On Jan. 14, Long Island pop punk band, Lupopunk, released its second single, “Before You Go,” from their upcoming untitled EP.
https://www.youtube.com/watch?v=oa9SudVKJG0
Lupopunk’s previously released single, “Don’t Think I Forgot About You” from their upcoming EP.
On “Before You Go,” Lupopunk delivers a vintage pop punk performance, one that was frozen in ice back in 2003 and made to be thawed out under the blazing studio lights of an MTV stage. Except that MTV doesn’t play music anymore and pop punk turned out to be a fad. Which complicates the whole ordeal. How do you judge a good single from an outdated genre that barely holds any cultural bearing? Or should it not even matter because art should exist for its own sake and not to please, serve, and/or be sold to an audience?
Lupopunk’s recorded their new single “Before You Go” with John Naclerio of Nada Recordings.
If you’re a fan of pop punk Lupopunk’s new single, “Before You Go” is like a fond childhood memory that triggers a rush of emotions and a longing for a time when all the things you loved were at the center of your world. The powerful guitar riffs with the emphatic chords, the angst-ridden vocals, the drums which demand attention all combine to make for a true “they don’t make ‘em like they used to” performance.
When I first started Lupopunk it was going to be just an acoustic project…[but] I started to record that and demo it and realized that I’m going to finally do my pop punk stuff.
Matty Lupinacci, Lupopunk front man
Lupopunk’s lead vocalist, Matty Lupinacci, a long-time staple of the Long Island punk scene, will perform live for the first time in 14 years on Saturday 1/15 at the Massapequa VFW Hall.
On January 26, the Binghamton Philharmonic and AudioClassics will be honoring Fritz and Marianne Wallenberg with a presentation of historic performance recordings. Wallenberg was the founder of the orchestral group, which would eventually come to be known as the Binghamton Philharmonic.
Fritz Wallberg conducting the Binghamton Symphony and Choral Society
Originally referred to as The Community Symphony Society, and later the Binghamton Symphony and Choral Society, Wallenberg would help it grow into the renowned organization it is today. Past orchestra members and students of Wallenberg have named him as an integral part of the community and someone who has reached many people during his time as a conductor.
The twenty years of recordings were given to the Philharmonic during Summer 2020 and the organization has worked to raise funds to digitize the recordings for open access to the public. There are currently a number of recordings available on the Wallenberg Legacy youtube channel and fundraising efforts for the campaign are still underway.
Made by Marvin Fred Kelly, Jr of Custom Recording Studio, the recordings range from a Christmas performance in 1958 all the way through to 1978. The presentation will take place during a benefit at the Kilmer Mansion. Tickets, as well as more event information, are available here.
Peter Stone’s debut EP, “Unlabeled“, delivers an eminently listenable and creatively integral album. It’s a work whose influences are clear—R&B vocals, 80’s synthesizers, pop beats—but who’s originality and creative vision are even more evident.
Stone’s work features a knack for melodies that are sonically complex and rich with texture but that are, nonetheless, earworms that stick with you as you listen. Even though he recorded the album in 2020 during lockdown in his native Italy “when he couldn’t have any contact with anyone [which] was a really tough time” his ability to guarantee head-bobbing tunes belies the conditions under which the EP was recorded.
Although his ability to do so appears effortless the quality of the music suggests it likely wasn’t. Rather it was the product of a detailed process of intentional musical choices from his myriad influences. On “Cold,” the album’s likely hit, his mix of R&B crooning and 80’s synthesizers combine to make what is ultimately a pop song of the highest order.
Stone doesn’t have an aversion to pop music. Even if we admits that it’s not one of the guiding inspirations of his musical process.
“Pop is one of the genres I’m up to put myself in even though [I’m not] mainly inspired by it when it comes to the writing and the production of my songs,” acknowledged Stone.
Even if it isn’t his main inspiration there’s no denying that it’s the outcome. On “Lead Me”, the first song on Peter Stone’s debut EP, he sings “She’s dancing on the floor/She’s moving on the floor” over pulsating synths and basses.
His obvious talent for creating uniquely creative, yet accessible music is on delves into new spaces with “Save Me” and “Trust.” The first is an emotional piano ballad, with Stone playing the keys, that while still feeling slightly like a young artist’s imitation of what they think an emotional song should sound like; has lyrics that effectively portray a person that’s fractured and realizing that they have to put themselves back together.
On “Trust” Stone exhibits a mature understanding of song composition that is reflexive of a clear creative vision, executed with purpose. The song is a three-parter but to say more would spoil the mix of delight and intrigue one feels at its transitions. All of which are unlike both each other and the rest of the songs on Unlabeled offering a glimpse into Stone’s multidimensionality as an artist.
His multitude of influences might have created a genre blending debut but ultimately all that matters is that once you listen to Peter Stone’s debut EP…you’ll want to listen to it again.
Annie in the Water have announced a slate of winter tour dates, ahead of the release of their forthcoming studio album, Sun at Dawn, set to be released Friday, March 4th.
Artwork by Tony Campono, based on a photograph taken by Matt Richards at dawn on Going To The Sun Road at Glacier National Park.
Recorded directly to tape at Artfarm Recording in the heart of the Hudson Valley and mixed by Corey Hayward, Sun at Dawn represents the band’s time spent independently at home, together in the Adirondacks, and on the road again with their fans.
Our forthcoming album Sun at Dawn represents the paths we took in life as individuals and how it brought us together in the band. The album consists of songs that were written along these separate life experiences and are joined by songs that were written together as a band. The sun at dawn illustrates that this is just the beginning of our adventures musically and as friends.
We have a lot planned for 2022. Beyond releasing our newest album we are lining up bigger tours than we have had in recent years. Not only that, but we have also began writing more new material after the recording process of the upcoming album ended. We are fully prepared to hit the ground running when the music scene begins to boom again and we can’t wait to show everyone everything we have been working on!…
Matt Richards, Annie in the Water keys
Annie in the Water’s sound has a groove filled combo of reggae, funk, rock, blues and jam, written with a conscious dose of positive vibes, unique melodies and intelligent lyrics. The group has the ability to fill an entire night with original music and also render well-known covers in their signature style, giving fans extraordinary experiences to share that can’t be seen anywhere else.
Comprised of members Brad Hester (Lead Vocals/Rhythm), Michael Lashomb (Lead Guitar/Vocals), Ryan Trumbull (Drums/Vocals), Chris Meier (Bass/Vocals), Matt Richards (Keys/Vocals) and Brock Kuca (Percussion/Vocals), each performance is another adventure, both exhilarating and everlasting. The group creates a blend of music and entertainment that is inspired by the audience and the moment; the fan-base grows with every single performance in large part due to the indisputable fact that Annie in the Water will make people dance and feel happier no matter their age.https://www.youtube.com/watch?v=wKxG7B35Btg
Annie in the Water Winter Tour 2022 Dates
1.26 Buffalo Iron Works // Buffalo, NY ^ 1.27 Parish Public House // Albany, NY ^ ! 1.28 Sonia // Cambridge, MA ^ 1.29 Nectar’s // Burlington, VT ^ ! 1.30 Portland House of Music // Portland, ME ^ 2.4 Waterhole // Saranac Lake, NY * ! 2.6 Mercury Lounge // New York, NY ^ 2.10 Funk ‘n Waffles // Syracuse, NY 2.11 Froggy Daze // Kerhonkson, NY
^ w/ Eminence Ensemble ! Annie in the Water Headlining show
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 Shortwave RadioBand, Paul Moody, Hanzolo,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.
ShortWave RadioBand
Last week, ShortWave RadioBand released their newest single, “SomeDay.” An upbeat rock song about looking ahead to brighter days, the accompanying music video is on its way. “SomeDay” follows the Schuylerville trio’s debut single, “Don’t Care,” which previously featured on EQXposure in November 2021. Listeners can expect the band to release their first EP later this year.
Paul Moody
Continuing this week’s theme of positivity, singer-songwriter Paul Moody has released “Letting Light In.” The calming folk song is about being receptive to new connections and relationships, particularly with one special person: “I was king of the lonesome, but I gave up the throne / For what good is a kingdom, when you rule all alone?”. While its melody is simple, the song crescendos into a sweeping instrumental halfway, almost mimicking the blooming of sunflowers.
Hanzolo
“Goldmine,” the opening song on Hanzolo’s self-titled album, expertly blends soul, funk and pop. There’s rarely a dull moment on the four-minute track, which smoothly glides along and promises plenty of replay value. Hanzolo, a seven-piece alt-funk band, sounds current and clean while still drawing upon retro influences like Motown.
Today marks the anniversary of one of the last Grateful Dead shows ever to take place in Utica. It comes at a time that’s the end of an era, so to speak, as Keith and Donna Jean Godchaux’s final shows with the band would take place the following month in February before keyboardist Brent Mydland’s tenure began soon after. It’s not a very widely circulated show by any means; the lone audio copy is far from pristine and, supposedly, technical issues plagued the concert that night. It’s the third of four shows that the Dead would play at Utica Memorial Auditorium and one of the final times that fans in New York, and the Northeast for that matter, would be able to see the Godchauxs on stage.
In a fitting nod to the locale and season, the Grateful Dead greet Utica Memorial Auditorium with “Cold Rain And Snow.” The rowdy auditorium crowd eats it up, whistling and clapping endlessly throughout. A couple of crisp runs from Jerry Garcia on guitar give way to some engaged harmonies by song’s end, starting the show off nicely. First set stalwart “New Minglewood Blues” follows with the Utica faithful still very much engaged, taking the collective whistling of approval to another level. “Dire Wolf” does little to temper the audible energy, with Garcia’s signature guitar solo showing plenty of pep in its step. Bob Weir then tags back in on lead vocals for a jazzy “Me And My Uncle” which flows seamlessly into a rather percussive “Big River,” a song pairing that started the previous year and would remain popular for the rest of the Grateful Dead’s career.
The breakneck speed of all the songs after the opener finally comes to a halt with “They Love Each Other,” played very much in its low tempo format, lending itself much better to Donna Jean’s vocal harmonies which are also prominently featured alongside Weir for the emotional “Looks Like Rain” that comes next. A top notch “Brown Eyed Women” with a few more remarkable runs by Garcia up and down the fretboard follows, although it’s marred a little by some audio difficulties on the recording. The first set then begins to wrap up with a cover Bobby Womack’s “It’s All Over Now,” perhaps foreshadowing the upcoming end of an era. It’s a spirited version though, with Garcia and Keith Godchaux on piano trading fills back and forth. After a run through the folksy “Jack-A-Roe,” a regular cover at future Garcia solo gigs, the set comes to a close with another legendary pairing of songs “Lazy Lightning” and “Supplication.” The jam connecting the two is very much energetic, heavily psychedelic and fueled with extensive work on the drums from the Rhythm Devils, a great sign for the second set to come.
After a set break to rehydrate and reenergize, the second part of the show begins with somewhat of a first set feel to it. “I Need A Miracle” has a slightly extended Garcia-driven jam neatly attached to it which builds the platform for a launch into a boisterous “Bertha.” The communal good vibes keep moving along into a customarily raucous cover of “Good Lovin’” with Weir taking his usual liberties with vocals before “Stagger Lee” mellows things out a tad.
Finally, for a show bereft of much deep end improvisation, the next few numbers do their best to make up for it. The composed section of “Estimated Prophet” is played to near perfection, minus some off kilter early Garcia vocals, before later devolving into near silence (with the exception of more whistlers) for a soaring, exploratory jam that literally builds itself from the ground up. As the pace reaches a crescendo, some familiar guitar chords begin to seep through and the Dead are off and running in Utica with a blisteringly quick “Eyes Of The World.” Garcia dazzles once more in the song’s first jam with a jaw-dropping flurry of notes that can’t seemingly be played any faster. The second one is dominated by the rhythm section of bassist Phil Lesh and the drummers so, naturally, this makes its way into the “Drums” portion of the evening, shining the spotlight on Bill Kreutzmann and Mickey Hart for a while.
View this and more Grateful Dead shows from across the years in New York State with our interactive map below!
A rather choppy-starting “Iko Iko” slowly but surely emerges from “Drums” and it’s played at a much slower tempo than it would be in the years to follow, making for an interesting early version. At its conclusion, the familiar noodley opening jam of “The Other One” begins to develop before Lesh’s thunderous opening bass riff confirms it. It’s a short but sweet take that serves as the evening’s last true dip into psychedelia.
Oddly there would be no encore for this show. Instead it wraps up with the lead singers going back and forth one last time. First, Garcia leads the band through a soulful “Black Peter” before Weir does the same for a show-closing cover of Chuck Berry’s “Around And Around” that has both he and Donna Jean trading lyrics back and forth by song’s end.
Grateful Dead – Utica Memorial Auditorium – Utica, NY 1/14/79
Set 1: Cold Rain And Snow, New Minglewood Blues, Dire Wolf, Me And My Uncle > Big River, They Love Each Other, Looks Like Rain, Brown Eyed Women, It’s All Over Now, Jack-A-Roe, Lazy Lightnin’ > Supplication
Set 2: I Need A Miracle > Bertha > Good Lovin’, Stagger Lee, Estimated Prophet > Eyes Of The World > Drums > Iko Iko > The Other One > Black Peter > Around And Around
Pop-rock trio Hanson announced their Red Green Blue Tour to follow a release of their new album Red Green Blue, with stops at Empire Live and The Beacon Theatre.
The band of brothers is a three-time Grammy-nominated pop-rock trio, selling over 16 million albums, and performing for over three million fans.
Hanson, photo by Jonathan Weiner.
Created in 1992 in Tulsa, OK, Hanson established a regional following before getting international fame, with a string of top 40 singles.
The new album Red Green Blue will be released on May 20, and it will mark 30 years of the band being together. Speaking about the milestone, they said this.
Going into our 30th year as a band we felt like it was imperative we continue to tell our story like only we can, and telling stories in ways that will continue to challenge us to grow and give people new reasons to listen. Red Green Blue is about sharing what has made us a band that has been able to weather so many storms.
Hanson’s tour will be stopping all over the globe, with two NYS stops. One will be at Empire Live in Albany and the other at the Beacon Theatre in NYC.
The band plans to release singles to accompany the album, one on February 11, one on March 11, and one on April 15.
Hanson
Tickets to see the Red Green Blue tour can be found here, with tickets going on sale at 10 AM local on January 20.
Hanson 2022 Tour Dates
EUROPE: JUNE 8 – Helsinki FINLAND – House of Culture 10 – Stockholm SWEDEN – Berns 12 – Oslo NORWAY – Vulkan Arena 13 – Goteborg SWEDEN – Pustervik 14 – Kolding DENMARK – Godset 16 – Hamburg GERMANY – Mojo 17 – Koln GERMANY – Gloria 18 – Munich GERMANY – Strom 20 – Milan ITALY – Magazzini Generali 22 – Paris FRANCE – La Cigale 23 – Brussels BELGIUM – AB 24 – Amsterdam NETHERLANDS – Melkweg 26 – Nottingham UK – Rock City 28 – Glasgow UK – SWG3 Galvanisers 29 – Manchester UK – O2 Ritz 30 – London UK – Roundhouse
JULY 2 – Bristol UK – O2 Academy 3 – Leeds UK – University – Stylus
NORTH AMERICA
JULY 12 – Houston TX – House of Blues 14 – New Orleans LA – The Joy Theater 15 – Nashville TN – Ryman Auditorium 16 – Atlanta GA – The Eastern 17 – St Petersburg FL – Jannus Live 19 – Birmingham AL – Alabama Theater 20 – Raleigh NC – The Ritz 22 – Richmond VA – The National 23 – Silver Spring MD – The Fillmore Silver Spring 24 – Philadelphia PA – The Fillmore Philadelphia 26 – Pittsburgh PA – Palace Theatre 28 – Albany NY – Empire Live 29 – Boston MA – House of Blues 30 – Hampton Beach NH – Hampton Beach Casino Ballroom 31 – New York NY – The Beacon Theatre
AUGUST 2 – Montreal QC – Corona Theatre 3 – Toronto ON – Danforth Music Hall 5 – Elizabeth IN – Ceasers Event Center 6 – Cleveland OH – Agora Theatre 7 – Detroit MI – Royal Oak Music Theatre 9 – Grand Rapids MI – 20 Monroe Live 10 – Indianapolis IN – Egyptian Room at Old National Centre 12 – St Louis MO – The Pageant 13 – Chicago IL – Aragon Ballroom 14 – Madison WI – The Sylvee 16 – Springfield MO – Gillioz Theatre 18 – Council Bluffs IA – Stir Cove at Harrah’s 19 – Minneapolis MN – The Fillmore Minneapolis 20 – Fargo ND – Fargo Brewing Company Outdoors 21 – Winnipeg, MB – Park Theater 23 – Calgary AB – The Palace Theatre 24 – Edmonton AB – Midway 26 – Vancouver BC – The Vogue Theatre 27 – Seattle WA – The Moore 28 – Portland OR – Crystal Ballroom 30 – San Francisco CA – The Fillmore 31 – Anaheim CA – House of Blues
SEPTEMBER 2 – Los Angeles CA – Ace Theatre 3 – San Diego CA – Humphrey’s Concerts By The Bay 4 – Phoenix AZ – The Van Buren 6 – Las Vegas NV – Brooklyn Bowl 7 – Salt Lake City UT – The Depot 9 – Denver CO – Paramount Theatre 10 – Kansas City MO – Uptown Theatre 11 – Wichita KS – Cotillion Ballroom 13 – Austin TX – Emo’s 14 – Dallas TX – House of Blues
LATIN AMERICA
SEPTEMBER 25 – Mexico City MEXICO – BlackBerry 27 – Guadalajara MEXICO – Teatro Diana 28 – Leon MEXICO – Foro de Lago 29 – Queretaro MEXICO – Teatro Metropolitan
OCTOBER 1 – Monterrey MEXICO – Pabellon M 4 – Santiago CHILE – Teatro Coliseo 6 – Buenos Aires ARGENTINA – Teatro Gran Rivadavia 8 – Montevideo URUGUAY – La Trastienda 11 – Porto Alegre BRAZIL – Teatro Bourbon Country 12 – Curitiba BRAZIL – Live Curitiba14 – Ribeirão Preto BRAZIL – Arena Eurobike 15 – Sao Paulo BRAZIL – Espaco Das Americas 16 – Uberlandia BRAZIL – Arena Sabiazinho 19 – Brasilia BRAZIL – Centro de Convencoes Ulyess Guimaraes 21 – Rio de Janeiro BRAZIL – Qualistage
Broadway announced new regulations requiring full COVID-19 vaccination for kids 5 and older on January 10, in the wake of the surging omicron strain sweeping across the country.
A poster on Times Square advertises West Side Story at the Broadway Theater on February 7, 2020 in New York City. – Westside Story is returning to Broadway for the first time in more than a decade, directed by Belgian Ivo Van Hove. (Photo by Johannes EISELE / AFP) (Photo by JOHANNES EISELE/AFP via Getty Images)
The new regulations will begin on January 29, 2022 and will involve all 41 theaters of the Broadway League requiring full vaccinations for children ages 5 to 11 for all performances. To be fully vaccinated, the guest attending a performance must be at least 14 days after their second dose of a two-dose COVID-19 vaccine or at least 14 days after their single dose of a one-dose vaccine. The owners and operators of all 41 Broadway theaters who are part of the Broadway League also have extended their mask and vaccine requirements through at least April 30, 2022.
Children under five years of age, who can not be vaccinated yet, must have a negative PCR test performed by a medical provider within 72 hours of the performance start time or a negative rapid antigen test taken within six hours of the performance start time to be allowed entry to the event. Also, the “Buy With Confidence” program has also been extended, allowing for flexible exchanges and refunds due to COVID-19 incidences.
Being vaccinated means on the date of the performance a guest is at least 14 days after their second dose of a two dose COVID-19 vaccine OR at least 14 days after their single dose of an approved single dose COVID-19 vaccine. Any guest whose last vaccine dose (excluding boosters) was fewer than 14 days before the date of performance must, in addition to meeting these requirements, also present proof of (a) a negative COVID-19 PCR test within 72 hours of the performance time, or (b) a negative COVID-19 antigen test within 6 hours of performance time. Proof of vaccination must come directly from the healthcare provider that performed the vaccination. Guests may display proof on a smartphone or present a physical copy. New York State residents, or anyone who received a COVID-19 vaccine in New York State, may present proof through the use of the Excelsior Pass (for more details, visit epass.ny.gov) or any other digital app.
Currently the regulations through January 28, 2022 stand as guests 12 and older will need to be Vaccinated (as defined below) with an FDA or WHO authorized vaccine AND present a government-issued photo ID such as a driver’s license or passport. (Guests 12-18 may use a government-issued ID or school ID – no photo required.) Children ages 5-11 may enter the theatre only when (1) accompanied by an adult who complies with the theatre’s vaccination entry requirements, and (2) has proof of at least one dose of an FDA or WHO approved vaccine. For international guests two doses of any “mix and match” combination of an FDA or WHO approved COVID-19 vaccine are acceptable.
For more information on the new COVID-19 vaccination requirements for kids at Broadway shows visit their website.
New York-based songwriter and artist Kevin Devine announced his new album titled Nothing’s Real, So Nothing’s Wrong, as well as its first single “Albatross.”
Kevin Devine’s new single, “Albatross.”
Devine has been making music for a long time. In the early 2000s, he performed with Miracle Of 86, which moved him forward into his own solo career. In 2015, he started his Devinyl Splits 7″ series with a variety of artists. He has also been a touring musician with Frightened Rabbit, John K. Samson, Julien Baker, and more.
Kevin Devine, photo by Erik Tanner.
His new single “Albatross” is a symbolic set of what his new album will be. Heavy drums, synth, and bass accompany Devine as the chorus spews, “If you’re sinking, sing-along/Nothing’s real, so nothing’s wrong.”
Devine decided the album will be titled Nothing’s Real, So Nothing’s Wrong through this song, and speaking of the single itself, Devine had a few words to say.
‘Albatross’ is a hard reboot, a fragmented emptying-out for us strugglers whose life experience invalidates cookie-cutter solutions or miracle cures or 21st century coping mechanisms. Where do you turn for comfort when the generally-accepted value system and discourse is this degraded and grotesque?
Kevin Devine is releasing his tenth full-length record titled Nothing’s Real, So Nothing’s Wrong on March 25, and he invites listeners in to discover the journey or self-preservation and its meaning. The album is available for preorder here.
Update: New York City Winter Jazzfest has moved all virtual for this year’s event, and will be broadcasting January 14 – 22 featuring 30+ different groups and 150 musicians performing from cities all over the world including New York City, Los Angeles, Chicago, Johannesburg, Miami, St. Louis, Rio de Janeiro, New Orleans, and more.
In line with this year’s theme, “The Feel Good,” we asked many of the musicians to perform “Feel Good” music, especially now during these challenging times, when we cannot all be together, we need the valuable musical medicine these musicians provide us. We are so grateful to all of the artists for moving mountains to make this happen.
NYCWJF founder Brice Rosenbloom
The events will start on January 14, starting with the first of four Virtual Marathon Nights More in-person events will be announced in the coming weeks. The full schedule of performers can be found here.
Performances can be accessed via winterjazzfest.com, on YouTube and Facebook. Select performances are also available on Qwest.TV and on WBGO channels.
2022 NYC Winter Jazzfest has announced its lineup running from January 13-22, 2022 presenting a full spectrum of jazz. The Artist-in-Residence will be Chicago composer and multi-instrumentalist Angel Bat Dawid.
This will be the 18th annual rendition of the NYC Winter Jazzfest. The festival was founded in 2005 and over the years has cemented a reputation as a hotbed of cultural discovery, supporting the rich growth and continued vitality of the jazz community.
This year’s festivities will include 10 nights of programming: marquee performances, including major world premieres, from artist-in-residence Angel Bat Dawid, Pino Palladino & Blake Mills, Ben LaMar Gay, Jaimie Branch, Fay Victor and Kate Gentile; a Summer of Soul screening/convo and “The Feel Good” Party with Questlove and guests; and once again our weekend multi-venue, multi-artist marathon, which has become recognized as one of New York’s most essential nightlife offerings, giving audiences full access to all participating venues and dozens of groups performing from early evening deep into the wee hours.
NYC Winter Jazzfest’s Artist-in-Residence is composer and multi-instrumentalist Angel Bat Dawid who is known in the world for the premiere of “Afro-Town Topics: A Mythological Afrofuturist Revue”. Inspired by Fats Waller, Bat Dawid presents a new original score using the traditional framework of a musical revue (a type of multi-act popular theatrical entertainment that combines music, dance and sketches) as a compositional blueprint with the intention of creating and exploring the production of new Afro sonic realities and futures. Additionally, Bat Dawid will perform a DJ set at the opening night event at City Winery on January 13 and present her Sistazz of the Nitty Gritty on January 14 during the NYCWJF Marathon.
With the support of South Arts, Mutual Mentorship for Musicians will hold its inaugural residency under the auspices of NYCWJF. Supported by a consortium of public and private funders including the National Endowment for the Arts, the Andrew Mellon Foundation and nine state arts agencies, South Arts has, through its Jazz Road Creative Residency program, provided grants of up to $40,000 this year to 52 artists or groups including M3, in order to foster their artistic and professional growth while allowing them to engage in a wide range of artistic and community projects throughout the US.
M3 was cofounded by acclaimed musicians Jen Shyu and Sara Serpa in 2020 to address ongoing gender inequity and underrepresentation in the jazz and creative music worlds, and to foster partnerships among women and non-binary musicians around the world through new composer commissions, published writings, collective conversations and other programs. The M3 residency seeks to reverse the imbalance seen at many jazz festivals by presenting 21 women and non-binary bandleaders, showcasing them across 10 days as performers, composers, workshop leaders and facilitators.
Participants include Samantha Boshnack, Romarna Campbell, Caroline Davis, Miriam Elhajli, Ganavya, Eden Girma, Val Inc. AKA Val Jeanty, Maya Keren, Erica Lindsay, Lesley Mok, Camila Nebbia, Shanta Nurullah, Cleo Reed, Michele Rosewoman, Sara Serpa, Jen Shyu, Monnette Sudler, Anjna Swaminathan, Sumi Tonooka, Fay Victor and Malika Zarra.
The current lineup for NYC Winter Jazzfest includes: Angel Bat Dawid (Artist-in-Residence), Alan Braufman, Alicia Olatuja, Allison Miller, Anjna Swaminathan, Antonio Sánchez – A Bad Hombre Project, Ben LaMar Gay, Brianna Thomas, Camila Nebbia, Camille Thurman, Caroline Davis, Chien Chien Lu, Cleo Reed, Code-Switch with Nasheet Waits, JD Allen, Eric Revis, Connie Han Trio, Craig Taborn, Dave Harrington Pranksters East, Eden Girma, Erica Lindsay, Fay Victor, Ganavya, Georgia Anne Muldrow, Gilles Peterson (virtual), Greg Ward’s Rogue Parade, Harriet Tubman, In Common: Walter Smith III and Matt Stevens featuring Kris Davis/Harish Raghavan/Terri Lyne Carrington, Jaimie Branch, James “Blood” Ulmer, James Brandon Lewis, James Francies, Joel Ross, Blaque Dynamite, Jen Shyu, Joel Ross, Julian Lage, Julius Rodriguez, Kassa Overall, Kate Gentile, Lakecia Benjamin, Lesley Mok, Louis Hayes, Madison McFerrin, Mahogany Browne, Makaya McCraven, Malika Zarra, Marc Ribot Trio, Marshall Allen, Matthew Whitaker, Maurice Brown, Maya Keren, Melanie Charles, Michele Rosewoman, Miki Yamanaka, Miriam Elhajli, Monnette Sudler, Nate Mercereau, Nate Smith +KINFOLK, Nduduzo Makhathini, Pino Palladino and Blake Mills featuring Sam Gendel and Abraham Rounds, Questlove, Ray Angry, Romarna Campbell, Rudresh Mahanthappa Hero Trio, Sam Gendel, Samantha Boshnack, Samara Joy, Samir LanGus, Samora Pinderhughes GRIEF, Sana Nagano, Sara Serpa, Sarah Elizabeth Charles SCOPE, Shai Maestro Quartet, Shanta Nurullah, Sistazz of The Nitty Gritty, Steph Richards +Supersense, Sumi Tonooka, SuperBlue: Kurt Elling featuring Charlie Hunter, Takuya Kuroda, Terence Blanchard featuring The E-Collective and Turtle Island Quartet, Terri Lyne Carrington & Social Science, Thana Alexa, The Bad Plus, The Jazz Gallery All-Stars, Theo Croker, Tim Berne Duo with Gregg Belisle-Chi, Val Inc. AKA Val Jeanty, and Zoh Amba.
For more information on 2022 NYC Winter Jazzfest visit their website.
