New York’s largest free outdoor performing arts festival is making a comeback to live performances after last year’s hiatus due to the pandemic. Since its inception 35 years ago, more than six million people from New York City and around the world have enjoyed SummerStage. In 2020, “Capital One City Parks Foundation SummerStage Anywhere” was launched in response to the global pandemic, presenting 80 free digital performances, spanning all genres, available to all around the world.
Now, back in full swing, Capital One City Parks Foundation Summerstage will be hosting the annual celebration for esteemed jazz saxophonist, Charlie Parker. Recognized as one of the vanguards of jazz music’s evolution into the modern era, Parker is acknowledged for his advancement of Bebop, a subsidiary of Jazz known for its fast tempos. A highly regarded soloist, the celebration of Parker’s life and accomplishments will be comprised of his contemporizes as well as young jazz musicians who continue to push the art form forward. This year’s festivals will be held from August 27-29 at Harlem’s historic Marcus Garvey Park in addition to other partnered jazz events around the city that will run from the August 23-27.
All free performances will be open to the public and will be first come, first served and in accordance with venue capacity limits. In response to the increasing spread of the COVID-19 Delta variant, all guests of the Charlie Parker Jazz Festival SummerStage events at Marcus Garvey Park will be required to show either proof of full COVID-19 vaccination or a negative PCR test within the last 72 hours in order to enter. Children under the age of 12 will be allowed to accompany their parent or guardian who provides proof of full vaccination or negative COVID test.
All information regarding vaccination/testing/mask guidelines as well as an itinerary of events for all Summerstage 2021 Season events can be found on the City Parks Foundation website.
The inaugural Catskill Mountain Jubilee (CMJ) was held August 12-14 at The Blackthorne Resort in East Durham, New York. The venue’s biggest event yet bent genres and danced around the intersection of electric and electronic. bands like Lotus bridged the gap between Doey Joey and Dark Star Orchestra. The eclectic influences and open minds made for a few days full of idea-filled conversations, exciting new music, and top notch vendors. The not-too-big, not-too-small festival in the middle of a humid heat wave created an atmosphere of mutual respect which cultivated a space ripe for profound understanding of ourselves and our community.
Gnomes and 9 Pins
The CMJ had a familiar story that aligned with folklore about sailors being led by gnomes deep into in the Catskills only to find joyful celebration full of music. Diverse creatures of the forest gathered to play games of 9 pin all night, illuminated by a seemingly ever burning bright firelight. It is said that every 20 years, that light can be seen and music heard. Some felt a pull, while others felt magic.
Blue emerges
This past weekend, bright lights could be seen and music heard. Strangely, in the land of Mountain Jams and Cosmic Alignment’s past, genres at CMJ could not be identified. In a most peculiar way, the over 400 residents at Blackthorne resorts were nowhere to be found the first and second day. It was as if they did not exist.
Pool Party with Doey Joey
Games were played at DJ Doey Joey’s pool party. Bright colors, bubbly movement existed in this thriving ecosystem that was the Joey crowd. Fans extended like dorsal fins, electric poi hung in the air like angler fish and glow sticks helped fasten hair into a bun as the warm day slowly cooled.
Meeting of the Minds in Transitional Times
“Face it, Black Tourmaline from the Himalayas is f***ing so rad. Believe what you want. The point is the aesthetics.” –
The intensity of the heat matched the the conversation during the day at CMK. Crystal Wielders and Zen masters took shade at the second stage which acted as an arena to discuss the ultimate debate: Quartz or Himalayan Black Tourmaline on your back?
Your Ocean
As night fell and humidity rose, attention could only be directed towards the place with the light. The oceanic thickness in the air combined with the “mind like alter” transition from healthy debate to learning seemed only appropriate.
Lotus gave intimate, yet energized upstate Flodown that evoked new levels of emotional connection for fans as guitarist Michael takes his victory lap with the band. Incoming stand-out guitarist Tim Palmieri and fellow guitar warriors exchanged theories on the most humane strategies for reducing a crowd into liquid form with their solos.
Moe. guitarist Al Schnier is not featured in this photo.
This is a moment that captures the heart and soul guitar playing in the band Lotus from Michel to Tim. Tim’s eagerness to learn from Michel and Michael letting go of this place will put a smile on all Lotus Fan’s Faces. We love the band. We will miss Mike, and we still want Lotus in our lives.
During tumultuous conditions, the vendors acted as protector and mother to any patron in need. Regardless of Maslow’s ranking, the vendors were there to provide quality accommodations every homeostasis need, like Keith’s Coffee.
Some vendors even appeared to have a special ability to live paint the eye of the storm, channel its dragon spirit and will the storm and all of its heat away.
Rainbow Party
After the storm passed and the heat broke, Annie In The Water acted as the rainbow ride all the way to a party “where the wine flowed like cheap booze in soup containers.”
The locals, feeling safe, were drawn out of what turned out to be their their air conditioned summer homes. What did the trick? It seemed the upbeat jams of Lucid did the trick. Lines of golf carts were full of folks seeing a world of possibility they never knew existed. The party continued into two nights of Dark Star Orchestra.
Powers and Abilities
Once the heat broke and everyone at CMJ began to interact with more cognizance, something unexpected happened.
Karina Rykman discovering what Umphrey’s McGee and Doom Flamingo member Ryan Stasik called “Levitation and Doom (Flamingo hat)”
As true celebration began, the inner power of each individual began to manifest itself in different ways.
Becoming Jellyman
These patrons responsibly used their powers to summon a deep feeling of gratitude and acceptance among all attendees. The group seemed to tie closer and closer bonds throughout the weekend.
Newfound confidence in community had many take their light bending to an entirely new level.
It takes some kind of magic to allow oneself to submit to romance and all that goes along with it. It is a scary world out there, but only with the support of our community can we find it in ourselves to kiss the girl.
Karina Rykman finding her inner light
Sometimes finding that one inner light in ourselves was all we needed.
Looking Forward
“fuck yes” – Woman on the left.
What does this all mean? It means that the power of a beautiful place, good music and supportive minds can remind us why we loved going to see music when it was all still new. It also allows us to tap into our inner optimist. Regardless of how bad life might feel, we could probably make it to the next set.
“It will buff out.” A rainbow Hemp Hatted Zen Master shared his mantra with the crystal keepers while gazing deep into the looking stone. He explained the phrase meant everything will be ok, but he has to do work.
“At least if the journey has no destination, the jubilant reassurance that we are all in this together” – Loosely quotes from David Byrne but with a CMJ twist
“Let’s cherish the Memories we’ve had so far, and have equanimity with what happens next.” – Wonzie
“F**k yeah!” -Woman on the Left (pictured above)
This Inaugural symposium brought together individuals from every planet, ocean, desert, pool party and pot of gold. It was a true meeting of the minds. Moving forward we will be empowered to take care of more fellow music fans, regardless of their favorite band or who they think is getting “The Torch.” In times where addiction runs rampant, we must remember that we are all in this together and everyone without a water bottle needs one.
The Catskill Mountain Jubilee certainly felt like it had been happening for centuries. and maybe it hasâ¦
For a reminder of how far we have come, check out this awesome video from shutdown with Karina and Marlo from Melt playing China Cat Sunflower
Jazz was back at Fort Adams State Park last weekend as the Newport Jazz Festival staged their 2021 program at reduced capacity and with only two stages of performances. Spirits were high, on stage and off, making for a thrilling three days of non-stop music. The playing was top-notch across the board, highlights abound, there was barely time to catch your breath. What follows is a chronological list of our absolute favorite moments.
Makaya McCraven at the Quad Stage, Friday
Drummer Makaya McCraven brought his quartet, including Marquis Hill on trumpet, Matt Gold on guitar and Junius Paul on bass, to the Quad Stage on Friday afternoon. McCraven often let his band form the rhythm between them while he danced within and around it, using his kit as more of a lead instrument. He was in constant motion, rarely settling into a groove, yet somehow managing to push and pull the quartet through multiple changes, from fusion to swing to funk to more freeform. They previewed an upcoming album re-imagining the work of Gil Scott Heron that featured some singing from Paul and spoken word recordings of Heron’s. “Misplaced That Place” gave McCraven’s kit the full workout while a cover of Tony Williams’ “There Comes a Time” allowed the band to stretch out while he established a hard grooving beat. Between the quality and diversity in his playing, we didn’t see a better drummer at the festival.
Robert Glasper Acoustic Trio at the Quad Stage, Friday
In his first of three sets for the weekend, artist-in-residence Robert Glasper presented his acoustic trio, with Justin Dyson on drums and Vicente Archer on bass. They were also joined by DJ Jahi Sundance on the “ones and twos” during a set that was heavy on improvisation. The hyper-tight quartet nee trio danced around themes of both pure invention and some more familiar, like Cyndi Lauper’s “Time After Time” or an extended riff around “Happy Birthday” played for Glasper’s young daughter Lola who was hanging with mom side stage. Glasper took some long piano breaks, sang along with some of Jahi Sundance’s spoken word samples, and also gave his bandmates plenty of space to shine. The set closed with Glasper’s 2021 Grammy-winning song, “Better Than I Imagined.” The set was certainly some of the strongest improv we saw all weekend. It seemed that the trio had enough ideas to go another hour, but unfortunately they ran up against the end of their set time and had to cede the floor.
Kamasi Washington at the Quad Stage, Friday
Kamasi Washington and his big band overpowered the Quad Stage in their appearance late Friday afternoon. They closed out the stage for the day, fortunately for anyone who would have had to try and follow them. Festival artistic-director Christian McBride summed up Washington in his introduction from the stage as “A hurricane … of music.” It was an apt description! Washington’s large band featured a horn heavy front that came blasting forth while a massive rhythmic swirl was generated from the back. It sucked you in and spat you out before you realized what was happening. Whether playing the gently melodic “Announcement” from the soundtrack he made for Michelle Obama’s “Becoming” or the racial justice anthem “Fists of Fury,” the music is powerful and moving. The set peaked midway through with “Sun-Kissed Child,” a new piece written after Washington became a father that featured his most fiery playing of the afternoon. Washington created music you experienced as much as heard.
Danielle Ponder at the Quad Stage, Saturday
Rochester soul singer Danielle Ponder emerged from obscurity and quickly won over the early day crowd on the Quad Stage. She was admittedly nervous for what was likely the biggest show of her career so far, not to mention in front of a jazz crowd fixated on minutia. It didn’t show from the get-go. She commanded the stage like someone who was performing most of her life, which she has. She mixed together love songs like “The Only Way Out” and “Holding Me Down” with songs of social and environmental justice like “Poor Man’s Pain” and “Look Around,” constructing a set that took the unknowing audience on a journey establishing a clear picture of Ponder’s immense talent and m.o. Using Nina Simone as a compass, she called an audible from the stage and lead her band through an unplanned cover of Radiohead’s “Creep.” It was already midway through the set, and she had already received a standing ovation, but she played it as a comfort to calm her nerves. The repeated lyric, “What am I doing here, do I belong here?” was incredibly apt though was answered with a resounding “Yes!” as the audience provided a second standing ovation in a row. For the set closing “Darker Than Blue,” Ponder had the entire crowd standing and singing along, “Can’t you see us rising, higher!” Thousands of new fans eager to buy whatever comes from the record deal Ponder announced she had just made.
Brandee Younger at the Lawn Stage, Sunday
The last piece of the lineup puzzle was placed just weeks away from the event, and it ended up being one of the very best sets we saw all weekend. Harpist Brandee Younger and her trio, with Dezron Douglas on bass and Allan Mednard on drums opened the proceedings at the Lawn Stage on the final day of the festival. The harp was the lead instrument but each player was superb and at their greatest moments were equals within the music, a place that was reached often. There were very little established solos. One piece ended in a short drum solo which gave Younger a laugh, since Mednard had told her, “No drum solos.” on the ride up to Newport. “In Love and Struggle,” written for the play of the same name, exemplified their penchant for three-way improvisation as it built with each instrument establishing an individually fantastic sound that meshed together to form something beyond. Younger invited Rochester’s Mikaela Davis on stage to help pay tribute to harp visionaries Dorothy Ashbee and Alice Coltrane, each celebrating August birthdays. Davis lead the trio through Ashbee’s “Action Line” showcasing the range of the harp, as each artist had their own unique style. Younger followed with a Coltrane medley to complete the harp history lesson beautifully. The set closed with a humorous nod to the pandemic with a piece titled “Toilet Paper Romance,” written during her and Douglas’ live stream events from their living room. Live music is better in person, and this was a thrilling set.
The Bogie Band featuring Joe Russo at the Lawn Stage, Sunday
The big band format got shuffled, blended, and mixed up when saxophonist Stuart Bogie brought his band to the main stage Sunday afternoon. The band was nearly a mirrored double quintet, with two trumpets, two trombones, two saxes, a flute, sousaphone, percussionist and drummer all standing in lines across from each other. The music had a New Orleans brass flavor played with a Lounge Lizards or Frank Zappa controlled chaos with a little Beastie Boys groove thrown in. Rhythms could be established by a repetitive flute or xylophone melody, from Joe Russo’s incredible drumming or multiple percussionists. Bogie played the part of band leader, frequently stepping out from his mic to stand front and center and conduct the 11-piece band. The band grew exponentially when he employed the audience to scream “Hey!” on command, which he used beyond the confines of one song. Russo was given the opportunity to play more of a lead role on “We Organize” as the rest of the band laid down a multilayered groove for him to explore regions beyond the beat. What a joyous set of music, keep an ear out for The Bogie Band.
The Jam Jawn at the Lawn Stage, Sunday
There were some great only-at-Newport ensembles at the festival, including the Vibe Summit and Jazz Gallery All-Stars, but one stood above the rest. The Jam Jawn, with Christian McBride, Joe Russo on drums, Marco Benevento on piano and keyboards, John Scofield on guitar, and Mikaela Davis returning to the stage, again uncredited, on harp. True to their name, the Jam Jawn used songs as a mere blueprint from which to start. An electric Miles Davis groove, likely “Miles Runs the Voodoo Down” turned into a free form session with the quintet eyeing each other from across the stage, either searching for improvisational cues or more often flashing recognition of great playing. Davis formed tight bonds with Benevento and Scofield, weaving harp lines enmeshed perfectly into their soloing. Festival artistic-director McBride also ably directed traffic from the stage, holding down the grooves whether on electric or upright. Russo continued his masterful drum work from the previous set with The Bogie Band. On a set-closing loose version of “Get On the Good Foot,” the band invited up a literal lineup of players from both David Ostwald’s and Stuart Bogies’ bands. Horn solos eventually became a horn backline and just like that the set was over. The hour went all too quickly, and as special as it was, we have to hope these five make music together again, it was just too good.
The Audience, Everyday
One of the key elements to live music is of course the audience. Some have expressed concerns about returning to crowded concerts and the common annoyances they can bring. But the people out enjoying the 2021 Newport Jazz Festival proved their own importance to the music. The artists fed off the crowd’s energy, it simply isn’t the same as playing to a virtual audience or half-filled room. Even at reduced capacity, it felt like the space around both stages were quite crowded the whole weekend and their excitement was infectious.
And the people came to listen. During quiet moments you could hear a pin drop. Keep in mind that at this venue the pin is falling onto grass. Then during more exuberant sets, like Khruangbin’s Friday night closer, a dance party broke out all over the lawn. Whatever the music called for, this audience was at the ready. When crowd participation was requested, everyone was at the ready to provide extra voices, hand claps, or perfectly placed “Heys!”
The weather was perfect each day and people were out in their Friday, Saturday and Sunday best. The typical concert attire of band t-shirt and whatever shorts were next in rotation was mostly dismissed in favor of a variety of fashionable dresses, button downs, pants and a very strong hat game.
It was simply a pleasure to be a part of this audience, the excellence of the music was only enhanced by being amongst like-minded music lovers who provided encouraging woos and whoops or slapped the ground or beamed a huge smile in recognition of great playing. Here’s to hoping the relationship between performer and listener can continue on unfettered, and grow to what it was not so long ago, and even stronger. We’re still stronger when we sing together.
Resurgence Brewing Company and Twenty6 Productions present the Rocks on Rocks Festival on Saturday, Aug 7. A full day and night festival featuring music, art, craft beer, food trucks, local artisans, busker stage, and much more. Featured artists include Aqueous who have two sets, Soul Patch, Grub, and Mom Said No.
Aqueous was born of a life-long friendship rooted in music, paired with an endless appetite for elevating and evolving their craft. Following several full-length studio albums, EP’s, and live releases, high profile performances at music festivals like Electric Forest, The Peach Music Festival, and Summer Camp Music Festival. With pop infused hooks, meaningful songwriting, and all out rock n’ roll, the band is a joyful listen. No strangers to improvisational music, the natural extension of many songs live is what makes every show unique. Blurring the lines between a multitude of styles and genres, Aqueous’ sound is explosive, fresh, and undeniably their own.
Soul Patch, Buffalo’s Premier 90’s Alternative Cover-Tribute Band, features members of Every Time I Die.
Grub, a multi-genre trio capable of delivering funk-driven madness, improvisational bliss, and shoe-gazing glitch-o-matic soundscapes. A true wildcard in today’s music scene from Niagara Falls, NY. With the intent of drawing in music lovers of all sorts, the boys continue to push the envelope in modern musical expression.
Grub’s original catalog can be described as uniquely inventive, adventurous, and welcoming to new listeners. Each song showcases a seamless blend of genres such as funk, psychedelic rock, electronic, hip-hop, metal, and reggae amidst a pop-esque composition, so there are elements on the table for all. A live Grub performance showcases their original tunes as well as their improvisational chops, while captivating the crowd by teasing dancy and nostalgic covers from over the decades.
Mom Said No has perfected its own brand of high-energy, dramatic, tuneful, and memorable alternative pop.
To learn more about Twenty6 Productions, please visit the website and follow along on Facebook and Instagram.
The Rocks on Rocks festival is at Resurgence Brewing Co located on 55 Chicago St in Buffalo, NY. Gates open at 1:00 pm on Saturday Aug 7 and shows are from 2:00 pm to 11:00 pm. The event is for everyone ages 21 and over.
Rocks on Rocks General Admission tickets are $35 when bought in advance and $50 day of show. VIP tickets are $85 when bought in advance and $100 day of show. VIP tickets include: Front of stage access, private bathrooms, VIP area, VIP bar, complimentary food/snacks, and a festival poster.
Nestled deep in the hills of Virginia, Floyd Fest 2021 kept true to its theme ‘Odyssey” when it provided a dreamy, cantina-like oasis for curious seekers and seasoned travelers alike. Artists including Goose and Andy Frasco & The U.N. blended into the crowd for Billy Strings and waited patiently for Leftover Salmon between their own sets in order to bask in the familiar and the favorites.
Fire ritual spoiler alert
But what really happened that weekend? Why were there mystical creatures? What was that thing that happened with the full moon and the fire ritual performed by Goose on Friday?
The Quest
Most that have traveled that far from home for a beach with tented structures that barely qualify as “chair”. Beverages served inside the protective outer layer of a large fruit elevate one’s lounging experience.
Attendees resorted to extreme measures by day 3 of hiking the hill from camp to the main stage.
Others have always felt the magnetic pull of the electrical currents flowing through consoles responsible for light and sound. The wise were beckoning.
Lockn’ The Wise looks prepared for Fred the Festival
Nestled down in a small valley of rolling hills, tents lit like little huts in a shire. Moon, red like a western sun, rising through the faraway wildfire’s haze. After hours upon hours of travel, it seemed like a mirage, or a figment of imagination.
The Village
Floyd traveler familiar with the midday sun and opts for shade and to see Chupacabra’s set.
Uncertainty and overwhelm upon arrival. The seeker arrived to a new town, hustling and bustling as it has for many years. Floyd Fest attendees in 2001 seem more like townsfolk in a small village nestled far away from any industrious city. Everyone goes about their business. No questions. Each and every person appears to have a job, a home, and a role within the community.
This staff security member has been collaboratively painting with the same group for over 10 years.
There might have been plans to have a meeting of the minds and spirits, but the lack of cell service created a mentality of embracing what was, not what could have been. Any plans to meet friends were let go at which point, the true experience began.
Moon is tight
The Celebration
Off in the distance, there was music. Light began seeping onto the edges of the forest. Following blindly on the trail, the hero contorted their way through campsites, following weaving trails until a light began to show.
As the path opened up, a mass of people gathered in the shape of a bowl became illuminated by a flood of beautiful shapes and colors. Attendees entered the area with joy and music. It felt like a dream, looked like a dream, and had the soundtrack of Billy Strings. Everyone was there.
Certain supernatural laws seemed to morph when moving through the dimensional force field that was the gate of Floyd Fest 2021, Friends seemed to appear, exactly at the perfect time, by sheer luck and with a dash of synchronicity. It was often in those moments that we would miraculously have our friends cross paths right in front of us.
Roger Gant composing ideal combinations of shapes and colors for the moment.
It was great to run into friends that I have no seen since shutdown. Usually we get to see each other when I stop in their city for tour. I was not expecting so many reunions.
Roger Gant, lighting director, Billy Strings
A patient Goose (member) Jeff Arevalo waiting for Leftover Salmon to begin.
This was more than just a little town, it was a place for many woodsfolk, elvish types and wizards to gather and celebrate the diversity that has successfully coexisted.
Billy Strings’ bassist Royal Masat
It was a place for young warriors to display the fruits of their training and for elders to inspire support within and between communities.
Goose Connections
One wiser, more experienced female traveler easily recognized the look of wonder and amazement on a young couple’s face. She approached the two after Billy’s encore and asked “Is this your first time?” The two cautiously nodded, unsure of why this was being asked. The elder was elated and welcomed the couple. She had spotted the newcomers early in the night and just had to know if her gut instinct was correct, then promptly welcomed the two. She shared that she had been attending Floyd Fest for more than a decade and it felt just as good in 2021 as it did her first year.
This long time fan of the Grateful Dead was blown away by the kindness of Goose Fans at her first show.
The beautiful thing about gathering for Floyd Fest 2021 is that the travelers and the seekers were able to share Goose through one of the highest energy ultra marathon birthday celebrations to date. Many Floyd regulars had only studied Goose through youtube and live streams, but Friday night, they were able to experience a proper southern Goose Flodown. Feet stomped. Crowd pulsed. Andrew Goedde’s smoke with white lights during “Arcadia” awakened the spirit of Tennessee Ted for the first time since Pelham. It could not only be seen, but also heard thanks to the masterful sound engineering by Sam Bardini.
Bathing in light thrown by Andrew Goedde. It would not have been the moment it was without these lights.
After two and a half hours of anthem after anthem, the young couple ran into the elder as one would in that fantasy fiction we seemed to be living in at Floyd and they were able to ask knowingly, “first time?”
Peter Anspach giving a warm and friendly greeting.
Convergence and Birth
On the eve of the full moon, there was a ritual burning of candles for one chosen bassist. This converged with a chemical reaction from energy between musical newcomers with the wise seasoned ones. The next breakout band emerged from the garden stage around the same time Turkuaz performed their Talking Heads set.
An Empress of Organos
Melt
Melt from NYC had a full and engaged crowd despite fierce competitors at the main stage. Empresses Veronica (vocals) and Marlo (guitar) seranaded the garden stage with dynamic melodies.
An Echo of A Rose, Marlo
Keys and horns dances perfectly with bass and drums. Respect for one’s bandmates for melt looked like laying down during a member’s solo. This band enchanted anyone within earshot.
Melt showing respect for their bandmates
The traveler returned home with tales of strings and salmon as well as intel on Melt for ‘heard them first’ stock brokers everywhere.
Cody the Wise
At the end of the day, Floyd Fest was summed up best by traveler Cody Wimer when he shared his thoughts on Floyd:
Home festival. Best place. Hot days. Cold nights. Music fire.
After a year of silence, Newport Folk returned to Fort Adams this weekend with the first of two three-day events dubbed “Folk On.” The first notes to grace a Newport Festival Stage in two years were from the Resistance Revival Choir, appropriately singing Burt Bacharach’s “What the World Needs Now.” “Arts and culture change minds, joy is an act of resistance!” they announced from the Quad Stage. 80 hours later the weekend closed out with a surprise appearance by Chaka Khan leading almost every female artist still around in “I’m Every Woman” and a raucous and joyful dance party on and off stage. In between, music, reunion and reflection tangled together to lift up all in attendance.
Folk Past and Future
Newport has a keen knack to straddle the dangerous line between nostalgia and tradition. It remains true to it’s roots by respecting it’s past and adhering to its roots and principles, all the while pushing boundaries and always with an eye on what’ next.
Music history was on display throughout the weekend, both Newport’s and otherwise. Much of Friday played out like a blues revue, similar to how George Wein used to piece together programs in the early days of the Jazz Fest. British Duo Ida Mae ran through their new album, paying tribute via influence to many of the blues greats who graced Newport’s stages, like Son House and Fred McDowell, whom Chris Turpin cribbed solos from in “Click Click Domino.”
Celisse, in her bright flowing rainbow-colored dress, blasted some bad-ass blues riffs of her own, her pink-glittered amps just trying to keep up, her cover of Bill Withers “Use Me” highlighting her fiery set. Black Joe Lewis and Marcus King both brought a big band blues filled with horns, soul and funk.
The Busking Stage, a small pop-up tent thrown up on the edge of the lawn, hosted intimate performances buy lesser-known new talent and some surprising larger artists. The close-in space, stripped down performances, with fans sitting attentively in the grass surrounding the stage, harked back to the earliest days of the fest. One of the larger crowds at the stage occurred when Andrew Bird and Jimbo Mathis previewed their Quad Stage set on the smaller stage. Playing their old-timey fiddle and guitar tunes from their 2021 release, These 13, one could almost imagine they were back in 1959.
Easing back from nothing to full-on festival, the 2021 Folk On event, had a half-capacity crowd and a bunch of artists bringing a more stripped down set then their pre-pandemic norm, which provided a mellower vibe that felt more in tune with folk fests of yore. Grace Potter, in a set that spanned two days due to Friday ending early due to impending storms, played a solo set. Just her voice and a guitar or electric piano. Her voice was stunning throughout, but especially on “Stars.” Phosphorescent shunned dismissed his usual full band and was accompanied only by piano. Back to closing out the fest Saturday night, Jason Isbell was stripped down to an acoustic trio, with Sadler Vaden on guitar and Amanda Shires on fiddle and vocals. “What Have I Done to Help” pushed the format to it’s limit, all three jarring back and forth. Kevin Morby also went without his band, playing in various configurations with Cochemea Gastellum on saxophone and flute, Katie Crutchfield and a drummer. A duet with Cochemea on “Oh My God” was jaw-droppingly good. And in Crutchfield’s own set she was accompanied by only a drummer. Lucy Dacus played “Partners in Crime” without the usual Autotune for the first and probably only time ever, which she thought a folk fest “simply couldn’t handle.”
History was also explored through multiple tributes, as is generally the case at one of these things. Devon Gilfillian brought a full set tribute to Marvin Gaye’s “What’s Going On” that was surely a Folk On highlight. Multiple guests, including Joy Oladukun, Kam Franklin and Celisse, joined a big band assembled for just this purpose, that may just have been the best this music has sounded in 50 years. Sadly, Gilfillian explained, he covered the album because all these years later the country is still just beginning to get the message through.
Billy Strings also played a tribute set, to festival alum Doc Watson. Strings explained how he loves to think about Newport’s rich history, and referenced the large portrait of Watson in the green room. His quartet, seated throughout, blitzed through Watson originals and covers he made his own, like “Way Downtown,” “Summertime,” and “Shady Grove.” What the festival lacked in quantity of bluegrass was made up for in quality in this one hour set.
There were too many amazing covers to count, some highlights include: Grace Potter’s playing “White Rabbit” on her Flying V guitar; Phosphorescent boldly covering Randy Neman’s “Days of Heaven” hours before Newman took the stage himself; Joy Oladukun taking Prince’s “The Cross” for a spin, Waxahatchee working in Jason Molina’s “The Dark Don’t Hide It” with Kevin Morby; Bird and Mathis inviting Margo Price to sing on “Angels of Montgomery,” one of a few tributes paid to the late John Prine.
Any time an artist is invited to play at Newport they become a part of the Folk Family. The fans are also members of the family. With the festival on pause in 2020, this year felt like a bit of a family reunion on both sides of the stage. Some groups had matching t-shirts, some matching pins, but everyone wore beaming smiles, just happy to getting back to being amongst music lovers and music makers.
After months and months at home with literal family, artists seemed quite content to keep spending time together. The amount of related artists sharing the stage was prevalent. Ida Mae, Maggie Price and Jeremy Ivy, Jason Isbell and Amanda Shires, Kevin Morby and Katie Crutchfield. Grace Potter had her husband, producer Eric Valentine, as her “over-qualified” guitar tech, whom she also lovingly bantered about between songs.
Stronger Together
As the banner says upon arrival, “We’re stronger when we sing together.” True to it’s patriarch’s words, the Newport Folk Festival has been rife with collaborations in recent years. After a slow start to the weekend, by Sunday the normal expectation of sit-ins was back to near full throttle.
Erin Rae hosted a rotating cast of guests for a set dubbed Gentle Times, in what has become a Newport tradition. Langhorn Slim joining to lead the band in Ted Hawkins’ “Sorry You’re Sick,” Taylor Goldsmith up for “For What It’s Worth,” Nathaniel Rateliff singing on Link Wrays “Falling Rain” and around and around it went. Not too shabby for Rae’s first ever set at Newport! They were most definitely stronger together.
Singers Adia Victoria, Haley Heynderickx, Kam Franklin, Margo Price, Joy Oladukun and Nathaniel Rateliff were seemingly always within reach for a sit-in with whoever was asking. Brandi Carlisle even was available for a surprise visit or two. Celisse on the other hand couldn’t hide her impending trips to the stage when her sparkling pink amp sat atop the stage.
Caamp graduated to the main stage and fans took advantage creating an impromptu dance floor in the limited view area behind the soundboard that only grew as the set progressed. They were all stronger together.
Once and Future Sounds
The themes of the weekend all came to a head during the Sunday finale set, curated by woman-of-the-moment Allison Russell, named Once and Future Sounds. Most of the aforementioned female artists joined Russell on stage as they were invited to “join the circle.”
“We’re two crescent moons forming a full moon… our circle is unbroken since 1959 [the year of the festival’s founding] … roots, branches, it’s our time to rise.” Russell explained through an opening monologue. Caroline Randal Williams interspersed the set with performances of her poetry while Yasmin Williams and the house band laid down beautiful backing music. One line in particular connected the dots perfectly to the festival’s history, future and to the present theme of the set, “Sister Rosetta Tharpe distorted those strings because there is no man made box that can tell our story.”
Celisse joined “the circle” to bend some strings of her own in a stirring performance of “Eyes on the Prize.” Many of the women playing the festival were invited into “the circle” to add their voices too: Margo Price, Kam Franklin, Adia Victoria for Tina Turner’s take on the Beatles’ “Help,” Franklin premiering her own song, “Don’t Get Caught Sick,” Yola, Celisse, Brandi Carlisle, and Franklin paying tribute to Mavis Staples with “I’ll Take You There,” Carlisle and Russell playing Alicia Keys’ “A Beautiful Noise” … it was a soul-stirring set through and through. And just as the set seemed to be wrapping up, the surprise of surprises, as only Newport can bring them, Chaka Kahn arrived on stage to bring that dance-party we mentioned earlier.
After a two-year wait for music at the Fort, Newport Folk provided a perfect blend of past, present and future with the right amount of the expected and unexpected. As always, it just leaves us wanting and waiting for more. For some lucky fans, that’s just what they got, with the second three-day event underway. Stay tuned for our coverage from that soon.
It was the Summer of 1973, the ‘Hippie movement’ of the 1960’s still existed, but only in isolated pockets, tucked way in the dusty cobwebbed corners of the counterculture. Groups like the Grateful Dead, Allman Brothers Band, and The Band were still playing to crowds that held tightly to the ideals of the mid 1960’s, which the groups themselves still carried on through their music. The bands were also undergoing personal changes reflected back at them through their audience. All three bands and more than 600,000 of their fans would descend on Watkins Glen for one of the largest concerts in recorded history, Summer Jam.
The genesis for 1973’s Summer Jam began as a brain storm by promoters Shelly Finkel and Jim Koplik who had discussed and planned on setting a line up for the ages. After seeing members of the Allman Brothers Band sit in with the Grateful Dead at a Summer 1972 concert at Roosevelt Stadium the seed was planted to bring together an astronomical set of musicians for a gathering to rival even Woodstock, boy, would they be surprised.
The decision to bring The Band on board came by the promoters asking the Dead and Allman’s which artist they would most like to have join them on the bill, the decision was easy and unanimous. Plans were put in place and and set in motion. Roughly 150,000 tickets were sold at $10.00 a piece for the show, large by any standard of measurement. To everyone’s surprise, by the evening prior to the concert that number of intrepid travelers had already showed up to the festival site. By show time on July 28 the number would exceed an estimated 600,000 fans.
Often overshadowed by other festivals in the annals of rock history, the show became something different than originally planned, but ended up being remembered fondly by all participants. The concert also seemed to signal the end of an era, ushering in a time where festivals became corporate interests instead of private excursions into the unknown. Soon to be gone were the days of Monterey, Woodstock, and the Isle of Wight, properly concluding with the biggest of them all ‘Summer Jam,’ situated smack dab in the middle of New York State. Two of the principal performing artists, The Grateful Dead and Allman Brothers had recently lost founding members, Pigpen for the Dead in March of 1973, and Duane Allman and Barry Oakley for the Allmans in 1971 and 1972 respectively. These deaths caused a restructure and reassessment of both bands musical futures which at this point seemed somewhat uncertain for both groups.
The Band on the other hand was also hanging by a thread because of personal issues regarding publishing, as well as substance abuse seeping into the fabric of the group. The ‘Summer Jam’ acts as a celebration of the recent past for the artists involved, as well as a signpost to an unknown future. For the Grateful Dead, the festival featured one of their usual blistering 1973 sets, in addition to an perfectly encapsulated instrumental journey tagged as one of their finest, hailing in true Grateful Dead fashion from the sound check. The Allmans played an extended and crisply executed set featuring new songs from their retooled line up and fiery soloing from Dickey Betts. Robbie Robertson has often been quoted that the Watkins Glen set was one of the legendary performing moments by the boys, and will go down in history as one of their best.
In spite of prior planning by the promoters and authorities leading up to the evening of the concert, roads and highways were still backed up for a hundred miles, stores in Watkins Glen and surrounding areas were wiped of groceries and beer, and over 150,000 folks were waiting at the 95 acre concert site a night early. Routes 14 and 17 were gridlocked, and even secret back road entries were congested with abandoned cars, forgotten ground scores and backpacking travelers making their way to the festival site.
The day of July 27 found all three bands arriving, scoping out the situation, and standing slack jawed at the amount of people already at the festival site. Legend tells us that when Robbie Robertson guitarist of The Band inquired about a sound check in preparation for the expansive outdoor venue, all three bands decided to do the same thing that evening and make it a mini performance. What happened next is the stuff legends are made of. All three bands played beautiful sets to the lucky early arrivals. The Band ran through a couple of their well know classics as well as jamming on a few unique instrumental grooves that harkened back to their days as The Hawks, when they were still playing Toronto bars and clubs.
A crushing ‘The Night They Drove Old Dixie Down’ opens the ‘rehearsal’ and is answered by encouraging crowd feedback. The instrumental groove the group break into following ‘Dixie’ is jump started by Danko’s smooth fretless bass flourishes and the rest of the band falling in line with a jumpy Levon Helm swing. Robertson’s Stratocaster draws blood with its stinging ring cutting through the somewhat marginal sound quality. Another jewel of the practice session is the rare Danko sung version of ‘Raining in My Heart,’ a bit jagged, but oh so charming.
The Allman’s followed and also ran through a rough and ready sound check that was made up of a few songs planned for the next evening including ‘Ramblin Man’ and ‘One Way Out,’ short but sweet when compared to what would follow. When the Grateful Dead approached the stage for their ‘rehearsal’ segment little did the band or assembled throng know what they were in for.
The Grateful Dead’s ‘soundcheck’ appeared as two sets lasted an hour and a half, but according to many opinions and in true Grateful Dead fashion possibly outshines the next day’s ‘official’ performance. The bonus being the performance circulates in pristine quality unlike songs from the other participants of the concert. The unique improvised instrumental jam that preceded ‘Wharf Rat’ is an anomalous display, never to recreated, and is one of those magical Grateful Dead moments made for the time in which it was born. The jam appeared years later on the official release box set So Many Roads, proof of its distinguished standing in the Dead’s long and varied history.
Prior to the sound checks first highlight ‘Bird Song,’ Phil Lesh states ‘This whole thing is a fraud, we’re really clever androids,’ as they band prepares to levitate off of the ground. ‘Bird Song’ comes skipping in, riding with Kreutzmann on the humid Summer evening breeze. Succulent and patient Garcia and Lesh probe the soft cloudy edges of the jam, floating in space. Expansive yet slightly tentative, the ‘Bird Song’ jams wings are lifted by the gusts of inspiration starting to stir.
After polished and well played versions of various first set classics, including a big fat ‘Tennessee Jed’, the band finds itself in one of those sacred spaces, where the music eventually plays the band, and all bets are off. The unnamed jam grows from silence, quietly, pensively, with light cymbal hits and the guitarists peeking around corners probing into darkness. Lesh increases the intensity with some fuzzy chording; Weir gives the musical drift a tangible shape with perfectly timed strums. Lesh then begins to drone and detonate, the band turns into particles and star dust, breaking apart, and then coagulating as a Garcia led jam rises from nothingness. Billy K catches on, Garcia sets the rhythm and the band achieves lift off. Slick, smooth and jazzy, the band improvises idea after idea. Weir strikes out with nervous lush rhythmic ideas, Phil hides and seeks, and Garcia peels off layer after layer of juicy skin revealing the jam’s plump and succulent center. The band sinks their teeth deep into the music creating one of their finest moments in front of the lucky crowd who descended early upon Watkins Glen that Summer night of 1973.
An endless stream of collaborative ideas pours from the group like the icy waters raging through the shady tree lined Watkins Glen only a few short miles away. Some of the melodies are familiar, some are brand new, some mix and match like oil and water, some blend like paints on an artists pallet. One of the finest musical moments in the Grateful Dead’s long and storied history has just occurred, thankfully captured for posterity. An audacious beginning to a concert event that hasn’t even ‘started’ yet! The jam eventually dissolves into a fitting and lucid ‘Wharf Rat,’ the previous journey to arrive there filled with drama and intrigue.
The Dead portion of the soundcheck concludes with a solid but anticlimactic ‘Around and Around’, that leaves the assembled throng looking to find a place to sleep, and prepare for the following days awe inspiring display of music, stamina, and mother nature, that would extend to extravagant lengths. The following day would start at 10:00 AM and conclude very early on the morning of July 30th; history was going to be made.
As the morning of July 28, 1973 revealed itself, the ground beneath the Watkins Glen, New York State Summer Jam concert site was preparing to hold the weight of 600,000 musical travelers ready to rock and roll. The largest gathering for a rock festival was about to take place with a legendary bill of bands that would play extended and legendary sets. After the previous evenings ‘warm up’, the groups as well as the crowd were primed for an all day event. Pleasant but humid New York Summer festival weather settled hazily across the bronzed crown of hippies slightly threatening summer storms. The awe inspiring event about to take place would make history in not only musical but social ways, the smoky remnants of that afternoon still smoldering in the annals of rock history.
The Grateful Dead took the stage promptly at noon to an introduction by Bill Graham who exclaimed, ‘From Marin County to Watkins Glen, the Grateful Dead!’ Blasting into an excitable ‘Bertha’ the Dead ran through a typical, that is to say, well played and amazing set of first set classics. The set is brimming with a typical East coast high energy, building to then detonating on a psychedelic pinnacle with the set closing ‘Playing in the Band’. Slithering through the some of the more familiar themes of the era, by half way into the jam Lesh and Garcia are exchanging husky scrubs and bombs, while the rest of the band is tied into a kinetic and electric fast paced groove. While not reaching the extravagant peaks of the jam from the night before, this is a thick and gooey ‘Playin in the Band’ from an era with many stand outs.
Following a marathon ‘China/Rider of epic proportions comes ‘Eyes of the World’, the peak of the second set and of the Dead’s performance for me; the post verse jam contains a plethora of melodic statements from Garcia, with the song morphing into a swelling and pulsating improvised drift. From fifteen minutes on, Garcia plays like a man possessed and hits on several syncopated grooves that band responds to in kind touching on the delicate spaces explored during the previous day’s sound check, before falling back into the recognizable ‘Stronger That Dirt’ theme. Garcia then deliciously liquefies the band into Weir’s well timed and well placed ‘Sugar Magnolia’. Observed as an entire piece of work the Grateful Dead played an amazing two days of music at Watkins Glen, a testament to their constant journey to strive for the golden note.
The Band’s set started at 6:00 PM after the Dead’s extended four and a half display concluded and became an amazing cross section of their legendary career, peppered with unique instrumental interludes specific to the Watkins Glen performance. Opening and romping joyously through ‘Goin Back To Memphis’, the Band’s music captured the feel of the festival perfectly through its pastoral imagery and down home instrumentation.
This is rock and roll, country blues distilled to its very essence; it doesn’t get much better than this! During these early moments of the Band set, the low point of the festival weekend occurred as a skydiver unfortunately missed their intended mark and perished on the grounds. As an addendum, there was a supposed ‘official’ release of the Band’s set from Watkins released in 1995, but after inspection and discussion it was revealed that this collection was/is a fraud and contains only two actual tracks from the event. The only way to hear the performance as it was is to hunt down one of the circulating audience recordings that exist in decent quality.
This concert takes place in the middle of a year of rest and uncertainty for the Band. Looked at historically, the concert is a towering peak in the landscape of the Band’s performing career. The songs are tight, dynamic and rise and fall like a high speed run down a country gravel road. Garth Hudson is especially on his game laying down a plethora of breezy and inspirational keyboard flourishes that would culminate with his divergent solo spot “Too Wet Too Work’. Danko and Helm are locked in tight, and the vocals of Manuel, Danko, and Helm wrap around one another like a snaky gospel revival. After rocketing through a series of exciting high tempo tracks including ‘Loving You Is Sweeter That Ever’, and a drunken romp through ‘The Shape I’m In’, the group is eventually forced to leave the stage for twenty minutes because of threatening inclement weather. During the jam on ‘Endless Highway’ prior to their leaving, the crowd can be heard on the recording discussing and preparing for the incoming thunder storm. The ‘fly on the wall’ aspect of this field recording is especially entertaining.
Levon Helm’s remembrance of this moment in his autobiography is that the group left the stage as the weather descended, gulped some Glenfiddich whiskey and watched Hudson return to his keyboard for his orchestral spotlight, ‘Genetic Method’ in this case driving away the rain in the process of the extended solo. Titled ‘Too Wet To Work’ in the case of this performance, Garth traveled through numerous musical landscapes, teasing dynamically, improvising, until the weather dissipated and the Band returned to the stage, slamming into a celebratory ‘Chest Fever’, that in Helm’s words would be forever ‘burned into his memory’. The crowd claps in time with the musical waves, a highpoint of the afternoon. The remainder of the Band set burns through an aggressive and elastic instrumental and then momentous and extended versions of smoldering rock classics like ‘Holy Cow’ and ‘Saved’, as well as crowd pleasing renditions of ‘Cripple Creek’ and ‘Life Is A Carnival.’ Absolutely legendary, the monumental nature of the day as well as joy emanating from the stage translates well to the field recording I am enjoying.
By the time Allman Brothers Band hit the stage at 10:00 PM, the almost one hundred acre concert site had become a swamp, and the happily soaked crowd swelled with anticipation for the upcoming musical onslaught. Opening with the recent for the time ‘Wasted Words’, the band is cooking from the get go with Betts and Allman dueling through vocals and slide guitar over the syncopated groove. The band receives a second introduction after the opener because Bill Graham wanted to make sure every band had each individual member introduced to the crowd. The Allman’s then swagger through beautifully crafted versions of ‘Come and Go Blues’ (featured on official release ‘Wipe the Windows, Check the Oil, Dollar Gas’) ‘Blue Sky’, ‘Jessica’, ‘You Don’t Love Me’, among others. Recent additions Chuck Leavell and Lamar Williams fill in admirably on keys and bass respectively. Leavell and Betts especially have developed an intense chemistry, bouncing hearty melodic ideas off each other throughout the show, with their interplay on ‘Blue Sky’ being a highpoint worth of inspection.
The centerpiece of the Allman’s extended set is the mammoth performance of ‘Les Brers In A Minor’ which bookends a pulsating and dynamic drum duet by Jaimoe and Butch Trucks, the second of the performance following an aggressive ‘You Don’t Love Me’ duet. Each member gets a chance to express themselves as ‘Les Brers’ like its distant cousins ‘Jessica’, and ‘Liz Reed’ navigates a series of death defying twists and turns while solving a series of delicate melodic mysteries. Rock and Roll veteran Chuck Leavell’s extended dance with the black and whites is a pleasure to behold and spreads out a plush carpet in which the band uses to step into drums. This song represents a powerful and confident jam by the retooled group, asserting their ability to move forward while still respecting their past brothers Duane and Barry. Betts guitar lines range from syrupy amber licks to sharp stinging fly bys, the central pole in which the group revolves.
The Allman Brothers set concludes with ‘Whipping Post’, hoped for, expected, and played like a runaway freight train headed down a dark track. Peak after peak is reached the crowd is astonished, amazed and taken to a unique place by the music played. The weekend ends bombastically, well past midnight following the Allman’s set when members from all three groups return to the stage for Summer Jam. Sincerely sloppy, and at moments stunningly brilliant the music continues into the dawn. Rick Danko appears first to drunkenly croon into the mic momentarily and quite endearingly, soon to be joined by Garcia, then Manuel and eventually Betts, Lesh, Allman and others for some more lengthy jamming to conclude the massive weekend of music to the crowds delight.
The music drifting from the stage meanders for a bit before falling into the highlights, ‘Not Fade Away’, ‘Mountain Jam’, and’ Johnny B Goode’, a momentous and special way to conclude the Summer Jam. The ‘Not Fade Away’ is pleasant enough, but the twenty plus minute ‘Mountain Jam’ the follows elicits speeding clouds, percolating rivers, and joyous wilderness romping. Garcia is especially active, intertwining and responding to everyone on stage. Betts and Garcia together create richly constructed summits during their journey, pausing at scenic overlooks that dance with collaborative playing by all of the principals on stage. The musical movement comes as a defining musical statement for the weekend, an instrumental climax, a joining of ideas and people and a perfect example of the magic available through collaborative musical interplay and willing participants.
Watkins Glen, Summer Jam 1973 is not only notable for its collection of an amazing group of musicians, but for its eclectic collection of fans. The collaboration between the two of these principals combined for a historic and alchemic weekend combining music and experience. The encapsulated moment in time for this weekend will never be recreated, but fortunately forever enshrined on recordings and in the memories of the participants.
Long Island musicians and artists have taken the struggle of living through the Covid-19 pandemic and turned it into inspiration to launch a brand-new music festival known as Pine Barrens Jam.
Celebrating one of Eastern Long Island’s iconic natural treasures, Pine Barrens Jam will feature live music, art, local food, and more set in the East End’s unique landscape. Long Island’s first crowdfunded festival has gathered like-minded and hardworking local businesses and creatives to donate their time to put on this first-year event. Everyone involved with Pine Barrens Jam, from the producers to the performers, are from Long Island, showcasing what the region has to offer. This intimate yet socially distanced event will be held on Sept 18 at Ringhoff Farm in Center Moriches. The gates will open at noon.
Drop The 4, a high-energy funk-fusion group, will be headlining the Jelly Jam main stage. Alternating with the main stage will be the Lantern Sound Recording Rig acoustic stage, with a lineup of songwriters including Pete Mancini and Rorie Kelly. Local poets such as Bruce “AllOne” Pondolfo will be reading their pieces on the poetry & arts stage, curated by Melissa Marie Imagery, and local artists will be selling and creating work on the site. The fireside acoustic after party will feature The Belle Curves, Anne O’Rourke, and Sarah Gross swapping original songs. Throughout the day, food trucks and vendors will be selling everything from macarons to handmade embroidery.
The festival welcomes support from businesses, artisans, and anyone who would like to play a part in putting on this inspiring, collaborative event. This is the start of an exciting new tradition in Long Island music and arts.
The lead-up to Newport Folk Fests in recent years have generally been shrouded in a bit of mystery. Surprises are the norm, leaving fans with clues to decipher and history-making to anticipate. This year, for all the obvious reasons, the mystery has been deeper, more secretive, and has been unraveling for well over a year. Starting with the most basic and obvious question that fans began to ponder starting as soon as the 2020 festival was cancelled.
Will there be a Newport Folk Festival in 2021?
Yes! But more technically, no. Amid the uncertainty of planning anything during a global pandemic, the producers decided they didn’t want whatever they put together in 2021 to be held up to the standard of expectations that the label “Newport Folk Festival” carries with it. This year, things would be different. So instead, they are holding two separate 3-day events titled, Folk On. Still held at Fort Adams State Park in Newport, the fun gets started this weekend, July 23-25 and continues with the second event in the weekdays immediately following on July 26-28. The events will be held somewhere around half-capacity so splitting in two allowed more fans to return to the Newport experience after the unscheduled year off.
Who is playing?
This is always the biggest question. In a normal year the lineup is released in a slow drip of announcements over months, with many surprises left unannounced. This year the festival left it up to each artist to self-announce. The amount of detail provided by each performer varied greatly. We still don’t know what day, what stage, what time, or with whom many of the sets are taking place. Add to that what will certainly include some special one-off sets of collaboration and likely tribute. What we do know is listed below.
Friday, July 23 Margo Price Marcus King Band Ida Mae Grace Potter Black Joe Lewis Lucy Dacus Shakey Graves Resistance Revival Chorus
Saturday, July 24 Jimbo Matthus & Andrew Bird Randy Newman Yasmin Williams Natalie Hemby Jason Isbell
Sunday, July 25 Billy Strings Devon Gilfillian plays “What’s Going On” Tre Burt Kevin Morby Caamp Tommy Prine Elijah Wolf
Monday, July 26 Billy Strings Aoife O’Donovan Sunny War Hiss Golden Messenger Fruit Bats Middle Brother Courtney Marie Andrews Erin Rae Ben Gibbard Andrew Von Kampen
Tuesday, July 27 Allison Russell Steve Gunn and William Tyler Bonny Light Horseman Langhorne Slim Vagabon Sharon Van Etten Beck
Wednesday, July 28 Deer Tick Watchhouse Julien Baker Katie Pruitt
Artists with no confirmed performance date Joy Oladokun Lake Street Dive Celisse Dimmer Twins Early James Jonathan Russell S.G. Goodman Waxahatchee Yola Sierra Ferrell Emma Swift
What else will be different?
For starters, all the music produced by the above will take place on just two stages, down from the usual four. The small indoor Museum Stage will not be active this year, nor will the Harbor Stage, which will alleviate the traffic jam that usually occurs there. The main Fort Stage has been renamed the Lawn Stage and will be reconfigured with a new position and new tent, providing a more intimate atmosphere for the reduced capacity crowd. The Quad Stage inside the Fort will pushed back to allow more space to spread out on the grounds. Additionally a third stage will reside next to the Lawn Stage providing a space for open-mics in the morning and workshops and surprise pop-up performances sprinkled throughout the day.
Surprise will be the name of the game even more than usual this year, the full mystery won’t be revealed until the events are in the rear view. Fortunately, NYSMusic will be there covering both events, so check back here for our full report.
Will there be after parties?
Officially, no, there are no festival-produced after parties. But after the Fort goes quiet for the evening, there will still be music to be had in the city of Newport. The Newport Playhouse will play host to a few shows during the Folk On events. Shows start at 8pm and will be held on an outdoor stage with food trucks and a bar.
July 23 Maggie Rose with Dylan Hartigan, Ali McGuirk
July 24 Old Jack’s Newport Nights: Will Dailey, Lonely Lisa and the Lost Cowboys, Charlie Marie, Oldjack, Mary-Elaine Jenkins, Senseless Optimism
July 26 What’s Up Newport RI Folk Showcase: Dan Blakeslee, Avi Jacob, Allysen Callery, John Fusek, Cardboard Ox, Beth Barron, Jodie Treloar Sampson, and Jen Long w/the Whale Guitar
In normal times, music fans in Rochester would be finishing off another Jazz Festival, a nine-day smorgasbord of musical delights. However, for the second straight year, the city is bereft their biggest live music week and all the discoveries that come with it.
Despite the shutdowns, artists still managed to put out some incredible music last year, the Rochester International Jazz Festival alumni among them. So while we sit and wait until the festival returns in 2022, let’s take a look at what ten of our favorite RIJF discoveries released in 2020.
The Made in UK Series brought this trio across the pond in 2016 and we’ve been digging them ever since. With Captured Spirits, saxophonist Jordan Smart, pianist Nick Smart and drummer and percussionist Jesse Barrett build on the sound they’ve been evolving with each release, adding in more electronic influence.
Kat Edmonson enchanted us at the festival both in 2013 and 2015 and she ratchets up the magic in her latest release, Dreamers Do, which reimagines music from the Disney canon to incredible effect. You’ll never want to hear the originals again. Watch out for a guest spot from fest-alum Bill Frisell.
Another trio brought in by the Made In U.K. series, Gogo Penguin made their stateside debut at the festival in 2015 and then returned to wow us again in 2018. The mostly acoustic piano trio has always injected some electronic influence, increasing it with each release. It comes even more to the fore on last year’s self-titled release, though the wordless melodies are still as catchy as ever.
In the last festival staged, back in 2019, no band wowed us quite like Girls in Airports. The Danish quintet moved through “ethereal soundscapes, intense evil marches and organ-rich spacey grooves, mixing in infectious rhythms and melodies,” and it’s more of the same on 2020’s Dive, a must-listen.
Sometimes the much-beloved International aspect of the festival brings otherworldly sounds. Other times it shows off the inescapable influence of American music. Another fest-alum out of Denmark, Ibrahim Electric exemplifies the latter, exploring the organ-trio oeuvre (and well beyond) with aplomb on the aptly-named Time Machine.
Ukrainian quartet DakhaBrakha had the Big Tent venue in awe during their 2017 appearance. A blend of traditional ethnic folk music with varied and at times avant-garde influences, the music complemented their colorful quasi-traditional garb. It was an expansion of most of the audience’s musical universe for sure. Alambari touches on almost everything that made their performance so thrilling, minus the visuals of course.
Every Rochester International Jazz Festival boasts at least a handful of badass funk outfits that invigorate the generally staid crowd into a dancing frenzy. Seattle’s Polyrhythmics were just one band and with their latest, Man from the Future, they have us hoping for a return visit soon. This thing cooks!
One of the most frequent visitors to the festival, NYC-based drummer Matt Wilson always brings something a little different. When we last caught him in 2018 it was pure joy mixed in with some serious statements on politics and humanity. Likewise on last year’s Hug, you might not find a happier jazz track than the title cut, while “Space Force March/Interplanetary Music” takes an overt but fun political turn.
A decade ago the young Swedish guitarist, Samuel Hallkvist, really caught our attention. And with last year’s Epik, Didaktik, Pastoral he proved he’s only improved with age. It’s impressive and compelling set of adventurous avant-garde jams.
We’ll close this out highlighting another artist from England. More than any of the previous in the list, saxophonist Nubya Garcia has shapeshifted the most. When we saw her in 2019 she blew us away with her fiery playing and mind-expanding jazz compositions. With SOURCE she has broken free from the jazz shell to produce something uniquely brilliant that has been met with widespread critical acclaim and commercial success. If you haven’t already, definitely give this one a listen.
