NYS Music 2023

Category: Interviews

  • A Collaborative School of the Arts Rock Camp at Proctors

    Over July 10-21, Proctors Collaborative School of the Arts is hosting Rock Camp, a program designed to provide an environment for aspiring musicians (ages 10-16) to strengthen their skills, develop new techniques and build confidence in performing.

    From 9 am to 4 pm, Monday through Friday, Rock Camp deals with several aspects of music, including technical aspects of instruments, the musical history of the genre, song writing, theory, arranging, rehearsal techniques, stage presence, and more.

    With practical instruction from professionals, students are exposed to the elements of performing, arranging original music, forming a band, and much more. Additionally, a gig in the Great Hall of Universal Preservation Hall (UPH) to showcase their talents. We spoke with Crispin Catricala, the director of Rock Camp this summer, to learn more about the program, its origins, audition process, and outcomes.

    Background

    Rock Camp is not the first musical camp to be hosted at Proctors Collaborative School of the Arts. However, the origins of Rock Camp begin with director Crispin Catricala, selected specifically for the program.

       Proctors Collaborative School of the Arts has had long success with their other camps like the Broadway Camp, Broadway Camp Junior and Summer Stage Young Acting Company. I was honored when, just after I had retired from teaching public school, they approached me to be the director for a new summer camp for young rock musicians up at UPH in Saratoga. With a bit of a delayed start due to the pandemic, we started our first summer session in 2021 and have been growing ever since.

    Crispin Catricala, born into a musical family, has long possessed a passion for music, playing guitar by 13, and playing professionally by 17. Crispin would go on to receive a Bachelor’s Degree in Music Composition and a Master’s Degree in Musical Education, teaching public school music education for more than 28 years. Additionally, Crispin has worked as a private guitar instructor for more than 30 years, and has played in several bands throughout all that time.

    Audition Process

    An audition based program, Rock Camp requires musicians to record a performance of two songs that they feel comfortable with. However, the recording itself can be quite basic – according to Crispin, an iPhone video would suffice. Musicians can play along with tracks, as long as it is clear that their playing is separate from the original recording.

    So, what qualities does Rock Camp look for in potential musicians? While Rock Camp is open to all styles of rock music, Crispin noted that they specifically seek individuals who possess basic, foundational skills, and demonstrate a desire to enhance their knowledge and acquire additional expertise. Critical thinking and active listening skills are important for applicants, but most of all, a love and passion for music and an openness to feedback within the creative process are necessary.

    This year, 17 young musicians were selected to join the program.

    A Typical Day at Rock Camp

    The two week program runs Monday through Friday, from 9 am to 4 pm. Crispin’s detailing of a typical day at Rock Camp reveals the enriching, well-rounded nature of the program.

    Morning sessions generally deal with either a guest artist/presenter, a lesson that deals with either your instrument or maybe a lesson that deals with music history or theory. By afternoon we’ve broken down to smaller ensembles working on specific songs and by the end of the day meet upstairs to play for our peers on the main stage and group discussion.

    Rather than form one or two bands that rehearse a set of songs together, the program forms numerous combinations of musicians, making up several groups song by song for an evening’s performance. According to Crispin, this allows the musicians to engage with everyone in the camp and not be grouped into one ensemble or style.

    Rock Camp is open to young musicians ages 10-16. While the age gap may seem wide to some, Crispin explained that the music itself works as an equalizer.

    Once you start making music with people, age is not a huge factor. Plus, we’ve had 11-year-olds that have been playing since the age of five and 14-year-olds that started when they were twelve. So really, everybody has something to bring to the table.

    Program Goals and Outcomes

    At the end of the two-week camp, the groups will perform an hour-plus concert, open to the public at UPH, complete with incredible lighting and sound in one of the area’s newest and most beautiful premiere performance spaces. While the performance will surely showcase the talent and accomplishments of the program, Crispin hopes that the impacts of Rock Camp on the musicians will run deeper.

    Our hope and our expectations are that the experience leaves everyone better at their instrument and overall craft. Also, that new musical connections and friendships have been created that could last long past Rock Camp.

    For more information about Rock Camp, the audition process, and ticket reservations for their performance at UPH, visit this website. To learn more about camp director Crispin Catricala, visit his website.

  • Pete Mancini on Building the Commonwealth

    Pete Mancini is a welcomed troubadour for our times, by building community though his music. His lyric are as comfortable as your favorite weather-worn blue jeans, and his style is reminiscent of Tom Petty and Hank Williams, with a hint of John Prine. Looking for some new music to add to your playlist? Check out Pete Mancini’s latest EP release, The Commonwealth Sessions Volume 1.

    With Mancini’s signature blend of Americana and folk, this EP is sure to be a hit with music lovers of all kinds. Over the years, Mancini has opened for acts such as Jimmy Webb, Blues Traveler, Gin Blossoms, Southside Johnny & The Asbury Jukes, Pure Prairie League, Robbie Fulks, Amy Helm, Larry Campbell & Theresa Williams, Kevin Gordon, and Iain Matthews.

    I was fortunate to stumble on Mancini over a year ago during the pioneering days of The Long Island Sound podcast. Pete was one of my early guests on the podast and I was fortunate enough to sit down with him and talk about his travels and ever growing catalog of songs on the most recent episode out today. Pete Mancini keeps popping up on my radar. In a soon-to-be episode of The Long Island Sound Podcast, I interviewed Bill Herman of Paradiddle Records only to find Pete singing on the opening track of the Hank Williams Uncovered album, “Lovesick Blues” to perfection. More to come on the Hank Williams’ project on May 12th. You can find a deeper conversation with Pete Mancini right here on The Long Island Sound.

    Commonwealth Music Sessions

    The feeling of loneliness, isolation and lack of companionship have been on the rise in the past few years. Covering the music scene in this little corner of New York State, I often search for connection and community, pleasantly surprised to pick up on a musican who lifts me up, and welcomes me into their world. I found artists who love their labor, while patching us up with their original music. Pete Mancini is a craftsman and consumate performer, a troubador who on track, in my opinion to be the next Gordon Lightfoot. The late Gordon Lightfoot (passed away on May 1st), was a favorite of both John Prine and Bob Dylan. I hear a thread of Gordon in Mancini’s music as he is admired as well among the community of musicians on Long Island.

    New EP Release

    Mancini, a prolific songwriter, had just buttoned up some thirty songs for his next album, yet to be released. There were five songs, which didn’t fit the theme of the pending album, so Pete decided to release an EP on May 5th called, The Commonwealth Music Sessions, Volume One, which can be found here at his Bandcamp site. Pete assembled a fine group of musicians who played on the EP, including Joe Leone, Delaney Hafener and Nick Balzano.

    EP’s are often used to keep an artist’s audience engaged. Listenting to his latest EP, I found myself craving for more and maybe that’s the unintended consequence for a fan on releasing an EP with an album in the wings. Pete gave me an exclusive preview of the opening song, “Golden Hour” on our quickie podcast interview being released today. A great commentary on vanity, and the images we build up in seeking admoration and attention.

    Lamenting Loss

    Travis McKeveny

    The passing of good friend and collaborator, especially one so close becomes pain that dwells deep in one’s heart. On September 16, 2021, Travis McKeveny, a well-respected singer/songwriter from Long Island, passed away. Pete often mentions the impact Travis had on his craft, and how much he learned from him. Pete is also a member of The Famous Doctor Scanlon Band, playing the music of Travis McKeveny. There’s no better way to pay tribute to those who built us up, than by performing their music with friends.

    He was my brother in arms, in music and in life. I miss him dearly.

    Pete Mancini

    Upcoming Shows

    You can find Pete Mancini paying all around from New York City to various venues on Long Island. Friday, May 5th, Pete will be opening up for Rhett Miller at My Father’s Place in Glen Cove. On May 13th, in support of Labor and the Harry Chapin Food Bank, Pete joins a wonderful lineup of artists at the Bald Hill Ampitheater for the Mayday Music Festival, including Blues Traveler, The Wallflowers, Wheatus, John Hampson (Singer Nine Days/”Absolutely (Story of a Girl)”), and The Belle Curves (Delaney Haefner, a recent guest on the podcast)

    Leave the Loneliness Behind

    Old man gushing alert! I’ve interviewed many artists over the past year and a half. From time to time, I become enamored with the music and the musician. Pete Mancini is a rising star in my book, and a must-see performer who keenly observes the world around us, articulating needed insights, while entertaining in a folksy manner. We can listen to music on our favorite platforms, but there’s nothing that replaces the live performance! Pete Mancini was generous enough to join Mike Nugent and The Blue Moon Band for an experiment of sorts, called The Long Island Sound Showcase. We did a livesteam podcast, featuring Nugent as the main act and Mancini performing the second set.

    During the show we all got to experience Mancini as he welcomed the audience into his world and entertained us though song and conversation. I’ll take pride in being a broken-record preacher of the benefits of live local performances! I emplore of all us to heal though the music, and confront the isolation and loneliness by getting out to hear the music. To hear the full interview with Pete Mancini, search for The Long Island Sound, wherever you listen to podcasts. As I say, “Be generous with your joy, keep your spirits high, and let the music take you on a journey.”

  • The Indomitable Nancy Atlas    

    The aftermath of the quarantine has left many of us longing for experiences and community. The ability of an artist to constitute community is what I love about music, especially local original music. Nancy Atlas is a well-known entity on the East End of Long Island, especially in her hometown of Montauk, famously called “The drinking village with a fishing problem”. Nancy knows how to inspire a community and connects with her audience though passion and performance.

    Nancy in her famous Cadillac

    I had the double blessing of interviewing Nancy on The Long Island Sound podcast and seeing her live recently at Stephen Talkhouse, a venue which I call the CBGB’s of Amagansett. Nancy became my antidote for the longing that can never be quenched, as I continue to explore the wellspring of talent on Long Island. 

    If you can find something that you’re passionate about and you can make a living at it, then you’re a lucky person

    Nancy Atlas

    A Force of Nature

    Before we dive into the rollercoaster ride of a show, it’s important to get an understanding how this female force of nature embraces her craft like the ocean envelops us as we venture into the deep.

    Prior to her moniker as The Nancy Atlas project, this Commack, NY native went to college in London to study marketing. Upon graduation, she was hard-pressed to find a job in her chosen field. With the creative juices flowing, original songs in hand, Nancy went to an open mic hosted by Johnny Leitch aka Johnny Blood, a fantastic guitarist in his own right. The rest is history.

    Nancy Atlas has compiled a vast repertoire of music, fans and host of celebrity sit-ins at Stephen Talkhouse. Jimmy Buffett, Elvis Costello, Coco Montoya, Lukas Nelson, Bonnie Raitt, GE Smith, and Lucinda Williams to name a few. Nancy said, Lucinda Williams’ passion and hard work was what influenced her to take her craft seriously.

    The most important thing is to surround yourself with people that are better than you

    Nancy Atlas

    There are a wide range of artist influences who shaped her sound, from Johnny Cash and Emmylou Harris to Lucinda Williams. Atlas also recounted how her experiences growing up on Long Island have influenced her music, particularly the ocean and the beach, which she described as her “sanctuary.”

    Throughout the interview, Atlas discussed her creative process and how she approaches songwriting. She explained that she likes to write about real-life experiences and emotions, drawing inspiration from her own life and the world around her.

    Atlas emphasized the importance of collaboration, both with her band members and other musicians in the industry. She described how working with others can bring new ideas and perspectives to the table, and ultimately lead to better music.

    The more honest you are with your songwriting; the more people connect with it.

    Nancy Atlas

    We discussed the challenges of being a musician, particularly in today’s music industry.

    Atlas acknowledged that the rise of streaming services has changed the landscape for musicians, making it more difficult to earn a living solely from music sales. However, she also noted that the internet has made it easier for independent artists to connect with their fans and reach new audiences. Atlas emphasized the importance of adapting to change and finding new ways to make a living as a musician.

    I think the hardest thing about being an artist in this day and age is finding the balance between the art and the commerce.

    Nancy Atlas

    Performing at Stephen Talkhouse

    Stephen Talkhouse

    During the interview, I told Nancy how I hoped to go to Stephen Talkhouse someday, and she quickly goateed me in to attending her April 22nd show. I was not disappointed. With the intent to open opportunities to others, Nancy had the PasserBy Band opened up for her, and the band was electric with youthful energy and talent. Nancy’s son Cash, a member of the band was joined by a cast of East Hampton Highschoolers who rounded out the group.  

    PasserBy covered Santana’s Oye Como Va, and Dexys Midnight Runners, Come on Eileen to the delight of a welcoming audience, as a proud mother stood in the wings with admiration and pride

    The Nancy Atlas Project took the stage promptly at 8:15 pm, as a lighting bolt of energy pulsed with Nancy as she began to strum the intro, soon to be joined by her longtime guitarist, Johnny Blood. Her set was filled with original songs, that were familiar to adoring fans, as I watched and listened to a community of Eastender’s revel with enjoyment and celebration.

    Anthony Sosinski & John Aldridge

    A key moment, came when Nancy recalled a famous ocean rescue in Montauk, as detailed in the New York Times best selling novel, A Speck in the Sea.  Nancy’s song “The Tale of Johnny Load” recounts the key events in the “Montauk Miracle” and has become somewhat of an anthem to how the Montauk community came together to beging the search for Johnny. The song is about a voyage of the fishing boat , Anna Mary with only Johnny “Load” Aldridge and Anthony Sosinski aboard. Anthony Sosinski, one of the crewmembers was on hand, and took the stage to lead the crowd in a Happy Birthday song to both Nancy and her sidekick Johnny Blood.

    You can see Nancy Atlas performing at Stephen Talkhouse on May 20th, it’s certianly a bucketlist item for any music lover.

    Music and the Power to Heal

    She talked about how music has the power to heal and bring people together, and how she hopes her music can have a positive impact on her listeners.

    My interview with Nancy Atlas on the Long Island Sound podcast provided a fascinating look into the life and career of one of Long Island’s most talented musicians. From her early influences to her creative process and the challenges of the music industry, Atlas shared insights and stories that are sure to inspire aspiring musicians and fans alike. Her performance at Stephen Talkhouse was a powerful reminder of the healing power of music and the importance of spreading positivity in today’s world. If you’re a fan of Nancy Atlas or just love great music, be sure to check out her interview on The Long Island Sound podcast.

  • The Legacy of J.B. Scott’s: An Interview with Vinnie Birbiglia

    In Albany’s storied music history, the short tenure of J.B. Scott’s has lasted for decades as a Central Avenue music venue of legend. With a capacity of ~600, J.B. Scott’s opened in 1979 and closed in 1982 after it was damaged by a fire.

    J B Scott's vinnie birbiglia

    But if you were alive and around in the Albany environs in the turn of the eighties, you might have gone to a sonic bunker of a place called J.B. Scott’s. Owned by Douglas Jacobs and Vinnie Birbiglia, this nightclub had a list of bands – including In those three years, bands including U2, John Mellencamp, Stevie Ray Vaughan, Bryan Adams, Judas Priest, Thin Lizzy, Pat Benatar, Meat Loaf, Iggy Pop, The Go-Go’s, Count Basie and Buddy Rich – that would, at the same time, be chewing through the Billboard Top 40.

    I reached out to owner Vinnie Birbiglia, and I learned quite a bit.

    RadioRadioX: J.B. Scott’s, ‘J’ and ‘B’ are yours and Douglas Jacobs’s last names. So you two started this in 1979. I’ve been around a ton of scenes, seen them start and fade away. What was it like in the weeks before you opened? Was it just to make a couple of bucks, or was it something more?

    Vinnie Birbiglia: I was working at the time at Record Town. I was the general manager for Upstate Music. We had the store on New Karner Road and Albany Street, I believe. And Doug came in one time, and we were talking, and we hit it off. We then started doing shows at the Madison Theater. And that’s how we started J.B. Scott’s.

    J B Scott's vinnie birbiglia
    Vinnie Birbiglia with James Brown at The Colonie Theater. Photo by Dave Suarez

    RRX: Madison Theater is doing some pretty cool stuff now.

    VB: It was a great theater as far as acoustics went. And the only problem that the place had was parking, because it’s a residential area.

    RRX: The only experience I had with J.B.’s was J. B,’s Theater, which was across from Westgate Plaza. I’ve never been to J.B. Scott’s, the original place. What was the space like; what was the venue like when you first went in it?

    VB: It was a rectangular building that – we put the stage on the opposite wall to the bar. Therefore, everybody was right on top of the stage, which, when the bands came in, they loved it.

    RRX: That’s cool, because the way a lot of clubs are set up, if you’re in the back, you’re in the nosebleeds.

    VB: Yeah, exactly.

    RRX: What was the place before you guys had it?

    VB: It was the S&H Green Stamp building. When you went shopping, they would give you little stamps that you put into a book, and then you use the book to buy stuff. It was a very plain building. It was a concrete floor, cinderblock walls and a wood roof.

    RRX: How long did it take you to build it up into the club itself?

    VB: Honestly, I don’t remember. It wasn’t that long. The only thing we had to do was build the bar and build the stage.

    RRX: One thing everybody remembers about J.B, Scott’s is that you had everyone there. U2, Tom Petty and the Heartbreakers, Pat Benatar, Rick Derringer, Buddy Rich to name a few. In fact, Al Quaglieri, in the Facebook group, Albany: The Way it Was, compiled a list that looked to be two feet long. How did you get those people to show up?

    VB: I was pretty well-known in the music industry. So I had lots of contacts at the labels. Since we had starting doing shows at the Madison Theater and at the Palace Theater, we did a show or two at Proctor’s Theater, the agents saw that we knew what we were doing. We got along with the bands, and like I said, I had my contacts at the labels, with the promotion departments at the record companies. That helped us decide who we were going to book, and that also showed the industry, again, that we knew what we were doing. That’s how we basically started, and word got out and bands wanted to play for us.

    RRX: When you were doing a different national act every day practically, what were some of the challenges you faced? Were there any challenges that weren’t just the basic challenges of running a club?

    VB: Back then, at that timeframe, it was getting the customers to come in. For every band that we did, it was one winner, three losers, financially. And then, because of politics, we were getting screwed by the agencies, even though the name of the game was ‘you book the band the first time they come to an area, that band is your band going forward.’ Yet when we had acts that we broke in the Albany market, some agencies would give the band to a different promoter when they were big enough to play the Palace Theater.

    RRX: Yeah, that sucks.

    VB: Tell me about it.

    J B Scott's vinnie birbiglia

    RRX: The J.B. Scott’s was, aside from the mechanical aspects, thinking the whole scene: do you think it could be done today, with the way the industry is?

    VB: I don’t think so. I think that the cost factor is too prohibitive. If we were to think of opening up a club in this environment, it would be a very expensive proposition.

    RRX: I had a practice space in J.B.’s Theater, when New Music was in there, and a friend told me I was playing where Stevie Ray Vaughan once drank a fifth of Crown Royal. I doubt that’s true, but it actually references one of the saddest moment for the area music scene; the fire that closed J.B, Scott’s. What can you tell me about that?

    VB: Some kids tried to rob us, and they set a fire, and thy got caught a year later. Actually, we made the front page of the Times Union for the fire, and made the back page of the first section when the kids got caught because when they got caught, it was the same day as Erastus Corning, the Albany mayor, died.

    And the place didn’t actually burn down. Like I said, it was concrete floor, concrete walls. The only real damage was the roof. The worst part about it was the fact that the fire voided our lease. While we had insurance and paid the bills that we had outstanding, the landlord still voided the lease that we had. So that’s what became the end of J.B. Scott’s.

    RRX: Okay, so J.B.’s Theater, as I brought up before. How much time between J.B. Scott’s and J.B.’s Theater?

    VB: Over a year. And it lasted about a year or so. It was too big for the area. Also, the drinking age went to twenty-one, so that became a problem. And we were the first place in the state, I believe, that had underage patrons in a place that had a bar. We actually closed off the bar and used the roller skating section for where we built the stage and did a majority of shows.

    RRX: So we cover a lot of smaller venues, and there are a lot of interesting local scenes. What advice would you give to the owner of a smaller venue to get near to where J.B. Scott’s was in its time?

    VB: I don’t think anybody can. We had the balls, so-to-speak, to do all different types of genres in the music industry. Now, unless you have a big bankroll, you’re really locked in to doing local bands. The cost factor is just too prohibitive.

    RRX: This is where you answer the question I didn’t ask.

    VB: Had it not been for the fire, it’d be very interesting to see where we would’ve been today. We had some competition, but the competition we had tried to only stick with certain types of artists coming in. We tried to broaden the horizon.

    This article was originally featured in RadioRadioX

  • An Interview with Jazz Drummer Matt Niedbalski

    I’ve been hearing about Matt Niedbalski for nearly 30 years. From the day he was born, it seems that he was destined to become a great drummer. I’ve been fortunate to hear all about his accomplishments and achievements, including his earliest lessons, gigs, even equipment from his uncle.

    You see, Matt is no ordinary drummer. His musical tutelage began with his uncle; The Drummer of Love, Mr. Gene Sennes. Gene and I have been friends, bandmates and fellow percussionists for years, and one of his favorite topics of conversation is his nephew, Matt Niedbalski.

    photo by Derek Java

    My first real conversation with Matt took place at Parkway Music, where I was scheduled to interview another drummer, who couldn’t make it. Fortunately, I spent a couple of hours talking drums, jazz, and life with Matt. I found Matt to be a very engaging, knowledgeable, humble individual, with a very “old soul” vibe. I was impressed with his humility, and lack of ego. He is very complimentary of other local players and quick to give credit to his colleagues, teachers and friends.

    Matt’s playing is both relaxed and restrained; with an easy going, smooth use of polyrhythms, and exceptional dynamics. He’s a phenomenal player, and a terrific human being. Gene Sennes told me, “He’s my favorite drummer. He is technically sound, plays with great feel, has great time and an excellent sense of dynamics and color. The kid is world class, man!” So please welcome, Matt Niedbalski!

    RRX: How old were you when you started playing drums? How did you get started?

    MN: I got my first kit when I was two years old. I saw my uncle Gene playing drums as a toddler (either with the Royals, or Rabb for context. I know you remember!) and thought it was the coolest thing I’d ever seen and wanted to do that. It started with beating up on random objects around my grandmother’s house with a pair of sticks he gave me and after I started putting dents in the end table my uncle and grandmother realized I had the bug and got me a junior CB drum-kit which I believe the family still possesses to this day. I know they say you don’t start forming memories until later than two but I still see them pulling the sheet off the kit. I started taking formal lessons at age eight with Ted Mackenzie.

    RRX: Who were some of your influences early on?

    MN: My grandmother had a cassette of the compilation “Past Masters Vol 2” by the Beatles and the first track on that is “Day Tripper”. Ringo was definitely my first drumming influence, followed by Joey Kramer in Aerosmith and then John Bonham. After getting involved in drum lessons and being introduced to jazz Elvin Jones made me start to focus on what I actually wanted out of the drums.

    RRX: What are some of your earliest gigging experiences?

    MN: I got involved in this small jazz group of older students when I was around 13 and we had a coffee shop gig every Sunday at this spot called Virgil’s Coffee House in Saratoga, which is now the hardest place to get a beer in town, Henry Street Taproom. Around the same time or slightly after I started sitting in with guitarist Tony Jenkins who was based around the Glens Falls area and had a Friday night gig at Wallabee’s Jazz Bar which is now the Bourbon Room. He’d have me sit in with the band and my parents would have to sit at the bar to make sure I didn’t drink or smoke and eventually I got the gig with him.

    RRX: Who are some of your influences now?

    MN: I still listen to my earlier influences and drummers I started checking out in college so from a jazz perspective it’s the ones everyone always lists in an interview situation to make sure they’re viewed as a credible jazz drummer…so Elvin, Philly Joe Jones, Papa Jo Jones, Billy Higgins, Art Blakey, Max Roach etc. But I really gravitated towards two drummers specifically during my time at college. I went to school at William Paterson University which has a great jazz program and is located about 40 minutes outside of NYC. I would go to the city and check out drummers, but my two favorites were Eric McPherson and Nasheet Waits. Oddly enough they were best friends growing up in Greenwich Village and Nasheet’s dad is the legendary jazz drummer Freddie Waits. I saw them and quite literally went, “Oh shit!”! I ended up hanging out with them after gigs, pestering them with questions and took a lesson with Nasheet. I still keep in touch with him. They are both super gracious and all about music. I’m known as a jazz drummer by most people, but my first love is rock and I fucking LOVE Soundgarden and Matt Cameron is a huge idol of mine. And he has a great first name. Finally, Bill Goodwin was a professor of mine at WPU, and happens to be a legend in his own right but also is like an uncle to me. One of the coolest people ever, a great record producer and all around amazing human being.

    Matt Niedbalski
    Photo by Derek Java

    RRX: Tell me about your first kit.

    MN: After the CB kit I mentioned, my first full size kit was a Pacifi c 5pc. Kit, the cheaper DW because Uncle Gene is a DW guy. He snuck into my parents’ basement on my 8th birthday and set it up, complete with your classic Sabian B8’s.

    RRX: How about your current set-up?

    MN: I feel like there are two kinds of drummers, and I further confirmed this working at Parkway. There’s the drummers that have 18 kits and a few cymbals or the drummer that has one or two kits and a million cymbals. I’m the latter. I switch between a Yamaha Maple Custom absolute kit in bop sizes that my parents got me as a graduation present and a 1967 Rogers Holiday kit in black onyx. That one is 12 14 20 so I can either tune that kick up higher and wide open for a more “jazz” sound or throw a super kick II or some muffl ing in it to get a more punchy rock sound. Some bigger drums are in my future… My go to snare as of late is a Pearl Masterworks Mahogany drum which is 6.5×14. Very warm and has a lot of depth but can bark if you need it to. When I used a metal snare it’s a 1960s Ludwig Supraphonic

    Ted Mackenzie gave me which he took all the chrome off of because it was flaking off and cutting his hands. My setup for cymbals is changing at the moment. I was playing a 1960s 20” Zildjian A with 3 rivets given to me by Bill Goodwin and a 15” 60s A Crash that once belonged to Sarge Blotto. It had a bunch of cracks in it that I drilled holes in so they didn’t get worse. That cymbal has a lot of vibe. As for hats 1960s pre serial Paiste 602s. I recently just signed an endorsement deal with Bosphorus after playing a few models of cymbals recently. I really dug them.. I liked them since they are still handmade. Some of the modern cymbals I’ve played in recent years felt very stiff to me which is why I always would go back to my vintage Zildjians. The Bosphorus stuff plays pretty soft and you can really dig into them. I have a fear of those cymbals cracking, and the guys at Bosphorus did an incredible job capturing the vibe of my old cymbals and modernizing them. I currently play
    s 20” Bosphorus 20th Anniversary ride with 2 rivets, 18” Bosphorus 1600 crash and 14” Master Series Hi Hats. I currently endorse Vater drumsticks.

    RRX: Do you play any other instruments?

    MN: I do, my father plays guitar and I wanted to learn when I saw him playing with his buddies on the weekend so he gave me a book of chords around age 12. Around 14 I bought a bass and in college I had to take piano lessons as part of the general curriculum. When I’m not practicing drums or working on a mix (I also do some recording engineering) I’m usually making demos for fun in my home studio to shed recording and or just playing the guitar. I use the piano as a compositional tool for some of the jazz projects I’m involved in.

    Matt Niedbalski

    RRX: Tell me about your current projects.

    MN: I currently play with Charles Cornell. I’ve been playing trio with him and Steven Kirsty since we were in high school, and I love them like brothers. Charles has been developing a successful YouTube page in the last few years and lives in Colorado. Steve and I jump on a plane and fl y out that way to record and film for his channel so that will be a big focus of 2023. I co-lead a trio with Tyler Giroux and Dylan Perrillo called GNP, a rather clever acronym, yes? We released an album called “Codes” on a small label called Ears & Eyes and are currently working on a follow up album. I’ve been playing with my friend Rob Fleming for his project Rhoseway, which features his great original music. Other than that, freelancing with various musicians usually playing jazz.

    RRX: Now for some fun; tell us about your dream kit, dream gig, and who is in your dream band?

    MN: Either Elvin Jones’s 70s Yellow Stop Sign Gretsch kit or the Bonham Green Sparkle Ludwigs. Dream gig is being in the touring band for Chris Cornell’s Euphoria Morning tour. That first solo album is pure gold. Dream band for rock, definitely Chris Cornell on vocals/guitar, Ken Andrews on guitar and John Paul
    Jones.

    RRX: Any drumming horror stories or good drummer jokes?

    MN: Oh, plenty of horror stories. It all started with me playing the finger cymbal part in concert band 4th grade and the rope broke and rolled under the clarinet section. I was mortified. Then there was the time I played two crash cymbals and ride without wingnuts on the stands during this concert up at the Strand Theater. We hit an intense section and I play with my eyes closed otherwise I get distracted. I went to hit the crash and “missed” and thought hmm that’s strange, so I tried again and hit the stand, opened my eyes and realized I sent two cymbals flying and all I had left was the ride. Finally, I was playing at this biker bar, the Great Notch Inn in North Jersey for my buddy Vin’s CD release party. Everyone was hammered and wouldn’t you know it was the only time I ever brought my own drums. The owner was a drummer and had an old set of Ludwigs as a house kit but on a CD release party, a special occasion, I brought my Rogers. Second to last song there’s a couple doing the do se do and the bar is kinda tight and another patron connects with the couple and flies through my drums sending the rack tom flying and knocking the ride over. Luckily, my pal Steve Kirsty was playing bass and managed to catch the ride with his knee and told me he couldn’t feel his leg from knee down but was pretty proud of saving the cymbal. As for drummer jokes, I don’t think mine are appropriate for an interview…

    RRX: Fair enough! OK: Tommy Lee, or Travis Barker?

    MN: This is a tough question. I would say Travis Barker. I’m not really a fan of either Motley Crue or Blink however I can tell Travis truly loves the drums and always has a practice pad with him. We all know what Tommy Lee loves.

    RRX: Wrong! The answer is Buddy Rich. Do you know Buddy Rich’s real name? No cheating!!!

    MN: Ted would be really disappointed in me, but I blanked. So, no. But I had to look it up otherwise I wouldn’t be able to sleep tonight. Bernard… take away my music degree.

    RRX: Your secret is safe with me. Finally, how has your drumming changed over the years?

    MN: This is a great question. I would answer by saying I am now at a point where I try to balance technical ability and musicality, and that balance was WAY off in my early 20s. I would see some of my heroes play some pretty impressive shit and then get up on the bandstand and try to insert that into the music where it wasn’t appropriate. I try to be more patient and listen to what the other people are playing more now and wait for space in the music to make a statement. Yes, there are times when I want to push someone and make the earth under them move a little bit, but I try to be tasteful. I heard a saying once, “the drummer is the mother of the band” It’s kind of our job to make everyone sound as good as they can while also bringing some energy and excitement to the situation so I try to keep that in mind when I play. I could go further into some philosophies but I already feel myself becoming long winded so I will leave it there.

    RRX: You were great! Thank you for your time. Matt Niedbalski is a name you won’t forget; just go see him play and you’ll see what I mean.

    This article was originally publisher by RadioRadioX

  • An Interview with Saliyah Itoka, Queens-born Trinidadian and West African Singer-Songwriter

    Saliyah Itoka is a singer and a songwriter and a model, and if you watch her perform, you’ll realize she does have a plan to kill everyone in the room.

    Saliyah Itoka

    One of the best things about my gig here is that, by default, I have to expose myself to every type of music. I have to challenge myself, because it’s easy to ask a rocker what kinds of strings they use if you’re into electric guitars. But it’s a challenge to run across a singer/songwriter that’s out of your depth.

    I connect with Saliyah and we discuss our best cocktail mixes.

    Liam Sweeny: I’m listening to What You Doing, the video on Youtube. I love your style, it’s great. A sense I get from you by your lyrics is that you’re a strong, confident woman and you are in absolute command of what’s around you and what’s in your world. How much of what we see of you as a performer and how much is actually you?

    Saliyah Itoka: What my audience sees from me as a performer is actually all me. I’m still learning to be comfortable as a performer and that comes from the type of shows I do. And it comes from reading the room and being confident that I can command the room. But everytime you see me hit the stage; I’m aiming to be the best.

    LS: I’m learning about you from listening to your videos. You’re a singer/songwriter, and I’ve heard plenty of them, but I’ve not heard anyone bringing what you’re bringing. I fully admit this is me; I’m a rock guy. So let me ask simpler questions due to my own personal lack of depth. When and how did you get started singing and writing songs?

    SI: I started singing when I was 3 years old, and I started writing songs at 11 years old. I’ve always loved to write and I’ve always been fascinated with how my favorite artists wrote their songs. I used to open the CD and read the paper insert and see how the lyrics were formatted and I would write them out myself. I studied artists like Mariah Carey, Stevie Wonder, and Sade in regards to their writing and composition. As far as singers, I listened to a variety of artists growing  up but I’ve always gravitated towards R&B and the artists that I idolized for singing were Toni Braxton, Aaliyah, Mariah Carey, Mary J. Blige, and Tamia.

    LS: Some people have an aim, or an inner vision with what they want to create or produce and they’re never there yet, stuck in a home studio with every instrument on earth. Then there are people who just pick and grin and smile and will pick and grin forever. Do you have a vision for what you write now and what you want to write?

    SI: It depends on a few factors. Sometimes, I’ll get a random line or melody that pops into my head and I’ll write it down quickly so I can build on it later. Other times, it depends on the track that I’m given or the vibe I get from the track. And there are instances where the vision of what I want to write about will just appear and I  just follow its course until its completion.

    LS: Music transcends our differences and puts our hearts in the hearts of others, and that is an amazing property. But music doesn’t exist in a vacuum. None of our lived experiences are the same. As a black woman in America, you have to share your experience to audiences that won’t get it. How do you try to reach them? Do you try?

    SI: I believe that being and staying authentic to your true self is how you reach greater audiences. And I also believe that being open to having those conversations and asking the questions is how we reach understanding. As a black woman in America, I want to be able to express my experience in the way that I have lived in and hope for it to be a roadmap or even a glimpse into understanding who I am as an artist as well as a human being.

    LS: You were nominated for the 2022 Listen Up awards. As I write this, the 2023 awards are coming. By the time you get this, you might be twice-nominated, or you might be a winner. This is a fan awards thing; we don’t vote for anything. Do you have something to say to the fans? Do you want to nominate anybody?

    SI: To my fans, I just want to say thank you for all of the support. It’s heartwarming to be a consideration for a nomination. I appreciate everyone who has taken the time out to listen to my music and have followed my journey and I can’t wait for you all to see what I have in store. As far as me nominating anybody, there are so many people that I can see being nominated. There are a lot of artists who are really stepping out of their comfort zone and really showing their talents from the 518.

    LS: You are also a model on top of being a singer/songwriter. I love it when people have some other cool thing on top of being a musician. I figure you have more to pull from. We are getting out of an age where modeling was abusive on women in the sense of body image. How do we reform the modeling industry? Any ways that aren’t easily seen?

    SI: I think we should understand that everyone is beautiful in their own way and that there is a market for everyone. I think that the flaws that each of us have make us unique and that not everyone is going to fit into the same category. With that said, there is a market out there for everyone and I believe that every single one should be showcased. It doesn’t matter what size or fit or shape you are, you are beautifully made. I feel that the stigma that a model should only look like this versus a model that looks like that puts unneeded pressure and unneeded expectations on the mind. We are all beautiful and we need to keep an open mind in the discussions of what beauty is because the definition is different for everyone.

    This article was originally featured on RadioRadioX

  • Sean Rowe On Combining Nature And Music

    When someone refers to a musician as multi-faceted, they often mean one who would best be described as a singer/songwriter or a multi-instrumentalist. But what about musicians who bring their outside interests into their music? Musicians like Sean Rowe, whose music and interest in the natural world combine to create something truly unique.

    Sean Rowe is an American singer-songwriter, musician, recording artist, and forager. A writer of heartfelt songs strongly rooted in singer-songwriter tradition, Rowe is an avid naturalist and renowned forager, and often speaks of his fascination with the woods and his connection to the land. You might recognize him from appearances on “Jimmy Kimmel Live” or heard his song, “To Leave Something Behind” featured in the 2016 film, “The Accountant”.

    This Adirondack raised baritone would not be out of place at a rock show, or your local farmers market. I spent some time with Sean talking about his music, his successful Youtube series, and most interestingly, his love of foraging, and how all those topics intertwine to create his unique approach to Americana.

    Montana Munoz : Hey Sean! Glad we could chat for a bit, just wanted to say i’m quite excited to be talking with you today. I just wanted to start off by saying I really like your song “Squid Tattoo”. I played it the other day at home and my Dad has put it on in the car at least 10 times now.

    Sean Rowe : Oh thanks so much!

    MM: How would you describe yourself or really, describe your music for someone who may not know who you are?

    SR: In terms of conveniently looking me up in a genre it would probably be Americana or Folk, although ‘Folk’ is such a loose word. It encompasses a lot of music and has certain connotations that I would say is not so fitting to my music but I guess if you look up Alternative Folk or Americana I would probably be lumped into that category.

    MM: As for musical influences what music did you grow up listening to that you feel has kind of influenced you as a musician yourself?

    SR: Certainly older country music in terms of Johnny Cash and that whole “outlaw” vibe like Willie Nelson and Waylon Jennings.  Also some 50s and 60s music my dad was listening to a lot when I was a kid cause that’s the era he grew up in. It is a weird thing though because that was from very early on when I was about 7 or 8, those were my musical memories but my teen years it was more like hard rock, metal kind of of a thing because that is what I was exposed to. But then I came back around to the earlier stuff as I got into my younger 20s so I’d say definitely early 60s music, the whole Folk movement in the 60s, Leonard Coen for sure,  Bob Dylan, etc. It is a really a blend of American music, like Rhythm and Blue’s, that was my foundation.

    MM: Oh I definitely get that vibe from you! Very Jim Morrison songwriting meets Johnny Cash sounds! So, tell me a little bit about your songwriting process.  Do you usually start with an idea and then build from there, do you start from some chords and do you build the lyrics around it, or does it change with every song?

    SR: It can change, 9 times out of 10 I’m writing the music before I write the lyrics, not always the case but for the most part thats the way it is for me.  Honestly the best stuff seems to come when I’m not looking for it.  I might be practicing some other song and for whatever reason I’ll start playing this chord progression that I’ve never played before in that order or sequence and then something jumps out about that, being like a separate entity in itself and it makes me want to record that and just try to find out what its saying. Songwriting for me is almost what I would imagine what its like for someone who scupts, and someone who has this raw medium and inside the medium they see something thats alive and they just have to get down to it. They just have to chip away for this thing they see in their mind.  Thats the way it is for me.  I’ll listen to a piece of music that I’ve written that doesn’t have words and I’ll listen back to it and to get an idea of what its trying to say.

    MM: Awesome! I always love to ask songwriters about their process because it really is so different for everyone. So next i was wondering, what do you think music, especially as like a vehicle, mean to you.  Is it a way that you can express yourself creatively, is it storytelling, is it just something that is fun and you’re good at? 

    SR: Well for me, its all of the things you mentioned.  A lot of it is a kind of a transference of energy.  This feeling of release. People have different things they release with, some of them are healthy and some are unhealthy but music is a very healthy release.  And it might not be so specific, like I am writing about a specific topic or anything to just get it out there; it might be just a general feeling that I need to pick up the guitar and just transform that energy in my spirt into this instrument that has its own language.  I think at its core it is just a release and its a beautiful release.

    MM: Something I noticed when I was doing some research on you, is you’re really into foraging which i think is awesome. You even offer foraging classes!  So how did you get into that?  Did somebody introduce it to you?

    SR: So I grew up in the Appalachian Mountains, that part of the country and as a kid I was just always kind of intrigued by nature. I always wanted to be inside of it in other words. It was never enough for me to just go to a museum and look at nature as kind of an abstract thing; I always wanted to be inside of it. So I ended up learning with other people who would be considered “experts “in the field of like you know Wilderness Living and and survival skills and especially foraging. I’ve taken a lot of courses and I’ve done all that but I’ve also done some experimenting on my own. Foraging is so universal. Almost everybody was a forager at one point in history and it’s almost like fire. Foraging is almost like as the feeling of fire in terms of like the way people can gaze into fire and and tap into something otherworldly almost. And it really taps me into what it means to be human, as well as being something I can do everyday which is good because it can be very addictive!

    MM: So you have a very entertaining YouTube Series called “Can I Eat This?”, in which you and guest musician go out foraging, with your instruction of course, and create a pretty interesting meal, topped off by a musical performance together. What inspired that series?

    SR: I think of a couple of things, and this is changing, but I don’t think wild food sas always been represented well on the screen.  You know at its core, foraging is just so fun, you’re just going out, and finding food to eat, but the way its been portrayed is bland. So I wanted to create something that one, was entertaining and captured peoples eyes and attention. But I also wanted it to be informative and have some substance in the material. So the music came into play because  I wanted to sort of tie these two things that are universal experience: Music and Eating.

    MM: Oh I completely understand. I definitely had some misconceptions about foraging and more “traditional” food tasks like canning and such until I met my Mother-in-law, and she quickly educated me right! So I could have used your series a few years ago!

    MM: Do you think having this special interest in foraging and more, I don’t want to say naturalist, but enjoying a more natural feel for things, do you think that in that influences your music in any way?

    SR:  Yeah I would say so, I mean certainly conceptually you know in terms of like writing music and lyrics  there’s a lot of like naturalistic elements in my songs. There’s also a lot of like metaphors that I use that you would consider taking a sort of naturalistic approach.

    MM: Alrighty so just a few more questions for you, being in a time where many would consider a lot of music mechanical, do you feel that it is important to keep your music almost as organic as possible?

    SR: Yes I do. I try to keep my music almost as untouched as I can and how I wrote it, and its why I often record more acoustic performances of my music to share.

    MM: Awesome! So I noticed that you do a lot of “House concerts” where your fans can book you directly to come to their house or event and you perform these intimate shows. Why do you focus on these instead of traditional touring?

    SR: Well you hit it right on the head, it’s more intimate this way. It allows me to connect with people who listen to my music in a much more organic way and I’m able to almost feel the essence of the music flow through people, and receive that flow of energy back.

    MM: Do you think these house shows help you as a musician?

    SR: Oh, absolutely. Like I said the energy I get from these performances really drives me and makes me want to write and perform more.

    MM: Sounds great! Ok so to wrap us up, what can we expect from you in the future to look forward too?

    SR: Well really, I just want to continue writing and performing. Obviously I’d love to make more episodes of “Can I Eat This” and keep recording my performances. I think in the long run, I’d like to make more music for movies and such, but right now that’s for later.

    MM: Alright Sean any last parting words for us?

    SR: It’s all about the music, just living life and enjoying what comes along.

    For more information on Sean, please visit his website.

  • An Interview with Kilashandra, a Celtic-inspired Jam Band

    One music that never fails to soothe me is Celtic music. I can just feel the stress and the tension of the day wash off, and something crisp and green take its place. It is always welcome, and in turn always welcoming, and there’s a heaviness and a frivolity that can dance with each other. But Kilashandra is not a strictly Celtic band.

    They are a Celtic-inspired jam band, and while my questions center around the Celtic part, I hope you will see the band as they will show you below. Maybe we can get them to jam.

    I sit with Mark Emanatian, Eileen Markland, Chris Gil and Tom Dolan of Kilashandra and we discuss the rarity of four-leaf clovers.

    Liam Sweeny: Celtic music is instantly recognizable, and it makes people feel a certain way, like a gentle breeze on a hilltop of rolling grass, or the bow of a ship destined for the promise of the New World. So the sound is unmistakable. Do you think Celtic lyrics, if read without the music, would be unmistakable as Celtic? Why or why not? 

    Mark Emanatian: I think the deep rivers of Irish literature, poetry, storytelling and history would make Celtic lyrics unmistakably Irish.

    LS: The music of Ireland is a tradition that goes back centuries, and listening to Celtic music, you can hear themes that, though timeless, did originate in a time. But it wasn’t just Ireland, was it? How much of Celtic music comes from Ireland, and how much from Irish immigration to America? MARK: All music is transformed as it intersects with new places and new experiences. 

    ME: Vocalist Chris Gil has an interesting story. I’m all about those, stories. But his was an impromptu chance to sing at the Pepsi Arena, and a standing ovation. If that doesn’t tell a person they got something, right? So something started shit right there, something inside, a switch from a private thing to a public pursuit. Tell us about it, will 

    Chris Gil: It was an honor and a thrill to sing the National Anthem at the Pepsi Arena and receive a standing ovation. I put the same energy into my singing whether it’s to a full crowd or 1 person in the back of a pub. It’s all about connecting with the audience.

    But I really like singing and playing with this band Kilashandra. Mark Emanatian writes some great songs and is a master guitar player. Eileen Markland is a force of nature. Tom Dolan holds us together. We really connect with each other and we let the audience in on it too.

    I’m looking to forward to some big gigs we have coming up: opening for the Young Dubliners at the Colonial Theater in Pittsfield and the Watertown Irish Festival. And of course, we’ll be hitting the pubs from the Berkshires to the Catskills to the Adirondacks.

    Come see us at a big show or a pub, I love singing to people

    LS: Eileen Markland is a Berklee trained composer and arranger, with a universe of talent with different instruments, having played with more folks than can fit in a small club with the tables removed. One thing I read was that you work with music for visual media. How does playing for visual media differ from playing for the crowd?  

    Eileen Markland: Harmony is the reason I wake up each morning and endless melodies accompany every activity and quiet moment throughout my day. Composition is the only place in life where I experience true freedom.  I can create and mix any scenario I’m craving or feeling by crafting a series of chords, melodies and vocal/ instrumental combinations which then have the potential to perfectly express what I need, if I get it right. Yes, I can tell you what I’m feeling in words, but a musical description is three dimensional, even four dimensional!  Composition (and improvisation), for me, is the deep exploration and expression of the state of my soul. 

    Live performance is a unifying, raw experience that creates a shared sense of community and, really, nothing less than pure love between the people performing and those watching and listening. It’s a social experience with both tangible qualities, such as dollars earned and new friends made, and intangible qualities such as relieved anxiety and the lessening of feelings of loneliness. I deeply believe that live music has been and always will be one of the staples to a peaceful society on a worldwide scale.  For me, personally, my best friends are the musicians in my life.  The music we create together and the real bonds that come with this ride keep me happy and sane in all corners of my life. 

    LS: Mark Emanatian, you come from a background I’m very aware of; the blues. Coming to Celtic from blues, and going back again, must be an interesting experience. It seems that they are very different music with different conventions and origins, different historical contexts, so on. What is the common thread that unites them?

    ME: First off, they come from a deeply emotional story…and tough histories of people oppressed…the music arises from that…and the music has several similar qualities based around major and minor pentatonics…you can hear a lot of the crossover in bluegrass music that was influenced by both of these musical rivers.

    LS: Improvisation is my favorite quality in music. If my brain wasn’t so blues-soaked, I would’ve hopped on to the jazz train and would still be a passenger. Tom Dolan, you are an improviser. In Celtic music, is improvisation the same as it is in jazz, or is it more structured? Is there phrasing that you have in Celtic music that you base on?

    ME: There is not a lot of bass in traditional Irish music. Often uilleann pipes are used for drone or acoustic guitar or bouzouki are used in place of the bass to add harmony and movement to songs and tunes. Irish music does not generally use chromaticism or altered and extended chords. So, there is not much similarity between improvising in Irish music and jazz. However, there is modal playing, and the use of pedal tones in common and that is useful for improvising in both genres. And listening to each other. Listening helps. It is using intensity, volume, rhythmic variations to  push the tempo to move the song along, hopefully to greater heights, or down to support the lyrics. I have been playing in bands with Mark for 50 years. We have a good understanding of what each other might play. Mark and I have played with Eileen in various groupings for over ten years. Chris is an inventive rhythm guitar, acting as a catalyst, often playing bodhran rhythms, propelling the songs forward. We have a shared vocabulary that allows us to have a conversation on stage. Sometimes full group improvisation can break out. But above all the playing must support the song.

    This article originally was featured in The Xperience Monthly.

  • An Interview with Doc Horton of the Jay Street Band

    Sometimes you just need a six-piece band jamming out “Brick House” by the Commodores and a little James Brown. Sometimes you need that when the boss is playing “Ride of the Valkyries” through his overtime demands and you’ve just sank into the comfiest seat at the club. Derek “Doc” Horton and the Jay Street Band are here to give you what you need.

    And you need to listen to the Doc and get a shot of Motown and an IV of pop/funk and just let the groove anesthetize and hypnotize.

    Jay Street Band doc horton

    Derek “Doc” Horton and the Jay Street Band are here to give you what you need. And you need to listen to the Doc and get a shot of Motown and an IV of pop/funk and just let the groove anesthetize and hypnotize.

    I sit with Doc Horton and we talk about feeling good.

    RRX: You aren’t calling yourself “Doc” Horton like bluegrass performer “Doc” Watson calls himself Doc. You actually have your doctorate, and you teach at SUNY. It’s gotta be a little bit of fun when you’re teaching younger people who have music posters in their rooms and may have no idea you play. Can you connect with your students this way?

    DH: Actually, I try to keep my worlds separate. Universities in general tend to be overly static and conservative. I have found it best to confine my music to the community. The community is more appreciative of creatives.

    RRX: You got your start with this band at Ambition Café on Jay Street in Schenectady, which you’ve said was kind of an iconic place, and I believe it. There are a lot of places in the area that are almost incubators for bands, and I would mention a few, but for space and not to exclude anybody. So tell us what it is about Ambition that did it for you?

    DH: Ambition Cafe has an owner, environment, and clientele that are open to creatives. They are willing to showcase new talent. I absolutely love that place!!

    RRX: You have gone through a lot of members in the past number of years. I watched one interview where you said thirty or forty over the years. It’s got to be a strong groove that can keep the band alive when you go through so many musicians. Do you feel that you’ve learned from the past musicians? Do you think their “ghosts” are still with you?

    DH: LOL!! Yes, there have been scores of musicians who have come through my band. However, I’d like to think that “Doc Horton and the Jay Street Band” has boosted many of their careers. I foster a professional, respectful, and nurturing environment. For many young musicians I have provided their first professional experience in music.

    RRX: Some bands that play covers, you can take a listen and maybe figure why they don’t do originals. But I don’t see that with your band. You’ve probably had the talk at some point about doing originals, and there are pros and cons. It can be rewarding to do originals, but much, much harder to make money. Are there other considerations?

    DH: I am a singer/songwriter/producer/entertainer and I have written songs since childhood. In 2023, I will be dropping some original music. Stay tuned!!

    RRX: You were nominated for a 2022 Listen Up award, the first of its name, put out by Radioradiox.com. This was very fan-generated, so someone loves ya’. What can you say about your fans, and what have they meant to you over the years? And would you wish to nominate a band for the next award that comes around?

    DH: I can’t express enough love for my fans. It is for the fans that I perform. And, I believe that when fans come to one of my performances that they deserve a show!! That’s why whether it’s 1 or 1000 I give it everything I got! My fans deserve it!!

    And, I’d like to nominate the Donna Tritico Band. Donna and Mark Tritico are friends of mine and they have a fantastic band!! I’d love for our two bands to tour together in the future.

  • An Interview with John McEuen, founding member of the Nitty Gritty Dirt Band, Performing in Buffalo and Albany this week

    John McEuen, founder of the Nitty Gritty Dirt Band, will make his way across New York this week, stopping at Sportsmen’s Tavern in Buffalo on Thursday, March 16th and The Linda in Albany on Friday, March 17th.

    The man behind the legendary album Will the Circle be Unbroken – called one of the most important records to come out of Nashville by Chet Flippo (Rolling Stone), the album features McEuen’s musical mentors Earl Scruggs and Doc Watson, his brother Bill, Mother Maybelle Carter, Jimmy Martin, Roy Acuff, ‘Bashful’ Brother Oswald, Vassar Clements, Merle Travis and more. The now multi-platinum album has been honored both by the Library of Congress and the Grammy Hall of Fame. 

    Multi-instrumentalist McEuen (banjo, guitar, mandolin, fiddle, dobro, piano, dulcimer) was a member of the Nitty Gritty Dirt Band for 50 years before departing the group at the end of the 50th year anniversary tour in 2017, the same year he was inducted into the American Banjo Museum Hall of Fame.With McEuen slated to cross the Empire State this week, NYS Music spoke with the legendary singer on his music, advice and an early gig working at Disneyland.

    Samantha Rychlicki: Seeing how you’ve been performing for years, is there a song that makes you feel like you’re 18 again and why?

    John McEuen: Much of the music I play makes me feel young, as music is like that sometimes – ageless. But “Shelly’s Blues,” “Bojangles,” and “House at Pooh Corner” are top contenders for ‘songs’. Among instrumentals of which I do a lot, there is “Dismal Swamp” and then “John Hardy” but most of the bluegrass gives you that youngster feeling, too! “Will the Circle be Unbroken” well that feels like an old one to me, singing to my long gone mom.

    john mceuen nitty gritty dirt band

    SR: What do you hope people get out of your tour?

    JM: Bringing people into that magic space where, for a couple of hours, they forget where they are. They are laughing or singing or listening to something that ‘transport’ them to a ‘better space.’

    SR: Is there anything that you are really hoping people think about after your show or is it more of a “Let’s all just get together, play some music and let people enjoy themselves”?

    JM: Music, the stories behind how it happened, and the songs will hopefully transport people to a space they will think about days later.

    SR: Your career has taken you to so many places and to meet so many people that someone in your shoes may say “Why keep going? What else is there?”, what is the number one thing that keeps you going?

    JM: I get to tell people about some o those places, laugh about them, and sing about them. And I feel like they need or want to hear it.

    john mceuen nitty gritty dirt band

    SR: What is the one piece of advice that you would give to an aspiring folk musician?

    JM: Do it as good as you can and don’t do drugs. Even David Crosby said they ‘did no good.’

    SR: A little off beat but I read in an article that you loved magic and that’s why you went to work at Merlin’s Magic Shop. My question is… do you remember any of the tricks you learned while you were at Disney? Do you still perform them?

    JM: I ‘perform’ them because they are fun, not to impress people but to shock and surprise them!