NYS Music 202​1

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  • Dave Hanlon Trio at the 443: Cookbook Fish Recipe interview

    Dave Hanlon brought his power jazz trio to the 443 Social Club & Lounge on Friday, December 3rd with Ron France on bass and Ed Vivenzio on keys in tow. The trio delivered a Blue Note style-esque performance of their take on classic funk jazz compositions. Twenty seven pieces were on the set list to be exact. All performed with the same on the spot fervor that all good jazz is created in.

    Dave Hanlon

    The group put their spin on greats by Thelonius Monk, Chick Corea, Herbie Hancock, Steely Dan and a rock block of Joe Sample cuts. The trio did a classic two set & encore performance for the candle lit table crowd at 443. Without a doubt the 443 is Syracuse’s most intimate room for those looking to really listen to the notes coming off the bandstand. Dave Hanlon shared the 2005 and 2015 SAMMY awards with Phish drummer and Syracuse native Jon Fishman.

    Fishman was inducted as a lifetime achievement award recipient in 2015 and he naturally introduced Dave Hanlon into the Hall of Fame at The Dinosaur BBQ & Eastwood’s Palace Theater in 2005. A 13 year old Fishman once took lessons from Hanlon. Jon brought the sheet music Hanlon gave him at their first lesson to the induction ceremony. “Can you believe that? I flipped out.” Dave Hanlon still has various projects he dabbles with as we approach the end of this year. He took some time to talk with NYS music at Syracuse’s Blue Note style room, the 443, for a chat.


    Matthew Romano: Steve Gadd spoke of the Ridgecrest Inn in Rochester where he could watch legendary drummers perform up close. With the same as my proximity to you on the bandstand at 443 tonight. What were some memories of live music you attended in New York State that you can remember as an influence that started to instill a groove in you?

    Dave Hanlon: Mahavishnu Orchestra & Ravi Shankar at Syracuse University quad. Billy Cobham on drums absolutely blew me away in 1972. Wait not the quad… it was SkyTop field on SU Campus.

    MR: What about on the gigging side and educationally?

    DH: My first kit was from Stagnitta music and I used a trash can for the snare drum. I took a couple lessons at Stagnitta music but it was at Auburn Community College with Dick Howard were I took my first lessons. From there I went to Detroit to finish college and started playing out in bands. Not studying music, just gigging. Back to Syracuse I was part of a big regional band called DOVE. It was a great rock and roll experience. After that ended I went to New York City to study at the percussion center with Norman Grossman. There I met Jim Chapin for a few lessons. Chapin is notable for his independence jazz drumming book. So that combination was a huge influence. I’d take the train to New York for class during the day and then to Buddy Rich’s club at night. I’d sit and watch him play with his six piece band. Next I went to Los Angeles. It was big as I did a clinic with Louie Bellson who originated the double bass drums. At 28, I did a show at the Los Angeles Percussion school as a guest, not a student. I performed with him in front of 250 other drummers. It was the highest pressure situation I’ve ever found myself in but a dream come true.

    Dave Hanlon

    When I came back to Syracuse I formed my first solo funky five piece jazz band. In 1976 we got a 13 month residency at the “Spirit of 35” on Carrier Circle where Joeys is now. It helped really give us time to hone our skills balls out ya know? All instrumental. We even had Edgar Winter come sit and play a whole set with us after a show he had in Syracuse. The promoters brought him to hear us. It was well before cell phones and the word still got out so it went to the standing room only in 15 minutes. It was definitely the most memorable moment there.

    In 1977 I joined the band CRAC and their original album All For You was re released in 2020 by King Underground Record Company out of England on Vinyl. From there I recorded with Duke Jupiter out of Rochester on two of their albums on Mercury Records. Duke Jupiter made its way in to Rochester music hall of fame in 2014. In the 1980’s I formed the first cookbook band which was all instrumental that had a year long residency at the Lost Horizon. Ava Andrews joined me on vocals for the next version of the cook book and she remained an original member with me for 34 years. Funky Jazz Band formed in 2016 as fresh five instrumental. The trio out of it works well for a lot of other style rooms. Diana Jacobs Band out of Auburn I collaborated with in 2018 that has a full horn section, we just released “Love Each Other, Love Our World” the day after Thanksgiving this year. The CD just made its way to Soundgarden with streaming options available soon.

    Dave Hanlon

    MR: What great studio sessions have you recorded on?

    DH: I love being a part of Studio Jams with producer Tom Emmi in Philadelphia. The concept is to get different musicians together completely unprepared, roll the tape and see what they come up with. We might pick a song from another artist and put our own stamp on it. It’s educational and entertaining. I’ve done 15 of them. They do it all over the country. I was able to do Herbie Hancock’s Watermelon Man at Sub Cat Studios in Syracuse that got over 2 million views and counting. Everyone donates their time to simply give back to the music. It’s a really beautiful thing. He arranged a series for fallen artists titled “Lest We Forget” as well so that their musical groove can live on.


    MR: What is your angle over time on dealing with the composition & improvisation world that we dabble in daily. Those moments that can’t be recreated concept ya know?

    DH: The creative process is key especially for jazz musicians who are supposed to be free to create. The preparations for studio jams are like night and day. You just go for it and you don’t even know it’s coming. You’re in the moment. But Lest we forget that also takes a lot of preparation because you got to know that tune the best you can on behalf of that fallen artist. Always different, you know what I mean?

    DH: The trio and five piece funky jazz band are also examples. There’s the head, bridge and the solo section of the tune. For the most part for consistency you want to stay in the groove for the song but when solo times open up your creative freedom kicks in. Staying in the context of the song can help you work on your creativity. One of things drummers have at their command, I’f they have that command… is dynamics. We don’t have that many notes to deal with. Dynamics give us a much greater vocabulary. My approach to music is to become the best as I can be in my sense of dynamics within the context of music and the song. It creates tremendous tension and release. When you go to a concert there’s dynamics that people don’t realize they respond to.

    When there’s a solo section and the whole band just brings it down from this really loud piece to almost silence. Whats the response? The audience loves it. The effect musically is very powerful

    Dave Hanlon
    Dave Hanlon

    MR: It is powerful. That Jon Fishman Radio City show I sent you from October has a moment like that during “In Rounds”. You’ve got this five piece playing a song for the first time in their third ever live set in Rockefeller.  Everyone’s bouncing off ideas. Ya know?  27 minutes into it the funky groove turns to air on Radio City’s great proscenium arch, before falling back to bring it home. 

    DH: Yea that was a beautiful concert. That’s the beauty of when musicians are listening really to each other and not themselves. That won’t happen otherwise. I wasn’t aware of that percussionist. He was excellent. That was my first time seeing Jon perform with a percussionist and they played off each other remarkably well. 

    MR: Steve Gadd played with Cyro Baptista on Paul Simon’s Rhythm of the Saints and was unfamiliar with Phish. I’ve seen Jon perform live with percussionist Gionavvi Hidalgo for a cover of Little Feats Waiting for Columbus album on Halloween in Atlantic City. He has a great live version of Surrender to Air from the Academy in New York City with Oteil Burbridge and Sun Ra Orkestra  

    DH: It was great to be able to reunite with him at Studio jams of all places after 37 years in August of 2015. We spent the afternoon while he had time in between shows in Philadelphia. We just did five songs off the cuff with three other guys. Its Your Thing (Isley Brothers), Hottentot (MMW with Scofield), Freeway Jam (Jeff Beck), Ode to Billy Joe (Bobby Gentry) and Cantaloupe Woman (Grant Green). Yea we had those lessons but this was our first time playing together. It was just like being with an old friend. It was really cool. Jon’s a down home guy, there’s no air to him. He’s just a cat that wants to play. He also happens to be in one of the most popular bands in the world.

    It was great to see Fish at a Charlie Bertini’s Apple Jazz Band gig. I played at Little York Pavilion in Preble, New York. That ensemble played the Southern tier for thirty years.

    Dave Hanlon

    Dave Hanlon Trio (Ron France-bass & Ed Vivenzio- keys) The 443 Social Club and Lounge, December 3 2021

    Set 1: Cold Duck (Eddie Harris & Les McCann), Ruby (Ray Charles), Chain Reaction (Diana Ross), Fe Fi Fo (Wayne Shorter), 7 Steps/ Song Father ( Miles Davis), Carmel (Joe Sample), Randy Uptown, Round Midnite (Thelonius Monk), Sermonized (Joe Sample), Blue Bossa (Joe Henderson), Human Nature (Micheal Jackson), A Child is Born (Thad Jones & Mel Lewis Orchestra), Spain (Chick Corea)

    Set 2: Maputo (Bob James & David Sanborn), Ricky Don’t Lose that Number (Steely Dan), Hippies on the corner (Joe Sample), Bottswanna Bossa (David Benoit), Aja (Steely Dan with Steve Gadd), Watermelon Man (Herbie Hancock), Christmastime is here (Vince Guaraldi), Spellbound (Joe Sample), Girl From Ipanema (Stan Getz and Joeao GIlberto), Jellybeans & Chocolate (David Benoit), Pointciena (Ahmad Jamal), If you want me to stay (Sly Stone), Sudden Samba (Neil Larsen)

    Encore: Freedom @ Midnite (David Benoit)

    Dave Hanlon Drum Kit


  • A New Year’s Eve Celebration will take the Stage at the Universal Preservation Hall Featuring Zachary James and Laurie Rogers

    A New Year’s Eve celebration has been announced at Universal Preservation Hall and will be featuring Zachary James and Laurie Rogers. The festive concert will take place at 7PM on December 31, 2021 and is presented by Opera Saratoga and Proctors Collaborative. The concert will feature a variety of popular, Broadway, and classical favorites. It  will also culminate in Opera Saratoga’s much anticipated announcement of its 2022 Summer Festival Programming.

    New Year’s Eve Celebration

    Zachary James is well known to local audiences for his remarkable portrayal of the title role in Opera Saratoga’s production of Man of La Mancha this past summer on the SPAC Amphitheater Stage. He also starred on Broadway as Lurch in The Addams Family and has also appeared in South Pacific and Coram Boy. His Off-Broadway credits include The Most Happy Fella, Irma La Douce, Sweeney Todd, and The Pirates of Penzance. His work on the opera stage includes the Metropolitan Opera, English National Opera, Teatro Real, Opera Philadelphia, LA Opera, Opera Queensland, Arizona Opera, Virginia Opera, Nashville Opera, Anchorage Opera, Central City Opera, and more. Zachary has recorded multiple solo albums including his most recent Christmas release, Wonder and Joy. 

    Laurie Rogers who has been the Opera Saratoga’s Head of Music Staff and Director of the company’s Young Artist Program for the past ten years will be performing alongside Zachary James on piano. Laurie has served as Associate Conductor with LA Opera and has prepared productions for San Francisco Opera, Houston Grand Opera, Dallas Opera, the Canadian Opera Company, Minnesota Opera, American Lyric Theater, Wolf Trap Opera, Utah Opera, Arizona Opera, and Washington National Opera, among many others. In addition to her role at Opera Saratoga, she currently serves as the Music Director for Opera at The Peabody Institute, and conducts and concertizes nationally.  

     Philip Morris who is the CEO of Proctors Collaborative spoke on the upcoming event saying, “We are the Proctors Collaborative because we love to partner with our neighbor cultural organizations.  This is a great way to open the New Year and restart what we hope will be an ever-expanding relationship with Opera Saratoga,”

    Tickets are available online at www.operasaratoga.org or www.universalpreservationhall.org. Tickets are free, but seating is limited, and advance reservations are highly recommended. All attendees will be required to show proof of full vaccination against COVID-19 to enter UPH and must remain masked at all times in the venue.

    For more information on the New Year’s Eve celebration featuring Zachary James and Laurie Rogers visit Opera Saratoga’s website or Universal Preservation Hall’s website.

  • A Bowie Celebration Is Coming Back for its Second Year

    A Bowie celebration is coming back for its second year to Rolling Live Studios steaming virtually on January 8, 2022 which would have been Bowie’s 75th birthday if the legend was still with us. 

    A Bowie Celebration Poster

    This will be the second renditionA Bowie Celebration will also celebrate the 35th anniversary of Labyrinth, the classic fantasy film and Jim Henson/David Bowie collaboration, with a special performance from actress Evan Rachel Wood, and an appearance by Brian Henson. The show will be dedicated to frequent Bowie photographer Mick Rock, and will include never-before-seen interview footage.

    The celebration will feature big names like Def Leppard and lead singer Joe Elliott, Duran Duran’s Simon Le Bon and John Taylor, Living Colour, Rob Thomas, Gary Oldman, Walk the Moon, Jake Wesley Rogers along with a special appearance by Ricky Gervais. The band performing will be composed of former Bowie alumni band members from throughout his legendary career, led by Mike Garson, who was the rock icon’s longest running and most frequently used band member. Other band members will include Earl Slick, Charlie Sexton, Alan Childs, Steve Elson, Mark Guiliana, Omar Hakim, Stan Harrison, Tim Lefebvre, Gerry Leonard and Carmine Rojas.

    A Bowie Celebration

    Additional guest vocalists set to perform Bowie favorites include Gail Ann Dorsey, Bernard Fowler, Judith Hill, Gaby Moreno, Gretchen Parlato ,and  Joe Sumner. More special guests are yet to be  announced as well as the  line-up being subject to change.

    A portion of the ticket sales are going to be donated to the Save the Children organization which is a charity that was important to Bowie.  Save the Children was the beneficiary of money raised during Bowie’s 50th Birthday Concert which was held back  in 1997 at Madison Square Garden. The event, like last year’s inaugural live stream, will be available on RollingLiveStudios.com to enjoy worldwide for 24 hours.

    For more information on the upcoming second rendition of A Bowie Celebration visit Rolling Live Studios Website.

    Updated on December 17, 2021: Noel Gallagher has been added to the A Bowie Celebration line-up and $2 per ticket purchase will be donated to the Save the Children organization according to the newest press release.

  • Mt. Joy Blend Folk and Psychedelic Rock at Asbury Hall in Buffalo

    Rolling Stone’s “new folk-rock heroes” Mt Joy stopped in Buffalo for their Fall 2021 tour on December 6. 

    Photo Credit: Maddie McCafferty

    Amy Allen opened up the show at Asbury Hall with eloquent vocals paired with her emo song writing skills. Her past work writing alongside Harry Styles, Halsey, and more has built her reputation, but her additional ability to captivate the crowd stood out greatly. She performed a couple of her hits such as “Tom Brady,” and “A Woman’s World.” Allen and her guitarist Griffin were the perfect duo for creating the appropriate ambience before Mt. Joy took the stage. 

    Photo Credit: Maddie McCafferty

    From the back of the pit to the sides of the balcony had so many people pumped for Mt. Joy. Even Buffalo Bills fans came out during game day to see the folklore legends. The energy for the Bills transcended across the band members and the crowd while chants spread through the venue. Mt. Joy consists of members Matt Quinn (singer/guitarist), Sam Cooper (guitarist), Michael Byrnes (bassist), Sotiris Eliopoulos (drummer), and Jackie Miclau (keyboardist). 

    The group got together for their iconic sophomore album Rearrange Us which gave them major breakthroughs and achieved new records. Their new work had high expectations following their 2018 masterpiece, but it did not disappoint. Crowd favorites proved to be “Acrobats,” “Let Loose,” and “Strangers.” These newer works brought a sense of psychedelic reflection to Quinn’s poetic words. 

    Photo Credit: Maddie McCafferty

    Mt. Joy still goes back to their folk-stomp roots though with singles “Sheep,” and “Jenny Jenkins.” These classics create an atmosphere that is particularly resonate with the youth in an age of chasing one’s dreams while simultaneously adjusting to the turbulence of getting older. Of course, this group finished off the night with their #1 hit on the AAA Radio Charts, “Silver Lining.”   

    Photo Credit: Maddie McCafferty

    Make sure to check out upcoming shows at Asbury Hall at Babeville Buffalo. Tig Notaro takes over the venue on January 15 and Brian Fallon performs on January 16. 

    Setlist: Acrobats, Strangers, I’m Your Wreck, Let Loose, Phenomenon, Sheep, Jenny Jenkins, Lemon Tree, Cardinal, Astrovan, Mt. Joy, Every Holiday, Evergreen, Julia 

    Encore: Bug Eyes, Silver Lining

    Photos by Maddie McCafferty

  • Billie Eilish Is Happier Than Ever On SNL Double Duty

    Billie Eilish returned to Saturday Night Live, this time as both host and musical guest. She previously played the stage in September 2019, where she performed her breakout hit, “Bad Guy.” Last night’s hosting debut makes her the first SNL host to be born in the 21st century.

    The episode’s cold open featured a briefing about the Omicron variant from Anthony Fauci, played by Kate McKinnon. Cecily Strong and Chloe Fineman also appeared as Marjorie Taylor-Greene and Lauren Boebert, both armed with assault rifles. When Fauci tried to find common ground between the divided members of Congress, Taylor-Greene cocked her gun and said “We can all agree that the Fox News Christmas tree arsonist must be executed.”

    During her opening monologue, Billie Eilish revealed that her mother dissuaded her from pursuing acting while encouraging her brother FINNEAS. The singer-producer sibling duo’s mother then appeared onstage, wearing a shirt that said “Finneas’ Mom.” Eilish also poked fun at her past wardrobe of baggy clothes, saying it was to hide secretly being two children on each other’s shoulders in order to get into R-rated movies.

    Eilish appeared in the next sketch, where Miley Cyrus had a surprise cameo. She played herself posing for Punkie Johnson’s Christmas card, who insulted her music but threatened to call her racist if she declined a photo. As for Eilish, she played a grown-up high school bully who continued to taunt her victims through annual Christmas cards. Other sketches showed Eilish as a Christmas lounge singer, a TikToking nurse and a concierge at a lackluster hotel.

    Eilish’s first song of the night was “Happier Than Ever,” the hit single off her album of the same name. Beginning as a 50s traditional pop song not unlike Julie London’s “Cry Me a River,” it builds into a cathartic rock release. The song peaked at #11 on the Billboard Hot 100, and saw nominations for both Song and Record of the Year at the 2022 Grammys.

    https://www.youtube.com/watch?v=bdeJ8v0z64w

    While “Happier Than Ever” gleefully burns all bridges with its subject, the night’s second song, “Male Fantasy,” expresses some regrets. In the chorus, Eilish admits she still has feelings for him and can’t fully hate him. Both songs are back to back at the end of the album, ending it on a surprisingly hopeful note.

    https://www.youtube.com/watch?v=YfDy6sdWRR4

  • Silverstein’s 20 Year Anniversary Tour Stops at Webster Hall

    Silverstein brought their 20 Year Anniversary Tour to Webster Hall this week on Wednesday December 8th. A long time in the making, the tour was first announced back in October 2019 before being forced into postponement due to the pandemic. The revamped tour featured some larger venues, more dates, and the band’s longest sets to date. Support for the night came from New Jersey locals Can’t Swim and Ohio’s The Plot In You.

    silverstein at webster hall
    Silverstein at Webster Hall, 12/8/2021. Photo by Buscar Photo

    The Plot in You are a classic screamo/hardcore band and were a perfect fit to open this tour with Silverstein. Vocalist Landon Tewers thrived in Webster Hall’s Grand Ballroom and plenty of their merch was seen on fans raging on the dance floor. Photos from their solid 10-song set below.

    The Plot In You at Webster Hall, 12/8/2021. Photos by Buscar Photo

    Some shows on this 20 Year Anniversary Tour featured full performances of Silverstein’s iconic 2005 LP Discovering The Waterfront. While Webster Hall did not get this full album performance, fans were treated to a nearly two hour, 3-set performance. The first was a career spanning set of greatest hits featuring “Smashed Into Pieces,” the opening track from the band’s debut When Broken Is Easily Fixed. Vocalist Shane Told joked about fans complaining online about the band not playing their favorite songs live right before a lengthy medley featuring “I Am The Arsonist,” “The Artist,” and “Broken Stars.”

    silverstein at webster hall
    Silverstein at Webster Hall, 12/8/2021. Photo by Buscar Photo

    The second set was a solo acoustic performance by Shane, featuring renditions of “Replace You” and “Aquamarine.” The rest of the band came out on stage afterwards and performed three straight Discovering The Waterfront tracks to close out the main show, including the band’s big hit “Smile In Your Sleep.” There have been a lot of anniversary tours in recent years but Silverstein took the concept to a much grander scale for these shows. The band has a long catalog full of great albums, but these shows showcased the band at their most creative and engaging.

    silverstein at webster hall
    Silverstein at Webster Hall, 12/8/2021. Photo by Buscar Photo

    The tour is nearing it’s end, with a show in Albany tonight, December 11th, at Empire Live and one final show in Toronto on Sunday. Silverstein played both of their brand new singles “Bankrupt” and “It’s Over” at Webster Hall so be on the lookout for the rest of the upcoming album in the near future and check out the video for the latter below.

  • Chamber Music Society of Lincoln Center to Return To Saratoga Springs

    Saratoga Performing Arts Center announced they will again partner with the Chamber Music Society of Lincoln Center, renewing an annual residency. “CMS at the Meadows,” hosted at Pitney Meadows Community Farm open-air High Tunnel greenhouse, will present twelve performances in 2022, spanning June, July, and August. The diverse orchestra will take on masterworks by the likes of Beethoven, Mozart, and Dvořák. 

    ‘CMS at the Meadows’ at Pitney Meadows Community Farm.

    “One of the highlights of this past summer’s programming was the glorious confluence of stunning music-making in a magnificent natural setting. Thanks to our partners at The Farm, we are excited to be going back there for the summer 2022 season,” said SPAC President and CEO Elizabeth Sobol. 

    Led by artistic directors David Finckel and Wu Han, the Chamber Music Society of Lincoln Center will highlight a diverse array of performers and composers. Some CMS guests, like the acclaimed Escher String Quartet, make a welcome return to Saratoga Springs. Others, like German clarinetist Sebastian Manz, Brazilian oboist Hugo Zouza, Taiwanese-American violist Tien-Hsin Cindy Wu, and American hornists David Byrd-Marrow and Kevin Rivard, will appear at SPAC for the first time ever. 

    A previous performance of CMS at the Meadows holds an open-air crowd mesmerized.

    In addition to highlighting both familiar classics and new frontiers, CMS will also continue their intentional efforts to highlight BIPOC music and musicians. A special Juneteenth concert will see acclaimed BIPOC composers Jessie Montgomery, Florence Price, and William Grant Still make their SPAC debuts. 

    “It will be an exciting summer, and we can’t wait for everyone to hear it,” Finckel and Wu Han shared in a statement. 

    The Hill Tunnel at Pitney Meadows Community Farm.

    Tickets to all six Chamber Music Society programs (performed at 3 pm and 6 pm rain or shine) will be available for purchase at spac.org, beginning on December 10th with a presale for SPAC members. The general public will be able to purchase tickets starting December 17th. See the full summer schedule below: 

    Sunday, June 12 @ 3PM & 7PM: Quintessential Quintets

    ANI KAVAFIAN, Violin

    IDA KAVAFIAN, Violin

    PAUL NEUBAUER, Viola

    STEVEN TENENBOM, Viola

    DAVID FINCKEL, Cello

    Mozart: Quintet in G minor for Two Violins, Two Violas, and Cello, K. 516 (1787)

    Dvořák: Quintet in E-flat major for Two Violins, Two Violas, and Cello, Op. 97, “American” (1893)

    Sunday, June 19 @ 3PM & 7PM: From the Harlem Renaissance to Today  

    MSIMELELO MBALI, Bass–baritone

    WU QIAN, Piano

    STELLA CHEN, Violin

    GUILLERMO FIGUEROA, Violin

    TIEN-HSIN CINDY WU, Viola

    NICHOLAS CANELLAKIS, Cello

    Still: Suite for Violin and Piano (1943)

    Montgomery: Duo for Violin and Cello (2015)

    Price: Quintet in A minor for Piano, Two Violins, Viola, and Cello

    Additional vocal works TBA

    Sunday, July 10 @ 3PM & 7PM: The Magic of Mixed Ensembles

    MICHAEL BROWN, Piano

    CHAD HOOPES, Violin

    KEITH ROBINSON, Cello

    TOMMASO LONQUICH, Clarinet

    KEVIN RIVARD, Horn

    TBA, Viola

    Mozart: Quartet in G minor for Piano, Violin, Viola, and Cello, K. 478 (1785)

    Schoenfield: Trio for Clarinet, Violin, and Piano (1986)

    Dohnányi: Sextet in C major for Clarinet, Horn, Violin, Viola, Cello, and Piano, Op. 37 (1935)

    Sunday, July 17 @ 3PM & 7PM: Astounding Winds

    JUHO POHJONEN, Piano

    ADAM WALKER, Flute

    HUGO SOUZA, Oboe

    SEBASTIAN MANZ, Clarinet

    MARC GOLDBERG, Bassoon

    DAVID BYRD-MARROW, Horn

    Reicha: Quintet in E minor for Flute, Oboe, Clarinet, Bassoon, and Horn, Op. 88, No. 1 (1811-17)

    Beethoven: Quintet in E-flat major for Oboe, Clarinet, Bassoon, Horn, and Piano, Op. 16 (1796)

    Françaix: L’heure du berger for Flute, Oboe, Clarinet, Bassoon, Horn, and Piano (1947)

    Poulenc: Sextet for Flute, Oboe, Clarinet, Bassoon, Horn, and Piano (1932-39)

    Sunday, August 14 @ 3PM & 7PM: The Escher Quartet

    ESCHER STRING QUARTET

    ADAM BARNETT-HART, Violin

    BRENDAN SPELTZ, Violin

    PIERRE LAPOINTE, Viola

    BROOK SPELTZ, Cello

    Haydn: Quartet in B-flat major for Strings, Hob. III:78, Op. 76, No. 4, “Sunrise” (1797)

    Walker: Lyric for String Quartet (1946)

    Webern: Langsamer Satz for String Quartet (1905)

    Dvořák: Quartet in E-flat major for Strings, Op. 51 (1878-79)

    Sunday, August 21 @ 3PM & 7PM: Beethoven’s Archduke

    WU HAN, Piano

    ARNAUD SUSSMANN, Violin

    DAVID FINCKEL, Cello

    Beethoven: Trio in C minor for Piano, Violin, and Cello, Op. 1, No. 3 (1794-95)

    Beethoven: Trio in B-flat major for Piano, Violin, and Cello, Op. 97, “Archduke” (1810-11)

  • This Week’s EQXposure Features The William Deuel Band, Dustin Sawyer And More

    Each Sunday evening from 7-9pm you’ll find EQXposure on WEQX, featuring two hours of local music from up and coming artists. Tune into WEQX.com this Sunday night to hear new music from The William Deuel Band, Dustin Sawyer and many more!

    WEQX has long been the preeminent independent station in the Capital Region of New York, broadcasting from Southern VT to an ever-expanding listening audience. NYS Music brings you a preview of artists to discover each week, just a taste of the talent waiting to be discovered by fans like you.

    The WIlliam Deuel Band

    The William Deuel Band released their newest LP, Moment in Time, in August 2021. The blues-rock band’s second full-length project, they formed in 2018 in Saratoga Springs and have since made waves worldwide. They’ve found success on Australian radio, as well as in the UK and South Africa. Inspired by a conversation between Deuel and his mother, Moment in Time’s title track is upbeat and energetic with a killer breakdown just before the three-minute mark. 

    The following song, “Call Me Crazy,” is much more acoustic and scaled-back, at least until the halfway point. Deuel’s vocals gradually become more raw and passionate, culminating in a grand finale.

    Dustin Sawyer

    One of two new songs from Americana artist Dustin Sawyer, “Take Me Away” premiered in October. In its music video, the Mayfield singer and songwriter wanders through the wilderness as gnomes and other fantastical elements appear. The song is addressed to God, with Sawyer opening it saying “Father, forgive me ‘cause I know what I’d do / Given that opportunity to walk a mile inside your shoes.” It also references the forty days and nights the Israelites wandered to find the Promised Land.

  • Troy Pop-Punk Band Playoffs Release “Lickety Splitz” off Forthcoming Debut Album

    Hailing from the Collar City of Troy, pop-punk band Playoffs have released “Lickety Splitz,” the first single off their upcoming debut album, due out on December 20, 2021.   

    Playoffs Lickety Splitz

    Formed out of a cover band that ran face first into the year 2020, Playoffs band members Cody Sargood (guitar/vocals), Alex Foster (vocals), Daniel Livermore (drummer) Bill Milhizer (keys/guitar) and Neal Makela (bass) found themselves like many of us, stuck inside and only able to create their sound from virtual messaging.

    With all their powers combined, Playoffs was able to come to the table to record their first self titled album with producer Neil Schneider. While navigating the worst year and strangest times, Playoffs became more than just an idea, they became a goal. Schneider also served as producer, engineer, mix/masterer, and collaborator on the album, drawing on a relationship he has had with Cody since grade school.

    Like many songs on the upcoming Playoffs LP, “Lickety Splitz,” released on November 22, draws from from the inner perspective of someone’s mental health. The song tells of relationship troubles by addressing self-struggle and the outward projection of those struggles. Mental health issues can suffocate and ravage an individual’s mind, like a troubled relationship that cannot get out of its own way. “Lickety Splitz” became a typical relationship song, but to deal with and address mental health issues that plague so many individuals today. Playoffs hope that people can connect with the song and realize that no mental health issue is too big or small to ask for help, and that there are people in your life that love you and will help you.

    I think each one of us — whether a father, expecting father, newlywed, or just human — had an eye-to-eye mindframe. We were all able to see how awful things were for everyone. This project allowed Cody and myself to write what we were feeling while embracing the style of music we already liked playing. Everyone kind of got it. It worked, and everything came together. Whether it was writing the lyrics one-on-one at someone’s house, or going through the recording process, we maintained communication with one another and having that outlet for ourselves is truly beneficial and hopefully transfers to the people who listen to it. 

    Alex Foster

    Prior to forming Playoffs, the band members were involved in a pop punk/hip hop/90s musical jukebox cover band performing at bars under the name kidbilly. Playoffs started just before the world shut down from COVID, but with the uncomfortable and disconnected feeling that grew from having to sit home and see no one and do nothing, the group recorded the album in pieces and parts, some even from across the country with the help of Makela.

    Playoffs Lickety Splitz

    Being able to meet online, play music virtually, embrace the hardship that literally the entire world was facing, and turn it into a reflective piece of art was an amazing experience for the group, especially as they are able to highlight mental health amid the frightening state of affairs of 2020 and having to watch the world slow to a crawl.  

  • In Focus: The Slip Wrap Up First Tour in Nearly a Decade

    The Slip, avant-rock trio from Boston, soundly finished their first mini-tour in a decade, playing seven shows over two weeks this November across the northeastern US. This was their first mini-tour since 2011. Brad and Andrew moved to Montreal in 2005, birthing The Barr Brothers. As The Barr Brothers ramped up, The Slip’s performances ebbed, playing only 7 times in 2011, then only twice at High Sierra Music Festival. Everyone wanted to know when they’d tour again.

    the slip

    The long-awaited Slip mini-tour launched at Higher Ground in Burlington, VT, where they’ve played over two dozen times since 1998 (lastly in spring of 2008). BAM started off with the ethereal Landing, prelude to the fiery fan favorite, Get Me With Fuji (a song named by long-time friend and one of the first Slip tapers, Jason Booth). After Fuji fired up the crowd, Brad donned his Danelectro for Nobody Waits That Long Anymore, a brand new song (debuted at Lockn’ Farm). Even Rats, their most-watched video, brought indie rock vibes to keep the first set lively.

    The reflective rock classic, Sometimes True to Nothing, warmed the crowd in the first set. “The heart is a wilderness / with beauty and emptiness / that you endure”. The new rock song Motherwolf went into Chasing Rabbits, which debuted in 2003, but hadn’t been played since April 2007. Long-time Slip fans anticipated more good times from the wide mix of new and old songs in their tour opener.

    the slip

    The Slip flexed their jazz chops with their Coltrane tribute, Trane-ing, first played back in 1998 at The Living Room. They continued with an even older classic, Through the Iron Gate, which debuted in 1997 and hadn’t been played in 16 years! Heading back to recent times, they unearthed another gem from Eisenhower, Life in Disguise, then on to The Weight of Solomon, ending the single set with the oft-paired The Orginal Blue Air > Paper Birds.

    The boisterous crowd cheered them on for a tasteful encore of The Band classic, The Weight, which The Slip has greatly rearranged, ending it typically with a Dogs on Bikes outro, and Autobody teases. Slip tour commenced robustly.

    Thursday, November 11, 2021 – Higher Ground – South Burlington, VT 

    Setlist Landing, Get Me with Fuji, Long Ways Back, Even Rats, Sometimes True to Nothing, Motherwolf, Chasing Rabbits, Trane-ing, Through the Iron Gate, Life in Disguise, The Weight of Solomon, The Original Blue Air, Paper Birds
    Encore: The Weight*
    Notes: * new version, with Dogs on Bikes theme

    Their tour evolved at Fete Music Hall in Providence, a cool industrial warehouse converted to a two-stage music venue. Ryan Montbleau, a friend of BAM’s who has Marc Friedman in his current band, surprised us with a lovely opening set of originals on acoustic guitar. This hometown crowd was larger than the tour opener in Burlington. BAM started the set with Landing, but ended there, instead of the typical segue into Fuji. They continued into Trane-ing, Blue Air > Paper Birds, and saved Get Me with Fuji until after the commonly-paired song duo.

    Brad announced to the audience they were about to play their new single, Superterranean Onlyness, The Slip’s first studio release since Eisenhower – flowing with harmonized vocals, and brilliantly engineered by Steve Albini. Here’s a fan-shot 4K video of the live debut. BAM then played Driving Backwards with You, a song which debuted in 2000 at Higher Ground, then Lockn’ this August after an 11-year hiatus (last played at Narrows 2010). Even Rats preceded another new song, Hit Song.

    More songs came back into regular rotation, such as Chasing Rabbits, Motherwolf, and Sometimes True to Nothing, followed by the sublime Aptos* > Something Learned, which debuted at Bethel Fest in 2003, and was last played at Cafe du Nord in 2010. They delved back into Eisenhower territory with Life in Disguise, then treated their hometown fans with another old-time classic, Autobody Experience (debuted in 1996!). This led into their new version of The Weight, with Dogs on Bikes outro to close, ending with a tasty encore of Children of December (performed over 250 times!)

    All the parents of the children of december have a clutch
    because their birthdays are the hardest to remember
    when you’re born on christmas or the day before new year’s
    you can sing happy birthday but nobody hears it

    Friday, November 12, 2021 – – Fete Music Hall – Providence, RI 

    Setlist    : Landing, Trane-ing, The Original Blue Air, Paper Birds, Get Me with Fuji, Superterranean Onlyness, Driving Backwards with You, Even Rats, intro, Hit Song, Chasing Rabbits, Motherwolf, Sometimes True to Nothing, Aptos, Something Learned, Life in Disguise, Autobody Experience, The Weight, Dogs on Bikes
    Encore: Children of December


    The Sinclair in Harvard Square was packed before showtime, being where they went to music school and have played more than anywhere. Ryan Montbleau opened again.

    BAM started with Landing, then Brad launched into wild guitar playing & effects, then segued into a sizzling Get Me with Fuji, then the brand new ballad Nobody Waits That Long Anymore. They continued into Even Rats, Sometimes True to Nothing, and capped the first set with a fierce Motherwolf.

    Set two started with the jazzy Trane-ing, The Weight of Solomon, followed by Hit Song into Aptos. They returned to Through the Iron Gate, into Life in Disguise, with  Lennon’s Jealous Guy teases (foreshadowing?). They teased Autobody Experience inside The Weight, following up with a Wolof jam and Dogs on Bikes outro to finish the smoking second set.

    The most popular encore, Children of December, was well-executed. The weekend ended on a high note, and those attending all 7 shows were eager to see what they’d play next week in Philly and New York.

    Saturday, November 13, 2021 – The Sinclair – Cambridge, MA 
    Setlist: Landing, Psych Guitar, Get me with Fuji, Nobody Waits That Long Anymore, Even Rats, Sometimes True to Nothing, Motherwolf, Trane-ing, The Weight of Solomon, Hit Song, Aptos, Through the Iron Gate, Life in Disguise, Autobody Experience, The Weight, Wolof jam, Dogs on Bikes outro
    Encore: Children of December

    Originally scheduled for Tuesday, Nov 16th, their first show at the new Brooklyn Bowl in Philly was canceled. It was great to return there, having attended the venue’s opening night with Soulive. This brand new 900-capacity venue shoulders The Fillmore in Northern Liberties, with two floors, twenty lanes of bowling, dining room, stage, and long bars on both floors. Delicate Steve opened, with a straight-ahead drums/guitar rock duo.

    The Slip began with Trane-ing, followed by You Might Say (not played since High Sierra 2008). Ernie Mickey continued, a fan favorite (House of Blues Chicago 2001). BAM continued with The Soft Machine, Hit Song into Motherwolf, into From the Gecko, and Something Learned. They busted into a hot take of Get Me with Fuji, where Steve Marion (from Delicate Steve) joined in on guitar, staying on through Creedence Clearwater Revival’s Proud Mary and ending the set with Sometimes True to Nothing. The Reddish Moon encore was calming, perhaps to prepare us for NYC?

    Wednesday, November 17, 2021 – Brooklyn Bowl – Philadelphia, PA
    Setlist: Trane-ing, You Might Say > Ernie Mickey, The Soft Machine, Hit Song > Motherwolf > From the Gecko, Something Learned, Get Me with Fuji% > Proud Mary%^ > Sometimes True to Nothing%
    Encore: Reddish Moon
    Notes: % w/ Steve Marion (Delicate Steve) on guitar and Charlie Hall (War on Drugs) on drums. ^ Creedence Clearwater Revival (cover).

    As is usual in pandemic times, inter-city travel is capricious, so the Philly to NYC route was beset with numerous accidents and traffic jams, even after morning rush hour. The usual 2.5 hour ride to Brooklyn took over 5 hours, but I was lucky to have a booked hotel a couple blocks away to unwind before the show. The Brooklyn Bowl in Williamsburg is the first one that Peter Shapiro opened in July 2009. The Slip last played there in 2011, after another slow year in 2010 when they only played 4 shows.

    To keep us on our toes, at the first Brooklyn Bowl show on Thursday, The Slip opened with Landing again, but instead went into Even Rats instead of Fuji. They played Superterranean Onlyness third, which was growing on us after a couple of live appearances. There was a quiet pause after, then we were treated to Invocation, first in 1999, last played in 2004 (17 years ago!). Stuart Bogie (tenor sax from Antibalas & Fela! Broadway musical) joined for a sizzling Yellow Medicine.

    Brad went into The Weight of Solomon and then Motherwolf, Chasing Rabbits, Through the Iron Gate, into the Nathan Moore song I Hate Love, with Bogie returning on tenor through the set closer, Jumby. A Sometimes True to Nothing encore left fans energized. Few were ready to turn in, so we met for aftershow drinks at The Gibson, a favorite late-night watering hole a couple blocks away, where we discussed what the future may hold for upcoming Slip tours.

    Thursday, November 18, 2021 – Brooklyn Bowl – Brooklyn, NY
    Setlist: Landing > Even Rats, Superterranean Onlyness*, Invocation > Yellow Medicine%, The Weight of Solomon, Motherwolf, Chasing Rabbits, Through the Iron Gate> I Hate Love%, Jumby%
    Encore: Sometimes True to Nothing
    Notes: * new song, released Nov. 2021. % with Stuart Bogie on tenor (from Antibalas and Fela! Broadway Musical

    Relix hosted The Slip for a livestream on their Twitch channel, at a top-secret location near my old apartment. Brad asked his good friend Jason Booth for his song requests. Brad smiled, then turned to the stream chat for viewer requests, joking that they “probably wouldn’t play any of those”. The livestream included their new hit single Superterranean Onlyness, followed by the scorcher, Sometimes True to Nothing, then Motherwolf, The Original Blue Air > Paper Birds to close the set.  Watch the stream here.

    Friday, November 19, 2021 – Relix Studio – Manhattan, NY
    Setlist: Superterranean Onlyness*, Sometimes True to Nothing, Motherwolf, The Original Blue Air > Paper Birds
    Notes: afternoon set, livestreamed on Twitch – www.twitch.tv/therelixchannel. * new song

    the slip

    Brooklyn Bowl Friday saw the biggest turnout of this tour. Our night started off boisterously, with BAM being introduced by Brett Siddell, a comedian from their high school wrestling team. BAM opened with the classic, Aptos > Airplane/Primitive (only time played in 2021), the poetic Friedman song:

    The airplane, the primitive, saw it and thought it was some kind of bird
    it landed, he made up his mind – I can’t live knowing that there’s some other world
    where men fly, up in the sky, trapped himself on the wing for a one way ride
    and in the air above a cloud, there his soul stayed when his body fell down.

    Before Wolof, Brad thanked the Brooklyn Bowl staff, and everyone who traveled to the show, saying “that’s not easy to do these days”. He continued, “So, if anyone bowls a strike during this song … you get a t-shirt, and a handshake from Marc.” This definitive Slip classic starts with Marc’s infectious bass groove, debuting at Valentine’s in Albany in 1998.

    Bloodstone came next, another new song debut (only played at Brooklyn Bowl and Levon’s), followed by the raucous Hit Song. BAM cooled things down with the mellifluous Driving Backwards with You, last played at Narrows 2010. Panda  began with Brad spacing out with his pedals, applying feedback for Soft Machine. Next was The Shouters (cut short), which was only played once in 2021. The room exploded for the highly popular Get Me with Fuji (played 243 times), with a tease of Guns N’ Roses’ Sweet Child of Mine that drifed into a few measures of Moby Dick before returning to Fuji.

    The band took a breather as Brad asked if anyone bowled a strike and got their t-shirt, then leveled with the audience:

    I want to say it feels really good to be The Slip again. We’ve had such a journey, from our beginnings in high school when we were the jazz band … our friend Brett was not kidding. So when we moved to Boston and really became a band together … in the 90s and 2000s, you know, and coming up with all of you and starting to do the festival thing and really getting to know this really cool community of bands getting to know other bands like Lettuce and Schleigho, and Soulive, Marco, The Duo, … they all fit conveniently under the jamband umbrella. And then, at some point for us, for The Slip it became sort of a hard pill to swallow, because we related to maybe parts of being a jam band, but we really didn’t relate to whole other parts of being a jam band. And then there was … an identity crisis there in the mid 2000s and we made our record, Eisenhower, and that was so much fun to make and really felt like a success. But we still sort of had – you know – more than a decade playing together, and it was very hard to see…you know…sometimes it’s hard to see what’s great about you, as a group … and you start thinking of ways to change it, and then we did. And so we went into one identity crisis … beautiful and contorted … what I mean, it’s really good to be back here as The Slip … enjoying what was always good about being The Slip …  and having so much fun together up here, with you … and that means a lot to me

    Brad’s pensive baring of his soul set the tone for Through the Iron Gate:

    I get tossed like a bone into the dogs into the sky
    the closing is a gathering a gathering of eyes
    an i will look to you and you to me
    in between the space we chase the tune we dream so lazily

    Ruminating on what he had just shared, Brad continued into the soul-searching Life In Disguise:

    The world is only a stage and I’m just a man
    with a sound caught in his throat and a pick in his hand
    but when the song comes tumbling out, you understand there’s no great demand
    well it’s there under your breath behind your eyes
    and you don’t have to say nothing cause I realize
    that everything somehow in some way eventually dies

    …and then Jealous Guy:

    I didn’t want to hurt you
    I’m just a jealous guy

    The introspective, sombre tone evaporated with the first beats from Andrew’s kit to kick off the funky Autobody Experience, while we processed what Brad had just laid on us. After a few measures, feet and hands started flailing as Autobody melted into the newly rearranged The Weight, with guitar pyrotechnics and rhythmic undulation. They merged into Dogs on Bikes organically and fiercely, going back into The Weight, mashed up and dangerous, as they are known for. Dogs kept going, with a blazing solo by Andrew, back into The Weight, Dogs, Weight, Dogs…and our minds will never be the same.

    The fans were not ready to leave, and the packed house didn’t budge, cheering for an encore.  The Slip came back, and Brad warned us, “We all knew how this was going to end”, as they encored with a 9-minute Children of December.

    Friday’s Brooklyn Bowl was the best of the tour so far; The Slip had rekindled the sacred fire.

    Friday, November 19, 2021 – Brooklyn Bowl – Brooklyn, NY
    Setlist    : Aptos > Airplane/Primitive, Wolof, Bloodstone*, Hit Song, Driving Backwards with You, First Panda In Space > The Soft Machine, The Shouters > Get Me with Fuji@ > Moby Dick^ > Get Me with Fuji, Through the Iron Gate@#, Life in Disguise$, Jealous Guy!, Autobody Experience > The Weight+ > Dogs on Bikes (outro)
    Notes: * new Brad song (working title). @ w/ Sweet Child o’ Mine tease from Brad and Marc. # w/ So What (Miles Davis) teases from Marc & Andrew. $ unfinished. + new version, rearranged w/ Dogs outro.

    The Barn at Levon Helm Studios – final night of the tour

    We arrived early to Levon’s to hang by the fire. It was wonderful to see so many dear friends, some from as far as California! The Slip played High Sierra Festival most often, garnering a huge west coast fan base to rival back east. We wondered  what they’d play tonight, and who might show up. Our anticipation was rewarded when Kt confirmed that Marco was arriving, which means he’d sit in. Other fans found out when they saw Marco’s Hammond inside the barn. A handful of fans had never seen The Slip before, but the audience was comprised of dear friends and music aficionados Levon’s sold out in a few minutes, so we all counted our blessings to gather at this special venue for our favorite band.

    On the way in, we went to check out the merch. The new Slip tour hoodies have “216” on the front, a special code. 216 is Plato’s Number, which has references in ancient texts, the sum of 3 consecutive cubes (a “magic number”).

    BAM opened with Suffocation Keep. This was another tour bust-out, last played at Sullivan Hall in 2010 (one of only 4 shows they played that year). This sombre song is about a relationship and introspection (lyrics,  video). Trane-ing came next, which was played in every city this tour, but had not been played since a Slip stealth gig at Matt Murphy’s Pub on Valentine’s Day 2006 (The Slip were billed as “The Lips”). Bloodstone returned, which debuted at Brooklyn Bowl Friday. The powerful Sometimes True to Nothing and Motherwolf ended the first set with ferocity.

    Marco sat in on Hammond for most of the second set, adding depth and chops to the musical stew. They opened with the sing-a-long If One of Us Should Fall, one of their most popular tunes, last played at Lockn’ Farm this summer. A funky Chasing Rabbits came next, followed by Jumby and a sweet Yellow Medicine with a Zion intro. Marco took a break for Through the Iron Gate and Life in Disguise, returning for Lennon’s Jealous Guy, which BAM only ever played on this tour.

    Teasing this song throughout the tour on preprinted setlists, The Slip finally satisfied fans with their most-requested song, Honey Melon. This song is an earworm – once the “Words go in, they don’t come out.” This ended the set with great energy, and everyone was on their feet by then.

    BAM returned to play an blazing encore of The Weight (fan-shot video), which was even fiercer with Marco on keys. This version had both the Autobody intro and the Dogs on Bikes outro. Fans danced wildly to celebrate this last show of the tour, and we all hope that The Slip will return to the road again soon. 

    Hugs and tears flowed as we processed the musical majesty of these last two weeks.

    Saturday, November 20, 2021 – Levon Helm Studios – Woodstock, NY
    Set 1    : Suffocation Keep, Trane-ing, Bloodstone*, Aptos, Sometimes True to Nothing > Motherwolf
    Set 2: If One of Us Should Fall, ? > Chasing Rabbits, Jumby, Yellow Medicine%, Through the Iron Gate^, Life in Disguise^, Jealous Guy$, Honey Melon
    Encore: The Weight#> Dogs on Bikes
    Notes: * new Brad song, previously untitled. % w/ Zion intro. ^ the only two songs in second set w/o Marco Benevento on Hammond. $ John Lennon cover. # new version, with Dogs on Bikes outro and Autobody intro.