As the haze descended over the stillness of West Virginia’s Marvin’s Mountaintop, one could easily miss the creatures cautiously peering out from carefully selected hideouts. Anticipation built for these mystical beings, for the game of games was about to commence. Players arrived unsure of where to go, but had confidence in their mission of finding what they had lost. On the eve of the full moon, the Resonance Music Festival provided a Labyrinth, some goblins, a few other fairy-tale characters and at the center, a Goblin King. This king kept close, but made sure to provide accommodations of the best lighting and soundtrack for the games.
Goblin friends
It’s further than you think. Time is short.
Keeper of the Beans
Paths twisted and tents upon tents repeated. Nondescript thumping of DJ music could be heard in the distance of an unknown direction. Seeking direction was futile when it came to camp dwellers claiming to be “only worms” relaxed at their sites. These worms, while unhelpful, were very friendly and offered players to meet the Mrs. and stop for some tea. Tempting as it may be, Eggy was about to go on and the center had to be found.
She Chose Down
Satan’s Empress
Eventually, that thing the wizard said about the jam holes filled with Magic Beans made a lot more sense. It was not a dead end, but rather, an energizing oasis. Hobbits with stimulated hemp hats were experts at foraging the Resonance grounds. They advised consumption of Magic Beans was best at The Bog of Eternal Funk You. Doing so summoned Doom Flamingo and our first peek at both Goblin King and Satan’s Empress.
Goblin King
The babe with the power.
Cory Wong reminds the Goblin King of the babe with the Voodoo Power
Attitude was everything that mattered for this maze game and Cory Wong delivered a set that helped reconciliation with players still being so early in the game. His laid back and fun energy was something to behold. To casually joke about a complex timing about to be played evoked the feeling of hope that mastery of something as complex as a guitar or a maze game could be achieved. The laughter on stage was infections and as coolness of the night set in, the next two days felt far more possible thanks to this true artist. Cory also showed that, with good listening skills, it could be possible to play with others outside of the tribe. When sitting in with TAUK Cory had slightly more reserved demeanor, which helped him listen and respond without skipping a beat.
That’s not fair!
Occasionally the board itself seemed to be alive. Initiated by the most subtle of Jack-O-Lantern lights, landscapes would shift dramatically.
Melodic
Flamingo
“The mellow jams would pull you in, then (Umphrey’s) got real nasty with guitars. Melodic to demonic in an instant, but all with that smooth bass keeping it all together while the guitars were going wild.”
-VIP Goblin
Demonic
Doom
You have no power over me…
Lespecial commanding attention.
On September 16-18, Eastern met Mountain and Jam converged with EDM with roads paved in metal. The most notable hour of convergence was when Connecticut Ancient HomiesLespecial (or as the goblins playfully mis-pronounced, “lay-spesh-ee-al”) played on Saturday afternoon. From the VIP crow’s nest, hoards of players could be seen running like the fast zombies from 28 Days Later to the center of the labyrinth, easily finding their way after all the searching they had endured. The crowd grew in size and density as a universal epiphany dawned on everyone involved in the games. A next-generation metal-jam-electronic fusion band deriving from influences like Primus was the lost item no one realized they were missing.
Your eyes can be so cruel…
I wish…
It has been said that legendary sets happen in the center of the Goblin King’s Labyrinth. Ask any Goose fan. The great equalizer of the center provided a grounding humility to many that thought they knew a lot about music.
Conversations held in the crowd were surprising in that nobody had heard of anyone else’s favorite band. The players arrived deeply rooted on many teams. Disciples of Tipper were ready for Detox Unit, but had never heard of The Motet or Dizgo. Doom Flamingo fans were psyched to see Papadosio, but had never witnessed a laser show like the one Sunsquabi put on. Umphrey’s fans had however, heard of Lotus and could not wait to see Tim Palmieri display his technical mastery as if it were the plumage of a rare bird.
“I move the stars for no one…”
Photo courtesy of Albie Binkley
Behind the games, behind the curtain, and beneath the veil was an Oz-like figure in control of the entire game. Only when he was satisfied, were we were released from the simulation.
“Should you need us…”
Dizgo members showing up for Eggy in more ways than one.
After it all, when intensity subsided and the sun was up again, Eggy played an intimate set from the VIP Crow’s nest and provided the perfect time to reflect on the lessons learned.
Despite the game only lasting a weekend, the friendships made were lifelong.
The organizers of DelFest, held at the Allegany County Fairgrounds in Cumberland, MD, have announced they have no choice but to postpone the upcoming music festival until Memorial Day 2022.
Despite best efforts from promoters in working with state and local governments, the postponement was shared on Thursday, September 9, citing specific staffing and COVID-19 safety requirements needed for the event to carry forward. Issues are noted in the announcement by Rob and Ronnie McCoury point to a lack of vaccinated staff among local workers, coupled with a general lack of available workers for staffing. Among these cited are local shuttle services and vendors.
The music industry by and large has needed strict adherance to safety protocols, including daily testing and mask wearing at all times, to ensure that one band or crew member getting sick does not cause a show, let alone a full tour or festival, to be postponed or cancelled. The surge in the Delta variant of COVID-19 left DelFest 2021 no choice but to push back to Memorial Day 2022, when conditions may better warrant a full festival experience.
This edition of DelFest featured headliners The Travelin’ McCourys, Béla Fleck’s My Bluegrass Heart, St. Paul & The Broken Bones, and Railroad Earth. Other acts included Old Crow Medicine Show, Sam Bush, and Leftover Salmon.
DelFest will offer refunds as requested through September 20, with all non-refunded tickets honored at the 2022 festival. While DelFest is held each year in Cumberland, MD, promoters were forced to cancel the 2020 edition, and then postpone the 2021 edition until this September. Two years without DelFest and fans shouting ‘Del Yeah!’ leaves a gap in the festival and travel schedule for many.
Revisit NYS Music’s past coverage of DelFest, and read the letter from Rob and Ronnie McCoury below.
Under the hazy light of 2021’s August Full Moon, it became apparent that attendees of Fred The Festival at LOCKN’ Farm were, in fact, getting involved. Fred, a festival hosted by Goose, included side projects of the band itself like Vasudo, Elephantproof, and the aGOOSEtic trio, as well as Peter Anspach’s debut acoustic solo performance. The festival provided a refreshing and wholesome interpretation of what a music festival could look like without ever compromising on the quality of production and music.
Stormy weather
Is It The Wind Upon My Neck?
Turned Clouds
Despite threatening skies that seem to always make for the most beautiful sunset, security guards seemed disinterested in the potential weather and said that the storms always passed behind the farm. They did.
Is It The Glowing Of The Moon?
On the weekend of August 20-22. the full moon illuminated the rolling fields at Lockn Farms in Arrington, VA.
It is said that if a seeker perceives their environment to be safe, then the light of a full moon can illuminate new intuitive understanding about how to navigate through darkness or uncertain times. New and excellent music can be medicinal in properties. ElephantProof gave the entire crowd a dose of the rare form of stoke that only comes from that ear-tingly reserved only for future favorite artists.
Sam Bardini and Andrew Goedde making Garcia’s Forest a safer, brighter, more musical place
The real magic of this moon, this gathering, and this grand reveal was that many found out just how loved they were by their chosen family. The plot twist theme seemed to be that the haze hills and dark pathways were much easier to navigate when in the company of others.
Oasis in the depth of the night illuminated by the Lover’s hoops and serenaded by the wise minstrel himself
It proved to be especially helpful when that company happened to be carrying an illuminated hula hoop at a silent disco half way back to camp. Doey Joey and Becky provided more than just a boogie-down pit stop. They offered their love and shared their creativity without hesitation. Those wise guiding lights and silent dances helped some of those that might have been lost to find their way.
The more time I spend with this (Goose) community the more I realize⦠the people you do things with become a part of you and who you will be. In your blood, family.
Doey Joey
Seekers On The Ridge
LOCKN’ Farm hosted Fred the Festival. At about a day’s drive for most participants, the rolling hills are located in the midst of the stunning Blue Ridge Mountains. The environment allowed for all seekers on the ridge to separate themselves completely from everyday responsibilities. To truly detach allowed for the examination and reevaluation of moonlit discoveries.
Get Involved
The rolling hills and open fields provided the perfect place for games. The “Get Involved Games” were held on the lawn adjacent to the main stage and in front of the much smaller Porch Stage. Color coded teams assembled every morning to play games like tug-of-war, noodle hockey and giant Jenga. Band and crew members captained the teams and provided support from afar due to Covid restrictions.
Participants were actively partying less because they did not want to let their team down during the games. One team member recalled meeting with the captain bright and early to discuss potential strategies for the games ahead. A festival that had games scheduled during an hour that required early bed times with dedicated participants begs the question of if Fred the Festival itself have been an illusion.
In Search Of An Honest Place To Call My Home
Elmeg in Love
One dedicated couple chose Fred to be the place for wedding vow renewals in celebration of their five-year wedding anniversary. After enduring years of tumultuous societal overtones, this couple learned what it truly meant to find meaning in the grounding comfort of the earth and all it has to offer. They live and love in harmony with the land and have honed the ability find joy in the most uncommon places (hint: turn over a rotting log and watch her lose her mind at all the fungi growing). Multi-tiered snow forts and multi colored livestreams filled their time together until restrictions were lifted enough to dawn their chef and spaghetti costumes for Halloween at South Farms in Connecticut way back in November. Goose helped them stay involved with each other.
Adorable Hour
One benefit to waking up early, regardless of game status, was seeing Goose Guitarist Keyboardist, Vocalist Peter Anspach deliver his first solo set on the extremely intimate Porch Stage setup. What could easily make a fabulous segment on a TV show, some fans had their heart strings pulled at the music so much that they lovingly came up with the segment intro that goes a little something like, “On this episode of The Adorable Hour with Peter Anspach: Things that make you say, “Aww.” Peter’s set truly showcased a side of vulnerability and artistic ability in himself that created a bond between the crowd and the man in only the way accepting someone when they try something new can. To lead by example in that difficult and personal way set a precedent for others to take into consideration what can be gained with honesty and vulnerability.
Danny taking a compliment
It is said that the moon represents illusion and that what might have been seen under the moonlight could have been skewed. Fred the Festival revealed the depth of misinterpretation held about what a music festival should look like. Many traveled far and wide to attend even just a day of FRED, but it was not simply a music festival to which they were so drawn. The seekers were drawn to an evolution from participants to chosen family that has occurred over the last year as a result of what Goose likes to call “getting involved.” A little over a year ago, many seekers met in chat boards during the virtual interactive Bingo Tour. As reopening began, many of the people that met and remained in contact through message boards and streaming chat rooms got to meet in person and form more personal connections.
Many felt the undying support and safety of this familial bond. Conditions like these made it possible for some to consider seeing their own inner beauty. Fred was a safe place to consider possibilities like being more athletic, or to smile genuinely in a photo.
So Ready
Disco gaggle
Fred the Festival was special because this time, it seemed like not only were most of the usual subjects present, but it was like some sort of family reunion. Those that were meeting for the first time appeared to connect through shared love for a mutual fan friend or their favorite show. The amount of streaming music Goose has put out over the last year has been a great unifier for fans.
Fearless leader and contributor to the “El Goose Times” Marc Komito, aka “Scarf Guy”
Attendees of Fred the Festival truly appeared to begin to reveal their true nature of filling familial gaps for those lonely or in need. Goose cane-wielding uncles were able to connect with grandparents of tie dye wearing sloth mayors.
Children attended and parents were rejuvenated by remembering what it was like to see live music for the first time and connect with others that shared the same values. Walking the pathways during the day or night seemed like endless reunion after reunion. Grand reunions, quick catchups and then boogying down to a song seemed to be the pattern repeating over and over.
Take Your Troubles
Brothers at boards
The complete synergy among the crew illuminated group flow with familial bonds stretching out further than the Goeddes. At front of house, the flow between Sam Bardini and Andrew Goedde was reminiscent of a synchronized wingsuit team. Sound and light existed as one and because Sam and Goedde can pivot and finesse knowing the other will by right there without having to speak. If they did take the time to talk about what adjustment they might make next, the moment would have been long gone.
Goedde flexing
This healthy, family relationship atmosphere reflects in both the product as well as the constant inspiration and motivation for everyone on crew to push their craft to the next level. This transcends the band, the crew and the attendees. Everyone seemed to be excited for another’s new venture as if they were a proud grandma.
Having a chance to be away from “real life” created a new space for gratitude as well as a space to accept new music. Fred removed any stress that might disallow the space to give new music a try. Some attendees recalled a time where listening to one song or one set helped sooth anxiety during shutdown. The signs of curiosity indicated for many that their mental space was improving as the country began some semblance of a reopening.
Cory finding optimal position for photosynthesis
Stand out performer Cory Wong captivated the audience with attention grabbing musical know-how, a charismatic band and his charming personality. There were no still feet to be found because everyone seemed to be up and dancing for Cory’s set. To win over an audience largely filled with fans that have only been out to see one act and one act only spoke volumes for those that took notice. One die hard “Gong Gang” member recalled giving Cory’s set a few minutes because the nautical shirt was reminiscent of Jeff’s sailor hat. That person ended up staying the whole set and could not wait to listen to more of Cory’s music on the way home.
The Don
Mayor Little Baby Crepes making his rounds
To travel far and wide to be with people that mean a lot and for one common connector, like Goose, had words like “family” and “vacation” being used a lot. It was rare to hear the words “music festival” because it felt like so much more than that.
Guess the song you think this face happened for!
Fred the Festival was the result of the entire Goose community working hard over the last year to cultivate an atmosphere that is conducive to those that might not normally consider a music festival an option. The Hot Tea Party on Facebook had a showing of fans in recovery and made sure to provide support for anyone that might have been struggling.
Metamorphasis
The festival allowed for participants to come together, play games, be themselves and have a safe space for contemplation. Led by a strong production and management team, the three-day music family vacation event felt extremely wholesome and like “pure happiness.”
Aptly named “Santa Todd” on instagram, one outlier story must not be overlooked. One couple found at one of the cornhole stations admitted to never having heard Goose before and shared that they were attending to see Dawes.
New fan Santa Todd
Santa Todd and Mrs. Santa (Michelle) ended up staying for both sets of Goose and quickly understood the draw.
Goose recently announced that their annual Goosemas show will be on December 12 at Mohegan Sun. Be sure to coordinate with Goose Family to get everyone covered for tickets. The presale lottery was reported to move slowly which is usually an indicator of a quick sell out.
Lespecial, the heavy future groove trio from Kent, CT, is hitting the road for repeaTOUR an extensive run of shows this Fall. Including a show in Niagara Falls, NY and one in East Durham, NY for the Flyday Music Festival.
Dubbed “2021 Fall RepeaTOUR,” the jaunt is named after “Repeater,” a track on the band’s 2020 release, Ancient Homies. Starting on 10/1, the band will travel to upstate NY for a pair of shows, before heading to Portland, ME to support Pigeons Playing Ping Pong at the State Theatre on 10/8. Mid-October will see lespecial host “Le Getaway Part Deux,” a curated overnight music and camping experience at the beautiful Club Getaway in Kent, CT, with support from West End Blend and Cosmic Dust Bunnies. After a 10/28 play at Suwannee Hulaween in Live Oak, FL, lespecial will spend its’ favorite holiday in Asheville, NC for a Halloween throw-down at Asheville Music Hall.
November will see a handful of shows in the mid-Atlantic region, followed by a return to colorful Colorado on 12/2, where the band will headline Cervantes Masterpiece Ballroom in Denver for the first time. After a visit to Fort Collins (12/3), the band will hole up at Old Town Pub in Steamboat Springs for two nights. Subsequent shows include a string of appearances in the Midwest with special guest Mike Dillon Band, including much-anticipated returns to Chicago, Indianapolis and Columbus. The tour concludes in Ferndale, MI on 12/18 at Otus Supply
Lespecial repeaTOUR Fall 2021
10/1 – Niagara Falls, NY – Rapids Theatre
10/2 – East Durham, NY – Flyday Music Festival
10/8 – Portland, ME – State Theatre (supporting PPPP)
10/16 – Kent, CT – Le Getaway – Club Getaway
10/28 – Live Oak, FL – Hulaween
10/31 – Asheville, NC – Asheville Music Hall
11/3 – Charlotte, NC – Heist Brewery & Barrel Arts
11/4 – Roanoke, VA – 5 Points Music Sanctuary
11/5 – Baltimore, MD – The 8×10 (w/ Kick The Cat)
11/6 – Asbury Park, NJ – Wonder Bar
11/12 – Ardmore, PA – Ardmore Music Hall (w/ Space Bacon)
12/2 – Denver, CO – Cervantes Masterpiece Ballroom
12/3 – Fort Collins, CO – Aggie Theatre
12/4-12/5 – Steamboat Springs, CO – Old Town Pub
12/8 – Kansas City, MO – recordBar (w/s/g Mike Dillon Band)
12/10 – Chicago, IL – The Point (w/s/g Mike Dillon Band)
12/11 – Madison, WI – High Noon Saloon (w/s/g Mike Dillon Band)
12/12 – Milwaukee, WI – Colectivo (w/s/g Mike Dillon Band)
12/15 – Indianapolis, IN – The HiFi
12/16 – Grand Rapids, MI – The Stache
12/17 – Columbus, OH – The Summit
12/18 – Ferndale, MI – Otus Supply
For more information, and to purchase tickets for the Lespecial ReapeaTOUR visit: lespecial.net.
In 1989, New Orleans had its own gold lit resilience of funk around town. Many helped add to the consonant grooves inside legendary buildings turned nighttime studios. Every great musician in town was collaborating and famous artists were there to help feed in the rhythm. Tony Hall was part of this golden era and is still a staple in the New Orleans sound.
Hall had been grooving with the renowned Neville Brothers on St. Charles Avenue. Tony played the chilling bass line on their album Yellow Moon. The track “Healing Chant” off the album won best pop instrumental performance at the 32nd Grammy Awards in 1989.
Tony has gone on to work with bayou locals like The Meters, Dr. John, Aaron Neville, Harry Connick Jr. Trombone Shorty, and Marc Broussard.
He has been part of infamous studio sessions with Bob Dylan, Emmylou Harris, Trey Anastasio, Dave Matthews, Willie Nelson, Joan Baez, Brian Eno, Daniel Lanois, Jewel, Edie Brickell, Linda Ronstadt, Pretty Lights, Herbie Hancock and Maceo Parker.
Producer and musician Daniel Lanois felt these sounds in his soul. He assisted in some of these collaborations and on his own work. Tony covers bass for Lanois’ famous original composition “The Maker.” It has been honored with covers by Willie Nelson, Jerry Garcia Band and Dave Matthews Band with Victor Wooten.
Tim Reynolds said this summer of his old band mate Tony, “You know those guys when you’re playing a gig, he’ll look right at you? That’s him. He’s a bad ass.” This past spring Tony just released a new studio record with his band Dumpstaphunk for the first time in seven years. He took some time to talk about the timeline on these projects with NYS Music.
MR: Daniel Lanois claimed Oh Mercy was a record you listen to at night because it was, “designed at night. Bob Dylan had a rule, we only recorded at night.” What did that session look like behind the scenes in a house turned studio in New Orleans?
TH: We would go in at about 4 in the evening and Dan had a lot of ideas of the songs so we went through a bunch of them. Then… when Bob came… It would all go out the window. He’d start a groove and we would follow him. Let’s just match whatever he was doing.
TH: It was all of us in a circle in a room, facing each other. Very long hours on this record. So many different versions of songs.
MR: Well how about the funkiest collaboration on the track Everything is Broken?
TH: It started with Bob playing his line and we just came in. Willie (Green) grooves and I jumped in on the spot (bass line humming).
Ivan Neville, Keith Richards, Tony Hall, Don Was
MR: Was Dylan just playing harp on that track for his solo?
TH: No, he’s on guitar for that as well. He played guitar on a lot of songs and piano too. Brian Stoltz played with all of us as well on guitar.
MR: Was that just a studio experience? Did you get to bring that on the road?
TH: Just a studio record. Never got to play it live.
TH: My experience working with Daniel Lanois came from him producing the Yellow Moon Recording, Bob Dylan’s Oh Mercy, and Emmylou Harris’ Wrecking Ball. I recorded on his solo album Arcadia. He had a completely different approach.
TH: He pulls everything you got in you…out. On “The Maker,” was me noodling and I kept adding parts. He even wanted to add a harmony part to one line. It has five different bass parts on that track
TH: I met Dave Matthews in the early 90s. The Neville Brothers and DMB did a show together. I saw him in 2001 at a Emmylou Harris show and he knew as me the guy from “The Maker” that his band went on to cover
TH: When we did the Dave Matthews solo record Some Devil in 2003 it felt so good. Brady and Trey all suggested we should be a band. “Hey let’s take this on tour.”
MR: How was it behind the scenes during that legendary studio collaboration with Brady Blade, Trey Anastasio, Ray Paczkowski, Dave and Tim Reynolds?
TH: Dave had all the songs written and we just came in and added our own parts to it. When you hire people to do a record, you have them bring what they do to the table, you know? So you can give them a lot of options. You play some stuff… like this? Sometimes the first thing is the one. “How about that?” No you did it already… (laughter)
TH: I had a lot of fun with that record. One of my favorite songs is “So Damn Lucky.” And the song “Too High.” I love the end. The groove on the end is killing. We even overdubbed The Seattle Symphony to it. The big line everyone is playing together is led by Dave on the guitar. It’s killing. Its a great record!
MR: Where does he come up with those unique sweet up and down chord progressions? Are they easy to jump on?
TH: That would be a question for him (laughter). Some of the chords are open tuning with a lot of different fingerings for it. But it’s cool as shit. It works well together.
MR: Then there was the Some Devil live tour that went to every major arena in America. Headlining sets at Bonnaroo and Vegoose Music Festivals. Even a Caribbean Cruise with Bob Weir special guesting on the boat. Who chose all those great covers ranging from Sly and the Family Stone, Chaka Kahn, Little Feat, Joe Walsh, The Band, Bob Dylan, Paul Simon, Peter Gabriel, Stevie Wonder, Hendrix, Zeppelin and Stones?
TH: That was Dave and Trey’s call any given night. Ya know during the break sometimes (laughter). Let’s go do this…
MR: After meeting Trey Anastasio and Ray Paczkowski at this project you ended up in the studio with him for his Album Bar 17.
TH: The Trey thing, musically, was very talented. I didn’t know him before Some Devil. He had me come to Atlanta to do a session and sent me the songs to learn. But it wasn’t a session. It was an audition. Which is a cool way to audition somebody. Make them think it’s a session so if it doesn’t work you pay them and they just go. You don’t have to tell them they suck (laughter). But afterwards they said hey you got the gig. I’m like cool… what gig? (laughter)
Brady Blade, Tony Hall
TH: But the composition “Goodbye Head,” that song I listened to and it was a very long jam. I thought, “Oh, I got this,” and during rehearsals Trey’s like, “You have it down?” (of course). But I didn’t check the end of the tape where there was a whole ‘nother section. It got to the jam part and I just stopped. This tune gave me a run for my money. That song kicked my ass, I got to tell you that right now.
MR: Then you went on a US tour with Trey Anastasio as part of an ever changing cast on stage in 2005 and 2006. It had special guests like Stewart Copeland, Bill Kreutzmann, Jon Fishman, Skeeto Valdez and Jeff Sipe along the way on Drums. Yet It always had you on bass and Ray Paczkoswki on keys as a constant. There was even Raymond Weber from New Orleans with you holding the bottom end down on drums at one point.
Trey Anastasio, Stewart Copeland, Tony Hall
TH: Yea Raymond ended up in the band after Trey came to sit in with us for the Dumpstaphunk show at B.B. King’s in New York City. So we call some stuff I got him to do, “46 Days” and um, “Cayman Review?” Raymond killed it on “Cayman.” He was like, “Damn you hear that on the bell? That reminds me of New Orleans.”
TH: But our official live band release came from Original Boardwalk Hall Style in Atlantic City on New Year’s Eve 2006. That was the most cast with an 11-piece band. Yea, but I had a lot of fun playing with Trey. He would kick into a groove and then I’d pick up. He’s like, “OK this is your job, when it mellows out you take the way.” I think it was good for him to have someone who’s like, “Come on. Come on.”
TH: He was always adding songs though. Like that Frank Zappa “Peaches En Regalia.” By it being new at soundcheck, I would learn it that night. So afterwards in Albany, between eating, I’m making notes before the start of the set figuring it out (laughter).
MR: Heading Back to The New Orleans studios in 2017 you were a part of Trombone Shorty’s record that has the ultimate cover of Ernie K Does “Here Come the Girls.” Shorty is also on your new record this year.
TH: Yeah that’s nice. I think George (Porter) is on the original version. I’ll have to look it up.
TH: We have known Shorty since he was young. Coming up he’s always been extremely bad ass. In the beginning he used to do some shows with us and then did his own shit. Then blew up. He’s the man and puts on a hell of a show. Phenomenal player on the trumpet and trombone. It’s like nobody can touch him. But he also plays everything else like drums, keyboards and sings.
Joseph “Ziggy” Modeliste, George Porter Jr, John Mayer, Bob Weir, Bill Kreutzmann, Tony Hall
MR: Speaking of horns you were on legendary sax player Maceo Parker’s album released last year recorded at an old New Orleans hotel turned studio.
TH: Yea at Goat’s studio down in the ward, who’s Maceo’s soundman. It was fun and great to be on a record with his original track MACEO. Then great covers by Dr. John on “Right Place Wrong Time” that Dumstaphunk started doing.
MR: The new Dumpstaphunk record you just released this year has some just straight funk instrumental tracks. Where did the “Dumpstamentals” come from?
TH : Some of those came up at soundcheck. Me and the drummer Deven Truscleir started jamming on some stuff and other people came in. Ian (Neville) always records those on his phone and so do I so we can revisit them. Ian came up with Backwash when checking his rig during warm up and things like that.
TH: We recorded a bunch of these songs and didn’t finish them lyric-wise. Vocal-wise we can always change. It goes kind of like vice versa. We’re all a band that can sing and play too, ya know? We did two of our favorite covers by Sly and the Family Stone for “In Time” and Buddy Miles’ “United Nations Stomp.”
MR: How about Buddy with Band of Gypsies? He also covered “Don’t Keep Me Wondering” into “Midnight Rider” by The Allman Brothers for his own record.
Tony Hall Beacon Theatre
TH: He also covered their song “Dreams.” I know those from Buddy and I found out later they were Allman Brothers songs. Just like “Down By the River,” I learned that from Buddy and then found out after it was a Neil Young song
TH: Yea Buddy’s the man. He’s one of my favorites. One of my mom’s favorites. She used to play it all the time. His live release is one of the best records. One of my top favorites.
MR: Last time Dumstaphunk played New York State was headlining the 2019 Blues Fest in downtown Syracuse. After hours you and Deven Trescleir on drums came for a special sit-in with the band at Funk n Waffles for a bass-leading cover of The Temptations “Standing on Shaky Ground.” Less than a month later Dumstaphunk was opening for The Rolling Stones at the Louisiana Superdome in front of 60K. Are you ready to get at it like that again in 2021?
TH:That was a great show, Most of the time when you’re an opening act people are just walking in doing your set or the place doesn’t fill up until your last song, but that show the crowd was there and it was a lot of our fans, the energy was high and we felt the love. It was our home town, it felt great!
MR: The Woodstock 99 documentary just released features your performance with Brady Blade and Jewell. Any memories of that infamous Sunday gig in Rome NY?
TH: We drove over night to the festival, I woke up on the bus at the site. I didn’t do much. I watched a few bands from the side stage. We had a good set. We stayed to watch the Red Hot Chilli Peppers show and left right before everything went down. The people from the documentary reached out about my experience there. I was only able to tell them what I’m telling you (laughter).
The Blind Boys of Alabama and Béla Fleck have joined together on record for the first time to release a special 45RPM 7” on Alabama-based label Single Lock Records. The powerful and uplifting cover of Nina Simone’s “I Wish I Knew How It Would Feel to Be Free” marks their first release of 2021, and it is one to remember.
Jimmy Carter (center) and the Blind Boys Of Alabama
American Christian/Gospel icons Blind Boys of Alabama and banjoist extraordinaire Béla Fleck, have collectively earned 20 Grammy Awards and scores of other accolades. Now, they share the A-Side of this historic collaboration in, “I Wish I Knew How It Would Feel to Be Free.” A Billy Taylor and Dick Dallas classic popularized by Nina Simone, it continues to serve as an anthem for the Civil Rights Movement to this day. The Blind Boys of Alabama and Béla Fleck revitalize the song in a masterful cover that fans around the world will not want to miss.
Jimmy Carter (center) and The Blind Boys perform live at Nelsonville Music Festival | Photo by Rubato
Leader and oldest member of the Blind Boys of Alabama, Jimmy Carter, has helped define American Gospel music over the past eighty years. The Blind Boys are not only five-time Grammy winners, but they are Grammy Lifetime Achievement Award winners. Carter sang with the original group, including Clarence Fountain in the 1940s while they attended the Alabama Institute for the Negro Blind together. However, he was deemed too young to tour with them at that time. Following his time with the Dixieland Blind Boys and the Five Blind Boys of Mississippi, Carter then joined the Blind Boys of Alabama. He has become a beloved member with the group for over forty years.
We’ve crossed paths with Béla Fleck on stage and socially for many years. He’s an incredible talent. This is one of the most unique collaborations for the Blind Boys. I’m excited for the song and 45 to be shared with the fans.
Blind Boys’ Jimmy Carter
Eric “Ricky” McKinnie (center) and The Blind Boys of Alabama
Hailing from Atlanta, Georgia Eric “Ricky” McKinnie began his musical career from a young age. His gospel roots propelled him to greatness after he, his mother, and his brother formed the Ricky McKinnie Singers in 1978. Later, In 1989, Clarence Fountain invited McKinnie to join the Blind Boys of Alabama as a drummer, vocalist, and tour manager. Since then, Ricky has been performing with the iconic group, leading them to awards while inspiring millions of fans across the nation. Learn more about the rest of the Blind Boys members HERE
After sharing stages with Béla Fleck in the past years, I find it to be both exciting and a pleasure to sing on a track with him. Anyone that misses this collaboration is missing one of the best.
Ricky McKinnie of the Blind Boys on Fleck and their latest release
Béla Fleck performing live at Red Rocks Amphitheatre
Bluegrass artist and master banjo player, Béla Anton Leos Fleck is a true legend in his field. Born in New York City, Fleck discovered his love of music at a young age through TV, radio, and a newly bought banjo. Years later, his relocation to Kentucky instilled within him a uniquely majestic sound that not only helped revitalize modern bluegrass, but also great success over the years. Now, he teams up with the Blind Boys to once again bring even more life to the Civil Rights classic.
I loved having the chance to work with the Blind Boys. I’ve dug their music since I first heard them, and it was such a thrill to be in the band!
Single Lock Records has released this special song on all major listening platforms. Check out the release YouTube below:
For more from the Blind Boys and their legacy visit HERE along with their Spotify and YouTube. Also, be sure to listen to more of the iconic Béla Fleck via Spotify and YouTube:
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.
New York, they’re comin home again. moe. will head out on their 2021 Fall Tour in October, making stops at four venues across their home state of New York.
After stopping Upstate at Apple Valley in early August, moe. heads out to Summer Camp Music Festival in Chillicothe, IL. They’ll headline ADK Independence Festival over Labor Day weekend, and the head to the rescheduled New Orleans Jazz Fest in early October.
Town Ballroom hosts moe. for three nights in the town where they started, followed by a three night run in Chicago. moe. performs on Long Island at The Paramount in Huntington in late October, with a Halloween-Eve show at The Fillmore in Philadelphia the next night.
In December, moe. will stop at Brooklyn Bowl for an intimate show, followed by two nights at The Capitol Theatre and four nights at The Sinclair in Boston.
Tickets go on sale Friday, July 16 at 10 AM ET – get tickets here.
moe. Fall Tour 2021
Oct. 8-9 – The Civic Theatre – New Orleans, LA
Oct. 14 -16 – Town Ballroom – Buffalo, NY
Oct. 21-23 – Thalia Hall – Chicago, IL
Oct. 28 – College Street Music Hall – New Haven, CT
Oct. 29 – The Paramount – Huntington, NY
Oct. 30 – The Fillmore – Philadelphia, PA
Dec. 9 – Brooklyn Bowl – Brooklyn, NY
Dec. 10-11 – The Capitol Theatre – Port Chester, NY
Doctor Lo Faber, formerly of celebrated jam band God Street Wine, shared the title track from his upcoming folk/Americana-leaning LP Claiborne Avenue. He’ll hit the road for four shows in June, starting at The Hollow Bar and Kitchen in Albany.
Faber has a rich musical history; prior to adding the “Doctor” title to his moniker, he founded legendary jam band God Street Wine in 1988. GSW landed a record deal with Geffen in 1994, and later with Mercury. During that time they toured nearly constantly, pausing only to record. Ultimately, GSW hit a wall of burnout and played their farewell show in December 1999.
Faber went on to form the Lo Faber Band, composed and recorded the double-CD concept rock operas Henry’s House and Friday Night Freakshow in 2001 and 2003, respectively. Meanwhile, the age of social media led to GSW fans congregating in a Facebook group that successfully brought the band back for a series of annual reunion shows beginning in 2010.
When the pandemic hit the US in full force back in March 2020, Doctor Lo took to his YouTube channel to connect. While at first he was hesitant to embrace live streaming, by June 2020 he was all in and now continues to broadcast twice a week to his social media pages.
The album, Claiborne Avenue, features musicians, such as Dave Eggar (The Who, Coldplay, Beyonce) on cello and string arrangements, Jason Crosby (Phil Lesh, Jackson Browne, Tedeschi & Trucks) on piano and fiddle, God Street Wine’s Jon Bevo and Aaron Lieberman on keys and lead guitar, New Orleans musician/DJ Marc Stone on slide guitar, Blake Collins on mandolin, and Ted Marotta and Tom Pirozzi, who worked with Ominous Seapods in the 90s, on drums and bass.
Faber is set to celebrate the release with a limited run of live shows, including a sold-out performance at Albany, NY’s The Hollow on June 18.
DOCTOR LO FABER UPCOMING LIVE DATES
June 18 – The Hollow – Albany, NY
June 20 – Gabe-Gate – Sussex, NJ
June 22 – The Tap Shack – Duck, NC
June 23 – The Tap Shack – Duck, NC
Listen to Claiborne Avenue on Bandcamp or Spotify out on June 18.
Oklahoma City based band Speak, Memory released their latest EP, Adirondack, on May 21. Adirondack features 3 original tracks evocative of the Upstate NY mountains, fittingly titled “Trails,” “Lakes” and “Cabin.”
Speak, Memory is a three-piece act comprised of Timothy Miller on guitar and vocals, Cody Fowler on bass and Jonathan Thomas on drums. Adirondack was recorded back in December 2019 at Breathing Rhythm Studio in Norman, OK. Throughout the recording process, the band collaborated with iconic OKC musician, producer and sound engineer Bartees Strange. Strange mixed the EP, creating a rich and percussive sound profile.
Speak, Memory
While Adirondack is almost entirely instrumental, aside from some brief vocals by Miller on “Lakes,” there is a deeply emotional feel to each track. The instrumentation, especially on “Trails,” feels wistful and breezy yet contains strong punches of drums and a catchy guitar riff. The band has previously talked about how the complex idea of unrequited love often inspires their work. This sensation of romance entangled with tinges of sadness or chaos feels strongly present on their new EP.
We try to invoke a feeling of hope into our music, which is something I personally feel the world needs more of right now. Adirondack specifically focuses on varying elements of nature, and how the volatility of it all often reflects our current economic and political climate.
Timothy Miller
Speak, Memory’s conceptual choices of both unrequited love and an exploration of nature and volatility are also made clear in their music video for “Trails.” The video, which premiered on April 2, shows scenes of crashing waves and neon-lit bedrooms as the two protagonists seem to figure out their emotions. The band themselves are even shown playing music in the woods.
The quirky calmness and the math rock influences of Adirondack make for an incredibly enjoyable and laid-back listening experience. The EP is currently available to stream and purchase. You can find more about Speak, Memory on their website and stay updated on Facebook, Instagram, Twitter and YouTube. Check out the official video for “Trails” below.
