Project of New York-based producer Jake Muskat, Sea Glass is back in collaboration with a euphoric artist named Benét. Their dreamy new single “(i have jokes) If You Wanna Hear One” has just dropped on all platforms. Sea Glass has been praised by the likes of Indie Shuffle, Wonderland Magazine, WFUV, Record of the Day, Variance Magazine, The Wild Honey Pie among others, garnering over 250k streams on his last EP alone.
Inspired to release music after the birth of his first child, Sea Glass’s music taps into universal emotions around growing up and dreaming. His sound invokes yearning, hope and nostalgia filtered through a positive lens.
Coming back into the alternative/indie scene with his new single “(i have jokes) If You Wanna Hear One” in collaboration with euphoric artist Benét, the duo unite ethereal melodies and flowing narratives into a sound of their own. Finding its origins on a simple, classical guitar, this new single was written the week Sea Glass’s son was born as a lullaby.
https://www.youtube.com/watch?v=24Bq9xhNKqs
He shares, “I liked the idea so much I decided to record it, but wanted to make it fit my production style. As I worked on it, I was more excited by its progress than anything else at the time. It took me 6 months of searching for a good top line when Benét offered to write on it. Their playful melody and lyrics just smashed the demo death loop I was in into smithereens. It came together very quickly from there. I had my close friend Jared Saltiel add live drums and the whole thing gelled together perfectly.”
Written during Sea Glass’s last few months in Brooklyn as he prepared to depart the city, he states, “My son was just born and I was both thrilled to have this new love in our family but also overwhelmed with the added pressure that the responsibility brought. The music was a sort of escape from the moment, an idealized version of how I hoped things would go. It was written in the summer and there are definitely island vibes to the sounds, but the escapism I’m exploring in the music also makes this song relevant for any time of year.”
To listen to Sea Glass’s newest song “(i have jokes) If You Wanna Hear One,” click here.
The Chapman Stick is the instrument of the absurd, of the surreal, even the extraterrestrial. It encompassed the strangeness of King Crimson when Tony Levin played it on “Elephant Talk.” It encompassed the strangeness of space when Gurney played it in David Lynch’s original “Dune.” In “Aimless,” by Chapman Stick specialist Bright Brown, the instrument encompasses the strangeness of just being alive.
Bright Brown is Alex Nahas’ solo project, where he focuses on recasting the Chapman Stick from its previous role as novelty instrument of the prog-rock era to spine of a song and counterpart to a songwriter.
Alex Nahas
The Chapman Stick was devised in the late ’70s by Emmet Chapman, a jazz guitarist who wanted to expand his two-handed tapping technique on guitar. Think of the Stick as a guitar and a bass at once, but also a piano, and also a drum. The instrument has 10 to 12 strings, each tuned differently, and no sound hole, just a long neck that can adhere to a belt loop. The fretboard is flatter than a guitar with sensitive pickups, because it is mostly tapped rather than strung.
The Stick first found its way into Nahas’ hands 30 years ago, at Pierce Community College in California, in California, where Emmet Chapman connected him with a Stick seller after Chapman gave a performance on campus.
Nahas started bringing the instrument to band practice. He was still figuring out how to use it and integrate it into songs, with not much to go off of, since the instrument isn’t really brought out in contemporary music as much as it was closer to its invention. Nahas said the Stick was often overshadowed in the mainstream because rock music was so defined by its band structure: guitar, bass, keyboard, lead singer.
“As a result, a lot of music sounds kind of formulaic, and the Stick allowed me to break the rules,” Nahas said.
But there is a new generation of Chapman Stick players swimming upstream to keep the eclectic instrument alive.
Dan “Chef” Zahal, a second year bass student at Berklee, has been teaching himself to play a Chapman Stick with 12 strings since he was a senior in highschool. He said he hasn’t been able to find any faculty at the music school to integrate his studies on the Chapman Stick into any legitimate classroom environment, but Zahal plays the stick in his band, Trophy Husband. He said part of a reason for the rarity of Stick players is because of the dizzying prospects for inventing sound through electronic music production.
“The whole technical aspect was a lot bigger in the 70s and the 80s with bands like King Crimson and Rush. It was all about who could play the coolest lines, the flashiest, the cleanest,” Zahal said. “A lot of more modern music is based on, because we have a lot of shortcuts in production and studio, who can manipulate those the best.”
In the way that producers can employ techniques from a variety of instrumental groups on an electronic program such as Ableton or Logic, the Chapman Stick employs dexterity and intricacy to create new sounds using both rhythm and melody in tandem. Because of its multifunctionality, both musicians found the instrument’s capabilities keep expanding as they study it. Zahal has been using drum rudiments in his playing recently, treating each hand — one on the guitar side of the Stick and one on the bass — as a hand in a drum line. Nahas also is inspired by the percussive elements of the Stick.
“Its very nature is percussive because you hammer onto it. So there’s that attack from the fingers,” Nahas said. “You can emphasize that and be really simple and routine, or you can move the notes around and, by playing a little lighter, make it sound more melodic.”
Alex Nahas has released three albums and two EPs under Bright Brown; “Aimless” is the first single to come from his next album, releasing in January. But when Nahas picked up the Stick it wasn’t immediately apparent to him how best to express his art with it, until he started letting the Stick lead.
“As I started writing, I thought ‘Oh, what if I approach this instrument as the core of the song, as the thing I write on, like it was a piano. And as soon as I started doing that, it made a lot more sense to me, and I haven’t put it down since,” Nahas said.
Gurney Halleck plays an Emmet Chapman piece on the Chapman Stick (called in the film a ‘Baliset’) in an extended scene from David Lynch’s “Dune.”
Nahas began forming bands around songs he wrote on the Stick, and Nahas’ playing took on its own life. While Tony Levin plays the Stick mostly on the bass side, so the sound can sometimes be twangy and rapid, Nahas’ playing more resembles a piano; it’s tender and earnest.
That tenderness is what makes the instrumental loops in “Aimless” so addicting. It’s a vague, wandering, circular song, that exploits both sides of the Stick, to fill you up with emotion and let you down easy with cathartic lyricism. Nahas started the song as just a little improvised lick back in early 2020, before the pandemic even started.
Once the pandemic settled in, the song’s lyrics took on new life: “Why take aim / because aimless is drifting / and drifting’s easier / easier brings peace / till it lies in pieces / and so we go / into our silence.”
He recorded the song and his upcoming album at his friend’s studio in Joshua Tree, California. Members of his first band, Eddie Avakian and Jamie Muhoberac played drums and keyboards, respectively; and Ava Nahas, Alex’s sister, was on percussion. This intimate group and the flat, stark, vast landscape of Joshua Tree is infused into “Aimless;” heard in the clarity of production and seen in the album’s cover art — an iPhone picture Nahas himself took on a break from recording.
“It has a real openness to it, that I probably wouldn’t have gotten writing in my tiny little apartment and recording it there,” Nahas said. “ The songs have patience to them. And, a sort of ease about them. It’s always been my goal to just let the song lead me through it.”
The newest video from Venezuelan cuatro player Jorge Glem and American accordionist Sam Reider is about unlikely combinations that end up blending perfectly. Like peanut butter and jelly, like a cigarette and coffee, like navy blue and black — in my opinion, at least — , Glem and Reider’s folk musicality, heavily influenced by their respective country’s musical traditions, fit together like pieces of a puzzle. This harmonious amalgamation is exemplified visually and auditorily in their latest music video to “Homer the Roamer/Sabana Blanca,” off their album, Brookly-Cumaná, just released on November 4.
The video focuses on duos, how two separate entities can come together to create new sounds that celebrate and even emphasize their differences. “Homer the Roamer/Sabana Blanca” is set in a latin bar, where Jorge Glem is strumming passionately on the cuatro to a cheering crowd, glowing with a summer sheen, clinking drinks and vibing to the music. Sam Reider, the American accordionist, pianist and composer watches from a tall table as Glem finishes his set, then comes over, accordion slung around his shoulder, asking Glem to play with him: “You start,” he says.
They launch into “Homer the Roamer,” and soon enough a beautiful woman is spinning in a gold skirt while men vye for her hand in dance with some moves of their own. With each tempo change comes new energy, as the unlikely pair’s contagious sound coaxes more personalities out onto the dance floor.
Suddenly, Jorge Glem and Sam Reider are standing, the rhythm is palpable, and everyone is involved: a man does the robot in slacks and a work tie, a girl in knee high pink boots vogues, someone drops into the splits and someone grabs a tambourine. It’s “Sabana Blanca,” and strangers twirl each other around as the “strangers’” instruments spur.
The whole video exists in this one scene, a total celebration of the singular experience of live music. During the pandemic, I would play Bill Evans Trio’s live recording, “Porgy (I Loves You Porgy) – Outtake,” on repeat, closing my eyes, pretending I was at a jazz club, a concert, anywhere but alone in my room. If I had had this video during that time, I would have died of FOMO, but still probably would have had it on repeat as well.
“Homer the Roamer/Sabana Blanca,” is a superb translation of music to film, a video you can get lost in, something you don’t just watch, you experience. It’s a beautiful addition to the album, which features a fusion of esteemed Latino and American musicians. Listen to it here.
Hip hop legend Busta Rhymes will be adding another chapter to his illustrious discography. The “Touch It” rapper took to Instagram to announce his latest EP, The Fuse is Lit, to be released on Friday, November 18.
Originally set to hit airwaves this Friday, the EP has been pushed back in light of the death of Takeoff. The popular rapper and 1/3 of the Migos was fatally shot at a bowling alley in Houston, Texas on November, 1. The Slain rapper’s funeral and celebration of life takes place this Friday, November 11, on The Fuse is Lit‘s original release date.
As such, Busta Rhymes took to Instagram to share his condolences to Takeoff’s family and announce a new release date.
“I just want to start this off by saying, let us all collectively send love and light to our brothers. Takeoff, sending love and light to his beautiful family. Sending love and light to our brothers Quavo and Offset. the quality control family, P and Coach K. Family and friends affected directly and indirectly by this tragedy. In light of supporting this beautiful sending off of our beautiful bother, I have decided to push back the release date of my EP, The Fuse is Lit to November 18. Let us all send our love and beautiful energy to our bothers, the Migos and quality control and their beautiful families. Salute.”
The Fuse is Lit
Despite the delay, the five-track EP will feature a number of “whose who” in hip hop lore. The Fuse is Lit has guest appearances/ production from Big Daddy Kane, Marley Marl, Swizz Beatz. Additionally, The EP’s promotional single and music video “slap” sees Busta align with Big Daddy Kane and Conway The Machine. The song and music video alike are an ode to hip hop and New York City’s golden age. The production is reminiscent of the culture’s golden era, while the three emcees present themselves as powerful Don’s. Moreover, The Fuse is Lit can be another reminder that hip hop’s golden age is ever present.
Toshi Reagon, an Atlanta-born singer, composer, musician, and curator has two more performances on the table for her three-show residency at NYC’s Symphony Space.
The first show of the run featured a performance by Be Steadwell, a Queer pop composer, filmmaker, and storyteller who composes her songs on stage using looping and vocal layering. Reagon, who has collaborated with Steadwell for the past ten years, joined her on select numbers.
Up next on Thursday, November 10 is You’re Having Too Much Fun… So We’re Gonna Have to Kill You, a “work in progress” which presents a modern story using disco-era music. Singers of the show include Reagon, Steadwell, Afi Bijou, and Josette Newsam among others, with performing musicians including bassist Fred Cash, drummer Matt Graff, keyboardist Kim Jordan, and Adam Widoff.
‘Sacred Revolution’ will close out Symphony Space’s residency for Toshi Reagon.
Topping off the residency on Saturday, November 19 is Sacred Revolution, a Reagon-curated song cycle featuring J. Bob Alotta, a filmmaker and media activist, Leah Penniman an educator, author, food sovereignty activist, and Co-Founder of Soul Fire Farm, multi-medium artist Carl Hancock Rux, performer and choreographer Maleek Washington; and The W.O.W. Project, a Chinatown initiative led by women and people of transgender and queer background. Singers of the shower include Reagon, jazz artist Lizz Wright, and Sudanese musician Alsarah.
Information regarding tickets and more can be found here.
Tank and the Bangas will kick off their six-night residency at New York’s iconic Jazz club Blue Note New York on November 11, and bring with them special guests, starting with GRAMMY winning singer and pianist Norah Jones. This will mark the first show Norah has done with Tank & the Bangas since 2017, aside from their performance on her podcast.
In addition to Jones, other special guests announced include Keyon Harrold, Big Freedia, Kat Edmonson, Brandee Younger, Isaiah Sharkey as well as surprise sit-ins. Tank and the Bangas will also spend two nights covering The Music of Green Balloon and The Music of Red Balloon.
Coming from New Orleans, Tank and the Bangas are surrounded by plenty of grand musical traditions. And the five-piece group has a rare knack for combining various musical styles- fiery soul, deft hip-hop, deep-groove R&B and subtle jazz- into one dazzling, cohesive whole that evokes the scope of New Orleans music while retaining a distinctive feel all its own. “It’s music that can’t really be put in a box,” says singer and poet Tarriona “Tank” Ball.
Blue Note New York is located at 131 West 3rd St in Manhattan
Tank and the Bangas Blue Note Residency Lineup
FRI NOVEMBER 11 – THE MUSIC OF GREEN BALLOON + NORAH JONES – 8 PM & 10:30PM ET
SAT NOVEMBER 12 – THE MUSIC OF RED BALLOON + SURPRISE GUESTS – 8 PM & 10:30PM ET
SUN NOVEMBER 13 – KEYON HARROLD – 8 PM & 10:30PM ET
FRI NOVEMBER 18 – BIG FREEDIA – 8 PM & 10:30PM ET
SAT NOVEMBER 19 – KAT EDMONSON & BRANDEE YOUNGER – 8 PM & 10:30PM ET
SUN NOVEMBER 20 – ISAIAH SHARKEY – 8 PM & 10:30PM ET
The infamous Paramore has announced a huge North America tour for 2023 taking place in 26 cities with support from Bloc Party, Foals, The Linda Lindas and Genesis Owusu. They will be making stops in one of NYC’s most iconic venues such as Madison Square Garden Tuesday, May 30th, 2023.
When Paramore revealed they were recording together in January 2022 the response from music fans around the world was immediate and celebratory. Paramore’s hotly anticipated sixth studio album This Is Whywill be released via Atlantic Records on February 10, 2023.
Paramore have become more popular than ever with a lot of their newest songs blowing up on social medias like Tiktok. Over the last few years Paramore’s influence and popularity has snowballed, as the age of streaming organically propelled them into a position as one of the world’s biggest, most culturally compelling rock bands.
For the band, who formed as teenagers in Tennessee, their 20-year trajectory has seen them grow from youthful outsiders to bone-fide pop culture icons. They currently have been permeating the musical landscape by inspiring a new generation of musical talent.Their forthcoming sixth album, This Is Why, is set for release on February 10th.
PARAMORE IN NORTH AMERICA TOUR DATES:
Tue May 23 – Charlotte, NC – Spectrum Center*×
Thu May 25 – Atlanta, GA – State Farm Arena*×
Sat May 27 – Atlantic City, NJ – Adjacent Festival!
Tue May 30 – New York, NY – Madison Square Garden*×
Fri June 02 – Washington, DC – Capital One Arena*×
Sun Jun 04 – Cleveland, OH – Rocket Mortgage Fieldhouse*×
Mon Jun 05 – Indianapolis, IN – Gainbridge Fieldhouse*×
Wed Jun 07 – Detroit, MI – Little Caesars Arena*×
Thu Jun 08 – Toronto, ON – Scotiabank Arena*×
Sat Jun 10 – Columbus, OH – Schottenstein Center*×
Sun Jun 11 – Pittsburgh, PA – PPG Paint Arena*×
Tue Jun 13 – Orlando, FL – Amway Center*×
Wed Jun 14 – Hollywood, FL – Hard Rock Live*×
Thu Jul 06 – New Orleans, LA – Smoothie King Center+°
Sat Jul 08 – Fort Worth, TX – Dickies Arena+°
Sun Jul 09 – Austin, TX – Moody Center+°
Tue Jul 11 – Houston, TX – Toyota Center+°
Thu Jul 13 – Denver, CO – Ball Arena+°
Sun Jul 16 – San Diego, CA – Viejas Arena+
Wed Jul 19 – Los Angeles, CA – Kia Forum+
Sat Jul 22 – San Francisco, CA – Chase Center+
Mon Jul 24 – Seattle, WA – Climate Pledge Arena+°
Tue Jul 25 – Portland, OR – Veterans Memorial Coliseum+°
Thu Jul 27 – Salt Lake City, UT – Vivint Arena+°
Sat Jul 29 – Tulsa, OK – BOK Center+°
Sun Jul 30 – St Louis, MO – Enterprise Center+°
Wed Aug 02 – St. Paul, MN – Xcel Energy Center+°
*With Support Bloc Party
+With Support from Foals
°With Support from The Linda Lindas
×With Support from Genesis Owusu
!Festival Performance
Tickets go on sale to the general public starting Friday, November 11th at 10am here.
Native to New York City, Craig Greenberg has been heavily involved in the region’s music scene for over a decade and a half. Greenberg has channeled the spirit of classic alternative and soul musicians, such as Billy Joel, Ben Folds and Randy Newman, while blending their influences with new narratives concomitant to his experiences, in his music.
Craig Greenberg
While his performances on stage in New York City-based venues have harnessed crowds of music fans in the Metro area, the timeline of his works begins in 2007, after the release of his rock debut EP The World and Back. Three years later, his second debut EP Spinning in Time receiving national airplay helps to conjure momentum to his career, following his third release (as well as his first full length album) The Grand Loss & Legacy being covered by Huffington Post and ranking the top of RELIX’s Top 30 Radio albums chart.
2015 “The Grand Loss & Legacy” Album Cover
His 2020 album Phantom Life carries tracks conveying a blend of sounds derived from pop and rock, and lyrical sentiments wielding an axis on life obstacles and opportunities. The Between the Sea and the Sky EP is set to be released on December 16, 2022.
Greenberg’s most recent piece is his single “Quarantine Queen” from September, 2022, which emerged from the period of the COVID-19 pandemic and touches on the frustrations he experienced in his dating life, living in NYC. Craig sat down with NYS Music to discuss his discography and upcoming release of Between the Sea and the Sky.
Heather Occhino: I came across your website and I was reading your bio just to find out more about your background as an artist, so I wanted to ask you, what made you initially pursue a career in music?
Craig Greenberg: Well I actually feel the path chose me.. When I graduated from college and I was mainly just a guitar player I didn’t think I was up for the lifestyle of being a musician. I tried out other creative areas (including comedy writing) and also considered studying creativity for a graduate degree in psychology. It wasn’t until I finished my first few full songs that it started to click in my head that I could actually do it. And then a couple years later when I got my first gig singing in bars (while living abroad in South America), that was my no turning back point.
HO: I read in your bio that your independent work of pop/Americana music started with your ‘The World and Back’ EP back in 2007. What drove you to make music within that genre (were you involved in that music scene growing up?)
CG: I didn’t set out to make music in that genre.. I just got labeled that way. I actually think “Americana” is used as a default when there isn’t a more apt description or if the reviewer is lazy (lol). As far as the “pop” description, I think I’ve always had a good sense of writing hooky melodies, so maybe that’s where that came from.
HO: Going more into your biography on your website, I also saw that your debut album, “The Grand Loss & Legacy” was included in a publication by the Huffington Post and received national airplay and was ranked in another publication as being in the Top 30 Radio albums. (Congratulations) How did that momentum impact you and what did it mean for your career, moving forward from that point?
CG: Well it certainly put me on the map in terms ofindustry recognition.. especially from the singles “That Girl is Wrong for You”, and “Death on the Liberty Line” that got praise from the HuffPost and Relix magazine and received airplay around the country. And that album also gave me confidence to move closer to what my band sounds like live, a more raw and rocking sound. That was rewarding and liberating!
HO: Your latest single that came out last month on the 30th is called “Quarantine Queen”. Is it intended to be about anyone in particular, perhaps someone dear to you in your life?
CG: Well, sometimes my songs are true stories, sometimes they’re based on a true story, and sometimes they’re complete fiction. Quarantine Queen would fall in the last category. It came out of a lonely period during the early days of the pandemic in NYC. I was frustrated with the reality of dating during those weird times and wrote a song about my dream companion to spend lockdown with.
HO: Is this song set to be part of your upcoming EP to be released in December?
CG: Yes
HO: I read that your music reflects the experiences you are going through. That leads me into my next question, which is, do you find that the emotional tones you inject in your music are part of a more spontaneous creative process or do you usually plan prior on what type of energy a project is going to deliver?
CG: I find that the emotional feeling in my songs can come out of my experience, but also could be just a mood I’m in, but for sure it’s never planned in advance–I never sit down and say I want to write a song about this or that topic. Generally I sit at the piano (or guitar) and just see where the feeling in the moment takes me. Though when making an album, the songs I choose to record may be based on wanting to have a variety of mood and energy to give it range.
HO: When and where do you plan on performing next?
CG: Rockwood Music Hall, Dec 21st – it will be the EP release show!
HO: In the last part of your bio, I read that you performed with prominent musicians such as Mike Gordon of Phish, Jackson Browne and Victor DeLorenzo from Violent Femmes. Do you plan on working with musicians like the ones just mentioned again and what has the experience of performing with big names given you?
CG: Well, I would jump at the chance to perform with any of them again. Aside from Jackson Browne, who I’ve had the extreme privilege of getting to know a bit and performing with a few times over the years, the others were more random occurrences. Victor DeLorenzo was at a songwriting event I attended for many years in the mid-west, and we have many musical friends in common, so there’s a decent chance our paths will cross again.
The simple definition of a troubadour is that of a poet bringing lyrics to song. Gene Casey’s music has been captivating the East-end of Long Island for decades. During the first week in November, I had the honor to interview Gene Casey on The Long Island Sound podcast. A self-defined Roots-Rock, Alt-Country musician, Casey and the Lone Sharks deliver a show to behold. Gene’s deep baritone voice smoothly moves between covers of Cash and Presley to his vast catalog of original songs.
The Lone Sharks – The Bar Band of the Hamptons
Most of my interviews are done virtually, which provides a speed-dating type of vibe, which allows a deep dive into the artist behind the music. As luck would have it, Gene Casey and the Lone Sharks were playing in my backyard, at a venue in Bay Shore, called Fire Island Vines. The crowd thoroghly enjoyed the show and could not wipe the smiles off their faces.
Well-known as the “Bar band of the Hamptons” Gene and his troupe ventured West. The Lone Shark’s lineup includes Chris Ripley (drums), Tom Hopkins (Upright Bass), Paul Scher (Tenor Sax) and Gene Casey (Lead Guitar). Gene’s performance harkened my mind back to a time when a 1950’s four-piece could provide the big sound and the simplicity of arrangement that draws you into another time and place, allowing you to forget the troubles of the day.
Stellar Performance
I was captivated by Friday night’s performance. Gene is a master entertainer, connecting and cajoling the audience as several danced to his Rockabilly rhythms. His song, “I love what I do”, is a memorable diddy well worth the download.
During Gene’s podcast episode, we were able to gaze into his songwriting process, his sojourns to Nashville, and adventurous career.
In 2014, Gene and the Long Sharks received the Long Island sound Award by the Long Island Music Hall of Fame, “for contributions to the Island’s musical landscape.” Over the years, Gene’s music has been on the soundtracks of television shows and featured films. Gene Casey has shared the bill backing legends of Rock & Roll acts such as The Band, Wanda Jackson and Bo Diddley
Songwriting Style
I queried Gene about his Alt-Country and Roots-Rock writing style:
Writing a country song. And I liked that, because, you know, just get to the point, back up the point and move along. Lyrically, yep. And it’s not easy to do. Because there’s no filler, no waste, you got to be every syllable, every syllable in a Hank Williams song is there for a good reason. There’s nothing, no waste.
Gene Casey
Gene and the Lone Shark’s dance card is full these days. Besides the various gigs and shows Gene hosts “Down Home Country” on WUSB 90.1FM, as the alternate host for this long running radio program covering a century of Country Music every other Sunday.
If you want to Rock the Town during the holiday season, there’s one Rock & Roll Christmas show not to be missed at the Suffolk Theater in Riverhead, NY. This annual holiday event dubbed “A Rockabilly Christmas” features the great Jason D. William, his pumpin’ piano along with Gene and the Lone Sharks.
For most 15-year-old musicians, playing Carnegie Hall is a feat, marked by years of strife, effort, apprehension and excitement. It’s the event of a lifetime, a venue that represents decades of tradition in music and excellence. Most 15-year-olds won’t know the pressure of playing Carnegie Hall. But for bassoonist Dmytro Tishyn, playing Carnegie Hall on November 20 with the New York Youth Symphony is far from the first thing on his mind. In February 2022, Dmytro Tishyn hoisted a backpack and his bassoon onto his back and boarded a 24-hour train ride to Poland as a refugee, leaving his Ukranian home, parents, grandparents and brother behind.
Instead of looking at it as an evacuation, Tishyn looked at his three month departure from Ukraine — the days long train ride, the cab ride across Poland’s border, the three month long stay in Berlin — as an adventure.
That adventure has culminated with Tishyn taking the stage with the New York Youth Symphony, under Music Director Micahel Repper, with violinist Francisco Fullana. The concert will feature Gabrieela Lena Frank’s “Escaramuza,” Édouardo Lalo’s“Symphonie Espagnole,” featuring Fullana, Ari Sussman’s First Music Commission “I hope this finds you well” and Georges Bizet’s “L’Arlésienne Suite 1 & 2.”
The show is on Sunday, November 20 at 2 p.m. and tickets are starting at $18. Even though Carnegie Hall is a long way from Ukraine, Tishyn still manages to keep his family close. When he takes the stage on Sunday, it will be with his father’s bassoon.
