Category: Interviews

The Ryan Matter Band: Southern Rock in Upstate New York

The Ryan Matter Band, a Texas-blues power trio originating in Texas and now rocking New York State, got its start when Ryan Matter was working at 290 West Bar in Austin, TX. Working alongside several musicians, performing on the red dirt music scene, Ryan’s passion for music was noticed and he was encouraged to release his recordings and hit the road.

Now, this band born out of Texas calls New York home, with Dennis Knight (drummer & visual time keeper, vocals), Jon Monaghan (bass guitar, quantum physics) and Ryan Matter (guitar, vocals) are a power trio with a sound of Southern Rock and Dirty Blues – think ZZ Top meets Social Distortion.

Rob Smittix of RadioRadioX spoke with Ryan to get to know this unique act gracing the stages of Upstate New York,

Ryan Matter: What’s up brother?

Rob Smittix: What’s going on?

RM: Choking down a beer before I start playing.

RS: Excellent! So, what’s new and exciting with The Ryan Matter Band?

RM: I literally just booked this about 20 minutes ago. We’re goin to North Carolina in March, the week before that we’re in Florida for three days. Coming home we’re trying to pick up something in South Carolina then North Carolina and come home.

RS: That’s amazing man.

photo by Stephanie Bartik

RM: I mean it blows my mind how sh*t’s working out right now. But just trying to stay busy that’s been the big key. Trying to get re-established as a busy band.

RS: Right, well it looks like you’re on track for that. Up here you kind of fall into the category of southern rock but you’re going down south, what do they call bands from up north that play this kind of music?

RM: (Laughs) Southern rock.

RS: It’s still southern rock, alright.

RM: It’s southern rock with a touch of blues. When people think of ZZ Top, it’s dirty Texas blues. With me living in Texas for as long as I did, that’s kind of where we found our comfort zone. As a writer, that’s where the writing came out. It’s kind of like, hey, here we go, this is what we are, this is what we do.

RS: I remember you telling me that you were in Texas for a while. Are you from Texas?

RM: I’m from California. I’m from Los Angeles.

RS: The first time I was in LA was before the time of GPS and I found my way around easily just by remembering how it looked on TV.

RM: Mmm Hmm, it’s not hard to figure out. All of the roads are pretty squared.

RS: I don’t know how I did it. I drove from San Francisco. When I hit LA, I just came down Mulholland Drive. I’m staying on the Sunset Strip and it’s right there.

RM: It’s crazy because I used to be able to drive all of those f**king roads with my eyes closed.

RS: Hollywood was like Schenectady in the 80’s, but with stars on the sidewalk.

photo by Stephanie Bartik

RM: It’s gotten worse over time, it used to not be too bad. I mean it was always kind of dumpy but…

RS: Last time I was there was definitely worse than the first.

RM: My last time there was three and a half to four years ago and it was terrible. I don’t think I ever really want to go back.

RS: And you’re from there.

RM: And I’m from there. My dad still lives out there and he’s like do you want to come visit? I’m like not really.

RS: You’d love to see him though I’m sure. So, I’m really glad you are on board to be our first BANDwith segment. Stephanie J Bartik’s photography and my conversations with bands and artists seem to be a great combo. So, I guess I should ask, do you have any new recordings or anything in process?

RM: We’re actually working on a new live album right now. We recorded it several months ago, we’re in the mixing process right now, getting all of the tracks finalized. We actually just released a live track of “All Over Now,” one of the better songs that will be on the album. We dropped it as a single release leading up to the 2023 of the bootleg live album. That’s what we’re working on right now and from there when we take our mini tour we’re going to start working on pre-production and writing some new stuff and figuring out some of the other songs that I still have that we haven’t done.

RS: I’m glad it’s a live album. You’re a great live band to see and I think that’s definitely the way to go. I don’t know if you’re planning on doing CD, vinyl or MP3’s. What’s the deal going to be?

photo by Stephanie Bartik

RM: We’re going to start with digital but we’re probably going to end up doing CDs just because I feel strongly enough about the album that we can invest more money into the promo of it.

RS: It sounds like you’re getting the momentum that you need.

RM: We’re really starting to pick it up. It’s been a nice change of pace. 2022 ended the way it has. Obviously opening for Mountain. It’s the stepping stones right now that are falling into place. I’m very thankful. It’s all starting to pick up and go in a direction that it hasn’t for a very long time. It’s nice to see all of the hard work starting to pay off. If that makes sense?

RS: Definitely. Last time I saw you and I got to talk with you was at Pauly’s Hotel for the Mountain show. First of all, I think that they picked the best opening act, secondly you guys f**king crushed it so much, with a great stage presence. Your drummer is sick and I love the way that he talks to the audience to bring the crowd into it. But…I would say you guys did not sound like a local band opening up for Mountain, you sounded like the band that should’ve been on tour with Mountain.

RM: Well, I appreciate it.

photo by Stephanie Bartik

RS: Oh man, you guys f**king ripped it, man. I’ve only seen you perform a couple of times but I’ve always been impressed. I’m sure it’ll only get better and for people that haven’t seen you before I highly recommend it.

RM: It’s been a nice feeling, the reactions that we get when we come out that way and play. The bass player and I live in the Utica area and Dennis is the local guy. We love coming out there. It’s always a fun show, no matter where it’s at in Albany, in the Capital District. It’s a great time, everybody’s very open to the original music, which is a nice change of pace. I feel like we’re building a strong following out that way, it continues to open up new doors.

RS: I had to ask this silly question because I always kind of wondered. For a band that puts you front and center as The Ryan Matter Band. How does a band decide we’re going to go ahead and use your name as the band?

RM: It started out about 13 years ago and the band actually started out as 2 Lane Blacktop. Between solo shows and band shows, it started to lose name recognition. So, I started to build a following as a solo artist in Texas. When I’d go out with the band, nobody would know who 2 Lane Blacktop was. As things progressed, the two became one because of name recognition so it morphed into The Ryan Matter Band. It wasn’t for any other reason.

RS: That makes sense. I now understand.

This article originally was featured in The Xperience Monthly.

March 6, 2023
Chris Ristau, Director of The Park Theater Foundation in Glens Falls, Discusses Launch of Music and Technology Program

Glens Falls’ The Park Theater Foundation has announced the launch of their first education initiative, Music & Technology Program, through regional high schools this year, beginning with Glens Falls City School District, part of Music In Our Schools Month. (March 2023).

The program will offer middle and high school students of Glens Falls City School District and Lake George Central School District who are enrolled in general music, band or orchestra classes, to work alongside artists and audio-visual engineers.

Rob Lindquist (piano), Steven Kirsty (bass), Matt Niedbalski (drums) – Erin Reid Coker (Gallery Nine North)

Included in the program are performances, workshops and collaboration with various jazz artists that are regularly featured in the Foundation’s ‘Third Thursday Jazz’ series. The Park Theater Foundation’s Executive Director, Chris Ristau, shared his thoughts on the Music and Technology Program:

The Music & Technology Program is the latest foray for the Foundation, and one that is near and dear to my heart. In an effort to support arts education in our community, this program is only the beginning of what we hope will become a much more regular, robust offering that expands to various local school districts. I would have never found myself in the position I am today if not for the opportunities I had throughout my educational career. I hope this program, and future outreach initiatives, inspire more students to get involved in the arts in our community, and to develop their skills and self-confidence.
Chris Ristau, The Park Theater Foundation’s Executive Director

Students taking part will engage in workshops that focus on music appreciation and cultural education, in addition to audio and visual technology comprehension. Guest artists will explain the history of their genre, as well as provide a demonstration of their instrument(s) to further showcase their musical style. Guest audio-visual engineers will demonstrate various audio and lighting effects, and how they influence and affect both the artists and show experiences.

Through this program, we want to introduce students to a genre of music they might not have otherwise been exposed to, and hopefully spark further interest in those who are familiar with it or who already perform. There isn’t much opportunity available for students to learn general knowledge and gain hands-on experience about how a show comes together. We want them to experience running a venue behind the scenes – from the audio-visual component to booking the artists. There’s so much that happens off the stage before the performer takes the stage!
Chris Ristau, The Park Theater Foundation’s Executive Director

A Lake George High School graduate himself (2004), Ristau saw the potential to introduce gear that was professional so that anyone looking to go down that career path was using the best tools of the trade possible.

Ristau had previously worked at the Glens Falls Music Academy (GFMA) for five years, before heading to the nonprofit world, and finally The Park Theater. Getting to know music teachers from Bolton, North Creek and other regional schools, Ristau saw GFMA as a perfect spot for him to land out of college, where he could work within a recording studio as a studio manager, befriending teachers in the process. Ristau’s experience in working with schools and supplying music programs with items via the storefront aspect of GFMA made it possible for him to identify needs throughout the region.

Thus, when Ristau came to work for The Park Theater, he looked to develop educational programming, in addition to the jazz series each Thursday.

Part of the mission of the Foundation is to bring performing arts opportunities to the community. The Foundation itself runs primarily out of The Park Theater building, a state-of-the-art entertainment facility, which has become part of its identity. When it came time to develop the program, we wanted to find a way for students to experience the space – an operating venue with a full stage and high end sound production equipment.
Chris Ristau, The Park Theater Foundation’s Executive Director

Utilizing The Park Theater venue space allows the Foundation to connect the performance and technical side of things. Ristau notes “The Music and Technology Program was developed considering what we do here and how that, presented to the student body, will be useful to them.” This program will showcase the venue to the students and introduce them to some of the ‘Third Thursday Jazz’ series musicians – many who are educators themselves. The goal is to have the musicians on the stage, performing and talking about how they got into playing music.

Funding was made possible to get a pilot program off the ground and develop it with other schools in the area, to determine the size and scope of the program. A grant from the Glens Falls Foundation was received for Glens Falls High School programming taking place this March. In Fall 2022, they received additional funding for the Lake George High School programming taking place later this year.

Working with Krislynn Dengler, superintendent at Glens Falls City School District, and John Luthringer, superintendent at Lake George, who both started their respective positions in July 2022, led to Ristau’s initial outreach. Said Ristau, “From there we sat down with teachers in the music program who helped shape the program into something that will complement the music and general curriculum already in place.”

Jazz music history will also be learned throughout the program. We will give insight on how to book a show, the technical aspects behind the scenes, how to run sound and lights well to complement what is on the stage, and demonstrate the effects on the board, highlighting the capabilities that lead to a good night of tech, as opposed to a bad one.
Chris Ristau, The Park Theater Foundation’s Executive Director

Drummer Matt Niedbalski, who met Ristau at Parkway Music in Clifton Park, learned of his vision to bring more jazz to Downtown Glens Falls, and has become a key part of the once-a-month series, Third Thursday Jazz. Getting additional musicians from around the area on board was easy for the jazz drummer, given his proximity to The Park Theater, and his background teaching drumming made for a great role in developing the series and onstage portion of the educational program.

Erin Reid Coker (Gallery Nine North)

Chris Reed Jr, a Crane School of Music at SUNY Potsdam graduate opened the Glens Falls Music Academy with his wife, Meredith, a teacher at Glens Falls. Reed now handles sound tech at most of the Foundation’s performances, and was previously Chris’ supervisor at GFMA.

Ristau further explained how the educational portion of the Music & Technology Program comes together: “The initial performance will be for the full student body in the arts wing, then they break it down for a more hands on, in depth portion for the older kids who may be looking into this as a career. They then reconstruct things back so they have a full performance with students who are able to play with the gear to experience it first hand.”

For more information on the Park Theater and the Park Theater Foundation, please visit their website.

Upcoming Events in March

March 1: The Park Theater Foundation hosts Rochmon Record Club for a series of listening parties. Hosted by Chuck Vosganian, this listening party will focus on Paul & Linda McCartney’s “Ram” (1971). Tickets: $12.00. Doors: 6:30pm | Showtime: 7:00pm.

March 9: The Park Theater Foundation presents ‘Live & Local’ featuring indie-folk group, Cricket Blue. Dubbed one of the “10 Vermont Bands You Should Listen To Now,” Cricket Blue have taken their music and storytelling to stages and folk festivals across the United States and Canada. Tickets: Early Bird – $15.00 | Day Of Show – $20.00. Doors: 6:30pm | Showtime: 7:00pm.

March 16: The Park Theater Foundation presents ‘Third Thursday Jazz’ with The Matt Niedbalski Trio featuring The Dylan Canterbury Quintet. Experience some of the best jazz music in the Capital Region! Tickets: $10.00. Doors: 7:00pm | Showtime: 7:30pm.

March 17: ‘The Park Presents:’ St. Patrick’s Day Dinner & Show ft. Cassie & Maggie: In partnership with Park Street Hospitality, The Park Theater Foundation presents St. Patrick’s Day Dinner & Show on March 17th, 2023! This event features a special ‘The Park Presents’ performance by award-winning Celtic duo, Cassie & Maggie, and includes a delicious Irish-inspired 3-course prix fixe menu curated by Park Street Hospitality’s executive chef, Matthew J. Delos. Nova Scotian sisters, Cassie and Maggie, have been lighting up the world with their unique blend of traditional and contemporary Celtic instrumentals and vocals. Appearing on stages across North America, the UK, and Europe the sisters have enchanted audiences far and wide with lively fiddle, piano and guitar arrangements, stunning sibling vocal harmonies in both English and Gaelic, all complemented by their intricate and percussive stepdancing style. View the full menu at parktheatergf.com. Tickets: $65.00 (includes tax and service fee). Doors: 5:30pm | Dinner: 6:00pm | Showtime: 7:30pm.

March 23: The Park Theater Foundation presents ‘Live & Local’ featuring world music band, HEARD. Heard is a collective of musicians that bring their skills and passion for world music, jazz and improvising together to create irresistible grooves set in a unique sonic tapestry. Energetic and upbeat, HEARD will open your ears and hearts! Tickets: Early Bird – $15.00 | Day Of Show – $20.00. Doors: 7:00pm | Showtime: 7:30pm.

March 29: The Park Theater Foundation hosts Rochmon Record Club for a series of listening parties. Hosted by Chuck Vosganian, this listening party will focus on Rod Stewart’s “Every Picture Tells A Story” (1971). Tickets: $12.00. Doors: 6:30pm | Showtime: 7:00pm.

March 31: The Park Theater Foundation presents ‘Comedy After Dark’ featuring highly-acclaimed New York City stand-up comedian, Adam Mamawala. He has appeared on Comedy Central, MTV, BET, and SiriusXM. Adam has been a freelance contributor to Saturday Night Live’s Weekend Update and Someecards and currently co-hosts podcasts Away Games and HORSE, as recently featured in the New York Times. Enjoy an evening of laughter and fun with family and friends! Tickets: Early Bird – $22.00 | Day Of Show – $25.00. Doors: 7:30pm | Showtime: 8:00pm.

February 28, 2023
An Interview with Baritone Saxophonist Gary Smulyan

Baritone saxophonist Gary Smulyan from Bethpage, New York is a gifted multi-instrumentalist whose music career began on the alto saxophone in his teen years on Long Island. Today, Smulyan is critically acclaimed and recognized as the major voice on the baritone saxophone. Smulyan is known for his aggressive rhythmic sense, his intelligent and creative harmonic approach and a strong and incisive wit.

While still in high school, he had the chance to sit in with major jazz artists such as legendary trumpeter Chet Baker, saxophonist Lee Konitz, trombonist Jimmy Knepper and violinist Ray Nance. He studied at Hofstra University before working with Woody Herman and leads a trio with bassist Ray Drummond and drummer Kenny Washington.

Gary Smulyan is a multiple winner of the DownBeat Critic’s and Reader’s Polls and numerous other official polls, including the Jazz Journalists Award for Baritone Saxophonist of the Year. He is a six-time Grammy Award winner for his work with B.B. King, Lovano, Holland, and the Vanguard Jazz Orchestra.

Smulyan has recorded and performed worldwide with Freddie Hubbard, Dizzy Gillespie, Stan Getz, Ray Charles, B.B. King, Tom Harrell. Cedar Walton, George Coleman, Joe Henderson, Joe Lovano, Tommy Flanagan, Chick Corea, Diana Ross, Clark Terry, Kenny Wheeler, Charles McPherson, James Moody and Slide Hampton, among others.

Rob Smittix from Xperience Monthly spoke with Smulyan on a range of topics

Rob Smittix: Where are you based out of?

Gary Smulyan: I live in Yonkers, New York. Just north of New York City.

RS: Oh yeah New York City’s hat, I’m familiar, it’s like the extra piece of the Bronx.

GS: Yeah, we’re just north of Riverdale which isn’t very far, just near the Bronx border.

Every time I come up to Troy, the pressure is on because that’s Nick Brignola’s home territory. Bring your best game every time you play in Troy because the spirit of Nick Brignola is hovering all over the place up there.

RS: That’s right!

GS: It’s an inspiring place to play.

RS: And Troy is really up and coming, a lot is starting to happen there.

GS: A lot of it is Joe Barna too. Joe’s the real deal. He creates things and makes music happen. He finds places to play, he finds musicians to play with, he creates venues, he creates opportunities for musicians, both who live there and from out of town. Joe is making it happen. I tip my hat off to him for all of the hard work that he’s doing.

RS: Oh, absolutely. We have an award show called the “Listen Up Awards” and Joe actually won that and he had a fantastic speech. Ever since that I’ve really been in Joe’s corner for sure.

GS: So, what was that award for?

RS: He won the favorite jazz musician award for the region.

GS: Okay, that’s well deserved.

RS: It was favorite too, it wasn’t the best, so it shows that people like him.

GS: Well, you know I think a big part of it is that Joe is providing places for people to hang out and listen to music. Especially now, I think it’s incredibly important. After COVID happened, people are getting more comfortable with going out now and they’re getting excited about hearing live music, supporting live music and being able to get out of the house. To have venues like what Joe is doing, I think is really appreciated by the public. They’re really glad that he’s doing it and they’re very happy to support it and get out for a night and hear some music.

RS: What’s really cool too is that he’s leading the jazz scene, but the goal is to link various genre scenes together here. It’s something that hasn’t been done in a really long time.

GS: So, what do you mean like clubs are supporting each other?

RS: Yeah finally. People are starting to get out of their little groups and are starting to get out and support each other. There’s still a lot of work to do and we’re starting to see a difference.

GS: That’s important, everyone’s successful if you do that.

RS: Yeah, we’re finally scratching the surface.

GS: Wow that’s great news. To be so separated and protective of your little scene, doesn’t really help the scene as a whole.

RS: I’ve been saying it for years.

GS: No. I agree with that. Especially in a place like Troy, you know? Because it’s not New York City, it’s a smaller scene, so you really have to do that to ensure the success of everybody. It’s not just about one place or two places, it’s about everybody being successful and the only way to do that is to support everybody. It’s important, man. So, for me because I haven’t been to this new venue yet. I’ve played in the region quite a few times, so to discover a new place and to see how people come out and react and support; I’m excited about seeing what it is and what the scene is going to turn into. I hope it really is successful.

RS: I don’t know if you actually change this on your ID or your passport but how long has it been since your first name became Grammy-Winner?

GS: I don’t know, I don’t think of myself like that. I’m just trying to play music and get better, I don’t know. I’ve been fortunate enough to be a part of a number of projects that have won Grammys. It’s been an honor and a thrill but I don’t focus a lot on that honestly. The bottom line is that it’s the work that’s important right? So, Grammy winner, the thing is other people do that I don’t add that, when I talk about myself. I’m happy other people do it and maybe it helps sell a few tickets or something, but I don’t think of myself in that way.

RS: It’s like when I’d bring somebody to town and you never would’ve known they used to be in such and such a band, so you throw it on the flier and it helps put butts in the seats.

GS: Oh yeah, of course, from an advertising point of view you have to do that.

RS: Right.

GS: I actually don’t talk about myself like that at all. I’m just happy to have been a part of these projects over the years. I’ve been really fortunate and in the right place at the right time and I’ve been really fortunate to have played on these beautiful records.

RS: That’s the thing, it’s really about the music and the end product. I’m just really feeling bad for the kids these days. When I say kids I mean the generation that never knew the world without the internet.

GS: Yeah, I think about that all of the time. With cellphones and computers and not really having the opportunity to go record hunting. There are so many distractions today that take young people away from the essence of trying to learn music. I agree with you. I think it’s very hard and also the opportunity to go play. I was with Woody Herman’s band when I was 22. I left school and went on the road for two years and that’s where I really honed my craft. Those big bands that toured all of time, it’s kind of over. On the flip side though, young musicians are really learning to use social media to further their careers, which is something that I’m not very good at. I’m an old guy, I’m 66 and I find that very challenging. The world is shifting from going on the road to posting a video of you playing something and having people look at it and that’s how you get hired now. That’s the platform where young people are getting gigs now. It’s fascinating to me but it’s a world that I find mystifying, I don’t have my head wrapped around it yet. You know? Putting up a video and seeing how many hits you get and all of that. But some young musicians really have that down, really get it and use it in a positive way to further their careers. Whether they’re teaching, performing or both, that’s where the scene is going now.

RS: You’re not kidding, it definitely is.

This interview originally was published in The Xperience Monthly

Catch Gary Smulyan perform in NYC in February and March, and find more dates here.

February 6, 2023 – Vanguard Jazz Orchestra, Village Vanguard

February 13 – 20, 2023 – Vanguard Jazz Orchestra Thad Jones Centennial week, Village Vanguard

March 18, 2023 – Cafe Bohemia

February 2, 2023
An Interview with Reese Fulmer and the Carraige House Band

Unity is a great thing in music. Having one person with all the spotlight supported by shadow people makes for good reality television, but in real, vibrant people, the most passionate players seek each other out for lessons in applied sorcery. One such coven surrounds Reese Fulmer and makes up Reese Fulmer and the Carriage House Band. Their sound reflects the yearning of music holding hands with collective years of talent. I sit with Reese and discuss the finest in carriages.

Liam Sweeny: You’ve said that Reese Fulmer and the Carriage House Band is as much a concept as a band. It’s an evolving ensemble of some of the area’s top performers. People, talented people, come and work on your music. And for there to be that kind of draw, your music has to have a deep appeal. What do you feel draws people to your work?

Reese Fulmer: I wish I knew the right answer for this question. I think one reason is that I approach my own music with a reverence that resonates with the way they feel about music in general. I love my music and I love how they help it grow. I recognize the work they do on stage, in preparation, and with their other groups, and deeply respect the talent they have and I’ve made it clear that I trust them completely. I value their time and try to keep it interesting for them, and I make sure I’m organized and easy to work with.

If there is any sort of deep appeal, I think it’s as much a credit to the variety of live music and the quality of the players I’ve been exposed to as anything else. There’s a wide range of sounds that make their way into my writing and then every time I get to play with the band I hear new things and it influences my work from there. So through that I’ve been able to improve my own songwriting and continue bringing them new stuff and new ideas, and I think they’ve seen that progress and embraced the way I’m going about being a bandleader.

LS: Working with other musicians is fulfilling, but its also a challenge. Because as much as you have a vision for your work, they’re going to have an interpretation of it that you might not see coming. How to you manage to keep your sound the way you like it while allowing others to give it new directions?

RF: When we play live, everyone in the band has total freedom. I come up with the arrangements and some vague ideas about a vibe I think makes sense but within that structure I never tell anyone what to do. I throw a bunch of colors at the wall and they react to each other. I rarely have a plan for who takes which solos, I decide in the moment and they stay on their toes. They know that all I want is for them to be themselves. That probably gets at your first question too. The Carriage House Band sound will be whatever they decide to make it and that’s the way I like it.

On the studio work I sometimes give more specific direction, but again I’m calling on people because I know their sound and I want to hear their version of my idea. Most of my guidance has to do with dynamics and timing. I think Chris Carey and I have a good production balance where I outline the broad strokes and Chris has such a great ear and can finetune harmonies and smaller details within that structure.

photo by Frankie Cavone

LS: You were nominated for a 2022 Listen Up award, Radioradiox’s first award show. Whether or not you have high regards for awards, this was the first of its kind, and you made a list drawn up entirely by supporters and fans. Seeing as how we live or die by support, how important do you think fan recognition is?

RF: This is a tough one. I think it’s easiest if I don’t mention my regard for awards. But in terms of lifting the presence of an artist or band in a regional music scene, the opportunity to be nominated and recognized in that capacity where it puts your name in front of a community that really cares about music is important. To write someone’s name in a category for nomination should mean that you must have been impacted by their music on some level, and to me that right there is the most compelling part. And as an annual event it serves another important purpose where we can gather and celebrate how prolific and creative we’ve collectively been over the past year.

LS: At this writing, which may be surpassed, you have an EP out called All the Time in the World. It features an impressive cast of characters, including two people I’ve followed since being in ink, Brian Melick and Caity Gallagher. And that’s not to really play favorites or anything. Tell us about the album, and what you were imagining for it?

RF: So the full vision for the album is to be a complete 12 song project. At this point I’ve got four recorded, the studio versions anyway, and the rest I’ll put together as I go. There may be a few live recordings released in the meantime. The common thread for the writing on the album has to do with our experience of time, which was a theme that I kept finding in my songs. It really appears in all my writing to some extent, but these are a collection of the earlier works. Front to back, it will probably have a broad range of production and ideas, most of which I haven’t thought of yet. And yes, I have a massive amount of respect for all the musicians featured on the project so far. They’ve approached it with a lot of detail and care and already made it into something larger than I could have designed.

LS: A theme that I see surrounding you is versatility. Your music reflects it, one couldn’t imagine anything coming out of what you do that wasn’t versatile. But versatility is relative. You could have a country song where every player can play every part, and they’re versatile, but it’s the same song. What does versatile mean to you?

RF: There’s a belief in martial arts that the best form is to follow no form at all, which implies a certain level of fluency in all of them. I think that the foundation of how I’ve learned about music has been without form for the most part, at least within the independent roots scene as a whole. The bands I’ve connected with have played really loose and relaxed, regardless of genre or background, and communicated the joy of that feeling to the audience. All those different playing styles are just variations on that same language. The players I’ve been lucky enough to play with have that level of fluency on their instruments and can hear whatever sound I give them and give back what it needs from them.

LS: The future looms large, and there’s no end to the projects that could be forthcoming, not just for you but for the people in the cast and crew. Can you tell us what you’re doing in the near future, and maybe a few projects of some of the other players? And in particular, anything that brings your general ensemble together. The floor is yours.

RF: Thanks for giving me the chance to talk about this stuff! I’ve got full band release shows at the Park Theater on 1/26 and the Cock n Bull on 2/23 which will coincide with tracks 3 and 4 being available online. I’m starting to plan out my spring and summer schedule, which should include some trips around to small northeast venues. Most of that will be solo or duo/trio whenever possible. And playing as much as I can with larger versions of the band, at venues around the area and on festival stages. Hopefully we’ll keep finding people that want to listen!

There are a ton of projects that are connected to Carriage House Band players. To narrow it down a bit, here’s a list of regional bands (in no order and definitely incomplete), with familiar faces behind them, to pay attention to: Honeysuckle, Rodeo Barons, North & South Dakotas, Blue Ranger, Super 400, Family Tree, Drank the Gold, Wax Shamu, the full band projects of Girl Blue, Angelina Valente, Sydney Worthley, Carolyn Shapiro, and Hold on Honeys, O-Man & The Nite Trippers, Golfstrom, Heard, Daisycutter, Jim Gaudet & The Railroad Boys… all of them creating amazing music. I’m grateful that they find ways to share their time and talent on my music here and there.

This interview originally appeared in The Xperience Monthly.

January 29, 2023
The Gibson Brothers Inspire with Darkest Hour

“I feel your pain” was a catch-phrase made popular by former President Bill Clinton, in an attempt to convey empathy. Brothers Leigh and Eric Gibson have a new album, Darkest Hour , set for release on January 27th, might be the best example on how music can draw empathy out of us. This is especially true in the track, “I Feel The Same Way As You”.

The Gibson Brothers have had wonderful success in the world of bluegrass, and there’s no stopping them now. Superb songwriting on “Darkest Hour” they deliver 12 tracks produced by Jerry Douglas. The album holds dear to the standard bluegrass and a few of the tracks have lap steel, percussion, and electric guitar masterfully blended together by Jerry Douglas.

Connecting through Conversation

You know Gibson makes some really fine guitars. There’s nothing like the Gibson brothers! I had an extended converation on The Long Island Sound podcast, as we took a deep dive into their back story and the pending release of their new album, Darkest Hour.

I’m so interested in families, wives and husbands and brothers who play music together. The musical journey of the brothers on a dairy farm in northern New York, about two miles from the Canadian border. Their dad would alway keep instruments around the house, he’d order a banjo or pick up a fiddle at an auction or order a guitar, but nobody played. Little did their father know that his was laying the foundations for his son’s future musical career.

The Gibson Brothers Eric and Leigh

Instrumental Influences

Eric O’Hara, who still plays in the band these days, was instrumental (pun intended), in helping the brothers Gibson woodshed and hone their craft. They began getting serious about playing music when they were eleven and tweleve years old. The influence of Country and Bluegrass music stayed steady as they listened to Merle Haggard and Earl Scruggs. Living so close to the Canadian border, the fiddle played a big part in Canadian Country music.

Early in their career, the Gibson Brothers did not have the opportunity to travel South, so they looked North. The CBC (Canadian Broadcasting Company), was a was an influence. The Tommy Hunter show had country music every Friday night, and they’d have American country people come up, but also really good Canadian country, artists were on the show. they would see people like Gordon Lightfoot, on CBC, and so many great songwriters from Canada, like Stan Rogers.

And that song started coming and I came through the kitchen door and my wife started talking to me said I gotta go, I gotta go upstairs ,I gotta write I gotta get this down.
Eric Gibson

Success by a Thousand Trys

Wondering if they could recall their one big break into the music industry, Leigh Gibson said “it was such a slow climb, we were prepared for when things don’t always go your way in your career, which will happen. It’s Ups and Downs, you know, but sometimes we’re glad that we weren’t that act that just jumped on the scene.”

Things sometimes go by so fast that it is hard to appreciate what just happened. The boys recounted an experience meeting a future celebrity early in their career in Nashville.

Erik: “Well, I mean, it was early on, we’re playing, playing the station and stuff. And one of the guys is hanging around was the guy named Dirk Bentley just happened to be working on a deal, you know, and nice guy. Just don’t know who you’re gonna run into.”

In Nashville, the Gibsons were meeting and rubbing elbows with their heroes. They met Dave Ferguson, before he hit the big time, and recorded their first album. Ferguson is a ‘s a legend now, but when they met he was second engineer, now he’s one of the hottest producers in Nashville and, and eighteen years later, he remembered the Gibsons and wanted to do a record. And then when they did the record in 2018, it was supposed to be with Dave Ferguson, and then they get a call from their manager who said, Dan Arbok of the Black Keys wants to be involved. Circumstances came together and as they say, “The rest is history”.

I Go Driving

“I go driving”, the sixth track on Darkest Hour, is one of the only songs Eric had written at night. He was feeling stir crazy, wanting to get out of the house, he went for a ride and drove on Backroads of his hometown, listening to Old Country music and just trying to pretend that things were going to be good again. Eric: “And that song started coming and I came through the kitchen door and my wife started talking to me said I gotta go, I gotta go upstairs ,I gotta write I gotta get this down.”

Energy exudes itself in Bluegrass music and the Gibsons Brothers sure know how to deliver.

Tour Dates

Eric and Leigh have begun their tour to promote the album.

Catch The Gibson Brothers On Tour

Jan. 27 – Fairfield, CT – StageOne

Jan. 28 – Shirley, MA – Bull Run

Jan. 29 – Newburyport, MA – Firehouse Center

Feb. 2 – Glens Falls, NY – The Park Theater

Feb. 3 – Clinton, NY – Kirkland Art Center

Feb. 4 – Norwood, NY – Norwood Central School

Feb. 9 – Annapolis, MD – Rams Head

Feb. 10 – Richmond, VA – The Tin Pan

Feb. 11 – Rocky Mount, VA – Harvester Performance Center

Feb. 12 – Durham, NC – Motorco Music Hall

Feb. 16 – Newport, KY – The Southgate House Revival

Feb. 18 – Nashville, TN – Analog at Hutton Hotel

Feb. 19 – Asheville, NC – The Grey Eagle

January 28, 2023
An Interview with David Harrington of Kronos Quartet, performing at UPH on Jan. 29

Kronos Quartet, a San Francisco treat who have been reinventing the string quartet since 1973, will arrive at Universal Preservation Hall in Saratoga Springs on Sunday, January 29th.

Featuring David Harrington (violin), John Sherba (violin), Hank Dutt (viola), and Paul Wiancko (cello), Kronos Quartet is one of the world’s most celebrated and influential ensembles, performing 1000s of concerts and releasing more than 70 recordings, while collaborating with composers and performers. The group has won over 40 awards, including three GRAMMY Awards, and the prestigious Polar Music, Avery Fisher, and Edison Klassiek Oeuvre Prizes.

Founding member David Harrington spoke to NYS Music recently, sharing insight into the group’s creation, how the early years continue to influence current projects, and how Pete Seeger influenced the band’s work.

Pete Mason: You are performing in a theatre in the round on January 29 at Universal Preservation Hall. When someone is seeing you for the first time, what do you hope their takeaways might be?

David Harrington: I hope the audience will feel like they’ve had a little adventure through the world of music as told by the members of Kronos, playing several recent pieces. The music of Nicole Lizée from Montreal brings sonic elements into the mix, and it’s got this darkness but it’s also fun. And a piece by Indonesian composer Maduswara – there’s nothing like Maduswara that I know of.

We will be ending the show with “Cadenza on the Night Plain” – one continuous 30 min piece, featuring incredibly beautiful interlocking rhythms and a solo for each member of group. You will notice Terry Relily is generous, and he gave us this beautiful work that is thrilling to play this in the round, as everyone has their own individual experience. We’re also playing “All Along the Watchtower” – if you could name one great cover version of any song, in the last 60 years or whatever, you’d have to say Hendrix doing “Watchtower” is just the most amazing reinvention of a song. We’re trying to take our audience through a lot of different sound worlds, so let’s go!

PM: Is the new release My Lai connected to your album 1990 album Black Angels?

DH: In my mind, yes. 1973 was when I first heard “Black Angels” (George Crumb’s 1970 composition) on the radio – and I formed Kronos a few weeks after hearing it, we had our first rehearsal on Sept 1, 1973. Playing “Black Angels” later that year felt like bringing a great deal of music together, chanting and shouting, playing crystal glasses and instrumental effects, it felt like it was so much together, as a response to the war in Vietnam. I was searching for that, and there it was.

40 years later, Jonathan Burger told me about Hugh Thompson, and he had an idea for an opera. I had heard of the My Lai massacre – 500 villagers dead in Vietnam – but I didn’t know the story of Thompson, and Jonathan wanted to make this an opera. With him knowing of Kronos and “Black Angels” and having been working with a Vietnamese instrumentalist, Burger learned from her and began writing this piece and it was recorded and released a few months ago.

PM: How did the music of Pete Seeger influence you?

DH: The music and voice of Pete Seeger are locked into my own life. I grew up hearing him and when we had kids, we played his music in the home. When we had grandkids, we played Seeger in the car and at home. My daughter, now a 3rd grade teacher, plays Seeger in her classroom. We played in her classroom once, and one of the teachers brought a guitar, as the kids have all learned “We Shall Overcome.” The other 3rd grade teacher noticed it was Seeger’s 99th birthday the next day. So in the classroom, we decided to make an album celebrating Seeger, and if it’s good enough for my kids, grandkids and these students, it’s good enough for an album.

Clarence Jones, a speech writer and friend to Martin Luther King, Jr. shared how the I Have a Dream speech came to be. We recorded his story, and he said “You know if Seeger were alive, I believe he’d be singing that song.” The album has songs Seeger was inspired by, songs from around the world, President Obama sang “Amazing Grace” on the album, one of the most amazing public events that any official has ever done. We recorded the “We Shall Overcome” track in the school with 100 kids, it was one of the most fun albums I could ever imagine going..

I still have Pete Seeger’s home number in my phone, and I never called him because what would I say to him?

PM: Any film scores on the horizon?

DH: The latest film Kronos scored is 1000 Thoughts. Sam Green directs and Kronos plays the score live as Sam takes the listener/viewer through the history of Kronos, with interviews with composers, one we have done live quite a bit.

PM: Do you have a favorite arrangement of music you are enjoying at the moment?

DH: I try to keep my ears open every day and I never know where it’s gonna pull me next. I just try to be ready, thats been my habit all these years, and I think I’m getting better at it – just getting ready. I heard a musician the other day, my friend told me about, Pura Fé, a singer/songwriter who plays guitar, and a member of the Tuscarora Indian Nation. I was just struck by it and thought it was amazing.

Revisit our July 2022 coverage of Kronos Quartet performing their live documentary, A Thousand Thoughts for the Celebrate Brooklyn! summer series.

Tickets for Kronos Quartet at UPH are available here.

January 29th Program

Peni Candra Rini (arr. Jacob Garchik) / Maduswara **
Aleksandra Vrebalov / My Desert, My Rose **
Mazz Swift / She Is A Story, Herself *
Nicole Lizée / ZonelyHearts *
INTERMISSION
Bob Dylan (arr. Jacob Garchik) / All Along the Watchtower (inspired by Jimi Hendrix) +
Abel Meeropol (arr. Jacob Garchik) / Strange Fruit (inspired by Billie Holiday) +
Terry Riley / Cadenza on the Night Plain *
Introduction
Cadenza: Violin I
Where Was Wisdom When We Went West?
Cadenza: Viola
March of the Old Timers Reefer Division
The Old Timers Throw a Spring Festival
Marching Off to More Serious Matters
Cadenza: Violin II
Tuning to Rolling Thunder
The Night Cry of Black Buffalo Woman
Cadenza: Cello
Gathering of the Spiral Clan
Captain Jack Has the Last Word

January 25, 2023
Elliott Murphy’s Amazing European Journey Enlightens Us with Prose and Song

Elliott Murphy is my latest surprise discovery and I am a wealthier man for meeting him and engaging in conversation. His vast career has taken him from Garden City, Long Island to Paris. A Rock-n-Roll, singer/songwriter, poet, performer, author and journalist for Rolling Stone and Spin Magazine, Elliott Murphy has a career worth investigating. I was most fortunate to have him on The Long Island Sound podcast.

Elliott Murphy

Looking at the experiences of this past year, I’m amazed at the various brushes with celebrity, while I lurked in the shadow of creative greatness. Unbeknownst to your humble correspondent, I stood briefly in the shadow of Elliott Murphy. Not shy to request interviews for NYS Music, I had yet to appreciate the unbelievable career of the man, who alongside Bruce Springsteen, was once touted as the next Bob Dylan.

After a brief “How do you like the Grand Opening?” back and forth, I propositioned Elliot for a full interview on The Long Island Sound podcast, which you can find right here.

Elliott Murphy was raised in Garden City and after a sojourn through Europe, returned to New York in 1973, and was promptly signed by Polydor Records and produced his acclaimed debut album, Aquashow. Paul Nelson from Rolling Stone acclaimed:

He’s the Best Dylan since1968
Paul Nelson (Rolling Stone)

Discovering Elliott Murphy

The road to discovery is littered with potholes, twists, turns, gumption and glory. Nevertheless the search for the next great artist or song which we long to cling to and make our own, may very well be around the corner. That’s why we search, because it can appear in the most unlikely places.

My recent job was to experience the Grand Opening of the Long Island Music and Entertainment Hall of Fame, as luck would have it among the many notable celebrities in the music industry, I came across a humble man, open to my small talk to pass the time with me as the circus of celebrity bandied about.

Paris My New Home

Traveling through Europe on a whim and a prayer seemed to be the right of passage for many twenty something’s over the decades. In 1977, Murphy took his guitar, harmonica and talent on a trip to Italy. Elliott put out a hat for tips and sang his heart out on various street corners throughout Europe, and brought home some new honed songs to New York.

Elliott Murphy performs at the Long Island Music and Entertainment Hall of Fame Grand Opening

Upon his return to America, he played around Manhattan and scored a record deal with Polydor Records. The birth of his acclaimed album “Aqua Show” took the critics by storm as he was touted as the next Bob Dylan alongside Bruce Springsteen, John Prine, and Louden Wainwright III, but maybe America was just not ready for this soon to be prolific Parisian ex-patriot. You’ll have to tune into The Long Island Sound podcast to get, as I say, “The rest of the story.”

Prolific Singer/Songwriter & Author

Elliott Murphy’s musical journey seems to have been born out of a dream. He must be a dreamer having authored several books, and produced over thirty-five albums. In fact if you follow Elliott Murphy on Facebook, you’ll experience his awesome ability to detail dreams from the evenings slumber with the Rock Dream posts.

My latest project is called Elliot Murphy’s rock dreams. And this is a very bizarre one. I have dreamt about rock stars ever since I can remember. But I never wrote it down. Okay.about a year or so I decided I would start writing down these dreams and putting them up on my Facebook page. And I’m up to number 86 shit.
Elliott Murphy

In October 2012, he was the recipient of the Medaille de Vermeil de la Ville De Paris. On November 4, 2015 he was decorated with the Chevalier Ordre des Ares et des Lettres (Order of Arts & Letters), and in 2018 he was inducted to the Long Island Music and Entertainment Hall of Fame by Billy Joel. He keeps going strong, touring throughout Europe, appearing at over one hundred events per year.

During our interview, I found Elliott to be open, honest and transparent about his career and journey.

It was my privilege to spend over an hour with him as we conducted a virtual interview between New York and Paris. There is much more to unpack about Murphy’s career, and I’m hopeful he will grant me additional interviews in the near future. (No pressure, Elliott, just say’n)

Sometimes we have to appreciate the past, and look at the historical journeys great artists have taken to appreciate their art and their careers.

The Joel/Springsteen Connection

Elliot Murphy counts Billy Joel and Bruce Springsteen not only as friends and peers, but as collaborators. Here’s an interesting trailer from the documentary “The Second Act of Elliott Murphy” featuring Billy Joel and Bruce Springsteen.

Billy Joel at MSG

In fact the list of collaborations is quite long, as he has worked with Mick Taylor, Phil Collins, Sonny Landreth, David Johansen, The Violent Femmes, Cindy Bullens and Shawn Colvin.* (Wikipedia reference) In 1995 his “Selling the Gold” a duet on the song “Everything I do- Leads Me Back to You” features Bruce Springsteen.

Bruce Springsteen

When talking about “The Boss” Elliott said this:

I’ve had so many marvelous moments with him (Bruce Springsteen) he invited my son and myself to sing Born to Run with him in a venue called the Stade de Frances. The French stadium, minutes. 80,000 people Oh my god. Wow. Imagine what a thrill that was.
Elliott Murphy

The Last of the Rock Stars

The connections, the collaborations and the journey of Elliott Murphy is quite fantastic. There’s a documentary from 2015 called “The Second Act of Elliott Murphy” which explores his storied career. When Elliott Murphy first went to Europe, so many Rock Stars were passing away, Jimmy Hendrix, Janis Joplin, and Brian Jones. This is what he had to say about his most requested song:

The last of the rock stars was written on my first trip to Europe. And it is probably the song that I played at literally every concert. I think I’ve done about 2600 concerts in my life and I think I’ve played it literally at every show

Sometimes one has to explore the road less traveled to discover new music as well as time-tested classics. I believe this new year, will be a year of hope which enriches us with great new music, as the discovery of the wellspring of talent continues. A chance brief encounter, led me to Elliott Murphy, and I am richer for it. I look forward to hearing and reading more from him, as his creative desire remains strong along with his connection to Long Island, NY. I leave you with his beautiful song, “Touch of Kindness“.

May this New Year help us build the necessary bridges through kindness and cooperation with the gift of music. Peace!

January 2, 2023