Leftover Salmon stopped by the Rochester JCC’s summer concert series on Wednesday, August 3rd, with the Colorado band inviting up-and-coming artist Daniel Donato to close out each set. Donato and his band were in town for his show at Party In The Park on Thursday.
photo by Kyler Klix
Salmon kicked off the show with”Zombie Jamboree” and the lively song had people out of their seats right away. The venue was seated, but people could stand outside of the tent and dance.
The band played through a set that consisted of mostly originals and saving some cover songs to close the sets. Donate was invited on stage at the end of the first set to play a version of the Louvin Brothers’ “Cash On The Barrel Head” and closed the set with a rocking “Big Railroad Blues” (Noah Lewis cover), with Vince Herman pulling out the washboard vest to end it all.
The second set was filled with more originals and ended with another Donato sit in. The crowd was livelier and wanted to dance. They filled in the empty space in front of the stage after Herman invited them in. I don’t think the JCC planned to have that happen at their shows, but it felt more appropriate for the type of show Leftover Salmon puts on.
The band invited Donato back at the end and they played New Riders of the Purple Sage cover “I Don’t Know You.” Then they had everyone dancing like crazy with Salmon favorite “Ain’t Gonna Work” and they ended it with Waylon Jennings’ “Are You Sure Hank Done It This Way.”
Leftover Salmon – Rochester JCC – Wednesday, August 3, 2022
Set One: Zombie Jamboree, Lonesome Road, Tu N’as Pas Aller, Get me out of the city, Mama Boulet, We’ll Get By, Light behind the Rain, Two Highways, Better Way, Cash on the Barrel Head?* (Louvin Brothers cover), Big Railroad blues* (Noah Lewis)
Set Two: Boulet, Midnight blues, Mountain Top, Hollerwood, Red Fox Run,m High Country, Foreign Fields, Freedom, I don’t know you * (New Riders of the Purple Sage cover), Ain’t Gonna work *, Are you sure Hank Done it this Way* (Waylon Jennings cover)
Born in the 80’s, Christian heavy metal band Stryper is back and touring in full force. They recently made a stop in at The L in Horseheads on July 24 in support of their “Calling on you Tour 2022,” in front of a packed house.
The current lineup consists of lead vocalist/guitar player and original founding member Michael Sweet, Oz Fox (guitar), Perry Richardson (bass) and Robert Sweet (drums.) Since their beginning the band has produced a amazing 14 albums and a strong following worldwide.
Before the show, NYS Music had a chance to Interview lead singer and founding member Michael Sweet via phone as they made their way from the previous nights show in Pennsylvania to New York.
Charlie Berch: So where did you guys play last night (Sat. July 23rd)?
Michael Sweet: We played at Jergel’s Rhythm Grille in Warrendale, PA. It was a great night, great crowd. We last played their in 2019.
CB: Doing some research on you guys we found a good article about how you struggle at times cause the Heavy Metal community doesnt really embrace you like they should and the religious side doesn’t embrace you like they should cause your just “too much”for them. How do you find balance between the two?
MS: We don’t really try to balance it we just do what we do. It just comes natural, we’re not trying to fit into any “club”or “group” or anything we just kinda write and record, create and perform the music we love and everything falls into place, and obviously the lyrical content and the message is real too us. We all have a deep faith and its a very real thing for us. Thats why we’re not accepted by both sides, from the Christian side the mainstream side, you know cause we’re just different. I just think that they really dont know how to think about the way Stryper goes about things. And its been like that from the very beginning and its still like that. Things have gotten better in some ways and worse in other ways but it doesn’t stop us from us doing what we’re hear to do.
CB: Do you guys ever run into situations where you try book shows with other bands but your so different that you have a hard time finding bands to play with?
MS: Well you know, sometimes it is. I mean we’re one of those bands that would love to go out and open for bands like Judas Priest or Iron Maiden, and I feel like we would fit right in but unfortunately I don’t think that’s recognized often because of what and who we sing about. I think we get written off alot because of that. They’d say things like “Oh, it’s those Christian guys again.” People assume we’re going to be one way but when you come see Stryper perform its a rock show. And it’s like going see Van Halen or Judas Priest or any other band like that. But again our lyrical content is just different from their’s but in the end we’re a band, a rock band, we put on a show, and its loud and aggressive and lot of fun. It’s not a weird experience and I think some people think it might be and its not. But we’d love to fit right in with those bands but we continue doing what we do and thats why we go out and headline on our own. Do tours and ground runs all the time and fly dates and get opening bands for us and its a different band every night. We used to tour back in the day with bands like White Lion, Hurricane, TNT, Loudness, so many different bands that we performed with that opened for us we’d always figure out a way to work it out and go out and tour in one way or another weather its on our own or weather its played festivals for other bands we’ve done it all and it works out.
CB: The venue you’re headed to – The L in Horseheads – the other night had Lita Ford and we mentioned to one of their techs that you guys were coming and he said to be prepared for one of the best live shows we will ever see and that you guys will rock this place, so we just wanted to pass that nice compliment on.
MS: Well thats amazing, ’cause you know thats interesting cause we hear that from time to time. People that have seen alot of bands but they came and saw us and they felt like that we was one of the best live shows they have seen. That’s what I mean, I think people have these expectations that they think its going to be one way you know like us coming in sitting on stools and pulling out Bibles preaching to people and they dont expect it to be a rock show, and thats what it is – a rock show!!
Throughout the month of August, The National Jazz Museum in Harlem will offer five unique programs to celebrate the Afro-Latin roots of jazz music. From August 6 to August 30, attendees can listen, learn, and celebrate the long-lasting traditions of the genre.
The National Jazz Museum in Harlem aims to “preserve, promote, and present jazz by inspiring knowledge, appreciation and the celebration of jazz” in all areas. With exhibits, educational programs, panels, concerts, and more the center continues its commitment to the genre. With Artistic Directors Jon Batiste and Christian McBride, the museum offers inspiring experiences.
Starting on August 6 at 1 p.m., Jaambo will lead a city-wide dance party on the steps of the National Arts Club. Co-founded by percussionist Baba Don Eaton, Jaambo’s sound and groove will get you moving. Baba Don Eaton currently also teaches African drumming and has previously recorded with jazz artists such as Donald Brown, Joe Henderson, and Jason Linder.
Two bands will lead the programming on August 11: brass band Funky Dawgs and the Afro-Latin Jazz ensemble Uptown Royalty NYC. This energetic concert at the Harlem State Office Building will begin at 6 p.m. for a great night of dance music.
More August events include Colombian pro music from Martin Vejarano on August 25 at 2 p.m. followed by solo pianist Ahmed Alom at 7 p.m. Alom’s concert will explore early African-American ragtime and the Cuban danzon among other musical forms.
The programmings and celebration of Afro-Latin Jazz will end on August 30 with a panel discussion led by Zack O’Farrill at 7 p.m. The event will include the insight and inspiration of young artists in the Afro-Latin genre and how they are honoring and expanding its music traditions.
For more information about the August programs and exhibits, visit the museum’s website.
Woodstock Playhouse has announced jazz drummer Jack DeJohnette will celebrate his 80th birthday with a residency in Hudson Valley featuring Savion Glover, Dave Holland, Jason Moran and more.
Jack DeJohnette
Woodstock Playhouse is a vibrant venue as well as an outstanding landmark in American theatre history. As a non-profit theatre owned and directed by the Pan American Dance Foundation, Inc., it is now featuring a wide range of productions, festivals and events established for the gathering of Woodstockers and visitors to its internationally recognized home of Art, Music, celebrated small town hospitality, and a tapestry of innovative thinkers.
Jack DeJohnette is one of the most consistently inventive jazz percussionists extant. His style is wide-ranging but he always maintains a well-defined voice. Learned classical piano since the age of four, he was inspired by blues, popular music, and jazz in his late teens to play the drums. DeJohnette has a remarkably fluid relationship to pulse with excellent timing and a powerful sense of swing.
Jack DeJohnette & Savion Glover – September 17 at 8pm
This concert pairs Tony winning dancer Savion Glover with 2012 NEA Jazz Master Jack DeJohnette. Along with Miles Davis Bitches Brew Band, Herbie Hancock, Keith Jarrett, Bobby Mcferrin, Bill Evans, two of the world’s great living rhythm specialists Glover and DeJohnette will create an inspiring musical dialogue. Taught by Sammy Davis, Jr., and Gregory Hines, Glover catapulted to fame as The Tap Dance Kid, then captivated the world with Bring in ‘da Noise, Bring in ‘da Funk and as the live action dancer behind Mumble the penguin in Disney’s Happy Feet.
Savion Glover
Jack DeJohnette with Dave Holland & Jason Moran – October 29 at 8pm
The jazz trio will feature 2012 NEA Jazz Master drummer Jack DeJohnette, pianist, composer, and performance artist Jason Moran, and legendary jazz bassist Dave Holland.
Dave Holland is a gifted jazz bassist, improvisor, and omposer whose work has touched on acoustic post-bop, avant-garde jazz, and fusion. He started playing ukulele at the age of four, switching to guitar at ten and bass guitar at 13. Under the influence of such jazz bassists as Leroy Vinnegar and Ray Brown, Holland took up the double bass, learning primarily by playing along with records.
Jason Moran, a jazz pianist, composer, and artist from Houston. He studied with Jaki Byard, Andrew Hill and Muhal Richard Abrams. He has produced fourteen additional albums and had his first solo museum exhibition opened at the Walker Art Center, Minneapolis, MN, and traveled to ICA/Boston in 2018.
Another gorgeous evening in the hills of Lafayette, nestled into the apple orchards at Beak and Skiff. Another night filled with sweet sounds by another incredible lineup brought in by Dan Smalls Presents. Tonight it was Andrew Bird and Iron & Wine providing music fans from Syracuse, and beyond, with good reason to be out on a Tuesday. The bands came through on the back end of their Outside Problems tour, a tour two years in the waiting. It was first planned for 2020, but then, you know…
Amongst his wacky banter, Sam Beam, aka Iron & Wine, summed up the evening’s offerings quite well. “You guys just hanging out in an orchard all day listening to some music?”
Of opener Meshell Ndegeocello, “If you don’t like that, I don’t know what’s wrong with you.” Indeed, Ndegeocello and her quartet, in a quick 30 minutes, blended reggae grooves, folk-tinged psychedelia, soul, rhythm and blues and a touch of jazz. Echoey fuzzed out guitar, cosmic keys, charging beats all swirling around her mesmerizing bass lines. What’s not to like?
About his own set, Beam remarked, “I’ve got a lot of long, incredibly sad songs for you.” Moments later he backed off, saying his songs aren’t all the sad, they’re just not that happy. Sad or not, he had the crowd in stitches with his bizarre banter and in-song ramblings and riffing. In the set opening “Such Great Heights,” he cut-in to the beauty to talk about warming up by covering ourselves in applesauce and tears. “Rabbit Will Run” began with a story about Syracuse native Tom Cruise drifting off to sleep and dreaming about another Syracuse native, Grace Jones, whispering in his ear, singing the ensuing song, with harmonies by yet another Syracuse native, Richard Gere. Just your normal run-of-the-mill folk singer chitchat.
He played 45 minutes, solo, amongst a neighborhood of small white houses. In the tour’s original intent, he had just completed a new album with Calexico and they would have been on with him as well. He played just one song from the album, “Father Mountain” and filled the rest of the set with some of his most recognizable tunes from throughout his career. Contrasting starkly with his playful mood, his performance of “Flightless Bird, American Mouth” went nearly acapella. His hands worked the frets of the guitar but never strummed until the final verse, quite beautiful and moving. Elsewhere and particularly on “Woman King” he worked the lower register of his guitar masterfully with a mix of picking and strumming.
Continuing his narration of the evening, Beam previewed Andrew Bird’s closing set with, “Bird is going to whistle his way into your heart.” The set opened with a flourish of Bird’s signature fiddle and whistling looping and building to a one man orchestra briefly before his quartet broke through into “Make a Picture.” Bird was joined on stage by an incredible band, with Ted Poor on drums, Tyler Chester on keys and guitar, and Anna Butterss, on bass.
Unlike Iron & Wine, the timing of the tour worked a bit better for Bird, with his excellent new album, Inside Problems hot off the press. He played heavily from it throughout the set. Poor impressed with complex rhythms on “Atomized” and Bird added in plucked fiddle, looped that and then added in fiddling and some whistling syncopated with more plucking. Anyone who has seen Bird solo knows him for his incredible use of layering loop upon loop to provide a unique richness of sound. But with the extra hands in his band, the richness reached another level.
The excellence was exemplified perfectly in a mid-set “Underlands.” The lyrics and the backdrop synced up, a moon, the stars, the story was laid out for the ears and eyes. Butterss set the scene musically with an infectiously slinky bass line. Poor again was shining with some very tasty rhythms and fills while Chester worked in some nice keys. And this was just the base for Bird to work his magic. Butterss incredible harmonizing with Bird’s whistling sent the whole affair straight up to the moon for real. It was wonder to see this band present Bird’s fantastic new album from the stage.
Midway through the set Beam came back on stage to play some duets with Bird. A perfect pair, it’s a shame it hasn’t happened sooner. On each of their own songs, like “Orpheo” and “Muddy Hymnal” their voices and instruments blended very well. The band came back to back the pair for a few more songs, mostly acoustically. They crowded to the right side of the stage for a more intimate setting, continuing with “Left-Handed Kisses”, “Lion’s Mane” and “Lusitania.” Before ceding the stage back Beam injected a bit more of his humor playing a snippet of the Golden Girls theme, “Thank You For Being a Friend.” We can only hope this friendship bears more fruit in the coming years.
On August 4, 1966, the world-renowned Philadelphia Orchestra took up residence at Saratoga Springs Performing Arts Center (SPAC) for the very first time with Maestro Eugene Ormandy conducting. The maestro helped shape SPAC into the perfect venue for such a performance and brought the orchestra much acclaim throughout his 44 years as conductor.
56 years later, the orchestra still continues to offer audiences classical entertainment with its programming and performances.
Adrian Siegel, courtesy of Adrian Siegel Collection/Philadelphia Orchestra Archives
On the first Saturday of August, on a clear night, an estimated 5,100 attendees gathered inside the newly opened SPAC for the first show with another estimated 2,000 on the center’s lawns. The performance marked a first for the venue. The New York City Ballet’s July performances that year went beautifully, but how would the SPAC amphitheater sound hold with an entire symphony inside?
According to the New York Times, which reported on the show at the time, the performance and acoustics held well and the enthusiastic crowd agreed. Maestro Eugene Ormandy chose an all-Beethoven program: the Ninth and Eighth Symphony and the “Consecration of the House” Overture in C Major. The Overture, featuring a march and much fanfare, made the perfect celebratory music for an opening night. Despite the distant sound interference of a freight train interrupting during the Eighth Symphony, the rest of the concert seemed to be a great success.
The concert in no way would have been such a success without the preparation and intensity of its maestro. Eugene Ormandy and his Orchestra were careful, precise, and presented a wonderful concert to their audience. From the start, Ormandy predicted the venue would be “one of the great summer festivals of all time.” However, according to Times Union, before opening night, Ormandy made it clear that some things about the SPAC venue had to be changed.
The waterfall behind the venue interrupted the music, and a dam was promptly built to rectify the situation. This solution did not last long, and groundsmen had to catch every last frog that resided in the resulting pond so Ormandy, and his audiences, did not hear any incessant croaking during the performance.
Adrian Siegel, courtesy of Adrian Siegel Collection/Philadelphia Orchestra Archives
According to SPAC, the amphitheater was specifically built with the Philadelphia Orchestra in mind. In addition to his work as maestro, Eugene Ormandy played a huge role in ensuring that the venue would be the perfect summer home for such a major orchestra, known as one of the “Big Five.”
Although founded in 1900, the Philadelphia Orchestra would grow immensely in reach under Ormandy. One of the first orchestras to record music, many of the most popular recordings of the organization were under the conduction of Ormandy. 7 years after the first show at SPAC, the orchestra would travel to the People’s Republic of China, one of the first tours to the region from a Western orchestra in decades.
Ormandy expanded the reach of the Philadelphia Orchestra and the prominence of Saratoga Performing Arts Center during his long career. The Philadelphia Orchestra has returned to the venue consistently since that first summer evening show in August of 1966. 56 years later, the people of Saratoga Springs and visitors can enjoy the talents of the Philadelphia Orchestra, which will hold multiple performances at SPAC this August.
The orchestra will play a mix of traditional classical music and more contemporary takes. Beginning on August 10, the current Music Director of the Philadelphia Orchestra, Yannick Nézet-Séguin, will return for four programs. Highlights include the return of world-famous cellist Yo-Yo Ma and violinist Joshua Bell, among the performances. For tickets to upcoming concerts, visit the SPAC website for more information.
Dead Meat, a Nyack-based Grateful Dead tribute act, is currently in the middle of its own “Days Between” celebration. The band is on a four-show tour throughout New York, with a promise to play 80 songs between them in honor of Dead guitarist’s Jerry Garcia’s upcoming 80th birthday. The tour is set to conclude at Garcia’s in Port Chester this Friday, August 5.
This tribute to the late guitar legend began on July 22 at Kensico Dam Plaza in Westchester County. The opening featured songs like “Here Comes Sunshine,” “Sugar Magnolia” and “Truckin’” to open. They followed this up with a unique sequence of “China Cat Sunflower” >“Playing In the Band” >“I Know You Rider” > “Playing in the Band.” Other gigs included stops at Brooklyn Bowl in New York City and the band’s hometown of Nyack with a performance at Memorial Park for a free Hudson River-side concert.
Dead Meat is a five-piece band known for its moving harmonies and ripping jams that features Dan Rappaport on bass and vocals, Tom Clancey on guitar and vocals, Stephen Jordan on guitar and vocals, Ryan Liatsis on keys, guitars and vocals, and Kevin Weinberger on drums.
For more information on the band and upcoming shows, visit deadmeatband.com
Jazz is Dead, the acclaimed All-Star instrumental ensemble, famous for interpretations of classic Grateful Dead songs, is celebrating its 25 anniversary with a fifteen show tour. They will also be performing Grateful Dead’s Wake of The Flood marking it’s 50 anniversary.
The group recorded three acclaimed albums, and their album Laughing Water released in 1999 was an instrumental Wake of The Flood reinterpretation. That album has been described as “a superior remake of the Grateful Dead’s rather ordinary rock album Wake of the Flood” by Ed Kopp for All About Jazz.
The 25 anniversary tour makes stop in Tarrytown on Jan. 26 and NYC on the 27. Tarrytown is located in Westchester county on the eastern bank of the Hudson River, approximately 25 miles north of Midtown Manhattan, with a small population of about 12,000. The town is rich with Revolutionary War history and known for the river views.
For more information about Jazz is Dead, and to buy tickets to their upcoming tour, go here.
Jazz is Dead Tour Dates
Jan. 10 – The Coach House – Capistrano, Calif.
Jan. 11 – The Canyon – Montclair, Calif.
Jan. 12 – The Canyon – Agoura, Calif.
Jan. 13 – The Regency Ballroom – San Francisco
Jan. 15 – The Paramount – Denver
Jan. 17 – Celebrity Theatre – Phoenix
Jan. 19 – Barrymore Theatre – Madison, Wis.
Jan. 20 – Des Plains Theatre – Des Plaines, Ill.
Jan. 21 – The Arcata – St. Charles, Ill.
Jan. 22 – The Agoura – Cleveland
Jan. 24 – The Wilbur – Boston
Jan. 25 – The Keswick Theatre – Glenside, Pa.
Jan. 26 – Tarrytown Music Hall – Tarrytown, N.Y.
Jan. 27 – The Palladium at Times Square – New York, N.Y.
The annual Chenango Blues Festival will return for its 29th year on August 19 and August 20. The festival features Blues Hall of Fame inductee and multiple Grammy-winning guitarist Jimmie Vaughan, who returns after last year’s cancellation.
The Chenango Blues Festival is a family-friendly event open to all at the County Fairgrounds in Norwich. The Friday performances will kick off with the Rock N’ Roll band the Hi-Jivers from 5:30 pm to 6:45 pm. Canadian singer Angel Forrest takes the stage next, with an impressive career spanning over three decades. To close out the first day of the festival, blues rocker Popa Chubby will perform. The parking gate opens at 4 pm and the festival gate at 5 pm with music starting at 5:30 pm.
On Saturday, at the Infield Stage, festival gates open at 11:00 am with Massachusetts-based Misty Blues playing at 11:30 am. Duo Annika Chambers band will be performing next bringing blues fused with influences of gospel music. Altered Five will follow from 2:45 pm to 4:00 pm and then fest favorite Nick Moss returns from 5:00 pm to 6:15 pm. To close out Saturday’s Infield Stage performances, Jimmie Vaughan will perform an exciting set of songs from 7:30 pm to 9:00 pm.
The Chenango Blues Festival’s Tier Pet Tent Stage also includes even more performances on Saturday. The first act, Corey Harris and Cajun fiddler Cedric Watson, will open the stage from 1:45 pm to 2: 45 pm. Americana and blues band EG Kight Trio will play next followed by Los Angeles-based Teresa James & the Rhythm Tramps. The tent stage, and the entire festival, will be closed out in style by the returning Grammy-nominated band Southern Avenue, who average 150 shows in a typical year.
Attendees of the festival can enjoy food from different vendors, and on-site camping in addition to the great live music. The Chenango Blues Association also presents a series of free shows in East Park every Thursday in July and August and will feature the Mike Zito Big Band on August 18. This show is the unofficial kickoff to Blues Fest weekend. Attendees of the Blues Fest can spend the day exploring the area before heading to the fairgrounds for the concert and the official start on August 19.
For further information on tickets, camping, vendors, and artists you can visit the Chenango Blues Festival website at here.
Celebrating 10 years since his first release Enter the Void in 2012, Joey Bada$$ performed at House of Blues San Diego on July 27. With a double decker venue, open house bar and mosh pit, House of Blues held a great environment for the show.
Joey was born and raised in Brooklyn and a member of the hip hop collective, releasing 3 mixtapes along with various solos. With his debut album 1999, produced at age 17, Badas$$ finally got the recognition he deserved in June 2012.
Joey’s opener Capella Grey set the tone for the crowd and left them begging for more prior to Joey Bada$$’s set.
It was a big night not only for Joey but for his fans and their excitement to the new album release 2000. The album set the bar and exceeded all expectations since the last release back in 2017. Including hits such as “Brand New 911” and “Written in the Stars” along with many others.
Joey noted it had been 5 years since his last release and performed some of his greatest hits “Devasted” and “Temptation” from ALL-AMERIKKKAN BADA$$, released in 2017. During the show he stated “I had a kid, a babygirl,” and shared how his daughter Indigo Rain has become a huge part of his life outside of making music, and played a role in such a big comeback.
With 10 years under his belt and many more to come Joey continues to bring his own groove to rap and the hip hop community.
