Spoon orchestrated a six show, eight-day “min tour” to prepare for their “Back to Life” live stream from Los Angles at the end of October. The tour, isolated to the Northeast, included a stop at The Capitol Theatre in Port Chester, NY.
Spoon’s set began with the somewhat dark “The Beast and Dragon, Adored.” The song afforded the band the opportunity to pull the audience in close before engaging them in a full on rock offensive. Lead singer and founding member Britt Daniel took his position guiding the charge. But at times during the set, Daniel could be seen dropping to his knees or catapulting into full flight as if the songs were giving the commands.
Spoon
Stage right Alex Fischel was no shy puppy. Oscillating between guitar and keyboards (and occasional percussion), Fischel would at times be hidden away in the crux of his set up and then erupting into full on guitar assaults with a maladroit style all his own. Jim Eno, the other founding member of Spoon, set the pulse for the band with his drumming, enabling the band to take music in the direction it wanted to go in.
Since starting in 1993, Spoon has amassed a trove of songs in their gig bag. The set was comprised of fifteen songs including: “Don’t You Evah,” “Do You,” and “I Turn My Camera On.” The encore found Daniel and Fischel alone on stage isolated in spotlights as they harmonized on John Lennon’s “Isolation.” The band joined mid way and performed three additional songs, closing with “Rent I Pay.”
Spoon at The Capitol Theatre
Supporting Spoon on this whiplash of a tour is Nicole Atkins. Her brassy rock and roll swagger makes her a perfect opening act. Sporting a blond wig, Nicole strapped on a guitar for most of her time on stage. Rocking through her catalog she was backed by an ad hock band created for this tour. Currently living in Nashville, Atkins is Jersey born and bred. She cut her teeth in the Asbury music scene and her take no prisoner demeanor confirmed that. Giving acknowledgement to her rock and roll mentors, Nicole and band finished out with Led Zeppelin’s “What is and What Should Never Be.”
Nicole Atkins
Being such a short tour, those that had the opportunity to catch this combination of acts are much the richer. Better yet, being a precursor to the live stream from L.A., Spoon fans have much to look forward to.
Phil Lesh wrapped up his second three-show run at The Capitol Theatre on Wednesday, October 20, 2021. The evening featured Stuart Bogie and Amy Helm joining Phil, along with Eric D. Johnson, Josh Kaufman, Elliot Peck and Grahame Lesh from Midnight North, Joe Russo and Heartbreaker’s keyboardist Benmont Tench.
Phil Lesh has one more run of shows at The Cap this month, with Phil-O-Ween weekend, from Oct. 29-31, including Nicki Bluhm, Larry Campbell, Griffin Goldsmith, Taylor Goldsmith, Grahame Lesh, Trevor Menear, Lee Pardini, M.C. Taylor and Teresa Williams.
Phil Lesh and Friends – The Capitol Theatre, Port Chester, NY – Wednesday, October 20, 2021
Set 1: Jack Straw, When I Paint My Masterpiece, Ship of Fools, Peggy-O, Tennessee Jed, Touch of Grey
Set 2: Truckin’, So Many Roads, Caledonia Mission, Bird Song, Let It Grow, Stella Blue, Rag Mama Rag, Not Fade Away, Morning Dew
Flushing Town Hall announced 15 Years of NEA Jazz Masters concerts celebration on November 12, 2021 at 8 PM, in-person and virtual audiences. The celebration is being called NEA Jazz Masters: The Music of Thelonious Monk and Horace Silver.
Ellen Kodadek, Executive and Artistic Director at Flushing Town Hall spoke on the upcoming celebration saying, “We are elated to present this historic concert with such an incredible lineup of America’s most honored jazz musicians. It is sure to be a one-of-a-kind night to remember.”
The celebration of 15 Years of NEA Jazz Masters Concerts will host five distinguished NEA Jazz Masters: Jimmy Owens, Kenny Barron, Sheila Jordan, Billy Hart, and Donald Harrison. They will be joined by American bassist Kenny Davis and a special, surprise guest artist to perform live, all together on one stage for the first time.
The very first NEA Jazz Masters concert took place at Flushing Town Hall back on November 17, 2006. The performance featured three NEA Jazz Masters, Jimmy Heath (saxophone), Clark Terry (trumpet), and Dr. Billy Taylor (piano)—as well as the talented jazz veterans Earl May, Benny Powell, and Albert “Tootie” Heath, who was later awarded the NEA Jazz Masters title in 2021. Sadly, all but one—Albert “Tootie” Heath—have since passed on.
This year’s NEA Jazz Masters concert is taking place on November 12, 2021 at 8 PM, in-person and virtual audiences at Flushing Town Hall. In-person tickets are $45/$35 Members/$20 Students. Those unable to attend in person can still join the livestream and tune in virtually. Virtual tickets are $15/$10 Members. Tickets can be purchased online here or by calling (718) 463-7700 x222.
For more information on NEA Jazz Masters concert or on Flushing Town Hall in general visit their website.
For the better part of three decades Grammy-winning musician, Wyclef Jean, has made it his responsibility to not only promote, but bring aid to his embattled homeland of Haiti. Hence, it came as no surprise that ‘Clef was once again up to bringing awareness to Haiti’s latest misfortunes.
Following his performance at Barlclays Center’s “Trillerverz” concert series — where Big Daddy Kane and Krs-One faced off in a Verzuz battle — the Fugees rapper celebrated with a good luck charm to his homeland. Given his history of wearing his flag on his sleeve, it was only fitting that the “Maria Maria” composer — unknowingly — jumpstarted the chain-of-events towards the current philanthropic efforts for Haiti.
It all began a few months ago when, Diane Jean — cousin of Wyclef – purchased “New York Intense” and “New York 5th Avenue” from luxury perfume house, Fragrance Du Bois, to gift ‘Clef. Unbeknownst to them, the high-priced fragrances were stolen from their South Orange, New Jersey location. On the same day of the theft, Diane Jean promptly hopped on a call with Nicola Parker, VP of Sales at Fragrance Du Bois, to secure another shipment of the luxury fragrance. The conversation led to the two discussing the devastating earthquake in Haiti, which prompted the Fragrance Du Bois team to go into action with a pledge to help Haiti.
They aligned with television personality and philanthropist, Bethenny Frankel, the founder of BStrong — a disaster relief initiative that provides real time emergency assistance to individuals and their families in crisis — and chose to raise funds for her charity because of its stellar reputation as a hands-on charity delivering immediate assistance.
So, from October 15 to November 15, 25% of sales from Fragrance Du Bois’ “New York Intense” and “New York 5thAvenue’s” online purchases will be donated to help Haiti.
We are a globally conscious company- our giving personifies the brand’s identity of being for all people. Real luxury is all about giving.
Nicola Parker, VP of Sales at Fragrance Du Bois
Thus, donning a Haitian flag and top hat, Wyclef Jean doused himself in “New York Intense” in front of a packed Barclays Center as a good luck charm to his beloved Haiti and a show of good faith to Fragrance Du Bois, as they embrace the cause that ‘Clef has held dearly to his heart for so long.
DJ Super Cat then doused the stage with “New York Intense” and yelled to the audience: “help Haiti!”
To purchase “New York Intense” or “New York 5th Avenue” online, click here.
For the Halloween episode of Saturday Night Live, former cast member and Ted Lasso star Jason Sudeikis returned to Studio 8H for his first time as host. Joining Sudeikis was country rock superstar Brandi Carlile, who played two songs off her new album, In These Silent Days.
Following a cold open that featured multiple versions of Joe Biden, including Sudeikis’ finger-gun shooting, aviator shade wearing rendition from Biden’s time as Vice President, Sudeikis launched into a reflective, funny and heartfelt look back at the stage and studio that SNL has been filmed in for 47 years. Sudeikis tugged heartstrings in the way only Coach Lasso can do, reminiscing on how SNL changed his life.
This room, here. To be here. This place is historic. For a second, just look around, for real. Even all you amazing people who work in the crew, just look around for a second. Think about all the brilliance that’s happened here. All your favorite sketches: Wild and Crazy Guys, Gilly, Cowbell, Wayne’s World, all happened in right here, in here, where you are.
This place changed my life, twice. Once as a castmember and a writer here. But most importantly as a kid watching from home. And there’s a good chance that if you’re watching tonight, there’s probably something from this place probably changed your life too.
Following three sketches perfect for Sudeikis – a frustrated host of a kids science show, Mellen (a male version of Ellen) and a hilarious open house sketch with Ego Nwodim and Kyle Mooney, Carlile performed her first song of the night, “Broken Horses.”
Wearing a gold tuxedo and singing into a golden mic with an orange electric guitar, Carlile was joined by collaborators Phil and Tim Hanseroth, who also backed her on harmonies, as well as Shooter Jennings on piano, who produced her 2018 album By the Way, I Forgive You. “Broken Horses” also doubles as the title of her recently released memoir.
https://www.youtube.com/watch?v=VDjeuXAME-A
After a lively Weekend Update that saw the return of Sudeikis’ turn as The Devil, the classic “What up With That?” appeared for the first time since 2012 (if you don’t count the remote April 2020 version from SNL at Home) with Kenan Thompson and surprise guests Oscar Isaac, Emily Ratajkowski, Nicholas Braun.
Brandi Carlile began her second song of the night, “Right on Time,” the lead single off her new album. Playing solo piano in a sequin-covered black and white tux, Carlile allowed the impressive tune a slow burn on the ivories, before picking up her guitar to join the band for the song about two embattled lovers, bursting forth with vocals that set the bar high for musical guests this season, only four episodes in.
https://www.youtube.com/watch?v=hWnVjSD6xzY
Saturday Night Live is off next week, and returns on November 6 with Succession actor Kieran Culkin and musical guest, Ed Sheeren.
This weekend marks the anniversary of some of the greatest music ever performed by Derek and the Dominos, which happened to take place at the iconic Fillmore East in New York City. Although the band does have one studio album to their credit, Live At The FIllmore East may be their crowning achievement in terms of audio recordings.
This is an incredibly easy to listen to album, one that combines original Dominos songs and Eric Clapton tunes with a splash of cover songs mixed throughout. Derek and the Dominos was a band that, essentially, came together during the recording of George Harrison’s first solo album All Things Must Pass. And while their shelf life may have been short, thanks to this album their legacy will live on forever in a very positive way.
The band wastes no time getting into an immediate early groove for the album-opening “Got To Get Better In A Little While.” A song that was planned for the band’s second studio album that never came to fruition, it features Clapton and Bobby Whitlock going riff for riff on guitar and piano, respectively, in a tasteful jam that stretches out to nearly 14 minutes in length. Whitlock adds some nice vocal harmonies as well as the chorus rounds back into place with the music picking up a collective head of steam.
This first track was pulled from the opening night of music on October 23. Here’s a taste of the October 24 version that didn’t make the album cut.
For the next number, this time drummer Jim Gordon and Whitlock kick things off on “Why Does Love Got To Be So Sad?” Eventually, Clapton gets his guitar’s wah pedal going in full force and a crisp little jam ensues before the first word is ever sung. This is the first of many songs pulled from the group’s epic Layla And Other Assorted Love Songs album that would be released just weeks later. Co-written by Clapton and Whitlock, who again adds some impeccable backup vocals, it’s another one of the longer tracks on the album thanks to a whirlwind jam that never lets off the gas pedal, ably fueled by Carl Radle on bass. After coming a to head, the band shifts the tone into a much quieter, bluesy one for several minutes before the chorus comes back around one last time. The Fillmore crowd demonstrably shows their appreciation to the Dominos after this one.
This helps set the tone for “Key To The Highway,” a cover of an old blues standard that dates back to the 1940s. Clapton takes center stage and shows why he’s considered one of the great blues players of this generation, delivering one stinging guitar lick after another. Another Layla song, this one made it onto the album by pure happenstance. Allegedly Clapton and Duane Allman, who was prominently involved with the album’s studio recording – playing on 11 of the 14 tracks, heard the song being played in a neighboring studio and decided to play along to it. “Blues Power” slides in perfectly behind this, a song that appears on Clapton’s first solo album that Leon Russell helped write. These last two blues-heavy numbers are both taken from the October 24 recording.
The first of this two-disc releases out first with “Have You Ever Loved A Woman,” another blues cover that found its way onto Layla. This one is even slower and “bluesier,” if that’s possible, with the tempo never going past a slow shuffle. Clapton lets both his vocals and guitar do all the singing on this one while Whitlock adds some delicate piano fills throughout. Then “Bottle Of Red Wine” wraps up the first part of the album, another rollicking, blues-infused song that Clapton navigates with ease, with Whitlock jumping on the organ for assistance now.
The second half of this iconic albums begins with “Tell The Truth,” another Clapton-Whitlock collaboration pulled from Layla. The two essentially share lead vocals on this fun little number that ebbs and flows with emotion and soul. Once the vocals are out of the way, Clapton reverts back to rock legend mode and lays down a tremendous solo, spearheading one of the longer jams of the album. Up next is another sterling cover of a blues standard. This time it’s “Nobody Knows You When You’re Down And Out,” originally written by pianist Jimmie Cox in 1923. Clapton’s bluesy drawl is backed perfectly by Whitlock and Gordon on piano and drums, respectively.
The Dominos then return to their own catalog with “Roll It Over.” While it wasn’t on the original Layla release, it did make its way on to the 40th Anniversary Deluxe reissue. It’s a classic rock number the sees Clapton explore a few different tones in his guitar play during a steadily progressive jam. The Fillmore crowd immediately recognizes the next song as “Presence Of The Lord,” made famous by one of Clapton’s former bands, Traffic. It’s the only Traffic tune on the album, but the Dominos do it justice as a mellow, laid back composed section gives way to a rapid, intense sequence of music before reverting back.
The final three tracks of Derek and the Dominos: Live At The Fillmore may be one of the best three-song sequences of the album, and, naturally it contains a pair of incredible covers. The first of these is Jimi Hendrix’s “Little Wing.” Whitlock’s organ fills give this cover more than a soulful feel as both he and Clapton take care of the vocals with ease. Not one to be outdone, Clapton then delivers a few bars of a psychedelic guitar solo that serves a truly fitting homage to the great Hendrix who passed away barely a month before this performance in 1970.
This jaw dropping cover is followed by what very well may be the best track on the album, a scintillating and exploratory “Let It Rain.” It’s the last of three singles from Clapton’s solo album and the Dominos stretch this one out and then some. Clapton and Whitlock go tit-for-tat with each screaming out, “Let It Rain” in succession towards the end of the composed section. Afterwards, all hell breaks lose starting with one more mesmerizing run by Clapton on the fretboard as the rhythm section just tries to keep up. Eventually, Clapton switches from wailing guitar mode to a heavy, funked out “wah” effect, taking the jam to another level. This eventually gives way to a Jim Gordon drum solo that goes on for well more than four minutes before the guitar finally reenters the mix. After a few more minutes of some fun Gordon and Clapton call and response interplay, the band explodes back in the chorus emphatically. It’s by far the longest track on the album, and arguably the most enjoyable as the “beautiful” Fillmore crowd (so labeled by Clapton at song’s end) would surely attest.
The album then closes with the last cover song of the evening made famous by another one of Slowhand’s former bands. This time it’s the great Robert Johnson’s “Crossroads,” although, in fitting with the tone of the album, it’s a much slower and soulful take than the version Cream made famous. It allows for one last great Clapton guitar solo which ends the album in grand fashion and serves as the last reminder of one memorable two-night run by Derek and the Dominos at the Fillmore that took place, truly, at the height of their powers.
This album is available to listen in its entirety on Youtube here. Also, be sure to check out the video below of all the great songs and outtakes that didn’t quite make the final cut.
Derek and the Dominos Live at the Fillmore East – New York, NY October 23 & 24
Renowned jazz musicians Robert Glasper and Terrace Martin began their annual October residency at Blue Note Jazz Club at the beginning of this month. If the other shows have been anything like the one I attended on the night of Wednesday, October 20th- crowds have been in for an absolute treat.
Robert Glasper at Blue Note Jazz Club, 10/20/21. Photo by Kunal Khunger
Glasper and Martin have been two of the most prolific popular jazz musicians working today, having done a range of production work for a range of artists, like Kendrick Lamar, YG, Mac Miller, Anderson Paak, and many more. That doesn’t even include their solo albums or their super-group Dinner Party, which includes other legends Kamasi Washington and 9th Wonder. Their work has reached critical acclaim within the jazz community, leading them to have a wide-reaching influence.
Terrace Martin at Blue Note Jazz Club, 10/20/21. Photo by Kunal Khunger
The chemistry was apparent between the two. Glasper and Martin cracked jokes for much of the night, talking about their upbringing and how they both have been friends since they were teenagers. One particular funny story was how Martin inadvertently got himself replaced on the piano parts of Kendrick Lamar’s To Pimp a Butterfly by Glasper. The vibe of the show was very easygoing. I felt like I was eavesdropping on a bunch of friends just jamming out.
Robert Glasper at Blue Note Jazz Club, 10/20/21. Photo by Kunal Khunger
Glasper and Martin performed a tribute to Herbie Hancock and some material off of their Dinner Party project, but then were shortly joined by a special appearance from Denzel Curry, a prolific rapper from Miami. Denzel joined everyone else in cracking some jokes and performed some songs off of his Unlocked collab project with Kenny Beats. Curry’s music is usually fairly high energy, so it was really interesting to see him perform in a more relaxed environment. He even commented how unusual it was for him to be performing while sitting down.
Denzel Curry at Blue Note Jazz Club, 10/20/21. Photo by Kunal Khunger
Right when the crowd settled down, Denzel Curry introduced another special guest: Brooklyn’s very own Joey Bada$$. The crowd immediately went into a frenzy, while Joey performed a few songs and joined in on all the jokes the whole group was having. One particular highlight was when both Joey and Denzel free-styled off of a lone baseline for fifteen minutes, back and forth.
Joey Bada$$ and Denzel Curry at Blue Note Jazz Club, 10/20/21. Photo by Kunal Khunger
The show was great and if anyone has a chance to go check out a show, please do so. Robert Glasper’s residency continues all October, with more dates listed here. Be sure to take a look at the full photo gallery down below.
The festivities are almost upon us, and Darren Criss reminds us with his first-ever holiday album, A Very Darren Crissmas, from Decca Records. The Emmy, Golden Globe, and Screen Actors Guild award-winner and singer-songwriter invited special guests like by Adam Lambert, Evan Rachel Wood, and Lainey Wilson. Listen to the album here.
You better watch out, as in just two months you’ll have the opportunity to hear Darren live on his A Very Darren Crissmas Tour. He’ll be coming to Indianapolis, on December 3rd at the Murat Theatre then he’ll be on his merry way to Beacon Theatre on December 20. Tickets will be on sale at 10 a.m. on October 15th with artist pre-sales October 12th and 13th.
To help perfect this album Ron Fair aided in producing this album as an established multi-Grammy® nominee and producer of numerous GRAMMY-winning hits. “A Very Darren Crissmas” will be a 12 song set of wildly eclectic collection of tunes. Recorded at Nashville’s Faircraft Studios, Darren brings a bit of country to his sound along with chart topping country icon Lainey Wilson on Drunk on Christmas. Other A-list musicians include Pop star Adam Lambert joins in on (Everybody’s Waitin’ For) The Man With the Bag,bringing a touch of jazz to the festivities. Not to mention multihyphenate Evan Rachel Wood on the classic“Somewhere in My Memory,”and on the album’s sole original,. Darren illustrates his elasticity as an artist blending his sound with jazz and country.
The result is a new entry into the holiday-music canon, both delightfully unpredictable and touched with a timeless sense of Christmas magic.
In an effort to keep everyone’s best interest in regards to health and safety, concert-goers must provide proof of full vaccination and/or negative COVID-19 test at least 72 hours prior to the show date and time.
A Very Darren Crissmas Tour Dates
FRIDAY, DECEMBER 3: MURAT THEATRE – INDIANAPOLIS, IN TICKETS
SATURDAY, DECEMBER 4: MICHIGAN THEATER – ANN ARBOR, MI TICKETS
MONDAY, DECEMBER 6: CYRUS NORTHROP MEMORIAL – MINNEAPOLIS, MN TICKETS
TUESDAY , DECEMBER 7: RIVERSIDE THEATER – MILWAUKEE, WI TICKETS
THURSDAY, DECEMBER 9: CHICAGO THEATRE – CHICAGO, IL TICKETS
FRIDAY, DECEMBER 10: THE LOUISVILLE PALACE THEATER – LOUISVILLE, KY TICKETS
SATURDAY, DECEMBER 11: THE GOODYEAR THEATER – AKRON, OH TICKETS
MONDAY, DECEMBER 13: CAPITAL ONE HALL – TYSONS, VA TICKETS
TUESDAY, DECEMBER 14: THE MET PHILADELPHIA – PHILADELPHIA, PA TICKETS
THURSDAY, DECEMBER 16: ORPHEUM THEATRE – BOSTON, MA TICKETS
FRIDAY, DECEMBER 17: AUDITORIUM THEATRE – ROCHESTER, NY TICKETS
SATURDAY, DECEMBER 18: MASSEY HALL – TORONTO, ON TICKETS
MONDAY, DECEMBER 20: BEACON THEATRE – NEW YORK, NYTICKETS
WEDNESDAY, DECEMBER 22: THE HERSHEY THEATRE – HERSHEY, PA TICKETS
Pigeons Playing Ping Pong were joined by Neighbor on October 15, for the second of a two night run at The Capitol Theatre in Port Chester. Dogs In A Pile started the party at Garcia’s at The Capitol Theatre.
The atmosphere at “The Cap” felt familiar and comfortable. It was that cool uncle with the cool T-shirts that was very excited about legalization of certain herbs. It was a relaxed vibe that did not take itself too seriously, which helped cultivate pure enjoyment from fans. Most employees resided at the venue since its reopening and seemed to love working there. The rich history of the venue contributed to a feeling of experience and familiarity. For those cautious to attend an indoor concert.
Fans of Pigeons filled with anticipatory excitement for the next cue in their favorite song. The crowd burst with joy every time their part in the collaboration, and were beautifully illuminated for each moment.
Pigeons Playing Ping Pong – The Capitol Theatre – Saturday, October 15, 2021
Setlist: Pop Off, Fall in Place, Melting Lights > Poseidon, Paperboy, Porcupine > Ocean Flows, My Own Way, Water, Skinner, Dawn A New Day, Snake Eyes, Living for the City (Stevie Wonder), King Kong, Day in Time, Overrun, Doc
The anonymous owners of the one-of-a-kind Wu Tang Clan album have been revealed. Once Upon a Time in Shaolin — formerly owned by disgraced hedge fund manager and pharmaceutical executive, Martin Shkreli, before being convicted of securities fraud — was seized in 2018 and recently sold by the U.S. government as a part of a $7.4 million forfeiture judgement.
After Shkreli was forced to sell the album, the original buyers were kept hidden from the public, with the sale being handled by NYC based lawyer, Peter Coolidge, who revealed that he has been one of the very few to listen to the project.
It didn’t disappoint at all. It was pretty reminiscent of the ‘90s stuff. The first album was really good. All the first solo albums were good, like, Return to the 36 Chambers, Liquid Swords, Ironman, Only Built 4 Cuban Linx, whatever,” he said. “And then they did some albums after that, that were perhaps not their best work. But this is like, up there with the best stuff.
Now, the new owners of the suis generis album have been revealed to be NFT investment collective, PleasrDAO. The group revealed itself as the anonymous entity that purchased the album from the federal government in July for a reported $4 million.
While Shkreli clashed with Wu Tang Clan almost immediately after purchasing the album, the new owners — who specialize in digitized art — may have more consumer-friendly plans in mind. While the album comes with a ton of contractual limitations (It can’t be commercially released until 2103; it can’t be remixed or recorded; and it can’t be played in front of large audiences, streamed, or even broadcast online), PleasrDAO Chief Pleasing Officer, Jamis Johnson, revealed to Rolling Stone plans to “bring the album back to the people.” With plans to curate listening parties throughout the world that will allow the general public a chance to hear the
They bonded together to form a collective more powerful than any individual had on their own. Fuck these middlemen for taking all the money that should be going to the artists perfectly aligns with the ethos of crypto.
Despite the limitations imposed on the album, PleasrDAO believe they have the same interests of the Clan, who began to encourage the album being made available on a wider scale as their dissatisfaction with Shkreli grew.
