The Brewster Summer Music Series in Brewster, NY has announced its lineup for the first annual festival, happening every Saturday night this summer from June 11-July 23.
The venue, photo by Jacque Roche.
Brewster is a town in southeast Putnam County incorporated in 1894. It gets its name from Walter Brewster, who invited the New York and Harlem Railroad to build a depot on his property.
Famous singer Laura Ann Branigan was born in Brewster. Her platinum-certified 1982 single “Gloria,” stayed on the U.S. Billboard Hot 100 for 36 weeks. It also peaked at number 2, a record for a female artist, and number one in Australia and Canada.
The free outdoor concert series will feature a lot of different acts. Fundraising to begin the festival started in 2021, and different community businesses helped with it. Those attending are told to bring lawn chairs, blankets, picnic dinners, cold beverages, etc. It will take place at the gazebo at the corner of Railroad and Morningthorpe Avenues in Brewster.
Today we celebrate the anniversary of the first Phish show ever held at New York City’s esteemed Radio City Music Hall. Fresh off the heels of a New Year’s Millennium celebration in the Everglades that made headlines worldwide, Phish was ready to take on the year 2000 with a Spring Tour of Japan on the books. But first, they would play a few gigs in New York City to dust off the cobwebs and help support their album Farmhouse which was released just days earlier. On this the first of a two-night run here, Phish would wind up playing about half of the new album’s songs while mixing in other classics in a show that certainly lived up to the anticipation surrounding it.
Phish seems to soak in the applause for a bit from a raucous Radio City Music Hall before starting the show with thunderous “First Tube” that seemed to move the ground itself. Mike Gordon’s constant, unwavering bass line dominates this one pulled from Farmhouse that continues to be a mainstay at shows to this day. A familiar first set face in “Wolfman’s Brother” gets played next, adding a veritable dose of funk to the revered music hall, with sound coming through in pristine fashion thanks to Radio City’s amazing acoustics.
An early show “Squirming Coil” then makes an appearance. The “Little Jimmy’s off to camp” line seems to get a noticeable roar of approval from the crowd, perhaps in respect to last summer’s legendary (and sweltering) Camp Oswego festival in Upstate New York. After a fairly brief Page McConnell closing piano solo, the opening to “Possum” emerge which reenergizes Radio City and then some with the floor once again seeming to have a discernable bounce to it, especially on the upper levels of the building. After a brief pause, the funk returns once more, this time courtesy of a bubbly “Moma Dance.”
Once “Moma” comes to a rolling stop, the opening chords to “Limb By Limb” ring out, a fellow Story Of The Ghost selection. “Limb” elicits one of the finer jams of the first set, one that slowly increases in fervor and intensity, with McConnell and Trey Anastasio on guitar musically sparring back and forth, before it closes with Jon Fishman alone on drums. “Character Zero” then wraps a bow around the much anticipated first Phish set at Radio City, a spirited and well-played one with fairly standard selection of songs for 2000.
The second set stays very much in that same vein, beginning with a “Gotta Jibboo” that produces the next standout moment of the evening. The band is instantly locked in on a blissful jam that takes off right away, aided by Anastasio’s signature digital delay loop running underneath it the entire time. This momentum carries squarely into the “Down With Disease” that comes next. The band rips through the composed section and jumps immediately into an aggressive high-octane jam that starts strong and never really lets up, with Fishman pushing both the tempo and the limits in a masterclass of drumming. Eventually, Trey reintroduces the digital delay loop with Page adding in some harrowing organ fills as the band takes their time crafting this one. It all adds up to a 20-minute “Disease” that’s the highlight of the show and one of the better ones ever played to date.
In a true case of juxtaposition, Phish lets the crowd catch their breath a little and trots out the introspective “Dirt,” yet another Farmhouse selection. This would actually begin a three-song run from the new album (and four of five including “Jibboo”) in the second set as “Twist” follows and brings with it a mellow, groove-infused jam that turns into near ambience.
This lays the foundation for “Piper” and its customary (at the time) slow build introduction. “Piper” goes from slow to lightening quick in a hurry, with Anastasio shredding out the main chords in rapid fashion with Fishman, once again, doing some otherworldly business on the drums. Instead of stretching “Piper” out further, it comes to a rather abrupt stop and Phish pivots to “Harry Hood,” much to the delight of the Radio City crowd.
Phish doesn’t mess around with “Hood” and delivers a splendidly euphoric version of one their signature songs, a slow build of emotion before cresting perfectly. A second set full of music and memorable jams could have easily ended right there with few complaints. But from the ashes of “Hood,” McConnell emerges alone on piano and begins “Wading In The Velvet Sea” to add another emotion-provoking song to the list. Afterwards, both he and Trey expressed their appreciation for being able to play at Radio Music Hall, where they had both been able to see the great Stevie Wonder perform, with Trey making some especially poignant and heartfelt remarks about the current state of Phish and the scene it has created.
With that said and done, the resurrected “Guyute” then closes out the second set in grand fashion. The “I hope this happens once again line” at its completion gets another extra round of applause from the crowd. For an encore, Phish trots out one last Farmhouse selection with the acoustic “The Inlaw Josie Wales” before “Loving Cup,” the lone cover song of the night, sends the Radio City crowd home glowing, eagerly anticipating what’s to follow in round two tomorrow.
Take a listen to the whole show below or song by song at PhishTracks.
Phish Radio City Music Hall – New York, NY 5/21/00
Set 1: First Tube, Wolfman’s Brother, The Squirming Coil, Possum, The Moma Dance > Limb By Limb > Character Zero
Set 2: Gotta Jibboo, Down With Disease > Dirt, Twist > Piper, Harry Hood > Wading In The Velvet Sea, Guyute
Griselda Records’ Westside Gunn, Conway The Machine and Benny The Butcher are currently on the “Claires Back Tour” with special guest Doe Boy. On Thursday May 18th, they played a sold out show at Terminal 5 in NYC.
Conway The Machine at Terminal 5
The two and a half hour show started with a set from Westside Gunn that featured Stove God, Rome Streetz, Yn Billy and Armani Caesar. At the end he brought out Benny to start his set with a collaboration of “Lotto”from Gunn’s Fourth Rope album.
Westside Gunn at Terminal 5
Benny’s set included songs from Tanya Talk 3, The Plugs I Met and his newest album Tanya Talk 4 as well as appearances by Stove God and members of BSF. Benny ended his set by introducing Conway with a “Tito’s Back” collaboration from Conway’s Look What I Became mixtape.
Benny The Butcher at Terminal 5
Conway’s set included songs from his newest album God Don’t Make Mistakes as well as his collaboration album with Alchemist Lulu, and his 2020 debut solo album From King To A God. His set also included appearances by 7xvethegenius and Jae Skeese. The show ended with songs all three members are featured on including John Woo Flick and Dr Birds.
The 10-city tour from the Griselda Records artists includes stops in Rochester, Boston, New York City, Washington D.C., Atlanta, Dallas, Denver, San Francisco and Los Angeles. You can see the rest of the tour dates here.
Celebrating 518 Day on May 18th, bass-heavy psychedelic prog rock ‘bastards’ Primus made their triumphant return to Albany. Amidst a special 46 date, coast-to-coast tribute tour paying homage to fellow prog-rock legends Rush and drummer Neil Peart, the influential Bay Area trio performed two distinct sets; one of original music and the other, a full cover set of Rush’s seminal 1977 album A Farewell to Kings.
Curated by charismatic Primus front man and bass playing virtuoso, Les Claypool, the only logical venue suited for an occasion of such royal proportions was downtown Albany’s historic Palace Theatre.
Les Claypool of Primus performs at the Palace Theatre in Albany 5/18/22
The man, the myth, the compulsive entertainer, Les Claypool has arguably been one of rock’s most influential players of the last thirty years. Creating a mythical, almost cult-like following through his multitude of side projects, some may know him from his time with Trey Anastasio and Oysterhead , or with Buckethead and The Flying Frog Brigade, or more recently with his “Delirium” collaboration with Sean Lennon, son of Yoko and John. An impressive pedigree to be sure, but make no mistake, Primus has always been the bread and butter for Les and also his most successful.
But what made him want to start playing music in the first place?It all goes back to a single day in 1978 when a young Claypool attended his first ever rock concert. Performing that night was a young Canadian banned named Rush. Mesmerized by what he saw on stage, it was then Claypool decided music was what he wanted to do with the rest of his life. 14 years later and now spearheading a colorful band of his own dubbed “Primus,” things came full circle when they were offered a supporting slot on Rush’s 1992 tour. They say never meet your heroes or you’ll be disappointed, but in the case, the two bands shared an instant connection and would develop a close friendship organically through years of touring together. According to Claypool, paying tribute to Rush is simply a way to say “thank you” for all of their inspiration.
Primus performs at the Palace Theatre in Albany 5/18/22
Bringing the “Tribute to Kings” Tour to the Palace Theater this past Wednesday, fans turned out in droves, but not necessarily to see Primus. With the passing of iconic drummer Neal Peart, Rush played their final show in August of 2015, yet based on the sheer amount of vintage Rush t-shirts and memorabilia that was present at the Palace, it’s fair to say there is still a significant demand for their music. If there is any three-piece unit that has the talent and the chops to fill that void, it would have to be the mighty Primus.
Taking the darked Palace stage as the customary Danny Elfman “Pee-Wee’s Big Adventure” theme piped in over the PA, Claypool, along with guitar player Larry “Ler” LaLonde and frummer Tim “Herb” Alexander, wasted no time in letting their intention be known. Playing the type of songs that don’t exactly fit well with the radio format, class was in session early as Primus opening their performance with an “American Life” history lesson. Complete with a massive rear projector high above the stage displaying hypnotic video loops and depicting things like immigrants registering at Ellis Island, the Statue of Liberty, along with images of Mount Rushmore and Honest Abe, the projections would subtly change to a ‘military marching orders’ theme during classic Primus cuts like the songs “Too Many Puppies” and “Sgt. Baker.
The low-end pulse would beat a little louder (and darker) on the next song, 1989’s repetitive, percussion-heavy trance educing song “The Pressman,” after which Claypool claimed the band had not played in a while. One of the highest highlights of the first set came next with a rare “Professor Nutbutter’s House of Treats” which segued nicely into a “Del Davis Tree Farm” bust-out, played for the first time since 2017. Sensing an opportunity to slip in something new, Primus then unloaded their brand new sprawling and groovy single, the covid-inspired, tongue in cheek eleven minute opus “Conspiranoia.” The opening set concluded with a condensed mash-up of “Welcome to This World” and the always awesome “My Name Is Mud.”
Primus performs at the Palace Theatre in Albany 5/18/22
From there the Rush was on, literally. In an evening billed as a “Tribute to Kings,” Primus would honor their musical heroes by performing the 1977 classic Rush album A Farewell To Kings in its entirety. Other than a minor wardrobe change and Claypool trading in his signature Carl Thompson ‘Rainbow’ bass for a black and white Rickenbacker model, Primus tore through the set with such complete confidence it almost made you forget these were someone else’s songs.
Technically proficient, it was the vocals that proved to be the biggest challenge for Claypool. At one point addressing the audience between songs, acknowledging Geddy Lee’s high pitched (and often polarizing) vocal style isn’t exactly “easy” to mimic and then encouraged those who knew the lyrics to try and help sing the next one, then launching into one of Rush;s biggest radio hits, “Closer to the Heart.” For a brief time during “Xanadu,” both Claypool and Ler could be seen wielding a pair of huge, double necked axes. Allegedly the first to ever play an electric 12 string bass, Geddy Lee claims Rickenbacker specifically built the first one for him.
After witnessing Lee perform with the mammoth instrument at his first ever concert, Claypool confessed he’s wanted one ever since and joked that it took him all these years to finally be able to afford one. Always cracking wise, Claypool would also make several light-hearted jabs at the people in the first few rows who were still inexplicably sitting down, saying “it’s that mutual exchange of energy that [he] feeds off and that if he has to remain standing through the entire performance, everyone else should be up off the asses too.” Les then dove into his favorite Rush song of all time, the set closing “Cygnus x-1.” Just prior to the encore, Claypool would later apologize to anyone who may have been offended by his heckling and then proceeded to drop into the opening notes of Primus Frizzle Fry fan favorite “Groundhog’s Day” from 1990. Still not satisfied, fans begging for “just one more” were treated to a tune Claypool introduced as “a true story about a friend…who was addicted to crack.” His name was Harold.
Primus performs at the Palace Theatre in Albany 5/18/22
Coming to a close a little before midnight, most people stayed all the way to the end as the theme from the original “Charlie and Chocolate Factory” helped send them home with a smile. There was a little something for everyone at this show. Sure, real Primus fans want to hear all Primus all the time and the faithful Rush fans were probably a little overwhelmed by the undeniable heaviness and some of the weirdos the Primus scene tends to attract, perhaps even hoping for another radio hit like “Tom Sawyer” or “Spirit of the Radio.”
The real winners on this night were the scores of young fans in attendance. Similar to the way Les Claypool’s life was forever changed by his first concert, you couldn’t help but notice the abundance of skid fathers who brought their boys with them. Perhaps the sentimental notion of passing the prog-rock crown from Rush to Primus? Or maybe they just couldn’t find a babysitter? Or maybe, just maybe the next great virtuoso bass player was sitting right there in the Palace Theatre all along, absorbing the magic of live music at their very first concert. One thing is for sure, Primus most certainly does not suck.
Primus | May 18th, 2022 | Albany, NY | Palace Theatre
Set 1: American Life, Too Many Puppies(>)Sgt. Baker(> ‘Too Many Puppies’ reprise), The Pressman, Last Salmon Man, Conspiranoia, Professor Nutbutter’s House of Treats, Del Davis Tree Farm (First time live since 2017), Welcome to This World, My Name Is Mud
Set 2: A Farewell to Kings, Xanadu, Closer to the Heart, Cinderella Man, Madrigal, Cygnus X-1
Encore: Groundhog’s Day, Harold of the Rocks, Follow the Fool >Harold of the Rocks Reprise
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
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.
