1970 film to cementing it in history about all other rock fests. There are some great firsthand memories from Blondie-to-be Chris Stein about his experiences at Woodstock. There is also eye-opening details from Abbey Road cover photographer Ethan Russell about his time with the Rolling Stones’ at their disastrous attempt at a Woodstock knockoff, Altamont in December 1969.

After Woodstock, everything changed and escalated and somehow gets more formulaic – less fun but way more profitable. Myers then traces the move to sporting arenas and stadiums. There is a great discussion here on band branding with Nick Fasciano, the man who created the Coca-Cola inspired logo and album cover art for rock/jazzers Chicago and with the Rolling Stones’ famed “lips logo” creator John Pasche. Now technology and spectacle come to the fore, with stars like Jethro Tull’s Ian Anderson, Alice Cooper, Roger Waters and Bob Weir going into their need for dazzling props, lasers, confetti canons, wireless guitar packs and having to create and truck their own custom staging, lighting and sound systems – all to have an impact on audiences that could now be a football field away.

Fashionistas will enjoy the recollections of famed designer Norma Kamali. She is the woman who outfitted everyone from Robert Plant, Keith Richards, Sly Stone and The New York Dolls in their glam looks. Also notable is the discussion of the charity rock concert, with intriguing backstory on George Harrison’s 1971 Concert for Bangladesh, No Nukes in 1979, the various Farm Aid events and 1985’s Live Aid.

Deadheads will enjoy the chapter titled “Concert Maximus.” In this, Myers chronicles the true rock concert superfans, those of the Grateful Dead. These all-in devotees would follow the band to all sites on their tours, including July 1973’s Watkins Glen, which attracted over 600,000 to hear the Dead, The Allman Brothers and The Band. Also included is a discussion of Wattstax, the August 1972 concert/movie/album created by the Memphis-based soul label which drew an audience of 90,000 to the Los Angeles Colosseum. Former label chief Al Bell describes the many obstacles overcome and how this massive event came off peacefully, without a police presence, with a security crew headed by none other than actor Melvin Van Peebles. The author also touches on the mega-sized ABC-TV broadcast event California Jam, with Deep Purple, ELP and Black Sabbath.

https://www.youtube.com/watch?v=URnQzst6Y1U

The death knell to this era of rock came with a few final factors. First is the rise of solitary listening with the introduction of the Sony Walkman in 1979. This was followed by the rise of MTV and the accent on visuals. Lastly is computerized ticketing which only served to rapidly increase the price of entry for music fans. As mentioned earlier, Myers wraps it all up with Live Aid, the August 1985 event spanning stages in London and Philadelphia, with a TV audience of 1.5 billion. It was the final event where ticket prices were within the reach of everyone ($35.00), before everything was scaled up with the help (or harm?) of massive corporate sponsorship. It’s an event famed artist manager and Live Aid eyewitness Shep Gordon called “the end of innocence.”

As you can see from this review, Myers is a music journalist who digs deep and tells a tale clearly. If you enjoy this book, check out his regular contributions on music and culture at The Wall Street Journal and his award-winning site, JazzWax.com.

https://www.youtube.com/watch?v=UqEVYNTdc3c

November 27, 2021
This Week’s EQXposure Features Tori, ShortWave RadioBand And More

Each Sunday evening from 7-9pm you’ll find EQXposure on WEQX, featuring two hours of local music from up and coming artists, be sure to tune into WEQX this Sunday night to hear new music from Tori, ShortWave RadioBand 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.

Tori

Albany singer-songwriter Tori has released her debut album, Half Asleep. It more than lives up to its name, offering chill indie pop perfect for nighttime. Album opener “I Don’t Wanna Talk” functions as the project’s lead single, with a catchy acoustic guitar loop designed for replay value. Another noteworthy track is “Say Hi,” one of Half Asleep’s more energetic moments.

ShortWave RadioBand

Schuylerville trio ShortWave RadioBand have unveiled “Don’t Care,” their debut single. With its proclamation of apathy, it arrives just in time for 2021’s pop-punk revival. While there’s nothing officially announced, the band has plans to follow the song up with an EP.

November 27, 2021
Steely Dan Close “Completely Normal Tour” at Syracuse’s Landmark Theater

Steely Dan Closed their 2021 Absolutely Normal American Tour at the Syracuse Landmark Theater on Tuesday November 23. The fully renovated Landmark has reached its peak performance potential after this year’s final renovations of the seats and the legendary marquee that has been on Salina St since 1928.

Walter Becker and Donald Fagen’s musical concepts they first drafted up together in Brooklyn in 1968 still hits in today’s music world. Donald and Walter received honorary Berklee Degrees, four Grammy Awards and inducted in the Rock and Roll Hall of Fame in 2001

Steely Dan always brought the highest quality caliber of musicians to work on their catalog in the studio throughout the years. The musicians on the Landmark Theater stage were part of the unbroken chain of greats to contribute their voice on this music. Ana Popovic covered Steely Dan’s Night by Night at Homer Center for the Arts last month.

The band now boasts another all-star lineup: it includes Keith Carlock on drums; “Ready” Freddie Washington on bass; Jim Beard, keyboards; Jon Herington, guitar; Walt Weiskopf and Roger Rosenberg, saxes; Michael Leonhart, trumpet; Jim Pugh, trombone; and vocalists Carolyn Leonhart, Catherine Russell, LaTanya Hall and Cindy Mizelle.

The group just released Northeast Corridor celebrating their first live album since 1995. From the comfortable corridor of Rochester, NY drummer Steve Gadd was able to contribute on the iconic studio recording for the title track off “Aja” in 1977.

Fagen revealed that the song was inspired by a relative of someone he knew, who married a Korean woman by the name of Aja. He explained that the song was about the “tranquillity that can come of a quiet relationship with a beautiful woman.” When asked to play drums on this song Gadd was instructed “to play like hell”. He certainly did set the tone for any Drummer to take it on a live stage over the years. The song is a jazz fusion masterpiece and completely killed on the Landmark stage.

The Syracuse crowd got a funk composition tale about an old San Francisco audio artist and LSD chemist named Owsley Stanley. Becker and Fagen named him and the track “Kid Charlemagne” off their heavily illustrated Royal Scam Album. The life of Owsley was worth noting musically as he created the Grateful Dead’s infamous “Wall of Sound” for a tour of the world and supplied the Beatles with LSD during their Magical Mystery Tour recording. Nicknamed “Bear” you can still see his art spirit as the legendary “Dancing Bear” of The Grateful Dead brand. Peg…it will come back to you. you see it all in 3-D, its your favorite foreign movie

Reeling in all the years of this musics catalog was celebrated during the encore. Before playing the classic Fagen dedicated the song to the Landmarks newest legend. Not the Ghost of Clarissa who is said to be seen in the balcony but of a naked man who was found living inside the theater’s walls last month. “Did you hear about that? this song goes out to that guy” He thanked all of their legendary crew and stagehand that were part of the tour closing show in Syracuse. How appropriate for Donald to sing ahead of the holiday week… When Black Friday comes I’m gonna dig myself a hole, gonna lay down in it , Til I satisfy my soul.

Walter Becker, Donald Fagen

Donald Fagen has taken on a Ray Charles glow behind his shades in front of the piano still playing off this musical concept he founded in Brooklyn with Becker. Music to be played improvisational and in the moment on any given night. Donald told Variety magazine this year about his old band mate Walter Becker and their work…When Walter and I were together, I think there was something more journalistic.

Steely Dan – Landmark Theater, Syracuse New York – November 23, 2021 (Tour Finale)

Setlist: Phantom Riders, Night by Night, Hey Nineteen, Black Friday, Aja, Kid Charlemagne, FM, Time Out of My Mind, The Goodbye Look, Home at last, Dirty Work, Crusaders, Josie, Peg, Bodhisivattah,
Encore: Reelin in the Years, A Man Aint supposed to Cry

November 26, 2021
Jon Fishman credits Syracuse Radio Station’s “Rock Block” during Thanksgiving Episode of “Errant Path”

Syracuse, New York is a comfortable corridor of the state to spend the holidays. Dewitt native Jon Fishman told his satellite radio audience during “The Errant Path”s 63rd episode about featured artist Yma Sumac. Before Yma’s airplay Fishman said “we’re gonna do a couple of her songs back to back through out the show. Like a Rock Block of Yma Sumac music. When I would listen to 95X as a kid they would have these great rock blocks. That’s what your gonna get”

Like Lou Reed who did more than just hear a New York station and play some Rock & Roll… Reed was also a host at a Syracuse University radio station that dropped him because he was “just too weird and cutting edge”. In similar fashion Fishman’s show is also educational. He informed that Yma Sumac could possibly have the widest vocal range of all time. The Peruvian Soprano could span four and a half octaves. Fishman is accurate in picturing her work inside a Quintin Tarantino movie.

Fishman played Herbie Hancocks production of Thelonius Monks composition “Round Midnight” during the episode. NYS music spoke with Trey Anastasio, Tony Markellis, Russ Lawton and Ray Paczkowski about “Thelonius Monks Tips for a gig” this past Year. Catch Fishman on the TAB tune “In Rounds” from the Radio City tape this past Fall channeling Monk’s concepts Live.

The errant path has a buzz. It has an Airheads quality to it. It’s even had interviews with Funkadelic’s Bootsy Collins and Steve Cropper of Stax Records. Fishman also has intuition for the trails different paths under the moon. On his August 18 “Errant Path” episode, Fishman closed the show for all of us on tour sleeping under strange skies with “Moonlight Mile” by the Stones. He then commented ”For me the sound and feel of Charlie Watts will never get old. I just love that guys drumming. It stands up no matter what’s before it or after.” This episode was out in orbit a week prior to Charlie Watts giving up his ghost. After his first tour with The Rolling Stones drummer Steve Jordan told Rolling Stone that “Moonlight Mile” was played a lot during rehearsals and that he is still lobbying to play that live if there are more shows in the future.

Fishman gave a great B side nod to The Band the night before Thanksgiving that holds “The Last Waltz” in mind for all out on the town. From their 1999 Tangled up in Blues album with a young Derek Trucks playing rip snorting slide guitar on Bob Dylan’s “One Too Many Mornings.”

Jon Fishman said that Thanksgiving and Valentines Day are his two favorite holidays. “What two things are better than love and being Grateful?” “Halloween is a good one too because it’s fun. That’s also important”

Fishman’s goal during each Errant path episode is to hopefully provide all three. He paid tribute to his own musical journey on air and live from the great Bob Marley’s words… we come to conquer all of the evil in the world using nothing but music. Fishman said “I think that’s pretty much the best intent that you can have from a musical perspective”

Bob Marley told the Landmark Theater in Syracuse in 1978 “Reggae Music is like the news, it’s the peoples music. Herb is the healing of the nation right?” Fish attended a King Crimson Show at the Landmark during his years in Syracuse. On October 5 2001, Jon Fishman had Merl Saunders and his Funky Friends, Col. Bruce Hampton and the Code Talkers, and Sand Bear play the Landmark as a tribute to his mother, philanthropist and longtime Syracuse artist Mimi Fishman.

Mimi Fishman Art, Eggplant Diner Syracuse

Jon & Merl treated the crowd to an improvisational jazz jam that launched in to a Latin flavored rendition of “Fire on The Mountain”. Like Woodstock’s Levon, Cuse’s Fish led the whole cast through “The Weight” and “Turn on your Love Light” with Colonel Bruce Hampton. Steely Dan just closed their Absolutely Normal Tour at Landmark on Tuesday night. David Byrne brought his American Utopia to Landmark in September 2018. Ringo Starr had his All Star Band to Landmark in 2000. The Rolling Stones spent Thanksgiving in Syracuse in 1981 performing two shows at the Dome over the holidays.

Artists such as Alan Evans from Buffalo, Steve Gadd from Rochester and Jon Fishman from Syracuse are part of a rock block of Upstate New York drummers. They link off that unbroken chain of groove that keeps inspiring the young cats. Fish definitely locked in to the rhythm of the saints on his nine piece kit trailing off Cyro Baptista’s bells and whistles at Radio City on October 3 4 2021. Remember at Dinosaur BBQ when he told the table that his groove on Phish’s Fee was influenced by Sade’s Smooth Operator? Don’t doubt me. Enjoy Phish’s Dinner and a Movie for left over Clifford Ball footage all weekend. Fish & Phish return live to Madison Square Garden December 29 through New Years Day. Fish gets down with New Orleans cats George Porter Jr and legendary percussionist Cyril Neville on some Dead tunes in March 2022 in Maine.

November 26, 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
Phish Goes Under the Covers in Albany: November 25, 1998

Fresh off the heels of another legendary Halloween performance in Vegas and two iconic shows in Hampton, Phish rolled into Albany for the second to last stop on their legendary Fall 1998 tour. It sees the band at the height of its powers, mixing in new, fresh material to go alongside a bevvy of cover songs that have been unearthed this year. With a rare one-night only appearance in Albany, Phish lets it all hang out in a show that often gets overlooked, but certainly shouldn’t be.

Tonight’s festivities begin with the signature guitar intro to “Punch You In The Eye,” which receives a giant roar of approval from the Pepsi Center. Page McConnell shines early with some stellar runs on both the electric keys and grand piano as the Gamehendge-adjacent number revs up an already rabid arena even further. At its conclusion, another familiar guitar riff emerges. This time it’s the bluesy intro to “My Soul,” a cover song Phish first started injecting into their live shows the year before. McConnell again dazzles with a ferocious piano solo before handing off to Trey Anastasio who returns the favor in kind and then some on guitar. Phish then eases off the gas pedal a bit with another new number, “Roggae,” one of the tracks from The Story Of The Ghost which was released just last month.

The musical setting then shifts back to Gamehendge with “AC/DC Bag.” Anastasio again takes the reigns on a patiently developing jam that gets plenty of noticeable assistance from Mike Gordon on bass and drives the crowd into a certified frenzy by the end. McConnell has a little fun on piano as well, stretching out the ending until Phish changes lanes once more and jumps into the increasingly rare “Lifeboy.”

Phish in Albany 1989-1995

Afterwards, Jon Fishman’s familiar hi-hat drumming signals the introduction to “David Bowie,” which is stretched out and teased beautifully before being cleared for launch. Phish then absolutely obliterates the song’s composed section, playing at a near manic pace, before embarking on a jam that serves as one of the show’s true highlights. It’s patiently crafted, with Anastasio and McConnell parrying back and forth early and often. As the jam continues to build in intensity, Phish does the same with the ending, stretching it out for all its worth to complete a 19-minute journey that blows the roof off the Albany arena.

Few would complain if the first set ended right there, but instead the band throws out one more change of pace pairing. Trey jumps on acoustic guitar for only the sixth ever “Sleep,” a song first debuted earlier this tour, and “Driver,” both songs that would be included on the band’s forthcoming 2000 release Farmhouse. To cap things off, Phish throws in a cover of Led Zepelin’s “Good Times, Bad Times,” with another incendiary guitar solo from Anastasio escorting the Albany faithful to set break.

Phish In Albany: 1997-2000

After a little spacey ambiance, another familiar Fishman drum beat starts up set two. This time it’s “Also Sprach Zarathustra,” aka the theme to Stanley Kubrick’s 2001: A Space Odyssey. Again, Phish takes their time in slowly building up the song’s introduction, going well past five minutes before the first signature guitar lick rings out. The jam that ensues is flavored by some tremendous Mike Gordon bass play before coming to a rousing finish. “Golgi Apparatus” serves as another throwback song to the days of yore and goes off without a hitch before they get into another jam vehicle, this time a cover of The Who’s “Drowned.”

As another whirlwind musical excursion slowly comes to an end, Anastasio quietly starts the beginning of “Prince Caspian” and the rest of the band quickly follows along. After another stout feedback-heavy guitar solo, the music comes to a crawl and then “Piper” emerges, with it’s now “classic” slow build which fits in perfectly with the show tonight. The slow build yields another manic jam, with McConnell furiously pounding away on the baby grand piano. With the Albany crowd once again supercharged, Phish then drops a “You Enjoy Myself” on them in what’s already a full second set of music.

Phish In Albany: 2003-2009

The closing sequence for this show is straight out of 1998 and not one to be duplicated anytime soon. As “YEM” and its customarily eerie vocal jam concludes, instead of taking a bow, Phish bursts into “Been Caught Stealing,” the Jane’s Addiction song that made its debut earlier in year during the “Summer of Covers.” Until a certified bust out at Walnut Creek in 2011, this was the last one played. A rip roaring “Llama” then closes out the second set in fine fashion. For the encore, Phish breaks out yet another cover selection, this time its The Beatles’ “Something,” penned by George Harrison and covered by Phish only on this Fall 1998 tour. To date, it’s the last time it’s ever been performed. “Guyute,” another pick from the recently released Ghost, follows this before an a capella “Free Bird,” as only Phish can do, closes out yet another sterling Albany gig.

Listen to show at PhishTracks or see complete audio recording below.

Phish Pepsi Center – Albany, NY 11/25/98

Set 1: Punch You In The Eye > My Soul, Roggae, AC/DC Bag > Lifeboy, David Bowie, Sleep, Driver, Good Times Bad Times

Set 2: Also Sprach Zarathustra > Golgi Apparatus, Drowned->Prince Caspian > Piper, You Enjoy Myself, Been Caught Stealing > Llama

Encore: Something > Guyute, Free Bird

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