Category: Western NY

Live Music Returns Bistro-Style to Rochester Lilac Festival

Music is being served up bistro-style at Rochester’s Lilac Festival this year. While it’s not feasible to host the large open-air concerts the festival has become known for, organizers have found a way to reintroduce music while maintaining safety guidelines.

Over the course of three weekends in May, they are dishing up sets from Big Blue House, Claudia Hoyser, JUMBOshrimp, acoustic-style Big Eyed Phish, and Mikaela Davis & Southern Star. A Lilac Blues & Soul review closes out the series, featuring Steve Grills and the Roadmasters alongside special guests Joe Beard, Cinnamon Jones, Debbie Kendrick, and Mike D’Aurizio.

The events take place under an open air tent, where patrons can purchase tables that seat four to six guests. Relax and nosh in a supper-club fashion – tickets include an appetizer to share. Pair it with a wine or bucket of beer, and additional nibbles from a range of local restaurants. The shows on Mother’s Day, May 9, are all ages, however the remainder are reserved for guests 21 and over (ID required). Tickets are for each event are available now.

Sunday: May 9, 2021: Mother’s Day

Big Blue House – Session: 11:30am

Big Blue House is a raucous trio of seasoned musicians with experience in a variety of genres, merging styles into a unique gumbo of folk, rock, blues, jazz and reggae. Offering a blend of voices, acoustic rhythm and lead guitar, stand-up bass, and occasional mandolin, banjo and resonator guitar. We often add percussion and a random horn or harmonica to fill up the house. Our songs run a broad scope of time and genres but keep a consistency of musicality, lyricism, imagery and tastefulness.

Sunday: May 9, 2021: Mother’s Day

Claudia Hoyser – Sessions: 2:45pm

American Country music artist, social media influencer, and hometown favorite Claudia Hoyser is bringing it back to her roots at the 2021 Rochester Lilac Festival. Claudia has blended her neo-traditional sound with social grace; her musical palette evokes

feelings through the gift of modern story or can bring on some dusty edge with barnburner flair. Just Announced: Claudia will be opening for Toby Keith and Clay Walker at The California Rodeo in Salinas, CA in 2021.

On the heels of the success of her 4 chart singles, Claudia will be releasing her full-length record this summer 2021. Be sure to tune in for her weekly video series “Hoyser Country Monday” every Monday at 6 pm EST on Facebook. The series has rallied up over 120 million views! Claudia also has her own coffee, “Hoyser Country Blend,” which can be found chain-wide in Tops Markets, Hegedorn’s, Herrema’s, Breen’s and in many local establishments.

Friday: May 14, 2021

Jumbo Shrimp – Sessions: 4pm | 6:45pm

Founded in 2006, just two guys, ALL LIVE! Tom on Vocals & Guitar. Ian on the Clamsteamer (a.k.a. Cocktail Drum Kit of his own creation)

A Rochester favorite, playing local bars, backyards and festivals for the past 15 years strong. JUMBOshrimp is working hard to be the BIGGEST little band IN THE WORLD (or Rochester, whichever comes first). While that’s a pretty serious goal, you should also know that they’re very serious about not taking themselves very serious.

JUMBOshrimp plays mostly current music but also mashes in favorite classics, always committed to engaging their audience, having FUN, making music & friends!

Saturday: May 22, 2021

Big Eyed Phish’s: Dave and Tim Acoustic Show
Sessions: 2:45pm | 6:00pm

Ben and Jon are the “Dave and Tim” of Big Eyed Phish – The Dave Matthews Tribute Band. Together they perform acoustic versions of DMB songs that everyone knows and loves. Dave and Tim have played together in many venues and put out the infamous “live at Luther College” CD set! Ben and Jon do the acoustic duo justice just as they do for the full band when playing with Big Eyed Phish! Don’t miss this awesome intimate acoustic show!

Friday: May 21, 2021

Mikaela Davis & Southern Star – Sessions: 4:00pm | 6:45pm

Back this year is Lilac favorite, Mikaela Davis with a new sound! Mikaela Davis & Southern Star are bringing a taste of the Grateful Dead to the Lilac Bistro. Recently, Mikaela has not only been playing Grateful Dead tunes with Southern Star but with Bob Weir himself! Mikaela will be playing a set of Dead inspired Americana Folk with her own original tunes.

Sunday: May 23, 2021

Lilac Blues & Soul Review – Sessions: 3:15pm | 6:30pm

On Sunday May 23, the Lilac Festival will conclude with a Blues and Soul extravaganza featuring Steve Grills and the Roadmasters along with special guests blues artist Joe Beard, singers Cinnamon Jones and Debbie Kendrick and singer and harmonica player Big Mike D’Aurizio. Singer guitarist Steve Grills is well know as Rochester’s formost Purveyor of the Blues. Steve has played at the top blues venues and festivals across the country including the Chicago Blues Festival. His CD release After Hours received tremendous airplay leading it to chart at # 39 on the Top 100 Blues Albums of the year.

Bluesman Joe Beard is truly a Rochester legend. His music has taken him all across the US and he has also performed at some of Europe’s most prestigious music festivals. He has released numerous albums to great acclaim. Joe was inducted to the Rochester Music Hall of Fame in 2017. He continues to thrill audiences with his powerful singing and intense and fiery guitar work after more than 50 years.

Singer Cinnamon Jones has built a tremendous reputation over the last few years through her many spirited and soulful live performances. Once you see and here Cinnamon, you will never forget her. Cinnamon toured extensively with the Campbell Brothers and has since toured the US and internationally on her own. She began singing gospel in NYC where she was born. Cinnamon later moved to the SF Bay area where her performing career grew, leading her to be awarded Best Female Vocalist for consecutive years.

Singer Debbie Kendrick has a personality that warms her audiences like the sun breaking through the clouds. She has led her own group in Rochester for well over 10 years and has built a great reputation with her blend of soul and blues music.

Big Mike D’Aurizio is a singer and harp player who possesses a great command and respect for traditional blues. Mike’s powerful electric harp playing and singing is sure to blow your blues away.

Now in it’s 123rd year, the internationally-known festival held at historic Highland Park features lilacs and gardens, runs, beer and wine tasting, and a kid zone. For more information visit the Rochester Events website.

To whet your appetite for the Lilac Fest bistro experience, here’s a clip of Mikaela Davis playing with Bob Weir on NPR Music’s Tiny Desk Concert series:

May 3, 2021
The Grateful Dead Tour Alfred College: May 1, 1970

The Grateful Dead played their one and only show in Alfred, New York, 51 years ago today. After gigs at their usual stomping grounds like the Fillmore West and the Family Dog in San Francisco the previous month, May 1970 kicked off with the Dead going to school, playing this evening at Alfred College and the following night at Harpur College in Binghamton. These legendary performances serve as the first known “An Evening With The Grateful Dead” shows, where the band would be joined by others and play interlocking sets.

Their friends in New Riders of the Purple Sage would join the Grateful Dead at Alfred College this evening, and the following night, playing a joint opening acoustic set, before a set of their own music, with a set of electric Dead wrapping things up. It can be argued that this helped lay the groundwork of the formation of a traditional Grateful Dead show: an opening set with more acoustic, straightforward tunes before a set of heavy improvisational numbers.

The show starts off with an acoustic “Deep Elem Blues” with guitarist Jerry Garcia on lead vocals. The harmonies are certainly a little richer on this one, thanks to the additional backing support from their friends in New Riders. In an interview later this year, Garcia would explain this brand new format and the kind of live show it created.

What we’ve been doing in the States lately is having like ‘an evening with the Grateful Dead.’ We start off with acoustic music with Bobby and I playing guitars, light drums and very quiet electric bass. Pigpen plays the organ. Then we have a band we’ve been travelling with, The New Riders of the Purple Sage, where I play pedal steel, not guitar, Mickey plays drums, and three of our friends from the coast, musicians that we’ve known for a long time, are fronting the band. So we start off with acoustic music and then The New Riders of the Purple Sage — it’s like very snappy electric country-rock; it’s kinda hard to describe — and then we come on with the electric Dead, so it keeps us all really interesting, and it’s six hours of this whole development thing. By the end of the night it’s very high.
Jerry Garcia, 5/24/70

After “Elem,” a traditional blues cover the band recently re-adopted after playing once in 1966, the opening set carries on with a unique version of “I Know You Rider.” This one is played at a super slow, folksy tempo compared to the traditional Dead version of later years and features an additional verse with the lyrics: I’d rather drink muddy water / Than sleep in a hollow log.” Definitely not your customary “Rider.” Following this, fellow guitarist Bob Weir promises the rapt Alfred College crowd a song about “simian creatures behind the wheel” and the band delivers a quick take of “Monkey And The Engineer.” At its conclusion, Garcia does not cease strumming and quickly leads the group into a flawlessly acoustic “Candyman.”

At its conclusion, Garcia beckons their friends David Nelson and John “Marmaduke” Dawson from NRPS to join them on stage. They make their collective presence immediately felt with a super-harmonized take on “Me And My Uncle.” This alt-country tune about gambling and betrayal sits square in the Riders’ musical wheelhouse and their presence make this one a truly pleasant version. The same can be said of the “Mama Tried” that comes next.

“Cumberland Blues,” a Dead tune that lends itself perfectly to vocal harmonies, goes off without a hitch next, with all guitars (and voices) on stage very much in synch. Nelson and “Marmaduke” stay on stage for the rest of the opening acoustic set and later contribute to a cover of The Everly Brothers’ “Wake Up Little Susie” which is succeeded by “New Speedway Boogie.” It’s only the tenth ever version of this Dead original penned by Garcia and famed lyricist Robert Hunter and the first ever on the East Coast. It’s a version so tight that it has Garcia and a least one other audibly “whooing” in delight mid-song.

The incredible musicianship and harmonies that serve as this opening act comes to a close with “Cold Jordan,” another traditional cover with hymnal-like lyrics that the Dead and NRPS would play together this year. And then a pristine take of “Uncle John’s Band,” replete with three-part harmonies. While it may not have all the accolades of the following night’s acoustic set at Harpur College in Binghamton, it’s beautiful in its own right and certainly merits a listen.

At its conclusion, Garcia states they’ll be back later with their “electric” stuff and preps the crowd for an incoming Pigpen performance. To start this last portion of the evening, “Not Fade Away” is the selection, done in traditional Grateful Dead-style. Garcia fires off a bevy of emotional guitar riffs and the double drumming tandem of Hart and Bill Kreutzmann only add to the power this one generates. Then, as promised, Pigpen takes center stage and lends his signature vocal prowess and swagger on a cover of Otis Redding’s “Hard To Handle.”

For a listen to this classic acoustic set and the opening two “electric” numbers check out the video below or go here.

The Grateful Dead close out the Alfred College gig with an absolutely ferocious “The Other One,” that’s sandwiched by “Cryptical Envelopment” on both sides, quite commonplace during this era. Bassist Phil Lesh finally gets a chance to let loose and explore the fret board, leading the band through this high octane, psychedelic sequence. The latter half of “Envelopment” gets particularly spacy and intricate at parts.

“High Time” gives Garcia one last chance to sing lead, justifiably slowing things down significantly from the improvisational madness that preceded it. Pigpen then sends the crowd home on a high note, ripping through another R&B-infused cover, this time Bobby Bland’s “Turn On Your Lovelight.” It serves as a more than fitting final number for a show that may have subconsciously helped shape the way live Grateful Dead shows are formatted for years to come.

Grateful Dead – Alfred College, Alfred, NY – May 1, 1970

Set 1: Deep Elem Blues, I Know You Rider, Monkey and the Engineer -> Candyman, Me And My Uncle, Mama Tried, Cumberland Blues, The Race Is On, Wake Up Little Susie, New Speedway Boogie, Cold Jordan Uncle John’s Band

Set 2: Not Fade Away, Hard To Handle, Cryptical Envelopment ->Drums ->
The Other One ->Cryptical Envelopment, High Time, Turn On Your Lovelight

May 1, 2021
Hearing Aide: Grosh ‘Not Down for Long’

Buffalo based four-piece rock group, Grosh, is locked and loaded for their release of Not Down for Long. The group, consisting of Grace Lougen (guitar), Josh English (drums), Megan Brown (vocals), and Dylan Hund (bass) are some of the area’s most talented musicians.

Grosh is a high energy rock band that regularly sells out shows in Buffalo, showcasing their heavy-hitting style of hard rock. Recorded and mastered at GCR studio in Buffalo, Not Down for Long is Grosh’s second full-length album. The album offers tunes reminiscent of bands like Led Zeppelin and Pearl Jam. But overall, it has a clear Grosh stamp on it.

The band never abandons their fast-paced energy throughout the album, with hard hitters like “The Fight” offering a great idea of what Grosh brings to the table. The band isn’t afraid to break out of the hard rock element, and sprinkle in some dirty funk in the second track, “Not Down for Long”. Lougen’s guitar riffage is absolutely spot on, chugging the song along and breaking into face-melting solos that soar over Hund’s thick bass line and the ever-climaxing drum beat.

Relentless, this album grabs the listener and holds them throughout the long jams, and even pop melodies in songs like “Mr. Rogers.” Brown’s vocals hold their place among a luscious instrumentation, with the lyrics featuring a trade-off between her vocals and male vocals. The conversation-like feeling of the song yields a nice story as well. The horn section shows an alternate side of the band’s heavier sound earlier in the album.

The band has a soft side too, as they show their ability to create a beautiful dynamic arc in “Don’t Forget Me.” The acoustic track feels like a musical number, with yearning vocals and a wonderful transition to the final song, “Tread the Wave.” Here, the band rounds out the release by offering another harder song with some prog-rock influence. English’s work on the hi-hat is stuff of gold, and a master-class in how drums, when played this well, can give a song rhythmic layering.

Lucky for listeners and supporters, Not Down for Long is set to be released on May 1. You can find the album streaming on Spotify and Apple Music. You can keep up with the band on Facebook, Twitter, and Instagram. The group also has a YouTube page with official videos and quarantine recordings. Keep a look out for the group to be playing live as things continue to clear up and venues open at some capacity.

Key Tracks: Mr. Rogers, The Fight, Don’t Forget Me

April 29, 2021
State Theatre of Ithaca Announces 10th Annual “Benefit My State” Free Virtual Concert

The State Theatre of Ithaca announced its 10th annual “Benefit My State” free virtual concert which will take place on May 8, 2021. The benefit concert will feature tribute band Pink Talking Fish who will also be playing some Grateful Dead tunes in honor of the Cornell ’77 performance.

The performance is dubbed “PINK TALKING FISH play DEAD”, and is being performed and streamed live from the historic State Theatre of Ithaca. The tribute jam band will perform the music of Pink Floyd, The Talking Head, Phish, and Grateful Dead tunes inspired by the treasured concert on Cornell’s campus, exactly 44 years to the day of the original show.

Pink Talking Fish formed back in 2013 and has performed over 500 shows including headlining numerous historic music venues throughout the country. Additionally, Pink Talking Fish has appeared at many prominent festivals including The Peach Music Festival, Jerry Jam, StrangeCreek Campout and The Buffalove Music Festival. They are known for creating a fusion of some of the most beloved and well known bands in the jamband scene.

On Mothers’ Day back in 1977, The Grateful Dead performed one of the most significant concerts of their extensive career at Barton Hall in Ithaca, New York. The Grateful Dead are known for playing more than 2,000 concerts in their time but the performance at Cornell University’s Barton Hall on May 8, 1977 has continued to spark interest and provoke discussion quite like any of the other of the bands performances. A lot of the Deadheads know it as simply “5/8/77” and this performance is one of the most collected, circulated, and debated concerts by any band ever, and has topped numerous fan polls through the years.

The annual “Benefit My State” concert is the State Theatre of Ithaca’s biggest fundraiser of the year. This event will also feature an online silent auction with over 25 unique, one-of-a-kind items offered to all viewers and is particularly needed this year in the face of the ongoing COVID-19 pandemic.

Doug Levine, the Executive Director of The State Theatre, spoke on this benefit saying, “We are still in need of additional support to help us get through this very challenging year. The lack of shows due to COVID resulted in huge hurdles to overcome and we are not out of the clear yet. We hope that the folks that are able to tune in and enjoy this show will consider making a donation to help sustain us until we are allowed to safely reopen.”

Although the concert is free, donations will be accepted with all proceeds for the 10th Annual “Benefit My State” concert directly supporting The State Theatre of Ithaca. The Pink Talking Fish Play Dead benefit will be streamed LIVE from The State Theatre of Ithaca for free at The Relix Twich Channel on Saturday, May 8th at 7PM EST.

For more information of the benefit concert visit the State Theatre Of Ithaca’s website.

April 29, 2021
Thomas Rhett Announces 2021 Tour, Includes NY dates

ACM Awards “Entertainer of the Year” Winner Thomas Rhett is kicking off his 2021 The Center Point Road Tour this summer, beginning August 13th in Orange Beach, AL.

Thomas Rhett, the 17-time chart topper, will be hitting several New York venues, including the renowned Jones Beach Amphitheater in Wantagh on August 26th. The supporting acts will be Cole Swindell and Gabby Barrett, both critically acclaimed country artists making an indelible impact in the genre today.

“I can’t even put into words what getting back out on the road means to me, my band and crew,” Thomas Rhett shared. “We’ve dreamt about this moment for a long time and I feel more rejuvenated and excited than ever to get back out there as safely as possible to connect in-person over live music again, especially with so much new material to share. There’s no feeling in the world like it. See y’all out there!”

Tickets previously purchased will be honored accordingly for the rescheduled dates listed below, while tickets for newly announced dates go on sale on Friday, April 23 at 10AM local time at LiveNation.com. For any further previous ticket inquiries, fans are advised to reach out to point of purchase. For more information visit: https://www.thomasrhett.com/tour.

Thomas Rhett 2021 Center Point Road Tour

8/13/2021- Orange Beach, AL – The Wharf Amphitheater^

8/14/2021- Orange Beach, AL – The Wharf Amphitheater^

8/20/2021- Bangor, ME – Darling’s Waterfront Pavilion

8/21/2021- Hartford, CT – Xfinity Theatre

8/22/2021 – Canandaigua, NY – CMAC

8/26/2021- Wantagh, NY – Northwell Health at Jones Beach Theater

8/27/2021- Philadelphia, PA – BB&T Pavilion

8/28/2021- Bristow, VA – Jiffy Lube Live

8/29/2021- Cuyahoga Falls, OH – Blossom Music Center*

9/3/2021- West Palm Beach, FL – iTHINK Financial Amphitheatre

9/4/2021- Tampa, FL – MIDFLORIDA Credit Union Amphitheatre

9/16/2021- Syracuse, NY – St. Joseph’s Health Amphitheater at Lakeview*

9/17/2021- Holmdel, NJ – PNC Bank Arts Center*

9/18/2021- Boston, MA – Xfinity Center

9/23/2021 – Cincinnati, OH – Riverbend Music Center*

9/24/2021- Indianapolis, IN – Ruoff Music Center*

9/25/2021- Chicago, IL – Hollywood Casino Amphitheater

10/1/2021- Birmingham, AL – Oak Mountain Amphitheatre*

10/2/2021- St. Louis, MO – Hollywood Casino Amphitheatre*

10/3/2021- Rogers, AR – Walmart AMP

10/7/2021 – Columbia, MD – Merriweather Post Pavilion

10/8/2021- Charlotte, NC – PNC Music Pavilion*

10/9/2021- Raleigh, NC – Coastal Credit Union Music Park at Walnut Creek*

* Indicates rescheduled tour date

^ Indicates Openers Rhett Akins and Gabby Barrett

April 22, 2021
On April 20, 1991, Phish played Douglass Dining Hall at University of Rochester

On Saturday April 20, 1991, when 4/20 was not the national holiday it has since morphed into, Phish performed at the University of Rochester, at Douglass Dining Hall. Presented by the UR Student Union, tickets were $6 for students and $10 for the public.

Show poster, via Amy Baerenklau

Phishâs third ever show on 4/20, the unique venue was named for abolitionist Frederick Douglass, and went through a complete makeover in 2015. UR alumnus Justin Miller described the show as “stale Froot Loops in the morning, then fresh Phish that night,” an apt take on an era when Phish was certainly nascent and making their footprint on college campuses, and would move on to playing sheds with Santana a year later.

The all ages show hosted a reported two hundred people, who would be treated to Jesus Jones right there the following year on 4/20.

photo by J. Adam Fenster

The first set provides standard early 90s Phish fare, ending with the lost acapella song, “Setting Sail,” formally debuted at this show, borne from a “You Enjoy Myself” vocal jam.

Trey welcomed Jon Fishman‘s parents and sister to the show prior to the start of Set 2, noting their recent show at Ithaca State Theater on February 14, 1991, where Dr. Fishman’s car was given away to a fan with fun pre-“Sloth” banter. The wide-ranging second set is chock full of songs, with a short and heavy “Tweezer” moving seamlessly into “The Oh Kee Pah Ceremony.”

With graduation a few weeks away, Phish feted the seniors in the crowd with an encore of “Alumni Blues,” including “Letter to Jimmy Page” sandwiched inside, closing out one of their final dining hall performances.

stub via Jay Bianchi

Tune in on Relisten or PhishTracks. Check out Douglass Dining Hall food offerings here.

Setlist via Phish.net

Phish – 4/20/91 – Douglass Dining Hall, University of Rochester

Set 1: Runaway Jim, Reba, Llama, Fluffhead > My Sweet One, The Landlady, Esther > Chalk Dust Torture, Bouncing Around the Room, You Enjoy Myself -> Setting Sail[1]

Set 2: The Sloth, Ya Mar, Split Open and Melt, The Squirming Coil > Paul and Silas, Cavern > The Man Who Stepped Into Yesterday > Avenu Malkenu > The Man Who Stepped Into Yesterday > Tweezer > The Oh Kee Pa Ceremony > Suzy Greenberg, Sweet Adeline

Encore: Horn > Alumni Blues > Letter to Jimmy Page > Alumni Blues

[1] Debut.

Trey teased Have Yourself a Merry Little Christmas in Reba. Fish led the band in the debut of Setting Sail, which arose out of the vocal jam of YEM. Tweezer contained In-A-Gadda-Da-Vida teases from Page.

April 20, 2021
An Afternoon Cocktail with Amanda Ashley and Rochester Groovecast

Episode 116 of the Rochester Groovecast Podcast is a re-stream of Rochester Groovecast founder, Ben Albert, featured on the Afternoon Cocktail Talk show, hosted by Amanda Ashley.

Afternoon Cocktail Talk Show is a wellness-based show featuring live performances and candid interviews with National and International Singer-songwriters, entrepreneurs, and various noteworthy causes. Through a collection of perspectives, Afternoon Cocktail delivers inspirational, educational, and thought-provoking entertainment that encourages awareness, self-care, kindness, and mental wellness.

In episode 56 of Afternoon Cocktail, “Facing The Music,” Afternoon Cocktail host, Amanda Ashley interviews Courtney Whitehead of Bison Bone, and Ben Albert of Rochester Groovecast.

Bison Bone is an Americana Rock and Roll band from Denver, CO. The band is a little bit country, a little bit rock & roll, and fully led by the boisterous singer/songwriter Courtney Whitehead. The veneer of their “Americana Rock & Roll band” description doesn’t seem to phase the group, as is apparent in their newest album, Find Your Way Out. Whitehead has unabashedly embraced the spirit of the aforementioned term, almost to the point of mockery.

The Denver-based band seems fully aware of the connotations surrounding surface level labels and uses it to their advantage by tricking listeners into thinking they are listening to something they are not. It would be easy to think Bison Bone is just another simplistic Americana band, but this is not the case. – Bandwagon Mag 2020

Timestamp:

00:00: Rochester Groovecast Episode Intro

02:32: Afternoon Cocktail Episode Intro

04:00: Amanda’s conversation with Bison Bone and Bison Bone Live Performance

29:09: Amanda’s conversation with Ben Albert of Rochester Groovecast

48:09: One more live track by Bison Bone

51:41: Episode Conclusion

At Rochester Groovecast, the mantra “We’re Fans First!” harnesses the belief that the best businesses are built by fans. The podcast is deeply dedicated to playing an active role in the culture of its local scene.

The brainchild of Rochester native, Ben Albert, was created in 2016 to serve as a portfolio of the city, and nowadays, the entire region.

The podcast believes in the artistic brilliance abundant in Rochester and the surrounding regions. Ben seeks to play a pivotal role in our community by helping give Rochester a well-earned voice. He has seen first hand the abundance of talent, character, creativity, innovation, and beauty the Flower City has continuously offered.

Watch Every Episode of Afternoon Cocktail here.

Click here for all Rochester Groovecast links.

Rochester Groovecast is Powered By balbertmarketing.com

April 19, 2021
The Lone Grateful Dead Show In Niagara Falls: April 17, 1984

37 years ago today, The Grateful Dead played their one and only show in Niagara Falls, NY. The band was certainly familiar with the state by this time in their touring career, but had never managed to play this section of Western New York before. In traditional fashion, the Dead started the year off with some shows in California and out west before heading east for spring tour. After a show in Rochester the night before, this would be the fourth show of the East Coast run, following two at Hampton Coliseum.

The Dead do a little extended tuning to rev up the Niagara Falls crowd even further to start and then its off to the races with “Jack Straw.” This one comes out of the gates clean, with Bob Weir leading the way on vocals. It’s later highlighted by a sparkling run on guitar by Jerry Garcia that takes this opener to another level. Garcia then uses “Dire Wolf” as another chance to drop down a pristine solo before the opening licks of “New Minglewood Blues” emerge next. This time, its keyboardist’s Brent Mydland’s time to show off thanks to a rousing organ solo delivered midway through. The traditional first set number builds up in intensity a little before coming to a close thanks to some more Garcia runs that follow and Weir using a pedal steel-like effect on guitar in the brief jam that ensues.

“Row Jimmy” then slows things down a tad, with Garcia noticeably stumbling early over some of the lyrics. It’s a fairly tame version that still seems like it’s trying to figure itself out. Afterwards, Weir “shadowboxes the Apocalypse” a little in the short-lived “My Brother Esau.” The first set excitement seems to return with “Ramble On Rose” that features a wicked feedback sound at the outset. Garcia has no issue with the lyrics this time and is complemented perfectly by Mydland with a harpsichord-like sound on keys throughout. This classic Dead number gets a loud roar of approval from the Niagara Falls crowd when all is said and done. The fairly short opening set then ends with “Looks Like Rain” > “Deal” with each allotting some time for a few more powerful Garcia-driven guitar solos.

A very raspy Bob Weir and some fun audio effects begin the second set with everyone’s favorite crowd management game, “Take A Step Back.” With this out of the way, the set then takes off with a sped-up and high octane “Help On The Way” that feels like its shot out of a cannon. Although it may be quick, it begets a powerfully cohesive and psychedelic jam that patiently explores and develops for a while. So much so, in fact, that it seems to completely bypass the beginning and go right to the end of “Slipknot!” After a quick run through the main riff, the Dead quickly shift gears once again and use “Franklin’s Tower” to complete the traditional pairing that starts this second set with a bang.

After giving the crowd a chance to catch their breath, the Dead are off and running again with “Man Smart, Women Smarter.” This seems to pick up right where the “Frankin’s” jam left off, with another rapid-fire, cohesive effort that sees Garcia leading the way once again. The drummer tag-team of Bill Kreutzmann and Mickey Hart provide the needed rhythmic support on an infectiously bouncy take on this number.

The drum-heavy outro jam then suddenly yields to Garcia and the opening chords of “Eyes Of The World” begin to be heard, cementing an already impressive second set. Despite some ethereal tones from Mydland on keys, this “Eyes” starts fast and only gets faster as Garcia annihilates one guitar run after another, seemingly getting more powerful as the song progresses.

In a complete contrast, the band seems to be extra patient and exploratory in the “Space” portion of the evening that follows “Drums.” The Dead take their sweet time noodling around, with Garcia running up and down scales in a variety of tones and effects. As a discernable drum beat emerges from the madness, so too does “Black Peter.” Some noticeable “spacey” effects appear to seep into this one, giving this “Peter” a real jazzy, psychedelic vibe that meshes perfectly with the blues emanating from Garcia.

To close out tonight’s show at the Niagara Falls Convention Center, the Grateful Dead would mix in a few newer numbers, starting with the Weird-led “Throwing Stones.” A couple of dazzling keyboard fills from Mydland on piano highlight this one which was only premiered a few years prior. At its conclusion, Garcia immediately starts the introductory chords to Buddy Holly’s “Not Fade Away,” a second set Grateful Dead staple. As is tradition by now, some say beginning with the show in Binghamton last year, this keeps this crowd singing and clapping along throughout the encore break. “Touch Of Grey,” another newer song, played rather quickly and unfortunately a little sloppily, then closes out the Dead’s only show in Niagara Falls.

Grateful Dead Niagara Falls Convention Center – Niagara Falls, NY 4/17/84

Set 1: Jack Straw, Dire Wolf, New Minglewood Blues, Row Jimmy, My Brother Esau, Ramble On Rose, Looks Like Rain-> Deal

Set 2: Help On The Way-> Slipknot!-> Franklin’s Tower-> Women Are Smarter-> Eyes Of The World-> Drums-> ->Space->Black Peter-> Throwing Stones-> Not Fade Away

E: Touch Of Gray

April 17, 2021
Tedeschi Trucks Band Postpones Wheels Of Soul Tour To 2022 With New Lineup

Due to the ongoing pandemic leaving endless musicians and venues in the dark, Tedeschi Trucks Band has postponed their 2021 Wheels of Soul Tour to the summer of 2022.

Led by the husband and wife team of guitarist Derek Trucks and vocalist/guitarist Susan Tedeschi, the twelve-member strong Tedeschi Trucks Band is acclaimed by fans and critics alike, and devoted to their presence on stage. The annual summer tour is meticulously crafted, with past guests including Sharon Jones & The Dap-Kings, Los Lobos, and Drive By-Truckers.

The legendary Los Lobos, longtime TTB friends and collaborators, and veterans of 2016’s Wheels of Soul will replace St. Paul and the Broken Bones and join the multi-band bill for the 2022 amphitheater run.

“We are extremely disappointed at having to postpone Wheels of Soul again,” says Derek Trucks. “We’re all missing the energy of live music – and there’s nothing like playing these large, outdoor shows alongside bands we admire. We were really hoping to get back on stage and dive into some fun big-band collaborations with St. Paul, but unfortunately, with all the uncertainty, it just couldn’t work this year.”

As the world is slowly receiving vaccinations, the band is organizing some socially-distanced, limited capacity concerts for the summer of 2021. However, in 2022, Tedeschi Trucks’ Wheels of Soul Tour will be coming to several New York cities such as Canandaigua, Patchogue, and Lewiston. Current Wheels of Soul tickets will be honored for rescheduled 2022 shows. Fans who are unable to attend rescheduled shows should contact point of purchase for refund options.

WHEELS OF SOUL – 2021 DATES             NEW 2022 DATES
6/26 Jacksonville, FL Daily’s Place              Rschd: 6/24/22
6/27 Mobile, AL Mobile Civic Center         Rschd: 6/25/22
6/30 Canandaigua, NY CMAC                    Rschd: 7/1/22
7/2    Saratoga Springs, NY SPAC               Rschd: 7/3/22
7/3    Gilford, NH BNH Pavilion                 Rschd: 7/2/22
7/4    Essex Junction, VT Midway Lawn       Rschd: 7/9/22
7/6    Philadelphia, PA Mann                        Rschd: 7/8/22
7/9    Raleigh, NC Walnut Creek                  Rschd: 7/21/22
7/10 Charlotte, NC PNC Music Pav            Rschd: 7/23/22
7/11 Cincinnati, OH Riverbend                    TBA
7/13 Lewiston, NY Artpark                         Rschd: 7/12/22
7/14 Indianapolis, IN White River               Rschd: 6/28/22
7/15 Aurora, IL RiverEdge Park                  Rschd: 7/26/22
7/17 New Haven, CT Westville Music Bowl Rschd: 7/6/22
7/18 Patchogue, NY Great South Bay       Rschd 7/10/22
7/20-21 Vienna, VA    Wolf Trap                     Rschd: 7/19/22
7/23-24 Atlanta, GA   Fox Theatre                Rschd: 7/15-7/16
7/25 Huber Heights, OH Rose Music Center Rschd: 7/24/22
7/27 Harrington, DE Delaware State Fair    Cancelled
7/30-31 Morrison, CO Red Rocks    TBA

April 9, 2021
Steve Gadd: From Monroe County to Around the World

When you talk about the colorful landscape of all the distinct soulful musical genres, it’s safe to say Steve Gadd has explored all of them behind his drum kit. The comfortable corridor of his Upstate New York roots groove comes from growing up in Monroe County in the town of Irondequoit.

Gadd, who celebrates his 76th birthday on April 9, has been playing drums since he was 11. At this age was his first out of State gig on The Mickey Mouse Club in California after winning a National Talent Round Up Course by Walt Disney.

Steve Gadd by Artist Maria Friske

His music education continued in New York State as a member of the Rochester Crusaders local drum corps in High School. In 1968 he graduated from Eastman School of Music in Rochester. He was then drafted into the United States Army and played the next three years in the Army Band. In 2005 he received an honorary Doctorate degree from Berklee College of Music. In 2017, Eastman School of Music awarded him and Chick Corea with honorary Doctorates as well. In 2019 Steve Gadd Band self titled album won him a Grammy award for best Contemporary Instrumental Album.

A journey like this for Gadd is one that is always evolving however, this month he just released a live recording of his band from The Blue Note Tokyo. After a stay in England this past March and returning to LA he took time to talk with NYS Music about the ride. Sir Paul McCartney once said about Dr. Gadd, “Stevie’s a great drummer, no point having him unless I use his style, this great distinctive style”

Steve Gadd and Paul McCartney

Matthew Romano: Thank you for taking the time to speak with NYS Music today about Past, Present, and Future Music experiences in the State.

Steve Gadd: Absolutely. My Pleasure. Thank You.

MR: Tell me about growing up in Rochester going to see live music in Monroe County at the Ridgecrest Inn that started to put the groove in you.

SG: Everybody they brought in was great. Art Blakey, Oscar Peterson, Ray Bryant and his brother Tommy Bryant with Papa Joe Jones, Slam Stewart. I used to take my drums and sit in and play with those guys when i was a kid. Dizzy Gillespie, Charlie Ventura, Gene Krupa, they brought all the big names in. It was fantastic and it was a small room. They had matinees on Sunday afternoons where they would let me and Chuck Mangione sit in with them. We had a lot of fun. A lot of great memories.

MR: Do you remember a piano player from Syracuse at that time by the name of Vinny Falcone?

SG: Sure I know Vinny, he ended up working with Sinatra. He was a great keyboard player man.

MR: Speaking of great keyboard players, At a Montreal Jazz fest you mentioned that Chick Corea helped show you some ideas on drums you were working out for yourself in the Sixties while developing a sound.

SG: Yea he did, I had got a new set of drums. I went from a 22 inch bass drum to an 18 inch bass drum and when I switched them out Chick wanted to come to the Club when I did it. He was a Tony Williams and Elvin Jones kind of freak. He loved their playing, He went up and just sort of played and I had been trying to figure out what guys like Tony and Elvin were doing for a long time. I did it by slowing the record down to speed 16 to understand. They were doing a lot of new things that haven’t been done. Seeing the way Chick approached the drums and how free he was helped make sense of a lot of the questions I had. Ya know he just had a great approach to everything and a great touch. The freeness.

Chick Corea and Steve Gadd

MR: Is there anything that sticks out from all the studio and live sessions playing with him over the years?

SG: All of my memories of playing with him were great. His level of consistency and level of playing music just kept on growing. So all of the projects were memorable. One that sticks out because it was a live thing with strings and horns and two different bass players was Leprechaun. The thing that’s different about that than the other albums is that everybody was live and the arrangements were pretty amazing. I’ll never forget that.

MR: Chick had a great quote about Return to Forever on playing music that has already been written, “Playing something old? You don’t create in the past or the future, you do it now, is it old? Is it new? I say its just all creation.”

SG: Right. He was a true artist, there’s no doubt about it.

MR: How did you start your years with Eric Clapton, in the studio or on the road?

SG: We started together live in the 90’s on a blues tour he was doing and then he kept on using me for different things after that.

MR: How about the most raw blues project you did with him on the “Sessions for Robert Johnson” with Billy Preston, Nathan East, Doyle Bramhall II, and Chris Stainton. As an interpretation of the infamous and mysterious acoustic record from the Delta Crossroads?

https://www.youtube.com/watch?v=n1TDUyr42Is&t=1304s

SG: Eric brings the songs in and takes the lead on that stuff. For the most part he’s got it mapped out in his head. Sometimes an idea might make it flow better and he’s open to that. The players that he hired are hand picked guys that he liked how they played but most importantly loved where their hearts were musically. Ya know what I mean? It was like these are people that are his soulmates. It was fun and great to play with Billy Preston too.

MR: Any stand out moments over the years playing with Eric? Or the same concept as memories of playing with Chick where all the nights are unforgettable?

SG: Yes. They are all on a bigger level. Some because of the sound, the energy of the audience. Along the way some are more magical than others. But for the most part the bar is high, that’s the way we feel. We go up there and leave it all on the bandstand.

MR: Your last live release with Eric Clapton is from The Budokan in Tokyo. He mentions it’s the best place he has played in 40 years. Your band’s new album is from Japan as well and playing off what you said about the audience. Does a disciplined fervor for live music make for a better performance?

SG: I mean you always go off the audience. When you get it musically to a level where everyone on the bandstand is having fun and can hear each other and you can trust the audience is hearing it the way you are it gets to a spiritual level. In Japan or wherever you are. That’s the goal.

MR: In September 1981 you played to a Central Park audience of 500,000 people as part of Simon & Garfunkel The Concert for Central Park. How did that day play out spiritually?

SG: You don’t get a lot of those opportunities, those were ridiculous size audiences. That’s not an everyday occurrence for me, it was great. Gerry Niewood who I grew up with in Rochester played at that show as well on Saxophone. The stage was a few stories up to get it high enough for everyone to see and hear. It was pretty spectacular.

MR: Like all major musical gatherings in New York State history I don’t think anyone knew the performance would be so big.

SG: It was fantastic. I don’t know what they were anticipating but I know they were happy at the end.

MR: Going across The Great Lawn to the Upper West Side’s Beacon Theatre in March 2020 you were on drums as part of the house band for the Love Rocks NYC Benefit. That was the your last live performance in New York and also coincidentally the first socially distant concert to be streamed as the pandemic touched down that day. It limited us in the sold out theater to only 300 people. The house band alone had almost 20 people on stage. Highlights of the night was your cover of Derek and the Dominos “Why Does Love got to be so Sad?” with Warren Haynes and Derek Trucks . You also locked in a groove with percussionist Pedro Martinez for Dave Matthews set as well.

SG: Will Lee puts a good house band together for that event. I have played with Derek Trucks at one of Eric Clapton’s Crossroads Festivals but that was my first time playing with Dave Matthews which was great.

MR: Your former percussion player with Paul Simon, Cyro Baptista, helped carry the beat at The Beacon Theatre at the end of last year for an eight week residency with Trey Anastasio. It served as the only other major groove to come out of The Upper West Side most recently.

SG: Trey Anastasio of Phish? Yea, Cyro and I played with Paul Simon for The Rhythm of the Saints. I’ll have to check it out.

MR: Speaking of being part of Paul Simon’s rhythm section over the years, did any of your time in the Army help inspire the almost military like precision on your iconic “50 Ways to Leave your Lover” groove?

SG: No the Army band was like a Buddy Rich kind of thing. What your talking about was from Drum Corps. When I was in Rochester Crusaders and Empire Statesmen. A lot of the rudimentary stuff I used came from there

Steve Gadd as a member of the Rochester Crusaders

MR: Spring just started. What’s on the horizon for 2021?

SG: We just released the new live album and waiting on some tours that keep getting rescheduled. I did a book on drum exercises that’s going to be released. I think Ill continue to write them. I enjoy it. A lot of new ideas came to mind. Different stickings and using the rudiments in various ways. It’s like a snare drum exercise book. I’m mainly just trying to stay in shape and stay creative so I’m ready for when things open up.

MR: Staying true to your always changing chameleon man like musical background behind the drums of all different types of soul music. Can we keep expecting new tempos out of you in 2021 as well?

SG: I hope so. It keeps evolving. Ya do the best you can every new day. Thank god you have another one to live and ya give it your best shot. Ya know what I mean?

April 8, 2021