Category: Genres

  • Bedroom Pop Artist on the Rise: Meet Grace Yurchuk

    Warwick native and 18-year-old college freshman, Grace Yurchuk, released two singles from her dorm room at NYU during the Spring semester. Written, recorded, and produced all from within the confines of the Covid quarantine.

    Grace Yurchuk

    A student of the Vocal Performance program at NYU Steinhardt School of Culture, Education, and Human Development, she recently received The Josh Goldfaden Award for writing from NYU College of Arts & Sciences and expects to make the Dean’s List this year.

    If you need a song to play in the car that your friends will actually like, Grace Yurchuk is an artist to watch. So far with two singles out, she hasn’t missed. Following the rise in feel good music, these bedroom pop tracks are a good addition to playlists with similar artists such as Beach Bunny, Mitski, Phoebe Bridgers, and girl in red.

    While it’s not unusual for a young musician to release a song, this effort was unique. When faced with the grim prospect of social isolation, online classes, and staying healthy, Grace turned to her music as a creative outlet. “Need Me” was a solo effort—written, recorded, mixed, mastered, and released from her dorm room without assistance from other artists or a professional studio.

    Grace Yurchuk

    The second single Grace released on May 21, titled “Good Together,” has careful thought put into everything from backing vocals to synth, which were still hand-picked, mastered, and everything in between by Grace herself. If you thought “Need Me” was good, wait until you hear “Good Together.” The progress made in between songs can be heard and it is a pleasure to know this is only the start.

    “I think I had a lot of time, more time than usual– I’m sure everybody did because of the pandemic– to do different projects. The way that the first single happened ‘Need Me,’ it came to me kind of suddenly when I was out and about. When it became something I couldn’t put down and I spent all that time on it, I was just like you know what I worked really hard, this one feels ready. I felt it, I kinda knew.”

    Both singles that have been released so far deal with interpersonal relationships, released at a time when those were hard to find and maintain for everyone. “I’m from a really small town and the city was different, it was jumping into a totally different experience especially in the middle of a pandemic, and all of my online classes,” Grace explained. “Making new friends was a struggle at first, all I wanted was to make something that was long lasting, meaningful, and making friends that would matter to me.”

    When times were particularly tough for the college first year, she turned to music. “I’ve always fallen back on recording, that’s why I’ve done it for so long. I could always depend on it, so when it came down to that– in Manhattan living alone, I was like ‘This is it. This is what I do,’ I did what I know.”

    A self-proclaimed Swiftie, Grace draws her inspiration from her pop idol. “I like different artists for different reasons and I like [Taylor Swift] because she has the ability to tell a story that I really admire, like with her lyrics. But then I also like bands like Beach Fossils, I like the atmosphere they create. Other than that I like Ariana Grande because who doesn’t like insane vocals like that. There are so many different factors that make a band or an artist great and for me whenever I make music I just want to tell a story somehow with the instrumentation or with the vocal, with the lyrics.”

    But more important is the driving force that kept her going, and got her start, for all these years. “I record and I write alone, but the fact of the matter is, nobody ever does anything really alone. My parents have always pushed me to do this. They’ve never once told me to think about it, they’re always like, ‘No, this is your dream, go for it.’ All of my teachers along the way, I’ve played piano forever and my piano teacher was a big propelling force in that too. My sisters too. I say that I’m the big sister but I look up to both of them, more than they probably look up to me. They’re incredible and I play all of my music for them first. I love them.”

    For her dream lineup to perform with, she chose Taylor Swift, obviously, and her new college friends. “I don’t want to sound cheesy but the first people I want to perform with are the people I met at school. Because I know I’ll get to see them again and they’re so insanely talented. As soon as I can go back to any New York venue I’ll want to perform with the people I’ve met and have encouraged me to do this too.” 

    As for future plans, “First thing, I just want to go out with all of my friends, I want to get a couple of gigs book. Everyone else has been not performing for a year but I am really desperate to get back in there. As long as I’m out and about and getting to live life again. Everywhere you look in the city there’s going to be something to do and I want to do everything.”

    Grace Yurchuk

    Look out for Grace Yurchuk and her debut EP before the summer is over. “I’m looking forward to getting the EP out because I think it tells a really cool story.”

    The two released tracks are available on all major platforms including Spotify, Apple Music, Amazon Music, YouTube Music, Pandora, TikTok, and Tidal. The song, entitled “Need Me,” has already been streamed thousands of times since its debut on April 16.

    Make sure to stream “Need Me” and “Good Together”

    For more information, visit www.graceyurchuk.com 

    To keep up to date on where Grace Yurchuk is going next follow her on Instagram, Twitter, YouTube, Tiktok, Spotify, and Apple Music.

  • Cooperstown Music Festival Returns with Series of Summer Concerts

    The Cooperstown Summer Music Festival returns for its 23rd season with five live chamber concerts throughout August and September. The shows will be held in venues across Cooperstown, including the Fenimore Art Museum, Louis C. Jones Center and the grand Otesaga Hotel ballroom.

    Cooperstown Music Festival

    Founded by flutist Linda Chesis, the Cooperstown Summer Music Festival has been bringing world-class music performances to the Cooperstown area since 1999. In previous years, the festival has featured performances by the Tokyo String Quartet, the American String Quartet, the St. Lawrence (Canadian) String Quartet, Simone Dinnerstein, the Sonia Olla Flamenco Dance Company, John Pizzarelli, and many more. 

    CSMF is thrilled to be partnering with the Caroga Arts Ensemble for our return to the stage… We wanted our first concert to be a gift to the community so that everyone can experience the joy of live music after such a difficult year. 

    Linda Chesis (Festival Founder and Artistic Director)

    The fest will open on Tuesday, August 10 at 7 pm with the CSMF Musical Kaleidoscope, a free outdoor performance at the Fenimore Art Museum Amphitheater. The Caroga Arts Ensemble, led by cellist Kyle Price, will perform a dynamic program ranging from bluegrass and classical to jazz and pop. The outdoor concert is free, but ticket reservations are required.

    Cooperstown Music Festival
    Caroga Arts Ensemble in 2018

    On Sunday, August 15, Imani Winds will perform a program of music for wind quintets. Cooperstown audiences can expect a concert filled with their signature fresh energy and technical expertise.
     
    The Verona Quartet returns to the Festival on Sunday, August 22. This multi-award-winning quartet and veterans of the Festival will perform a program of works by Shostakovich and Dvorak’s “American” Quartet.
     
    Brazilian jazz supergroup, Trio da Paz, will take the Otesaga Ballroom stage on Monday, August 30.

    Trio da Paz in 2018

    The festival will conclude with a duo performance by the violinist Danbi Um and guitarist Jiji on Sunday, September 19. These young virtuosos will join forces for a genre-spanning program including works by Corelli, Paganini, Piazzolla and Ella Fitzgerald.

    Chesis says that this season’s artists are all eager to be returning to the stage and are looking forward to bringing their craft to Cooperstown.

    After such a long period of isolation, we can’t wait to safely bring the community together to once again connect through music.

    Linda Chesis

    For all events, venues will be at limited capacity and masking and social distancing protocols will be in place.

    Tickets are $30 for adults and $15 for students and children. Tickets for all events must be purchased in advance on the festival website.

    The CSMF Chamber Orchestra at the Otesaga Ballroom in 2019

    Check out the complete concert schedule below:
     
    CSMF Musical Kaleidoscope: A Gift to the Cooperstown Community, Featuring the Caroga Arts Ensemble – Tuesday, August 10, 2021, 7-9 pm (Rain date: August 17)

    Fenimore Art Museum Lawn

    A concert for the Cooperstown Community. Tickets are free and can be reserved online at cooperstownmusicfest.org. A limited number of tickets will be available at the door, but all patrons are strongly encouraged to purchase tickets online.
     
    Imani Winds – Sunday, August 15, 2021, 7-9 pm

    Otesaga Resort Hotel Ballroom

    An evening of chamber music with this Grammy-nominated wind quintet.

    Verona String Quartet – Sunday, August 22, 2021, 4-6 pm,

    Louis C. Jones Center at The Farmers’ Museum

    The multi-award-winning quartet performs a program of Shostakovich and Dvorak.
     
    Brazillian Jazz Legends: Trio da Paz – Monday, August 30, 2021, 7-9 pm

    Otesaga Resort Hotel Ballroom

    A night of jazz with this Brazillian supergroup.

    Danbi Um (violin) and Jiji (guitar) – Sunday, September 19, 2021, 4-6 pm

    Otesaga Resort Hotel

    A duo performance by two young virtuosos including works by Corelli, Paganini, Piazzolla and more.

  • Blues Fest Returns at State Fairgrounds; Robert Randolph talks to NYS Music

    The 2021 New York State Blues Fest, a free concert at the State Fairgrounds in Syracuse over Thursday June 24 till Saturday June 26 in Chevy Court. Downtown Syracuse’s Clinton Square hosted Dumpstaphunk at the last Blues Fest held in June 2019.

    Blues Fest


    Artists included Larkin Poe, Robert Randolph & The Family Band, The Fabulous Thunderbirds, Carolyn Wonderland, Vanessa Collier, Ghost Town Blues Band, Ray Fuller & The Bluesrockers The Gabe Stillman Band, The Ripcords, Miller & The Other Sinners, Diana Jacobs Blues Band Jane Zell & The Zelltones Colin Aberdeen & Max Eyle Hot Dogs & Gin Chris Merkley, Mark Nanni and Ryan Holweger.

    County Executive Ryan McMahon helped kick things off on Thursday for one of the Northeast’s largest free festivals. Southern Pennsylvania power trio Gabe Stillman Band and Robert Randolph and the Family Band opened the first sounds at Chevy Court in over a year, with Stillman Band performing a great cover of Bill Withers “Friend of Mine.”

    Blues Fest


    Robert Randolph and The Family Band helped bring the State Fair experience to all in attendance. The family band has Lenesha Randolph on vocals, Ray Ray Holloman on guitar Stevie Ray Ladson On Bass, and Rochester native Levi Bennett on drums.

    Blues Fest
    Stevie Ray Ladson, Lenesha Randolph, Robert Randolph

    The group periodically changed instruments during their soul set performance. Lenesha Randolph was quoted “It was great to be out in the land of the living. Such a great time, thank you guys for welcoming us.”

    Local Solvay saxophone player Dunham Hall got the call at 5:30 to join Randolph’s set at 7PM. He showed up and laid down saxophone for an extended cover of Sly and The Family’s Stones “Thank You (Falletinme Be Mice Elf) Again”.

    Blues Fest
    Levi Bennett Ray Ray HollomonnRobert Randolph Lenesha Randolph


    Robert Randolph spoke with NYS Music at the Jus Sum Jazz lounge following his show:

    Matthew Romano: It’s good to have you guys back in New York State performing live. What memories come to mind when you play Upstate?

    Robert Randolph: It’s crazy how many iconic shows have happened up here. One of the first shows I played with The Word was at a small club in Syracuse in 2000. The Word is playing at Tipitina’s at Jazz fest in New Orleans this year. It’s a vibe.

    MR: This jazz club has a New Orleans vibe to it.

    RR: Yea I like it. It’s reminds me of a modern day juke joint.

    MR: What shows have you attended in New York State that made an impact?

    RR: The first Phish show I saw was at Madison Square Garden. I remember it was a blast but it also humbles you. It’s one of these things where It all becomes special. I go to the Dicks shows in Colorado too.

    MR: What shows of your own are on the horizon in New York State In 2021?

    RR: I’m playing with The Word at Levon Helm Studios in Woodstock. That’s gonna be special, def come check that out.

    Robert will be performing at the Gorge Amphitheater with Dumpstaphunk and Dave Matthews Band Labor Day weekend when live music continues at the Fairgrounds.

    Vanessa Collier from Dallas took on a James Brown-like stage presence on Friday night at the Fairgrounds. She was out front counting on the one in between playing funky arrangements on lead saxophone.

    The Fabulous Thunderbirds from Austin TX helped keep that legendary blues smoke going to close the night. Attendees in the crowd reflected on Stevie Ray Vaughn’s New York State Fair performance in 1986. The Austin, TX guitarist played “The Sky is Crying” while the rain came down upon the old grandstands. Vaughn and Double Trouble walked a tightrope at Miller Court in 1989 as well.

    Saturday afternoon’s set by The Ghost Town Blues Band from Memphis was definitely channeling older spirits. Gregg Allman’s chilling composition “Whipping Post” was taken on by the ensemble. Matt Isbel’s whiskey gravel soaked vocals helped resurrect Allman’s sound. Trombonist Suavo Jones traded notes off Cedric Taylor’s howling B3 Hammond to boot.

    Perhaps this was a nod to the 50th anniversary of the Allman Brothers Band closing the Fillmore East. Their final performance on June 27, 1971 found the Allmans playing until 8AM. 2016 NYS Blues Fest artist Butch Trucks reflected “I remember Duane (Allman) walking in front of dragging his guitar while i was sitting there completely burned and he said “Damn its just like leaving church”

    Blues Fest
    Suavo Jones

    Rebecca and Megan Lovell from Georgia performed as part of Larkin Poe to close the weekends music. They are descendants of tortured artist and genius Edgar Allan Poe. The duo and their band treated the crowd to songs off their 2020 album’s “Self Made Man” and “Kindred Spirits.”

    The title tracks lyrics resonated on the blues soaked audience “I was down and out, now I’m up again When I roll the dice, everybody wins Like a cannonball, moving down the track, Baby’s on her way, she ain’t coming back”

    New York Blues Fest has made its way back across the land helping ease everybody’s same old blues on a different day.

  • Pip Reimagines Sinatra with Gen Z Flare

    Westchester bred singer songwriter Thomas Pipolo (Pip) has collaborated with Dr. Dre’s production partner Sam Sneed on his newest single, “Sinatra Swag”.

    Sinatra Swag

    With this release, Pip and Sneed set out to reimagine the sound of Frank Sinatra for a Gen Z audience. The summery single features trap beats while also showcasing old school influences.

    “Sinatra Swag” was inspired by the desire to feel and explore a little bit of that old school magic, persona and sound that I feel has been missing in our culture. This song infuses an old classic sound with a modern pop feel — plus it was pretty easy to write about Frank Sinatra as an Italian American musician who is from the shadows of New York City like myself.

    Pip

    Before he officially became Pip, 25 year old Pipolo played Division I baseball in college. He left the sport following injuries and mental health struggles and began playing guitar and piano at age 18 to relax and unwind.

    https://www.youtube.com/watch?v=fbM9_yGnMoo

    “Sinatra Swag” is not Pip’s first single. Along with his other tracks “2:22”, “Human Interaction” and “Dancin’ in the Rain”, Pip often shares his music on TikTok. Along with playing samples or acoustic versions of his own songs to his nearly 80,000 followers, Pip posts TikToks covering some of his favorite artists. He recently covered “Peaches” by Justin Bieber (someone he cites as a musical influence), “If I Ain’t Got You” by Alicia Keys and “Daughters” by John Mayer.

    Pip, photo accessed through @pipmusic_ Instagram

    In creating his original music, including “Sinatra Swag”, Pip wants to blend diverse genre influences with authentic lyrics. Adorned in his signature baseball cap and sometimes simply strumming his acoustic guitar, Pip aims to create a timeless sound enjoyable for all generations.

    “Sinatra Swag” is available to stream now. Connect with Pip on Instagram, Twitter, TikTok and YouTube!

    While sipping on Loverboy in The Hamptons, Pip instantly thought the name would be a great title for a summer song.

    Being a songwriter, I am always looking for unique titles and ideas to write about. The song captures the vibe of what it’s like to be outside by the pool, sipping on something cool and celebrating life with your friends in The Hamptons.

    Pip

    Pip perfectly captures the essence of The Hamptons magic with his flirty lyrics, smooth beats, Gatsby references and can-pop sounds. “This song will make you want to pop open a cool drink on a hot day and celebrate summer.” ‘Loverboy’ is penned by Pip and the GOOOD MOOOD collective, including 2AM, Gramz, Jake Eckhaus, Ali Soomro & EMME.

  • ‘Love & Truth’ Album Released by Soul/Funk Masters, Crushed Velvet and the Velveteers

    Alan Evans, a prolific musician from Buffalo, has just released a new album Love & Truth, with Crushed Velvet and the Velveteers, which he claims as his guitar player alter ego. The album is released by Vintage League Music, one of Evans’ endeavors that reflects his passion for Soul & Funk music.

    love & truth crushed velvet

    Alan Evans is the multi-instrumentalist and co-founder of acclaimed band Soulive, that has been performing together since 1999. In Crushed Velvet and the Velveteers, Evans is able to focus on his guitar personality rather than being a drummer like in Soulive. His astounding talent is apparent in the new album Love & Truth, which evokes the classic 60s and 70s Soul & Funk sound of Memphis, Chicago, Detroit, and NYC.

    The album features an all star line-up of acclaimed guest vocalists including Kim Dawson (Pimps of Joytime, Matador Soul Sounds), Saundra Williams (Sharon Jones & The Dap-Kings, Saun & Starr), Lyle Divinsky (The Motet), Yanick (After Funk) and Brother GoodLove (Aztec Sun). Evans handles guitar, bass and drums with guests such as Darby Wolf & Neal Evans on keys and the horn section from the BT ALC Big Band. 

    love & truth crushed velvet

    Love & Truth is an album of outstanding musicianship, powerhouse vocal performances but most of all classic songwriting which oozes authentic soul. It encompasses quality funk music that is a blessing to all ears. The smooth guitar lines mixed with the classic drum rhythms makes it an unforgettable album guaranteed to soothe the soul. It blends a retro sound with a modern sensibility, strong songwriting and powerhouse vocals.  

    Love & Truth from Crushed Velvet and the Velveteers is available now at all good record stores, all digital streaming platforms and via the Vintage League Music.

  • Flashback: Motörhead, Nashville Pussy, The Supersuckers and Speedealer at Northern Lights – June 28, 2000

    Motörhead are one of the great metal bands of legend, with a long history of playing multiple gigs throughout the State dating back to their first US tour in 1981: New York City, Poughkeepsie, Rochester, Syracuse, Buffalo – these cities saw numerous Motörhead gigs in the years the band toured America.  Not Albany.

    Oddly, this 2000 gig at Northern Lights remains the only headline show Motörhead ever played in the Albany/Saratoga area, EVER, in 40 years of being a band, almost 35 years of touring America.  I don’t count Poughkeepsie in that – 1.5 hours south of Albany, a much smaller city, yet they first played there in 1981 on the ‘Ace of Spades’ tour opening for Ozzy, played again in ’83 headlining with Robbo, and played The Chance and Mid-Hudson Civic Center many, many times since.

    Lemmy and the boys played lots of times, in little, backwater Poughkeepsie, but they’ve hardly ever played in the much bigger Albany area (the only other times were opening for Ozzy at SPAC in ’92 – Mikkey Dee’s first-ever gig with Motörhead – and more recently at Glens Falls with Megadeth and SPAC with Slayer, both in 2012). Albany was rarely blessed with Motörhead.  You almost always had to road-trip.

    Anyway, this was a cool bill. Speedealer opened (original name: REO Speedealer, until the classic rock band threatened suit), a band I’ve seen a few times, with Fu Manchu and (several times) The Supersuckers. Good band, noisy and punky, and they were good this night.

    Motörhead
    Times Union review of the show

    The Supersuckers, one of my favorite bands, played next. At the time they were pushing the fantastic ‘Evil Powers of Rock’n’Roll’ album, one of their best. I’d discovered them around the time of their ‘Sacrilicious’ album, but this was the first time (of many) I’d seen them. This was still the ‘classic’ Eddie/Rontrose/Thunder/Dancing Eagle lineup, and they crushed. Played like 15 songs in 40 minutes, one after the other, short, fast, no-nonsense real punk-metal-rock with a few funny stage raps from Eddie.

    I don’t know why more metal fans don’t worship this band.  It was a well-balanced set, mixing new ‘Evil Powers’ songs (the set-opening title track, “Santa Rita High”, “I Want the Drugs”, “Gone Gamblin”), with some older blazers (“Beat to Shit”, “Doublewide”, “She’s My Bitch”, “Creepy Jackalope Eye”, “Mudhead”), a few covers (WILLIE NELSON’s “Bloody Mary Morning” and “Whiskey River”, and a tease of THIN LIZZY’s “Cowboy Song”) before the concluding Satanic headbanging glory of “Born with a Tail”.  Fantastic band, killer opening set.

    Nashville Pussy followed. Liked the ‘Double Live Gonzo’-inspired name, fun album titles like ‘Let Them Eat Pussy’ and their fuck-off attitude, but the music never caught me.  So, never really a fan of this band, don’t dig the vocals, but I remember they did play AC/DC’s “Kicked In The Teeth”, which is a great cover choice, and everyone who was there remembers clearly inebriated bassist Corey Parks’ boobs repeatedly falling out of her tank top. Other than that: eh.

    Motörhead

    Motörhead of course then went on and conquered all. My recall is that the place was not anywhere near empty, but not packed to the rafters either. Maybe this is why Motörhead never play headline gigs here.

    This was the ‘We Are Motörhead’ tour, a great album. The title track is one of my favorite Motörhead songs and a great opening number. In 2000 they were still playing a fair amount of ‘newer’ (i.e. post-1990) Motörhead songs, whereas by the end in 2015 they’d gone to the majority of the set being Fast Eddie-era stuff, which of course is some of the most classic metal ever, but leaves aside some great stuff. The cool ‘deep album’ track for the show was “Dead Men Tell No Tales”, but they played many post-Eddie songs (a roaring “I’m So Bad (Baby I Don’t Care)”, “Over Your Shoulder”, “Civil War”, “Born to Raise Hell”, “Stay Out of Jail”, “Sacrifice”, “Going to Brazil”), plus a slew of neck-snapping expected classics: “Bomber” and “No Class” early on, “Dead Men” and an all-conquering “Orgasmatron” mid-set, and the face-removing “Iron Fist” and “Killed by Death” to conclude the regular set, with “Ace of Spades” and “Overkill”, as always the usual encore songs.  It was LOUD.  Lemmy presided over all like the undisputed king of volume and unassailable cool he was.  He is missed.  All hail the late, great Lem, and the almighty Motörhead.

    Setlists

    Supersuckers – Evil Powers of Rock’n’Roll, Santa Rita High, Luck, Beat To Shit, I Want The Drugs, Doublewide, Creepy Jackalope Eye, Mudhead, Gone Gamblin’, She’s My Bitch, How To Maximize Your Kill Count, Bloody Mary Morning, Whiskey River, Born With a Tail

    Nashville Pussy: Struttin’ Cock, Piece of Ass, Wrong Side of a Gun, 5 Minutes to Live, High as Hell, Shoot First and Run Like Hell, She’s Got the Drugs, Go to Hell, Kicked in the Teeth, I’m the Man, Go Motherfucker Go

    Motörhead: We Are Motörhead, Bomber, No Class, I’m So Bad (Baby I Don’t Care), Over Your Shoulder, Civil War, Metropolis, God Save The Queen, Born To Raise Hell, Stay Out Of Jail, Dead Men Tells No Tales, Sacrifice/Drum Solo, Orgasmatron, Going To Brazil, Iron Fist, Killed By Death, Ace of Spades, Overkill

  • Aubrey Haddard Shares New Single “National Tragedy”

    Hudson-Valley native and indie-pop singer-songwriter, Aubrey Haddard, shared her new single “National Tragedy” on June 23, along with a music video. “National Tragedy” is the latest of four singles released by Haddard over the course of the last year.

    Aubrey Haddard

    Inspired by singer-guitarist Susan Tedeschi, Haddard forged her own path in music with a confident spirit and bold art style. She released her debut album Blue Part in July 2018 to wide critical acclaim. The success of Blue Part resulted in seven nominations and several wins at the 2018 Boston Music Awards, including Vocalist of the Year and Singer/Songwriter of the Year.

    Following her debut, Haddard has made a name for herself at festivals across the country, including Firefly, Mountain Jam, and Waking Windows.

    This year, Haddard has released one other single besides “National Tragedy,” called “Red Portuguese.” In 2020, she released “Thin Line” and “Sweeter Than Honey,” that show the beginning of her shift to a more smoother, retro style.

    Aubrey Haddard

    Like reliving a childhood memory of witnessing something scary on the television, it was remembering Diana Spencer, Princess of Wales’ passing that inspired the song. “National Tragedy” provides a soundtrack to Haddard’s memory of the unwavering presence of the news in her childhood home, to the confusion of watching her mother crying on the couch, and the sorrow played out on TV.  

    One of my earliest memories is my mother watching Princess Di’s funeral on our old screened-in porch, the feelings of uncertainty and sadness. Throughout my life, each time tragedy struck and the world stopped to watch, the reality would sink into me a little deeper, but in September ‘97, my inability to understand was the perfect escape. “National Tragedy” is part memory, part sweet escape and an all too familiar feeling.

    Aubrey Haddard on “National Tragedy”

    Haddard takes on a different, more somber style for this release. Usually a passionate rocker similar to Tedeschi, “National Tragedy” has a tinge of 70s easy-listening. The guitar riffs are repetitive and the drums are simple, which complement Haddard’s controlled, yet strong voice. The instrumental break in the middle of the song can be best compared to late-60s experimental art-rock like Bowie’s “Space Oddity.”

    According to Haddard, “National Tragedy” needed a music video to match the song’s “lighthearted, imaginative twist.” The result is an animated clip art utilizing ethereal scrapbook-like collages by collaborator Kaya Blaze Kelley.

    Narrating her own experiences in life and love, she holds space for dialogues of hardships as well as times of joy. Her goal is to encourage others by singing her truth, and her relatable topics and catchy lyrics are a great way to connect to listeners.

    Haddard will also be performing live at the Levitate Music Festival in Massachusetts on July 9, 2021.

    “National Tragedy” is now available for streaming on Youtube, Bandcamp, Spotify and Soundcloud. For more information on Aubrey Haddard, check out her website.

  • Members of American Symphony Orchestra Perform at Opus 40

    On June 24, members of the American Symphony Orchestra played Opus 40 in Woodstock. Winds Among Trees, a wind instrument sextet brought a new layer to experiencing the sculpture park. Both shared a story of creative survival amidst destruction, which made it the perfect time and place for the convergence to occur.

    Opus 40
    The sextet blending in the shadows

    Senses Alive

    Bright light, contrasting stone and stunning landscapes made for the perfect atmosphere. Placing the band strategically on the artwork itself, allowed for an elevated way of experiencing both the art and the music.

    A welcomed visual obstruction

    Ornate hedges and seemingly innocuous smaller sculptures partially obstructed nearly every view the music and the monolith. Senses were heightened as participants were compelled to be more present, and listening with a more focused ear and eye. As the post-solstice afternoon progressed, the sun started to blare into the eyes of the audience, which made viewers feel like they were part of a progressive performance art piece.

    Opus 40
    Enjoying the experience

    Rare Music, Rare Location

    The contrasting stone with all of the afternoon’s light made all the of the artist’s intentions clear. The monolith’s sun dial- like beacon of love was built on an old bluestone quarry after the land had been destroyed by construction.

    Beautiful works like this achieved though years of manual labor.

    The music played by the sextet was extremely rare in that it is not often played or performed, but also in the idea of it being chosen by the musicians. During shutdown, when all sought-after cultural celebrations of art and music were closed, members of the American Symphony Orchestra were given an interesting assignment. Captains were chosen to enlist a team to learn a collection of rare music.

    Opus 40
    A beautiful venu

    This is not common and the idea to perform these collections in different interesting venues made this even more thoughtful. Being able to have creative control as well as the project and accountability hopefully helped some through the incredibly trying time.

    Opus 40
    Music stands excited they non longer have to socially distance

    Visitors to Opus 40 took away a feeling of gratitude. They felt music in a unique environment during a new beginning for our society.

    Setlist: Serenade for 2 Clarinets, 2 Bassoons, and 2 Horns (Matyas Seiber),
    Sextet No. 1 in Eb (F.H.J. Castil-Blaze), Sextet (Harald Genzmer), Adagio and Rondo (Carl Maria von Weber)

    Setlist via americansymphony.org

    To see more of what the ASO has done over shutdown, visit their website.

  • The Roots ‘Do You Want More?!!!??!’ Deluxe Edition Out Now

    The album that solidified Neo-Soul/Hip Hop outfit, The Roots, as a force in the hip hop realm is being redistributed. Considered a staple of the Jazz-rap subgenre, Do You Want More?!!!??!, achieved cult-like status despite not selling an immense amount of units. The group’s major-label debut was released over 26 years ago on January, 17 1995 and didn’t reach Gold status until 2015, over 20 years later. 

    Nonetheless, the album’s merits are never to be questioned. In an era of machismo and increasingly violent tales in hip hop, the Philadelphia bred ensemble managed to entrench themselves in music history in their own way. Their blend of live instrumentation, story-telling along with the introspective and technically proficient lyrics of Black Thought and Malik B. made them a first of their kind. 

    https://youtube.com/watch?v=uROfXQML7NY

    Led once again by, MC Tariq “Black Thought” Trotter and drummer Ahmir “Questlove” Thompson, the Philadelphia rap crew are going back to where it began with a 3LP, 4LP and a digital deluxe collection of Do You Want More?!!!??! to be released on June 25, 2021 via Geffen/Ume records. 

    This deluxe edition draws from the original recordings and features 18 bonus tracks curated by Questlove, ranging from unreleased records to songs that have never made it to streaming platforms. The 3LP deluxe vinyl edition features five bonus tracks — “Proceed II Feat. Roy Ayers”, “Proceed III”, “Proceed IV (AJ Shine Mix)”, “Proceed V (Beatminerz Mix),” along with five remixes of “Silent Treatment,” with the “Street Mix” made available for streaming before the project’s release.

    The Roots Do You Want More

    Also included, is a 24-page booklet featuring images taken by Mpozi Tolbert, essays by Questlove and Black Thought as well as track-by-track commentary. The 4LP edition features all of the above plus another additional eight bonus tracks; “In Your Dreams Kid (I’m Every MC),” “The Ultimate (Original ’94 Version),” “……(dot dot dot…on & on),” “Pffat Time,” “Swept Away (Original Draft),” “It’s Coming,“”Lazy Afternoon (Alternate Version),” and two remix versions of “Distortion To Static.” 

    By way of their innovative and breakthrough blend of hip hop and other black genres, The Roots have cemented themselves as an important part of rap’s evolution, distinguising themselves as the first true hip hop band. Their success as artists have also spawned other opportunities. They also serve as the house band on The Tonight Show Starring Jimmy Fallon and held the same role on Late Night with Jimmy Fallon from 2009 to 2014. 

    The Roots Do You Want More

    With the deluxe edition of Do You Want More?!!!??!, a classic album is revisited. While it can be a risk to dabble with an album held to such prestige, fans should have trust in the group’s combined musical connaissance. 

    The deluxe version of Do You Want More?!!!??! can be streamed here.

  • Final Dinner and a Movie features 1991 Phish show from Arrowhead Ranch

    As live music returns, archival streams are going the way of the Dodo, at least for now. Phish has announced that their Dinner and a Movie series, which started in April 2020 will go back into the freezer, but not before one more installment, one from 1991 at Arrowhead Ranch in Parksville, NY.

    phish arrowhead ranch

    Thus, on Tuesday, June 29 at 8:30 ET, Phish will broadcast their July 20, 1991 concert at New York’s Arrowhead Ranch, featuring The Giant Country Horns: Dave “The Truth” Grippo, Russell “Killer” Remington and Carl “Gears” Gerhard. The show was the second of a two-night stand at Ranch Arrowhead, and all ages shows with Phish and special guests TR3 and The Radiators opening.

    Sue Zemanick, owner and James Beard Award-winning chef at Zasu, located in New Orleans’ Mid-City neighborhood provides the final meal for Dinner and a Movie. The name Zasu, derived from Zasa, which means “once again” in Slovak, is inspired by Sue’s Slovak heritage and childhood memories of family bonding in the kitchen. Sue brings a three course dinner of Coconut Curry Corn Soup, Spicy Tofu Larb Lettuce Wraps, and a Blueberry Creme  Fraiche Pound Cake. Recipes can be found here.

    phish arrowhead ranch

    The beneficiary for this episode is Phans for Racial Equity. PHRE promotes racial equity and respect for difference within the Phish and greater music community and beyond. Striving to make a more welcoming space for people of all races and ethnicities, bearing in mind the many ways in which race/ethnicity intersects with gender, gender identity/expression, sexual orientation, disability, and other identities.

    PHRE’s aim is to facilitate education and thoughtful engagement, first and foremost within the Phish community, about race and its intersection with other issues; give people tools to build a more welcoming environment; and activate our community to positively impact racial equity in the U.S. more broadly. More info here, and donate anytime here.

    phish arrowhead ranch

    Listen to the full show on PhishTracks.com

    Phish – Arrowhead Ranch, Parksville, NY – July 20, 1991 

    Set 1: Chalk Dust Torture, Foam, The Squirming Coil > Llama, The Oh Kee Pa Ceremony > Suzy Greenberg[1], The Landlady[2], Bathtub Gin[1], My Sweet One, David Bowie[1]

    Set 2: Buried Alive > Reba[3], Caravan[1], Dinner and a Movie[1], Flat Fee[1], Golgi Apparatus[1], Stash[1], The Man Who Stepped Into Yesterday > Avenu Malkenu[1] > The Man Who Stepped Into Yesterday, You Enjoy Myself[4], Rocky Top

    Encore: Possum[5]

    [1] Giant Country Horns.[2] Giant Country Horns; Rene Lopez on percussion.[3] Carl Gerhard whistled with the band.[4] Giant Country Horns; vocal jam based on burgers.[5] Giant Country Horns; Charlie Chan and Oom Pa Pa signals.

    https://www.youtube.com/watch?v=6gNnXfGd6WQ
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