An annual Hudson Valley tradition, the Beacon Sloop Club’s legendary Strawberry Festival will take place on Sunday, June 12th at Pete and Toshi Seeger Riverfront Park in Beacon. The all ages event, held rain or shine, lasts from 12-5pm and is found on the Riverside of the Metro North Beacon Station.
At the BSC Strawberry Festival, you’ll find the best shortcake you have ever imagined, made with local strawberries and homemade biscuits topped with real whipped cream, all while surrounded by the glorious Hudson River. There are more treats available, including strawberry smoothies, freshly made chocolate covered strawberries and other great foods to enjoy. Local vendors will also be on hand selling food and crafts.
There will also be free sailing on the Sloop Woody Guthrie. Located right in Beacon Harbor, attendees can sign up at the Beacon Sloop Club booth for a free afternoon sail as you experience the beauty, power and grandeur of the Hudson River.
Two solar powered music stages are featured during the BSC Strawberry Festival, with a main stage and one dedicated for young folks and children to enjoy. There are also many other free activities great for children, as well as displays of local Hudson River history and the environment for all to enjoy.
As hosts of Strawberry Festival, The Beacon Sloop Club is an all-volunteer non-profit organization. The BSC Strawberry Festival raises money for the public sailing program on the Woody Guthrie and other environmental education programs. As such, there is never a charge for sailing aboard “The Woody.” The BSC meets the first Friday of each month at the clubhouse in Beacon, right on the river near the Metro-North train station, for a potluck dinner, business meeting and music. Everyone is always welcome.
Musicians performing throughout the Strawberry Festival include Arm of The Sea Theater, Judith Tulloch Band, Lost Ryders of the Waywayanda, Beacon Songsmiths, Eric Person, Lydia Adams Davis, Roger The Jester, Spook Handy, Jonathan Kruk, Bindlestick Bill and The Last Minute Soulmates.
Admission to the Strawberry Festival is free. For more information, visit beaconsloopclub.org
See below for pictures from past BSC Strawberry Festivals below, courtesy of Beacon Sloop Club.
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, Shane Guerrette, That Girl w/One Free Don 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.
That Girl featuring One Free Don – “Cherish”
Shane Guerrette – “Here’s Hoping” & “How was I to know”
Fans of Prodigy will once again be able to enjoy his solo catalog on streaming services, as reported by Billboard. In what was described as “legal disputes between the estate, which is run by the late artist’s family, and former associates of the artist,” his solo work remained off streaming services for the past three years. Only 2007’s Alchemist collab, Return of the Mac, 2008’s Product of the 80s, with Big Twins and Un Pacino, along with the Mobb Deep discography were made available.
Prodigy’s returning solo catalog includes his classic debut-album H.N.I.Cand its two sequels, 2012’s The Bumpy Johnson Album, his 2013 collaboration with The Alchemist, Albert Einstein and 2017’s Hegelian Dialectic (The Book of Revelation). His 2014 release with Boogz Boogetz, Young Rollin Stoned, can also now be streamed.
This is the result of a new management deal Prodigy’s estate signed with The NorthStar Group’s L. Londell McMillan and a distribution deal with Warner Music Group’s ADA. Prodigy’s estate also announced a new album, The Hegelian Dialectic: The Book of Heroine and a new single, “You Will,” out June, 10.
Prodigy is a once-in-a-generation rapper,
-ADA president Cat Kreidich
It’s hard to put into words the impact he had on the world — his sound completely changed the game and influenced so many that came after him. His legacy will live on forever through his music and we’re grateful his estate has entrusted ADA to bring his iconic catalog back where it belongs — with his fans.
With his partner, Havoc, Prodigy served as one-half of Mobb Deep. After releasing their debut, Juvenile Hell in 1993. A year later, they released their classic second LP, The Infamous, to critical-acclaim.
As a rapper, Prodigy was known for his opening bars that would set the tone. Encapsulating an entire record with his first couple of lines. When hip hop went full glitz and glamour during the “shiny suit era,” of the late 1990’s and early 2000’s, Prodigy would double down and release more raw grimy street music. Plateauing him and his partner Havoc’s commercial-appeal, but remaining true to themselves.
The New York State Senate passed a bill that will limit prosecutors from using song lyrics as evidence in criminal cases, as first reported by Pitchfork. The bill was introduced this past November by Senator Brad Hoylman, Senator Jamaal Bailey and assembly member Catalina, and it is recognized as Senate Bill S7527 . It is designed to “limit the admissibility of evidence of a defendant’s creative or artistic expression against such defendant in a criminal proceeding,” according to the New York State Senate’s official website.
This bill has long been a point of contention from many within hip hop culture. Before coming to fruition, it was touted by the likes of Jay – Z, Meek Mill and Killer Mike.
In a letter signed by the aforementioned artists, Jay – Z’s lawyer, Alex Spiro, had this to say about the new legislation:
“Rather than acknowledge rap music as a form of artistic expression, police and prosecutors argue that the lyrics should be interpreted literally—in the words of one prosecutor, as ‘autobiographical journals. The genre is rooted in a long tradition of storytelling that privileges figurative language, is steeped in hyperbole, and employs all of the same poetic devices we find in more traditional works of poetry.”
This new legislation comes as Atlanta-bred rappers Young Thug, Gunna and other YSL affiliates were arrested and are facing charges under Georgia’s RICO act. It was reported that their lyrics were used by authorities as part of their criminal investigation.
Rapper’s lyrics have long been a point of contention in the courtroom. The likes of Boosie Badazz, YNW Melly, Mac Phipps, Tay-K have all had their words play a part in their criminal proceedings. In a rather famous instance, Snoop Dogg’s “Murder Was The Case” was played in the courtroom while he faced trial for murder in 1993. Now, rapper’s in the state of New York will have an extra creative freedom knowing their song lyrics won’t be used against them aimlessly.
Albany’s Glass Pony continue a hot streak that has seen the group persevere through a pandemic to build an audience and unique sound, and return from the studio with a strong sophomore album, Nowhere Daydream.
Comprised of Chanda Dewey (drums), Eddie Hotaling (guitar, lead vocals), Jeff Picarazzi (bass), and Greg Pittz (lead guitar), Glass Pony has used the last two years wisely, honing their craft in practice and performance, preparing for the return of live music and hitting the ground running. Expanding their touring area to Central New York and the North Country puts Glass Pony on an upward trajectory, fueled by Nowhere Daydream.
The album begins with the Hotaling composition “North Bound,” giving an early Ominous Seapods feel to the album, which dips quickly into a track that has quickly become a fan favorite, “Something Good.” The first notes to the album’s first single have a “Let’s Dance” intro vibe, a soaring guitar hook throughout from Pittz and serves as an upbeat post-pandemic anthem for an uplifting 7+ minute ride, .
“House on a Hill” has a happy, upbeat jamgrass vibe, with lyrics by Keith Drinkwine. “Mortimer” brings in a “Wife Soup” feel in the intro before entering a swing-revival section – this fiery instrumental segues neatly into the brief and ambient “GN-z11.” The guitar groove of “St. Atocaster” from Pittz fits snugly into a pocket created by Picarazzi and Dewey, a track that captures the Glass Pony sound that has developed these past three years.
Nowhere Daydream was recorded at Jellystone Park in Pound Ridge, NY; Blue Sky Studios, Delmar, NY; and Glass Pony Stables, Albany, NY. The album was mixed and engineered by Eddie Hotaling and mastered by Raelynn Janicke at Infrasonic Mastering, Nashville, TN. Matt Richards (Annie in the Water) is featured on keys on all tracks, with Will Hayes playing cello on “Lunar Flare.” Visit Glass Pony on Bandcamp.
Key Tracks: Something Good, Mortimer, St. Atocaster
Glass Pony will hold an album release show on May 21, 2022 at Parish Public House (388 Broadway, Albany. Tickets are $15, with 3 sets and doors at 7. Tickets are available via Glassponyband.com or guthriebellproductions.com
Ricky Persaud Jr.’s discography is stellar, to say the least, and is ever-growing as his versatility continues to elevate his status. Although, the multi-instrumentalist is a recent graduate from the prestigious Berklee College Of Music in Boston, his professional music career has been years in the making. The talented musician is known to cover a multitude of genres ranging from pop, rock, reggae, funk and more, while providing fans with a unique experience.
Michael D. Spencer
At two-years-old Persaud Jr., began his musical journey with the banjo. Since music was his main priority, he became a child prodigy within a short period. By four-years-old, Persaud Jr. had begun playing percussion and while attending the Newark School of the Arts, studied the drums.
At the tender age of 9, he played the guitar for the first time and realized there were no limits to how he could express himself. After receiving professional training, he was not only a proficient guitar player, but was able to add the bass, as well as the piano to his repertoire.
Thanks to his mother, Valerie Persaud, there were no limits to Persaud Jr.’s ambitions as she encouraged him to excel at each instrument. She dreamt of playing the piano herself, but was denied the opportunity, so she ensured her children would not have the same experience. Besides, music ran in the family.
Persaud Jr.’s father, Ricky Sr., engineered Caribbean albums and often played Bob Marley, The Wailers, and Third World, which quickly influenced his infant son. Contrarily, his mother favored classic-rock music, particularly the Beatles, who are Persaud Jr.’s favorite musicians along with Michael Jackson, Nirvana, and Bob Marley.
I never paid attention to music until I heard the Beatles. With them it’s not just about the sound of the instruments, but the message being relayed. Their music is all about love and inspiration.
Ricky Persaud Jr.
While his love of instrumentation was fostered at home, his songwriting exploits were a way to escape the outside world. As a victim of bullying, Persaud Jr. was encouraged by his mother to express himself through songwriting. Soon enough he realized this was a powerful way to overcome the social adversity he dealt with. In the end, songwriting became his main coping mechanism, which only made him a better musician.
When you bottle up everything inside you are hurting yourself. Therefore, I truly believe people should use platforms like music and sports to release their emotions and express themselves. Songwriting was like a diary for me.
Valerie Persaud
Having built a great amount of mental fortitude over the years, his self-belief even applies to his music. While on quarantine during the pandemic, he was faced with the obstacle of connecting with other musicians without physical touch. It was during this time that an already tight familial bond continued to grow. He connected with his mother and brother to continue their musical work as a band, by the name of Ricky Persaud Jr and Crossroads.
Outside of his immediate family, the Indie Collaborative (IC), an organization for independent musicians and professionals to come together as one, has been essential in Persaud Jr.’s development. On April 25, he performed alongside other IC artists at Carnegie Hall.
The Indie Collaborative helped me as far as my artistry, confidence, networking, and exposure to other talented artists. I will always be grateful for them and the opportunities they presented me with.
At such a young age, Persaud Jr. has been awarded a 2016 Governor’s Award for Excellence in Music, the Artist of The Year in Pop award at the 2019 Josie Music Independent Awards, a 2020 Global Music Award, he was named 2020 Best Male Artist in Pop at the Indie Music Channel Awards and is a Grammy voter. However, according to him, his most heartfelt achievement was not only being accepted into the reputable Berklee College of Music, but being awarded a full four-year scholarship.
The people who selected me for the full four-year scholarship, said they chose me because of how active I was with my work on social media. If I was to give others advice, it would be to take pride in their work, show off their craft, and post professionally.
Persaud
Persaud Jr.’s most recent album, Enlightenment, relays the message of “shining some positivity into the world.” Meanwhile the featured song “Cease Fire”, sheds light on racism, Black Lives Matter and police brutality.
If there is any advice I would give other musicians of color, it’s that there will be a lot of discrimination along the way, but no matter what believe in yourself and use what God instilled in you.
Although Persaud Jr. has proven himself within the music industry, he feels that he has only scratched the surface of his potential. With plans on becoming a Grammy-award winner and having a “musical connection worldwide,” Persaud Jr.’s future is nothing short of promising.
The Jersey City Jazz Festival has returned for its ninth annual celebration on the weekend of June 4th and 5th in the Powerhouse Arts District.
Just across the Hudson River, the free-to-the-public event will include performances from fourteen bands on two stages, food trucks, a full bar, and a VIP experience at the parking lot on 107 Morgan Street. The festival will also coincide with Bike JC’s annual Ward Tour on the 5th, with there also being an “after-party jam session” at Moore’s Place.
Jazz group Nation Beat will lead off the festival with their performance at noon on the 4th. (photo by Carolina Mama)
Brazilian-inspired group Nation Beat will lead off performances at noon on the 4th, followed by singer & WBGO radio host Lezlie Harrison at 1, pianist David Kikoski at 2, Winand Harper and his band the Jeli Posse at 3, flamenco guitarist Andreas Arnold at 4, Afro-Cuban jazz group Santi De Brian’s Arkestra Bembe at 5, and acclaimed vocalist Svetlana at 6.
The next day, award-winning duo Sounds of A&R will lead off at noon, followed by guitar-driven ensemble Walter Parks and the Unlawful Assembly at 1, modern gypsy jazz artist Gonzalo Bergara at 2, New Orleans-based trad group Aurora Nealand and the Royal Roses at 3, and guitarist Julian Lage at 4.
Both days will close out with dancing to salsa performances by percussionists Little Johnny Rivero on the 4th at 7, and Johnny Rodriguez and the Dream Team the following day at 5. Shows will alternate on an hourly basis between the Bank of America and Exchange Place stages.
Little Johnny Rivero’s career watermarks include the eighteen albums he recorded with the La Senora Ponceña Band and having performed with names in Latin Music such as nine-time Grammy Award winner Eddie Palmieri.
The festival, which was first held in 2013, is produced by Jersey City-based non-profit Riverside Jazz, and is presented by Exchange Place Alliance. “We have some of the best players in the world here – and it’s not just one style of music or jazz, it’s everything!” says Riverview Jazz director Brian Beninghove. “Not everyone has access to great music and art, but we do here – and we want to celebrate it with a big, free party for the people.”
Information on purchasing VIP tickets, directions, parking, volunteering, and links to the artists can be found on Riverview Jazz’s website.
The Bronx Music Heritage Center (BMHC), located at 1303 Louis Nine Blvd. in New York City’s northern-most borough, will close out their May programming with a series of events featuring dancing, Latin music and a multicultural celebration. Events will also be held at Bronx Music Hall Plaza, located at 438 E. 163rd St.
Although the Bronx was once a hub for music creation and performance, the disinvestment in the 1970s and 1980s destroyed many performance venues, devastating the music scene. As a result, access to arts and cultural programming has become scarce in the Bronx.
The BMHC, created by WHEDco, is committed to preserving and promoting Bronx music, cultivating Bronx artists, spurring neighborhood revival, and providing free cultural programs for the community. T The BMHC hosts music performances, art exhibits, artists-in-residence, workshops throughout the Bronx.
On Saturday, May 21, the Bronx Rising! program will feature Irish, U.S. and Cuban traditional traditions highlighting percussive dancing with the groups OYU ORO and CITY STOMPERS. The show starts at 8:00 pm at the BMHC, and the cost is $7 at the door.
On Friday, May 27, BMHC will present ABAZOS ARMY as they gear up to promote their upcoming CD release. ABAZOS ARMY combines music in a fusion of funk, reggae, Latin music, jazz and hip hop. This is a free show starting at 8:00 pm.
BMHC ends the month with a concert in partnership with the Multicultural Music Group featuring FELIPE FOURNIER & SUPERMAMBO on Saturday, May 28th. This is as free show, held at BMH Plaza. If it rains, the concert will be held at the BMHC.
From the BMHC archives, watch the last program held before the pandemic began. In February 2020, celebrating International Mother Tongue Day, the video features the Bangladesh Academy of Fine Arts performing a Bengali folk dance. BAFA is a Bronx-based group and led by Margia Shiriti.
This summer, founding Grateful Dead member Phil Lesh will make his return to Bethel Woods Center for the Arts. And he’s bringing a few friends along with him. Phil Lesh & The Midnight Ramble Band will play one night on Saturday, August 20. It is slated to be part of the venue’s “Woodstock Anniversary Celebration” which will commemorate the 53rd anniversary of the iconic music and arts festival.
In addition to performing with the Dead at Woodstock, Lesh also made an appearance here in July of 2006. The second set included a sit-in from Phish guitarist Trey Anastasio on songs that were performed at the original festival in 1969 like “Dark Star,” St. Stephen,” and “Turn On Your Love Light.”
Lesh’s last appearance at Bethel Woods came in 2019 at Mountain Jam. Phil and Friends trotted out a cover of The Band’s “Chest Fever,” played the first ever “Midnight Highway” and closed out their set with an “Uncle John’s Band.”
This year’s band is dubbed The Midnight Ramble Band, in a nod to Levon Helm’s nearby legendary barn and its late night concerts, and will feature Amy Helm, Jim Wider, Brian Mitchell, Adam Minkoff, Steven Bernstein, Larry Campbell, Teresa Williams, Connor Kennedy, Shawn Pelton, Tony Leone, Erik Lawerence, Jay Collins and, of course, Grahame Lesh.
Tickets go on sale tomorrow at 10 am through Ticketmaster.
On Friday, Brooklyn-native band Superbloom released their new single “Falling Up,” the group’s first new music since their 2021 debut album Pollen.
Superbloom first promoted the single via Facebook and Instagram on April 29, saying “something short, fast and loud coming soon.”
Promotional artwork for “Falling Up” done by Patrick Turk.
Produced by Superbloom, the two-minute “Superbloom” is a grunge track also features mixing & mastering from Zach Tuch, a Los Angeles-based engineer who has worked with Touché Amoré among many others since 2016.
The song’s structure is simple enough, consisting of two verses and choruses each before the moody but melodic track quickly wraps up.
While glossily produced, the song doesn’t remotely shy away from being loud. Shades of My Bloody Valentine-esque shoegaze are there, with Dan Hoon’s soft, layered vocals competing against waves of dirty guitar noise.
“Falling Up” is at its best when it leans into this noisier side. This is on point during the pre-verse/post-chorus section, where vigorously alternating guitar chords blend with an explosion of drumming.
This energy is matched by the angst of the lyrics, which are somewhat ambiguous. “Shit may hit different if you’re sipping off the pain,” Hoon sings at the end of the second verse.
“Falling Up” does a good job showing awareness for pop-grunge conventions of songwriting while not sounding restrained.
