Troy rock band Gracies Paris announced their new single “Save Yourself.” The song was recorded by Tim Lynch in NY and mastered by Brian Lucey in LA, who has worked with artists like The Black Keys, Royal Blood, Arctic Monkeys, Ringo Starr, and more.
Gracies Paris is a Troy-based power pop rock band formed in 2007 featuring Carl Ferritto (vocal and guitar), Eric Buechner (drums), and Randy Rose (bass). They recently released their single “Baby Now” which is a high-energy rock song with pop sensibilities, no different than their newest song. Something that the band does that makes listeners keep tuning is by changing their sound after each song. One single may have a similar sound to the other, but no song is quite the same.
The new single “Save Yourself” is a high-energy song with a driving disco-era bass line, and whammy bar dives. The song features sarcastic lyrics about self-preservation. The cool part about the song is that it was recorded with a vintage Supro amplifier coupled with a vintage Leslie speaker. It contains heavy guitars with well-sung vocals and album art, which features murky and dark water, and a grim hand coming out the top of it.
Make sure to listen to Gracies Paris new single “Save Yourself,” out now on all streaming platforms.
In partnership with Caffè Lena, the Saratoga Performing Arts Center (SPAC) announced the return of the “Caffè Lena @ SPAC” Concert Series, a free two-day festival happening on Oct. 1 and 2 from noon to 4 P.M.
The two-day festival will feature six bands that explore global and American folk music. The festival started in 2017, and it highlights the unique, ongoing collaboration between the arts center and the folk music venue. Sarah Craig, executive director of Caffè Lena, spoke about the diverse lineup in a statement.
This annual collaboration has found the sweet spot of area music fans. They love the setting and the line-up. They ask me about it all year, wanting to be sure they don’t miss it. Both SPAC and Caffè Lena have deep roots, and a taste for musical exploration. The festival line-up reflects that. We have Dreamers’ Circus from Denmark bridging the folk and classical worlds. We have Oshima Brothers bridging pop and folk. We have the righteous anthems of Crys Matthews and gorgeous harmonies of Hold On Honeys. There’s a brass band playing Eastern European tunes. It’s just a huge variety, like you might find on our stages year round.
Resonant Rogues are from Asheville, North Carolina, and have been winning over audiences with their genre-hopping tunes since 2013. Their original songs by Sparrow and Keith Josiah Smith speak to the heart with poetic lyrics and appeal to the ears with amazing musicianship and arrangement.
The Cocek! Brass Band has been led by led by Sam Dechenne since 2014 and is influenced by Eastern-European and New Orleans dance songs, Afrobeat, Klezmer, and elements of reggae and Western classical pieces.
Rune Tonsgaard Sørensen, Ale Carr, and Nikolaj Busk came together to form Dreamers’ Circus in 2009 after an impromptu jam session in Copenhagen. The Scandinavian musicians have toured across Europe, Japan, Australia, and North America with their inventive reimaginings of Nordic folk and traditional tunes.
Dreamers’ Circus.
Oct. 2 Lineup
Hold on Honeys from noon-1 P.M.
Hold on Honeys is composed of Emily Curro, Raya Malcolm, and Shannon Rafferty, which offers tight-knit harmonies to nourish the soul and invigorate the senses. They began singing together during the pandemic and began public performances in June 2021.
Cry Matthews is among the brightest stars of the new generation of social justice music-makers. She is a powerful lyricist whose songs reflect her lived experiences of what she calls “the poster-child for intersectionality.”
The Oshima Brothers (Sean and Jamie Oshima) were raised in a musical family in rural Maine. They are known for their harmony-rich blend of contemporary folk and acoustic pop. The brothers have released two albums, one rooted in acoustic folk and the other more retro and metro.
Oshima Brothers.
Guests are welcome to bring in food, drink, blankets, and lawn chairs for the concerts. Food concessions will also be available. The concerts will take place rain or shine. Visit here for more details.
Capital region funk band Oobleck has announced three concert dates across the next two months, two of which are taking place in the Capital District.
The members of Oobleck (credit: Kiki Vassilakis)
The group has over a month of time between their coming show in Shelburne, VT on this Saturday the 10th and the following performance date, with them next performing at the Unihog in Hoosick Falls on Friday, October 21. The 21-and-up event will begin at 8pm.
Oobleck’s other scheduled show is on Sunday, October 30th is at Schuylerville’s Saratoga Apple. Running from noon to 3pm, the free concert is open to attendance from all ages.
Formed in 2008, three of the group’s records can be found on Bandcamp where they are available for purchase.
More information in regards to Oobleck’s Hoosick Falls and Schuylerville concert dates can be found on each show’s respective Facebook event page.
Oobleck plays “Whiskey Song,” the sixth track from their most recent album released in 2015, Don’t Mistake the Barn for the Basement.
Some music is misunderstood. In the fifties and sixties, older generations didn’t understand rock ‘n’ roll. And in the thirties, preachers had a problem with blues. But metal has seldom been understood throughout the generations. And the cool thing is that metal actually enjoys it. Defiance to the norm is on the underside of every nickel-wound string and dropped D.
Faced is a metal band, and they’re one to watch. With an album out in 2020, they came through the other side of ‘crazyville’ to lay down brutality in the studio. I sat down with Faced’s Jordan (Jordo) Simpson to talk turkey.
RRX: You released II Coming in September of 2020, which was a pretty crazy time. I won’t ask how hard it was to put it together during that time; old news. But it touches on a point. Metal is about insane shit, apocalypses, general doom and whatnot. Does it feel different singing about, well, dystopia, where we’re living in it?
JS: A lot of the material was written for a couple of years. On this record there is a range of topics from out of the mind and body experiences to straight up anger, loss of will and hope, smoking weed, the list goes on. So, the timing of it fit the period in all of our lives.
RRX: Faced has a really tight sound, not clean in the sense of like clean guitar, but clean as in maybe streamlined, well put together. And yet the sound is chaotic. And people who don’t listen to metal think it’s all chaos because their ears aren’t trained to it, but some metal is cleaner, tighter, than other metal. How do you control the chaos?
JS: That’s a good question. We have always been musicians that push the edge. Always trying to zero in on how to do things better. So, with drive and practice combined we just strive to be the best metal band we can be, and the result is that tight sound you hear. We just try to be ourselves and true to the art. We don’t follow trends or fads. We just pour ourselves out there.
RRX: I love that guitar sound. So maybe we talk shop for a second. Let’s talk pedals. First off, do you guys use them, or is it all in great amps? If you do use them, what do those pedal boards look like? And how do you manage pedal boards in a live show – punch them during the show, or set and forget? If no pedals, what stops you?
JS: Glad you like the tone!! I’ve worked many years to find my sound. Live and in the studio I use a Randall RM-100 head with a 4 x 12 loaded with Marshall Celestions speakers. In the studio I use a few pedals. For delay I use a DD-8 Delay pedal for leads. For wah, I use a Dunlop 525Q. I also use a stereo chorus from the 80’s made by Arion. Which is a diamond in the rough. But everyone loves the sound. For live I use a Headrush pedalboard thru my loop in my Randall. It sounds great and doesn’t kill my back.
RRX: I’ve listened to Faced from the studio and Faced live on one of the Booze Cruises. There’s a lot of similarities, and differences. I don’t think it’s even possible to recreate a live metal sound in the studio unless you record in a venue and let people mosh in the recording booth. Do you try things to bring the live sound into the studio?
JS: The studio is a different beast. We always try to capture the Faced sound. That’s what we aim for. We don’t want to sound like another band live or in the studio. So being true to ourselves is what comes through live and in the studio. Live we throw different things in there and take risks. We try to always outdo ourselves. If you came to a show to hear what’s exactly on the record what good is that. We always want it to be an experience. You never know what you will see or hear at a Faced show. Like to keep the fans on their toes.
RRX: Metal in the Capital Region is a tight group. Part of that is the music itself. Metal is a music that doesn’t mix well with other music. You wouldn’t see a metal band booked with a folk or a blues band. That said, metal does mix very well when it’s mashups with other genres, like rap, country, blues, folk…pretty much everything. Why is that?
JS: Well, I can only speak for our music. We have played with many genres under the sun. We love many types of music. We have shared the bill with many different acts playing many different genres. Hell, we even played a rave once! Our thing is as long as you have a dream and you’re doing everything possible to make that dream a reality we back you 100%. Musicians stick together.
RRX: Most music, or most musicians, have a theme. Just basic, there’s stuff we care about, so there’s stuff we sing about. If I think the CIA implants radios in peoples’ fillings, my albums might be me revealing that belief in 4/4 time. And that’s a stupid example but Faced probably has themes to its music. What is the Faced message?
JS: We have many messages through many songs. We tell stories about life through real experience. It’s real songs with twists and turns through the mind. We scream about things we have lived through and have seen. Pretty much it’s all left up to interpretation. We make the listeners think about what it all means to them in a lot of songs.
RRX: This is where you answer the question I didn’t ask. Comments? Shout-outs? Educate, enlighten, emote – the floor is yours.
JS: Come out to a show and party with us. We don’t bite…much! Check us out on every streaming platform there is. If you dig it, pass it to a friend.
We would love to give a few huge shout outs to our manager Bear without him some of the things we have done wouldn’t have been possible. We would also like to give a shout out to the social outcasts, the misunderstood and the bullied. We love you all and embrace every last one of you. A Faced show is where you are accepted for who you are. Come out and be part of it. Thanks for all the support!!
On Sept. 9, Albany-based rock band Doctor Baker will release their album, Trespassers, produced by Don Fury at Don Fury Studios in Troy.
Consisting of Ed Schwarzschild (guitar, vocals), Iggy Calabria (guitar, vocals), Chris Gockley (bass), and Danny Goodwin (drums, percussion), Doctor Baker originally started as an acoustic duo before expanding. The complete band brings a strong sound to audiences within the Capitol Region and beyond.
An award-winning short story writer and novelist, Schwarzchild’s lyricism on Trespassers is evocative and compelling. The band’s sound on the album spans various emotions with the first single and lyric video, “Exhausted,” released on Aug. 30.
The album is like a story collection, but they’re stories that fit in with what’s going on in the world at the moment … the songs on the album acknowledge that there are some real problems, but we’re trying to stay lit up, we’re still trying to love, still trying to figure out what love is, still trying to maintain relationships with the people we’re close to.
– Ed Schwarzschild
The title of the album, Trespassers, came to Gockley and Schwarzchild after a performance by Wilco frontman Jeff Tweedy. The duo got lost on the way back to Albany and found themselves in a remote spot with “NO TRESPASSING” signs and the name of the album came to them. Of the title, Schwarzchild shares, “‘Hey we’re all trespassers now, let’s try to do things together, see each other clearly, see ourselves clearly.’”
Legendary producer Don Fury propelled the band’s sound forward, with the 11 songs ranging in instrumentation and tone. Backing vocals from Zan Strumfeld (Zan and the Winter Folk) and Melissa Thorne (Fol Chen) also strengthen the songs on the record.
Doctor Baker’s Trespassers includes heavily distorted tracks such as the title track and slows to pieces such as “Holiday Lights” as a change of pace. The instrumentation of the album at times sounds light and cheerful but after closer inspection of the lyrics, the band adds depth to each of the tracks including vivid descriptions and reflections of politics, climate change, and the human condition. There is a relatable song for every listener on this album.
In celebration of Trespasser’s release, Doctor Baker will be performing at The Linda on Sept. 10, and Albany Distilling Company on Sept. 23. Fans of the band can keep up with them on Instagram, here.
On Oct. 15, The Uncle Louie Variety Show will come to The Egg in Albany for a night of comedy, original music, and more.
Comprised of two comedians, Lou Greco and Carlo Russo, the show takes a hilarious and unique look at what it is like growing up as an Italian-American. Originating from Syracuse, Greco and Russo grew up together and began writing comedy during their high school Italian class.
What first started as a few ideas on tape grew to hilarious shows on video. Fans can find the pair on YouTube and Facebook, where they make millions of viewers laugh with their writing. Characters such as “Uncle Louie,” “Pasqualino,” “Zia Maria,” and “Zia Rosa,” are always getting into trouble and causing great reactions from crowds.
Attendees of The Uncle Louie Variety Show can expect two hours of original music, sketch comedy, and stand-up by Greco and Russo. After 30 years as friends, the duo’s stage presence brings a unique energy to their performance.
Over the year, the pair have traveled around the East Coast with “The Hard Comedy World Tour,” which Greco and Russo resumed in August. The tour will take the friends to the West Coast, southern United States, Canada, Australia, and England.
For tickets to The Uncle Louie Variety Show on Oct. 15, visit The Egg’s website, here.
The Lake George Arts Project’s Jazz at the Lake is back for 2022, with a lineup including some of the most outstanding performers in jazz.
The festival will take place from Sept. 16-18 in Shepard Park in Lake George. The free event will have a lineup full of great jazz performers, with eight acts over a few days.
Shepard Park is conveniently located in the Lake George village, with many nights of the week having free concerts and entertainment in the amphitheater overlooking the lake.
On the last day, Sept. 18, the Grammy-award-winning Zack Brock Quartet featuring Aaron Goldberg, Yasushi Nakamura, and Clarence Penn will be playing at 1 P.M. At 3 P.M. comes Vanderlei Pereira & Blindfold Test, then closing off the festival at 5 P.M. is Elio Villafranca & The Jass Syncopators, who have received a GRAMMY Nomination in the Best Latin Jazz Album of the Year category.
The Jazz at the Lake festival in Lake George will be happening from Sept. 16-18 at Shepard Park for free.
Five-piece improvisatory group, QWANQWA is making their debut in North America this fall; travelling on their first tour in the U.S. in over 20 states. Their performance locations feature a variety of memorable places, including Rochester’s Eastman School of Music, Flushing Town of Hall in Queens, Beacon’s Howland Cultural Center, Saratoga’s Caffe Lena, Buffalo’s Hallwalls Contemporary Arts Centre, and more.
QWANQWA, based in Ethiopia’s capital and largest city, Addis Ababa, are dedicated to furthering the country’s unique musical tradition rooted in string – classical music blended with new styles influenced by new compositions. Having recruited some of the most prominent names in the country’s music scene, they’ve created room for exploration of new sounds while implementing traditional and region-based beats and moods.
QWANQWA’s released works include three critically-acclaimed albums, Volume One (2014) and Volume Two (2015); and Volume Three (2020). The group has performed at two major European tours with knockout shows at the Roskilde and WOMEX festivals in 2016 and 2017 and members of QWANQWA have performed with some of the biggest names in Ethiopian music and beyond: Getachew Mekuria, Mahmoud Ahmed, Mulatu Astatke, The EX, Thurston Moore, Fred Frith, Butch Morris, and more.
Art Bernstein has been playing, recording, teaching and writing about drumming for over 30 years. As a contributing writer to “Drumhead Magazine”, a teacher with The Empire State Youth Orchestra, and performer on over 40 albums, Art is a master at his craft, whose teachings, publications and performances have undoubtedly enriched the lives of so many drummers.
To top it off, Art is a terrific guy; very down to earth and humble. I am proud to call him my friend, and a terrific drummer. His work with jazz guitar virtuoso Chuck D’Aloia is exceptional in every way. Art has written several lesson books, including “Kangarudiments”, which is one of the best lesson books that I’ve ever read. Art is a true gem in the world of percussion. So please welcome, my friend, Art Bernstein!
RRX: Hey man. Let’s start out with the basics; How old were you when you started playing?
AB: I started playing in sixth grade as I remember. I started on snare, and quickly moved to snare drum and drum set. In seventh grade I played in the concert band and jazz ensemble. In eighth grade I started playing in both the middle school and high school jazz band. My eighth grade year was very busy, doing both jazz bands, concert band, as well as some drum set work on upop” tunes at the time. The jazz ensemble material was almost always focused on swing, jazz/funk and fusion; really all over the map, and this really helped me grow as a drummer. I am so thankful for the time I had with all that material. In the summer of 1984, I was full time at the Eastern US Music Camp at Cortland State University, playing in multiple ensembles all day every day, and studying privately with Tom Brown. In high school I studied with Kathleen Lowry, who is Tom Brown’s daughter! I am so happy to have had the opportunity to study with those gifted players, as well as my private instructor at the time, David Bitner. I am so thankful for having these wonderful teachers while growing up.
RRX: It sounds greatl Who inspired you early on in your drumming life?
AB: Too many to list! I was a very young drummer, but would cite Neil Peart, Stewart Copeland, John Bonham, Mitch Mitchell, Chad Smith, Steve Gadd, Dave Weckl, David Garibaldi, Chick Webb, Gene Krupa, Philly Joe Jones, Louis Benson, Buddy Rich, Tony Williams…the list goes on.
RRX: A long list! Tell me about your “dream kit”.
AB: As an Ayotte guy I have to say pretty much what I am playing right now. Custom Ayotte four or five piece. I would love to add a 20″ x 14″ kick that could be tuned like a 22″ or 24″ kick if needed. A separate vintage wish list would include a vintage Ludwig Black Beauty, Supraphonic, and anything Gretsch Round Badge!
RRX: Nice! You’ve been teaching, writing, and playing your tail off for years; is there anything that you prefer to do?
AB: I truly love it all.
RRX: It shows! I like to ask jazz players about rock and roll drummers like Charlie (Watts) and Ginger (Baker) who preferred to be known as jazz players. So, having played several different styles of drumming, in your opinion, what is it about jazz that seems to attract even the most “rock and roll” type drummers?
AB: I could go on for hours but let me boil it down and try to be succinct. First, I think that this is our history, as drummers. I think that we are drawn naturally to find out where we came from. If it were not for jazz, would there be rock? Second, to know as much as you can about where you came from historically with your craft, will assist you in so many ways, to help you figure out where you’re going. Third, outside of straight rock playing all 8th and 16th notes completely straight and playing triplets in strict orchestral fashion, everything swings to a varying degree. From totally swung to a James Brown funk feel, or a New Orleans jazz feel, and all things in between, they’re all related, and there is no right or wrong in my eyes, As Duke Ellington once said, “If it sounds good, it is good!” Fourth, in my mind, music is language, music is communication, most importantly as drummers, as we are listening, reacting to what we’re hearing, and subsequently being a supportive player with what we choose to play/say. No matter what we are doing stylistically we are always listening and communicating as we play. In all music, but particularly in jazz, we are supporting the other players, often through “comping” (which means to compliment) the other players. It makes a lot of sense to me that drummers are so drawn to this kind of improvised musical communication. I don’t mean to imply that jazz is the only musical style where this occurs, but it does seem to provide more opportunities for this type of playing. Finally, jazz drumming welcomes playing that incorporates four way independence and can span many genres within one tune when applied in a jazz fusion setting. That, combined with all my previous points creates a super fun, musically expanding and rewarding experience,
RRX: So true. Ok; worst gig ever?
AB: OMG too many to mention! I won’t name names though. Even the worst gig has its rewards. It’s all about the music.
RRX: Do you polish your cymbals?
AB: I absolutely understand why some drummers do, but I don’t. Something about the sound of an aged cymbal that is fairly well cared for seems to work for me.
RRX: Tell me your feelings on roto-toms.
AB: Wow! Roto-toms! I have not played them since the mid 80’s. I did own a set though. Benefits in my eyes include, easy to tune, simply swivel the head, three toms to one stand, and cost effective to add three toms to a kit! Drawbacks? Well, it’s a distinct sound, but probably has a place. Maybe there will be a roto-tom revival! That might be quite cool and fun!
RRX: t am waiting for the roto-tom Revival. That’s a good name for a band. Is there one drummer in history that you would like to sit down with and interview?
AB: Again, too many to narrow down to one.
RRX: Ok Professor, as a teacher, performer, author etc., what is your favorite warm-up before playing?
AB: A cup of java and mixing things up with something different every day. Always rudiments, followed by a specific style, rotating every day. One day, Afro Cuban, the next day Brazilian, the next day swing/jazz, next day New Orleans, and then slow blues, funk, the next day…
RRX: Art Bernstein is not only a tremendous player, author, and teacher, but also a wonderful guy. Check out his work at “Drumhead Magazine”, or any of his recordings, especially the ABCD albums, or at his website, artbernstein.com. You will not be disappointed!
Each Sunday evening from 7-9 P.M. 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 El Modernist and Stellar Young.
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 and showcases new music on EQXposure. 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.
El Modernist – “Red State” “Lines”
El Modernist is an indie band from Albany, delivering new takes on what is considered indie rock. They mix genres and have a psychedelic sound with pulsating hooks and melodies. Their brand new album, Eras is out now, and their songs “Red State” and “Lines” will be played on EQXposure.
Stellar Young – “Hitting Reset”
Stellar Young is an indie-rock band from Albany, comprised of John Glenn (vox/keys), Erik Flora (guitar/vox), Kyle Hatch (guitar), Dave Parker (producer), and Tim Brosnan (drums). Their song “Hitting Reset” off of their 2015 record Vessels will be played on EQXposure Sunday Night.
Make sure to tune into EQXposure on Sunday from 7-9 P.M. on WEQX to hear these songs, and more.
