The Great Blue Heron Festival 2023 will celebrate its 30th anniversary with a lineup of fan favorites and ten new, never-been-to-The-Heron artists.
The Great Blue Heron Festival draws in thousands of fans from across the U.S. each year, remaining a tradition for people young and old to celebrate self-expression and music. The festival will take place at the Heron Farm in Sherman, an award-winning campsite, voted number one in the U.S. by HipCamp. The Heron is open daily for seasonal camping from May through October along with the Green Heron Growers Farm Store.
From June 30-July 2, there will be three stages, called the Main Stage, the big top Dance Tent, and the Tiger Maple Stage, as well as over 30 artists, featuring returning headliners Donna the Buffalo. The group has been together for over thirty years, releasing over ten records, performing with various musicians, including prominent folk/roots performers such as Jim Lauderdale, the father and son zydeco musicians Preston and Keith Frank, and more. Three Heron newcomers and finalists include Keller & The Keels, Couch, and Kaleta & the Super Yamba Band.
Keller & The Keels have been making Appalachian-style psychedelic bluegrass tunes since 2004, recording three albums since. Featuring award-winning flat picker Larry Keel, his bass-playing wife Jenny Keel, and Keller Wiliams, the trio is excited to perform at Great Heron. Boston-based group Couch infuses pop with funk, rock, and R&B/soul. Their vibrant sound is further defined by the members’ backgrounds in jazz, a cappella, and musical theatre. They celebrated the release of their debut EP, COUCH in Feb. 2021 as well as three new singles and a 20-city headline tourin 2022.
Brooklyn-based group Kaleta & the Super Yamba Band is fronted by Afrobeat and Juju veteran Leon Ligan-Majek a.k.a. Kaleta, living his adolescent years in Lagos, Nigeria where Afrobeat was born. The group has performed across the globe, releasing its debut album Mèdaho in 2019. Other performers for the festival include Peter Rowan, Kevin Kinsella OG JBB, Henhouse Prowlers, The Probables, Root Shock, Smackdab, Dr. Bacon, New Planets, Dirty Gems, Sun King Warriors, Pa Lane, and more.
Tickets for the Great Blue Heron Festival 2023 edition are on sale now.
Brooklyn indie-pop artist Oropendola has just released a music video for her newest single “Rorschach Sky.” This is the third and final single off her upcoming album Waiting for the Sky to Speak which has just released today, Friday, March 17th.
Oropendola, who has played with singer/songwriters Half Waif, Barrie, and Samir Langus, stated, “Rorschach Sky” points to the missed opportunity of spending your life waiting for something when life is happening all around you. If you’re waiting for some kind of answer from the sky, you’re not seeing the beauty and the motion in every passing moment.”
“I paused Twin Peaks to watch the kitchen clock,” said Joanna when thinking back on writing Rorschach Sky. “It was moving backwards. A slow, disorienting, luxuriously surreal countdown. April 7th, 2020, which I only knew because I grabbed my phone to type a bunch of exclamation points in my notepad. I had barely changed out of my pajamas for three weeks. I was happy for Time: being able to veer off course. Stretch like silly putty until becoming shimmery and translucent, changing color and sequence like a kaleidoscope. Shifting identity like the clouds.”
Joanna Schubert’s debut album is titled Oropendola, which is a bird whose name translates to “golden pendulum.” These tracks shimmer with bursts of energy and emotion, swinging from playfulness to earnestness with deft, technicolor brushstrokes. The album is a celebration of choosing life even in the face of its ephemerality, and of finding motion even in the midst of stillness.
The album title, which comes from the album’s opening track “Rorschach Sky,” is a fitting one then: the phrase points to the missed opportunity of spending your life waiting for something when life is happening all around you.
On lead single “Knocking Down Flowers,” Schubert finds life in the least likely of places: a construction site. Here, she recognizes and illuminates the power of living at the intersection of contrasts. The album’s emotional core comes through on roiling ballad “Trust the Sun” and clear-eyed album closer “When You Carried Me.”
While much of the rest of Waiting for the Sky to Speak careens across black-ice patches of inner conflict, both these songs offer a tentative hand outward, towards love, friendship, and family. Overall, Waiting for the Sky to Speak is an imaginative and colorful chimera of a collection that marks Oropendola’s triumphant arrival.
To watch the video for “Rorschach Sky,” click the link here.
To listen to Waiting for the Sky to Speak, click the link here.
Kaatsbaan Cultural Park in Tivoli is scheduled to host a 75th Birthday Celebration for Mikhail Baryshnikov. Mikhail Baryshnikov at 75 will take place on Sunday, June 25, at 2 p.m. The Baryshnikov Arts Center (BAC), which Baryshnikov founded and directs, will host the event.
Mikhail Baryshnikov. Credit: Peter Baryshnikov
Baryshnikov, born in 1948 in Riga, Latvia, is considered one of the greatest dancers of all time. He came to New York City in 1974 and became a principal dancer in the American Ballet Theatre (ABT). In 1978, he joined New York City Ballet, working with George Balanchine and Jerome Robbins. Baryshnikov directed and danced in the White Oak Dance Project from 1990-2002, a project which he co-founded with choreographer Mark Morris to expand the visibility of American modern dance. More recently, Baryshnikov received Japan’s prestigious Praemium Imperiale International Arts Award in Theatre/Film.
BAC opened in 2005 in New York City. Baryshnikov’s goal was “establishing a thriving creative laboratory and performance space for artists from around the world.” BAC offers a robust residency program, in addition to presentations of performances by artists at varying stages of their careers. The organization is dedicated to building audiences for the arts by presenting contemporary, innovative work at affordable ticket prices, and in the fall of 2022, welcomed Sonja Kostich as Executive Director for BAC. For more information, visit bacnyc.org.
Kaatsbaan Cultural Park was founded in 1990. The 153-acre park, located in the Upstate New York village of Tivoli, is home to a wide array of cultural innovations and excellence. The park provides artists with state-of-the-art dance studios, accommodations, an indoor theater, and two outdoor stages. Diversity, equity, and inclusion are among Kaatsbaan’s top priorities, aiming to accurately reflect the culture of New York City. For more information, please visit www.kaatsbaan.org.
The Kaatsbaan Cultural Park 75th birthday celebration of Mikhail Baryshnikov will feature some of today’s definitive voices in music. Influential musicians of the 20th and 21st centuries who served as inspirations for Baryshnikov to perform. American avant-garde artist, composer, and musician Laurie Anderson, Canadian jazz pianist and singer Diana Krall, Russian–born American singer, songwriter, and pianist Regina Spektor, North America’s leading practitioner of Japanese flutes and percussion Kaoru Watanabe, choreographer Mark Morris, and actress Anna Baryshnikov are scheduled to appear.
NYC’s Irish Arts Center has announced more than two dozen artists who will come together to celebrate and extend the immense legacy of Mick Moloney, a towering figure in Irish traditional music, who died last year.
The tribute concerts, co-presented with NYU Glucksman Ireland House, will unfold over three nights, March 30 & 31 and April 1, at 7:30pm at the Irish Arts Center.
The concert tribute, produced by Irish Arts Center under the musical direction of Athena Tergis and Seamus Egan, will feature just a sample of the range of artists influenced by Moloney throughout his long career, including Nora Brown, Jean Butler, Donie Carroll, Liz Carroll, Brenda Castles, Stephanie Coleman, Cheick Hamala Diabate, Brendan Dolan, Megan Downes, Seamus Egan, Donny Golden, Ivan Goff, Jefferson Hamer, Liz Hanley, Kieran Jordan, James Keane, Tamar Korn, Dan Levinson, Joanie Madden and Cherish the Ladies, Billy McComiskey, Dan Neely, Eamon O’Leary, Niall O’Leary, John Roberts, Leni Sloan, and Athena Tergis.
In a career spanning seven decades, Moloney, described in a New York Times obituary as a “pioneering scholar and superb musician,” was one of the world’s foremost advocates of the music, history, and culture of Ireland, Irish America, and the global Irish diaspora. In co-presenting the concert tribute, Irish Arts Center and NYU Glucksman Ireland House jointly celebrate Moloney’s legacy and long association with both institutions, serving as Global Distinguished Professor of Music at NYU, and presenting more than 100 concerts over a fifteen year period at Irish Arts Center.
Irish Arts Center, founded in 1972 and based in Hell’s Kitchen, New York City, is a home for artists and audiences of all backgrounds who share a passion or appreciation for the evolving arts and culture of contemporary Ireland and Irish America. IAC presents, develops, and celebrates work from established and emerging artists and cultural practitioners, providing audiences with emotionally and intellectually engaging experiences in an environment of Irish hospitality. Steeped in grassroots traditions, IAC also provides community education programs and access to the arts for people of all ages and ethnic, racial, and socioeconomic backgrounds. In an historic partnership of the people of Ireland and New York, Irish Arts Center recently opened a state-of-the-art new facility to support this mission for the 21st century.
Glucksman Ireland House is New York University’s center for the study of Ireland and the Irish diaspora. Renowned for dynamic programming and research initiatives, Glucksman Ireland House is the home of the Glucksman Irish Diaspora Series with NYU Press and the Archives of Irish America. The mission at Glucksman Ireland House NYU is to foster excellence in the study of Ireland, Irish America, and the Irish Diaspora in New York and the global communities.
The 12th annual Blue Note Jazz Fest is scheduled to run for the month of June, and then some, across seven locations in New York City this summer.
The festival begins on May 31 and continues until July 2. Venues for this year’s Blue Note Jazz Festival include the Beacon Theatre, Sony Hall, Town Hall, SummerStage in Central Park, Celebrate Brooklyn at the Prospect Park Bandshell, and the Blue Note Jazz Club itself in Greenwich Village.
The lineup for this year’s Blue Note Jazz Fest. Credit: Sacks and Co
A number of artists are scheduled to perform at the Festival including Grace Jones, Pat Metheny, NxWorries, Robert Glasper, BJ The Chicago Kid, Bruce Hornsby & The Noisemakers, and more. The festival will open at the Hammerstein Ballroom with a performance by the great Grace Jones. While Jazz music is an inspiration behind the festival, the Blue Note continues to broaden its offerings, highlighting all musical styles, backgrounds, and cultures. Additionally, a number of celebrities have made appearances at the Blue Note. Stevie Wonder, Tony Bennett, Quincy Jones, Liza Minelli, Dave Chapelle, and Chris Rock have made appearances, among others.
Since 1981, the Blue Note Jazz Club has been recognized for its artistic integrity, commitment to showcasing diverse and genre-spanning artists, and a long-running community of music lovers and friends built within its storied walls. The club is committed to preserving the history of Jazz while simultaneously showcasing new talent. In addition to highlighting new talent, the club has been known for iconic appearances from Chick Corea, McCoy Tyler, Joe Lovano, John Scofield, and Chris Botti. In 2011, the Blue Note Jazz Festival brand was established. It has since become the largest Jazz festival in New York City.
Ticket information and more about the Blue Note Jazz Fest in New York City can be found here.
2023 BLUE NOTE JAZZ FESTIVAL LINEUP
May 31 /// Grace Jones /// Hammerstein Ballroom June 1 /// Ghost-Note /// Blue Note June 1 /// Mashina /// Beacon Theatre June 2 /// Ghost-Note /// Blue Note June 2 /// Ms. Lisa Fischer /// Sony Hall June 3 /// Ghost-Note /// Blue Note June 3 /// Avery Sunshine /// Sony Hall June 3 /// Bruce Hornsby & The Noisemakers + John Scofield, Kenny Garrett, Christian McBride /// Town Hall June 4 /// Ghost-Note /// Blue Note June 4 /// Harlem Blues Project /// Blue Note Brunch June 5 /// Talib Kweli and The Whiskey Boys /// Blue Note June 6 /// Talib Kweli and The Whiskey Boys /// Blue Note June 7 /// Talib Kweli and The Whiskey Boys /// Blue Note June 8 /// Lettuce & Friends /// Blue Note June 9 /// Lettuce & Friends /// Blue Note June 9 /// Manhattan Transfer /// Sony Hall June 10 /// Lettuce & Friends /// Blue Note June 10 /// Cortex /// Sony Hall June 10 /// Chucho Valdés & Paquito D’Rivera /// Town Hall June 11 /// Lettuce & Friends /// Blue Note June 11 /// Harlem Gospel Choir /// Blue Note Brunch June 12 /// Talib Kweli and The Whiskey Boys /// Blue Note June 13 /// Talib Kweli and The Whiskey Boys /// Blue Note June 14 /// Talib Kweli and The Whiskey Boys /// Blue Note June 15 /// Soulive /// Blue Note June 16 /// Soulive /// Blue Note June 17 /// Soulive /// Blue Note June 18 /// Soulive /// Blue Note June 18 /// Buddy Guy /// SummerStage June 18 /// Harlem Gospel Choir /// Blue Note Brunch June 19 /// TAUK /// Blue Note June 20 /// The Motet /// Blue Note June 21 /// The Motet /// Blue Note June 21 /// Meshell Ndegeocello /// Sony Hall June 22 /// Ron Carter /// Blue Note June 22 /// Omara Portuondo /// Sony Hall June 23 /// Ron Carter /// Blue Note June 23 /// Sergio Mendes /// Sony Hall June 24 /// Ron Carter /// Blue Note June 24 /// Pat Metheny Side-Eye /// Beacon Theatre June 24 /// NxWorries, Robert Glasper with Lalah Hathaway & Bilal, BJ The Chicago Kid /// Celebrate Brooklyn June 25 /// Ron Carter /// Blue Note June 25 /// Harlem Gospel Choir /// Blue Note Brunch June 26 /// Julius Rodriquez /// Blue Note June 27 /// Ron Carter /// Blue Note June 28 /// Ron Carter /// Blue Note June 28 /// Harlem Gospel Choir Sings Nina Simone /// Sony Hall June 29 /// Soulive /// Blue Note June 30 /// Soulive /// Blue Note July 1 /// Soulive /// Blue Note July 2 /// Soulive /// Blue Note
The improvisatory Rust Dust, also known as Jason Stutts, has announced the release of his sophomore Album, Twere But It Were So Simple via Omad Records. On March 10, the new album was celebrated with a CD release party at The Museum of Folk Art in NYC.
Some musicians require precision for the success of their projects, while others take a supple approach. Rust Dust belongs to the latter group, allowing whatever sounds, words, energy, and emotions to manifest into songs. According to Dust, “I don’t typically sit down to write a song. Sometimes I’m lucky enough to recognize them when they appear.” This process can occur for minutes or over the course of years.
Twere But It Were So Simple is a spacious-sounding LP that was recorded live in a ramshackle Brooklyn brownstone. The vivacious instrumental “Helter Fukov Awakens” segues into improbable guitar pop, with songs such as “All-Lit-Up-With-Nowhere-To-Go” and “UFO.” Additionally, songs like “Ice Queen Sandwich” and “Speaking In Tongues” vibe together like Robyn Hitchcock cornering Townes Van Zandt at a buoyant, boozy rent party. Songs such as “Snakes In My Pockets”, “A Rope Around My Neck” and “Sky,” a haunting, heartbreaking collaboration with the award winning John DeNicola took a somber turn.
Fans can expect to enjoy a harmonious country and a blues roots melody when listening to Rust Dust’s new album. To match his vintage aesthetic, Dust used an old Yamaha nylon and a Godin Multiac which is a modern nylon-string electric designed to mimic an acoustic when plugged to craft his sound.
A mutual appreciation for old gear initially brought Stutts and DeNicola together. The two helmed the first Rust Dust record known as Diviners and Shivs in DeNicola’s Upstate New York studio. His newest album can be featured here.
For a band with such a rich and vast musical archive like the one belonging to The Grateful Dead, when a search for a show recording comes up completely empty, it’s almost hard to fathom. But that appears to the be the case for a Grateful Dead show on March 17, 1970 with the Buffalo Philharmonic Orchestra which has a legacy that seems to grow with each passing year, as pleas for any video or audio recordings continue to go unanswered. In a tragic case of irony, this particular show seems to feature some of the most avant-garde music and experimental visuals of the band’s still fledgling touring career. All we’re left with is a scant trail of news clippings, the recollections of those who were present, and a pretty valid reason as to why any media will never surface.
This performance, which was billed as a benefit for the Orchestra called the Philharmonic Rock Marathon, took place at Kleinhans Music Hall, where the Buffalo Philharmonic Orchestra still plays to this day. This particular gig in 1970 was billed as a collaboration between the worlds of classical and rock music and the first of its kind. After a cancellation by The Byrds, who were originally scheduled to appear, the Grateful Dead swooped in and would seem to serve as more than an adequate replacement for this type of experimentation. The band even waived their normal appearance fee, jumping at the chance to work with Lukas Foss, a renowned German-American pianist and conductor who was musical director of the Buffalo Philharmonic at the time.
‘The Dead’ are accepting expenses but waiving their usual huge fee, to help the Philharmonic benefit and for the ‘privilege and delight,’ as they put it, ‘of working with Lukas Foss.’ It will be a four-hour concert in six parts, any one of them a major event. The whole program, in fact, is history-making as the first fully-shared concert by a rock group and symphony orchestra.
Buffalo Evening News, March 17, 1970
As promised, the performance offered a myriad of musical collaborations that were no doubt enhanced with a state-of-the-art $4000 light rig that was brought in, with a laser beam shone through a prism bathing the music hall walls in color. Between this and a motorized lift platform in the orchestra pit that the band played on, which at one point would rise when they played and lower when the orchestra took over, the Grateful Dead’s fingerprints on the modern day jam scene only grow more evident.
Finally, the merging of two musical forms, the Dead and the Philharmonic in an old-time jam session. Also on the program will be a new concept in light shows. Laser beams!
Joe Fernbacher, from the Spectrum, University at Buffalo, March 13, 1970
The Grateful Dead and Buffalo Philharmonic Orchestra were joined by another band on stage as well, The Road. All three outfits, under the stewardship of Lukas Foss, combined to produce a night full of incredible music that, sadly, seems to have gone unrecorded. The first portion of the evening saw Lukas Foss at the piano, backed by members of all three groups, playing his own piece called “Non-Improvisation,” a 1967 composition for four players (clarinet, violincello, piano & percussion), based on the first movement of Bach’s concerto for harpsichord in D minor. The aim was for all the musicians to create a rhythmic and electronic counterpoint to the piano, which seemed to be a much easier hurdle for The Dead to clear than The Road.
As conductor Foss played his Bach non-improvisation, the Road came in around him with their wall of sound, providing a bit too much rhythm & shout and not enough freeform experimentation. The Dead worked their wave of music more adeptly around this freeform style.
Deadbase Review
The Road did get a set of their own at some point afterwards, though the few reviews found online seem to focus more on the Dead Head-heavy crowd vocally urging them off the stage, clamoring for their band to return. Naturally, with no known recordings, the song selections for the Dead’s set that followed are sparse at best. But we do know “Dark Star” was prominently involved, a song in its full experimental glory in 1970. And in the night’s sense of collaboration, the band even brought on a third drummer to join in the musical fray.
The Dead uses two drummers, Mickey Hart and Billy Kruetzmann, to form a ‘figure 8’ of sound around the guitars and organ. This duo broke from the set rhythm of ‘Dark Star’ into a ping-pong drumming contest, adding a new beat with each volley. They closed the match with a duet synchronizing move for move. Lynn Harbold, Philharmonic percussionist, joined in this number on Hart’s drums doing a fine job.
James Brennan, from the Buffalo Evening News, March 18, 1970
After the first of two billed sets of standalone Grateful Dead music, Foss returned to the stage with a battery of sub-conductors to lead the orchestra in the American premiere of his “Geod,” where the laser show with the aforementioned prism and laser beam seem to have been prominently involved. “Geod” required five conductors to give cues to play audibly and inaudibly. Most of the music was said to be very quiet, familiar tunes played against a soft curtain of sustained tones, with snippets of wind phrases added for context. “Taps,” “Battle Hymn of the Republic,” “Going Home” and a very slow “Merrily We Go Along” were just some of the tunes heard in this sequence which even had the audience participating as well.
Sounds included gentle singing from the orchestra, organ, harmonica, percussion & mandolin. The audience joined in clapping at once point, and by the end of the performance was making knocking, popping mouth sounds that seemed to fit quite well.
Thomas Putnam, from the Buffalo Courier Express, March 18, 1970
The Grateful Dead then played their second set of the evening, though few details are available. The only other known song selections from this evening appear to be a “Saint Stephen,” which saw firecrackers thrown on stage at one point, and a set closing “Turn on Your Lovelight” helmed by Pigpen. Reviews of the show seem to pay more attention to the crowd’s palpable love of the band and the energy present at Kleinhans Music Hall this evening.
When the Dead got warmed up, it seemed the audience would not be content with anything less than having the Dead finish the concert by themselves. Speaker fuzziness spoiled the first number, but after the sound system was improved the group went through several numbers with good effect, including a long performance in which the beat had most of the audience clapping and dancing.”
Deadbase Review
After a second set of Dead music, the Buffalo Philharmonic returned to the stage, conducted by Foss for two John Cage pieces titled “Variations II” and “Variations III.” This reportedly featured tuxedoed members of the Orchestra walking down the aisles, all playing small triangles in time, creating an eerie, funereal-like atmosphere that surely was a sharp juxtaposition from the euphoria that seemed to be present earlier.
The final segment of the Philharmonic Rock Marathon gave the musicians one last chance to produce this revolutionary blend of rock and orchestral music. Both The Road and The Dead were brought back on stage to join the Buffalo Philharmonic with half of the Orchestra assigned to each. Another conductor led The Road’s section at one end of the hall and Foss conducted the Grateful Dead and its half of the Orchestra at the other end. With conductors issuing verbal instructions on how and when to play, the two sides went back and forth in a musical free for all, closing out the evening in grandiose fashion.
The closing rock-Philharmonic challenge is the most exciting new concept of contemporary music. As the groups and orchestras jammed, the atmosphere was intensified with a laser-beam light show. Rapid patterns and curves of pure light chased along the walls in time with the music like frantic balls of yarn…As an evening of rock and symphony avant-garde it was not only entertaining and often exciting, but carved new territory for players and listeners in both styles.
James Brennan, from the Buffalo Evening News, March 18, 1970
Unfortunately, this magic doesn’t seem to have been captured anywhere except in the minds of those who were present. Monetary rewards have even been offered at this point for anyone who may have a recording of this hidden somewhere among their stash. But there appears to be a logistical reason as to why this will never appear. According to the Philharmonic archivist, union rules made taping impossible, and recordings of live symphonic concerts without recording fees were forbidden. Add in the factor of the sheer size of taping equipment in 1970 and it’s no wonder that there wasn’t much of a Tapers Section at this show.
That being said, if anyone does happen to stumble upon any possible leads of a recording of this show featuring the Grateful Dead and the Buffalo Philharmonic Orchestra, they are eagerly encouraged to contact NYS Music or Chris Foss, son of Lukas, at fosscb@gmail.com.
Discover Grateful Dead shows from over the years across New York State with our interactive map below
Welcome to Round 4 of NYS Music’s March Madness 2023. We’ve whittled down 64 the bands to these Elite 8 up and coming bands from across New York State. They’ve made it this far, and we’re digging in and highlighting this next generation of New York bands on the rise.
Since 2015, New York State Music has crafted a March Madness competition that spans all the musical harbors of the Empire State. As fans and musicians, the NYS Music team aims to spotlight the great talent found across New York in a friendly contest, bringing broader attention to the next generation of artists and bands on the rise. March Madness 2023 highlights 64 bands and artists you might not know, but should know, as these homegrown talents are making waves through the New York State. Check out Round 3 here.
Enter your email address, get to know the bands, and vote for your favorites below!
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Voting for Round 4 has ended. Stay tuned for the Final Four, starting Tuesday, March 21.
Yard Amphitheater Region
Honey Suckle Vine vs Mainline
Meet Honey Suckle Vine – Capital District
Honey Suckle Vine (HSV) is a high-energy 4-piece blues-rock band based out of the Capital District of New York State. The songwriting team of Joey Jaquez (vocals, harmonica) and Jeremy Silverman (guitar, vocals) have been creating original material for over 20 years across the USA. Joined in 2017 by long time friends Graham Espe (bass, vocals, recording and production) and David Snediker (drums, vocals), HSV is ready to entertain. Check out their most recent album Painted Nights. On March 24th, they’ll be playing at Putnam Place with Tops Of Trees, Kyla Silk, and House of Saturn. You can also catch them at Active Ingredient Brewery for an acoustic show on March 25 and Nanolas on April 15th.
Meet Mainline – Hudson Valley
Mainline officially hit the scene at the end of 2019 when Anthony Schettino (Bass), Johnny Iodice (Lead Singer & Guitar), Mason Servedio (Drums), and Devin Reck (Guitar) released their debut single “Open Fire” which eventually led to the self-titled EP that came out in February of 2020. Their album “The Unholy Idol” has garnered up over 80,000+ streams across platforms, and has gotten worldwide attention. The current lineup since 2022 now includes Ryan Hartell on guitar, replacing Devin Reck. As of November 2022, the band released their most recent single “In Nothing We Trust” everywhere on streaming. Their last show was March 10 at Pete’s Saloon in Elmsford, NY. You can find Mainline on April 22 at Dingbatz in Clifton, NJ, opening for Kore Rozzik!
Funk n Waffles Region
Fine Grain vs Forest Dwellers
Meet Fine Grain – Troy
Fine Grain, a shoegazey punk band from Albany took both the red and blue pills with a Genny and got banned from Trader Joe’s. The girthy tones of this gritty group will remind you of late nights on a stoop in September, your first beer after work, weird questions about your parents cephalopods, and of course, the crushing weight of capitalism. With prog-inspired riffs, post-punk murk, and the occasional ripping sax solo, fine grain offers up rambunctious reverie fit for hardcore fans of all generations. Fine Grain’s maturation is a testament to the transformative possibility of punk, showing how pulled threads of the past can still stitch together a promising new future. Check out their album “Missing Adult“.
Meet The Forest Dwellers – Rochester
The Forest Dwellers are a reggae-infused folk/ indie group based out of Rochester, NY that plays universal medicine music. The band blends melodic music with incredible vocal harmonies. Stemming from different styles and genres, The Forest Dwellers fuse them into a new take on a familiar sound all its own. Listen to their song “Open Road” here. The Forest Dwellers are playing Sterling Folkfest in Sterling, NY dates May 25th- 29th. As well as The Family Hoedown at the G Lodge in Hannibal, NY dates June 9th-11th. You can also catch them playing every Wednesday in June at Abilene Bar and Lounge in Rochester, NY as part of their first residency.
Jane Dough Region
Murder in Rue Morgue vs Sarah King
Meet Murder in Rue Morgue – CNY
Murder in Rue Morgue is CJ Carr, John Wolff, Matt Biss, and Dan Ouimette, hailing from the hometown of Manowar, and Level 7 in Auburn. The band is highly influenced by melodic death metal, such as In Flames, Killswitch Engage, and Times of Grace. The band is a group of hardworking musicians who leave it all up on the stage giving the best show every time. Listen to their 2019 album “Endless Cycles” here.
Meet Sarah King – Hudson Valley
Known for her powerhouse voice and “fiery, vulnerable songs,” Sarah King creates thought-provoking, versatile Americana music. Her genuine stories about real-life emotions and situations also draw on classic folk-blues themes, balancing songs about the devil and booze with hard-won moments of reflection and acceptance. Her acclaimed 2021 EP The Hour, produced by Simone Felice and David Baron, earned her recognition as the New England Music Awards Songwriter of the Year and performances at the 2022 Folk Alliance International and Philadelphia Folk festivals, as well as supporting slots for acts including Blues Traveler and The Steel Woods. Sarah will be busy finish recording her new album in Woodstock in May before playing at Red Ants Pants Festival in Montana at the end of July. She’s also scheduled for a busy summer of festivals and touring, so be sure to stay tuned for announcements!
Strand Theatre Hudson Falls Region
The E Block vs Seize Atlantis
Meet The E Block – Capital Region
The E-Block is a 5-piece indie R&B band based in Upstate New York, blending the acoustic warmth of singer-songwriter music with an ice-cold rhythm section informed by modern R&B. Led by guitarist Luke Pascarella, with the line up of saxophonist James Soren keyboardist Devin Tetlak, bassist Daniel Folds, and drummer Leroy “Rudy” Dalton, the band’s deep bag of influences and free-flowing style have earned them a reputation as a unique live act in the Capital Region scene. Follow their instagram for all the current action, including their new project “Waterfall” releasing this spring. In the meantime, listen to their most recent track “Stay” here. There are currently no upcoming shows, but check back on their website for any announcements.
Meet Seize Atlantis – Glens Falls
Seize Atlantis has a unique, tight sound fueled by punchy bass, hard-driving percussion, melodic lead guitar, and pronounced moody vocals with meaningful lyrics, a truly dynamic range of soft to heavy Alternative Rock. Formed in 2019 out of Glens Falls, Seize Atlantis is a four-piece band most closely influenced by bands such as Red Hot Chili Peppers and Pearl Jam, providing their own spin on a variety of covers from classic rock to modern pop in addition to their own original music. Seize Atlantis is currently working on their second EP which will be released this July. Listen to their most recent release, “I Need It” here. Catch their performance at Scally’s Roadside Bar and Grill in Hudson Falls on March 24th.
NYS Music has partnered with these great businesses across New York State to highlight the 64 up and coming bands and artists of NYS Music March Madness.
The finalists of of each region will be rewarded with a collection of prizes worth $3000. Partners for NYS Music’s March Madness 2023 include Mirth Films from Albany, a music news/entertainment outlet that specializes in original video content and live streaming, with news coverage ranging across the whole country, who will provide a professional multi-camera recording session at a prestigious venue in Albany for the winning band, premiering exclusively on Mirth Films.
Additionally, one finalist will earn a spot on the lineup for the Scarsdale Music Festival, held on June 3, 2023.
WEQX is a radio station in Manchester, VT. They’re are completely independently owned and operated, always have been, since 1984. This station exists out of a love for music, a love for radio, and the commitment to always giving their listeners the best of the best.
Flushing Town Hall is celebrating Women’s History Month with a special “Octogenarian Women of Jazz” performance. Four octogenarian women will take center stage at Flushing Town Hall on Friday, March 24th, in honor of Women’s History Month. Well past the age of retirement but still very much in their artistic prime, these women prove that great jazz, like great wine, gets better with age.
Flutist/tenor saxophonist Carol Sudhalter, beloved as Flushing Town Hall’s house band leader, will celebrate her 80th birthday leading a very special quintet of Octogenarians for the occasion. She will be joined in the band by world-renowned pianist Bertha Hope (86), drummer Paula Hampton (87) of the legendary jazz Hampton family, and widely popular vocalist Keisha St. Joan (84).
In addition, the concert will feature the rare participation of revered bassist Bill Crow, joining the women on stage at an impressive 95 years of age. Performing well past the typical age of retirement and still very much in their artistic prime.
“Looking at movies, books, and general depictions, we are accustomed to thinking of 80 as an ending, as an age when the mind and body begin to decline,” says Carol Sudhalter.” But now that I am 80, I realize that it is just the beginning of a new life and such a rewarding culmination of past years’ work at the same time. I am so excited to share the stage with my fellow Octogenarians to bring a wonderful evening of jazz to the audiences in Queens.”
“I have been honored to have Carol lead the house band of our popular Louis Armstrong Legacy Monthly Jazz Jams for several years now and am excited to see her take the stage with this extraordinary ensemble for her big birthday,” says Flushing Town Hall’s Executive and Artistic Director Ellen Kodadek. “Carol’s work is extremely important to Flushing Town Hall and the Queens jazz community — and we are so excited to celebrate her birthday with this special concert.”
Flushing Town Hall’s Women of Jazz concert begins at 8:00 PM EST on Friday, March 24th. Tickets are $15/$10 for members, seniors, and students with ID. Tickets can be purchased here.
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.
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.
