Spaghetti Eastern Music is returning with two new singles that demonstrate the range of guitarist Sal Cataldi’s project, the acoustic vocal ballad “Sweet Home Anywhere” and a blues-inflected electric guitar instrumental “Jungle Blue.”
Critics from prestige outlets like The New York Times have heaped praise on Cataldi’s work since his debut album under the Spaghetti Eastern Music moniker, Sketches of Spam. This is a 16-track, 69-minute surf through a slew of contrasting moods, largely with guitar-driven instrumentals inspired by the acid funk of 70’s Miles, Krautrock, Ennio Morricone’s Spaghetti Western movie soundtracks and the icy sound of ECM Records guitar great Terje Rypdal. The disc’s acoustic titles included originals like “Wild One” and “Mama Called,” a cover of the Zappa instrumental rarity “Sleep Dirt” and a DADGAD-tuned, ballad paced reinvention of the Beatles’ “Ticket to Ride.”
In 2020, Cataldi followed his debut album with a trio of acclaimed atmospheric singles, “Her Lemon Peel Raincoat – Because It’s Raining,” “Peace Within” and “And This is Their New Hoax,” a COVID-19 musical editorial featuring samples of President Trump’s most noted denials to Cataldi’s soundpainting guitars and synths. In 2021, he released “Blues for A Lost Cosmonaut,” a much-praised nine-minute plus maxi single, again in the ambient mode and “Solo Guitar Score for 2x2x4.” The latter EP is the soundtrack for a dance piece recorded live at the Avant-Garde Arama Festival in Woodstock inspired by his work with the guitar orchestra of Rhys Chatham and his love of Fripp and “White Light, White Heat”-era Velvet Underground.
“He’s the hippie guitarist playing to another dimension.”
John Swenson, Rolling Stone
In June 2020, Cataldi returned to the acoustic singer-songwriter mode with the single, “I Believe in Love,” which received significant critical praise and airplay, including promotion as song of the day by a NY artist, a “New York Slice” on WFUV-FM. In 2022, Spaghetti Eastern released three additional singles, the jazz and metal-infused instrumentals “A Fresh Kill,” “A Scanner Darkly,” and another delicate acoustic ballad, “I Believe In Love.”
Cataldi also made more beautiful sounds with “One Act Sonix,” the critically-buzzed about 2020 debut album from his spoken word/music side project, The Vapor Vespers, with noted Alaskan playwright/slam poet Mark Muro. The duo recently followed this up with two new singles in early 2022, “Sex” and “You Changed.” Cataldi is also one half of the improvisational and ambient Hudson Valley-based guitar and efx duo, Guitars A Go Go, with Rick Warren. Their first single, a 12-minute improv opus called “The Volcano Lovers,” was a preview of the bold experimentation featured in their recent CD debut, “Travel Advisory.”
“If Walt Disney World’s Space Mountain had a secret chill detour, Spaghetti Eastern Music would be the soundtrack.”
“Sweet Home Anywhere” is a delicate DADGAD-tuned ballad, indie-songcraft that highlights the artist’s pristine acoustic guitar work, close vocal harmony and emotional lyricism. It’s a song that tells a troubled former lover that, though they are no longer together, his door is always open.
“She’s sweet home anywhere// Good night baby, you can come back again, if you need a friend.”
Many have experienced breakups, but the worst are the ones where you have to breakup while still in love. This single perfectly voices this phenomenon. It can also be translated to friendships: when you are no longer friends with someone for one reason or another, but would always welcome them back with open arms.
Maybe it’s really about growth, and while growth is good– it can really sting.
“Jungle Blue” is a 360-departure from the above, an atmospheric electric instrumental driven by percussive cross-rhythms, dreamy washes of electronics and echoed pianos, a duo of sustained Ebow guitars and the guitarist’s always melodic, blues-inflected guitar runs. Cataldi calls it a cinematic marriage of new beats and electronic sounds with melodies and improvisation that harkens to the British blues boom of the ‘60s.
This song, completely unlike “Sweet Home Anywhere” has an almost alien feeling to it, as if it were from another universe or planet, and somehow made its way to Earth. It’s unsettling yet comforting. It should be in a spy movie, and yet, it should be the credit scene of a murder mystery.
“Jungle Blue” is a paradox itself– it’s beautiful and unsettling in all the right ways, and the only way to understand it is to listen.
Coming December 1, Spaghetti Eastern Music will release a trippy guitar solo “Health,” set for a short film by Kingston filmmaker/choreographer Hanna Bass. Her short film, “Fragments of Light,” is a tale of Bass’ cinematic journey, including her original career as a professional ballerina, and the transition from the ballet world to the realm of cinema.
Catch their monthly gigs at City Winery Hudson Valley starting on December 6, as well as a double gig live at The Falcon on December 15 with Teddy Kumpel and Nome Sane.
In a festive celebration of Italian musical heritage, the American Classical Orchestra (ACO), under the guidance of Founder and Artistic Director Thomas Crawford, is set to enchant audiences with a holiday concert program on Thursday, December 14 at 7 PM at Corpus Christi Church, located at W. 121 St. between Broadway & Amsterdam in Manhattan.
This concert marks the second of four Manhattan performances by the ACO this season, featuring a captivating selection of Italian works, including the rediscovery of Antonio Bencini’s long-lost Christmas oratorio “Gesù Nato” and Antonio Gianettini’s “Magnificat,” in collaboration with the Academy of Sacred Drama.
The heart of the program lies in the resurrection of Antonio Bencini’s forgotten masterpiece, “Gesù Nato,” rescued from the depths of the Vatican archives. This Christmas oratorio, composed in 1742, offers a glimpse into the enchanting world of the Nativity, featuring vocal soloists, a choir, and a vibrant orchestra of trumpets, oboes, and strings. Antonio Gianettini’s “Magnificat” and five psalm settings, written for four-part chorus with string accompaniment, further enrich the program, providing a sonic tapestry rooted in the Roman Catholic tradition.
The evening will be graced by the talents of renowned soloists:
Linda Tsatsanis (Soprano): Praised by The New York Times for her “ravishing” performance at the Boston Early Music Festival. Kate Maroney (Mezzo-Soprano): A CBC and Naxos recording artist, also recognized for her expertise as a voice and vocal pedagogy teacher at Mannes School of Music and Yale University. Alex Guerrero (Tenor): Applauded by The New York Times for his “apt comic timing,” Guerrero has been a featured singer in numerous ACO performances.
The members of the American Classical Orchestra Chorus will join forces with the soloists to deliver a mesmerizing performance under the baton of Thomas Crawford.
Antonio Gianettini, a 17th-century Italian organist, singer, and composer, will take center stage with his Psalms and the majestic Magnificat. Having served as maestro di cappella to Francesco II d’Este, Duke of Modena, Gianettini’s compositions were cherished in both Italy and Germany during his lifetime.
The rediscovery of Antonio Bencini’s “Gesù Nato” is a significant musical event, offering what is likely the modern premiere of this hidden gem. Composed in 1742, the oratorio captures the spirit of the Nativity and was tucked away in the Vatican Library for three centuries before resurfacing.
This performance is a collaborative effort between ACO and the Academy of Sacred Drama, founded by ACO violinist and scholar Jeremy Rhizor in 2013. The Academy is dedicated to Baroque oratorio that draws inspiration from biblical tales and the lives of saints, enriching the cultural and spiritual experience.
Tickets for this musical extravaganza are priced at $75, $55, and $35, and can be purchased at ACO’s website or by calling ACO at (212) 362-2727, ext. 4.
It was inevitable that the band would get something going for their 20th anniversary run, as you just don’t disregard an occasion like that for any reason – you just play. Fans waited for the announcement by the time IT was over, figuring that the band would go on its first Halloween run since 1998, adding to anticipation that the band would put on another musical costume, with endless limits.
poster by Hollie Dilley
However, as the band inspected exactly what the date of the first show was, so that a 20th anniversary was correctly timed, it seems that the date of 10/30/83 was incorrect, even though they had a 15th anniversary out in Vegas of 1998. As it turns out, the first show for the ROTC folks was 12/2/83, and they arranged a four night Northeast run to celebrate, with special guests at the first show, and an elongated show at the final destination, Boston’s Fleet Center, with a myriad of special guests guessed at in anticipation of something spectacular. The Boston show had its highlight in the set break montage video, but no special guests to mention of. Fans were happy though, as it was by far the hardest ticket since NYE 2002 to obtain, and those who were warm inside had no complaints from where they were sitting.
By far the coldest Phish run ever, the shows had snow, ice, wind, and more snow as the band progressed from Nassau Coliseum on Long Island, to the Wachovia Center in Philly, to the Knickerbocker Arena (note: not the Pepsi) in Albany, and the Fleet Center in Boston as part of a four-day run of shows many fans attempted to see all four of. The run could even be characterized as one gigantic show: Nassau was a solid opener, Philly was the bathroom/cigarette/beer break, Albany was the second set heat, and Boston was the after-party.
Outside at all these shows, it was far too cold/rainy/snowy to have a lot scene of any kind, so fans simply piled into bars and parking garages to peddle what they had to keep the tour afloat for themselves, in hopes they might make the next show, and/or home in the coming days.
Artwork by Drew Suto
Some fans felt that this run was spectacular, and perfectly executed, even though others wondered where the spark from summer 2003 went. At least a few older fans looked at the run as sealing the bands fate in their eyes, with the best years clearly behind them, especially after the Vegas 2004 run. Many fans wondered what happened, although Miami might have swayed some opinions in the end.
Nassau featured not only the highly appropriate guest in The Dude of Life on vocals for a rare (and final) ‘Crimes of the Mind’, but also a setbreak wedding of two highly committed fans of the band and each other. Making a Phish show your wedding venue was only done previously at the Clifford Ball, and a tribute to the concentrated community spirit of Phish.
poster by TRIPP
Philly had high-energy crowds a day after Nassau, but execution had some fans wondering what was up. Tom Marshall came up to sing lyrics to ‘Buffalo Bill’, a departure from his regular appearances on ‘Run Like an Antelope’. The Philly show left fan waiting for more indeed.
Albany, the second hometown to Phish, one of the regular tour starts, endings and all-around in-betweens, the Knick was the home to famous Dead shows and disks, as well as memorable Phish shows (see 12/13/97 – Bring on the Dude!). The entire atmosphere of this show was positive, as special guests at the two previous shows made fans wonder who was next to sit in. Following “YEM” in the second set, Trey brought up a very special guest, the band’s first guitarist (aside from Trey), who left the band under mysterious circumstances – Jeff Holdsworth. The original songs that he had written – “Camel Walk” and “Possum” – were played with a degree of both difficulty and success by Holdsworth with the band he left behind almost 17 years ago. A cover of “Long Cool Woman”, by the Hollies was played by the part-time quintet, a tribute to the first show that Holdsworth was playing at. By the time the band broke into Antelope, you could no longer hear Jeff, as his guitar was turned down to inaudible levels, as his playing could not keep up with the boys who ventured beyond the three-year mark. Tom Marshall came up to sing the original lyrics that he penned, and the show ended with a monster version of Hendrix’s “Fire”, again with Holdsworth. Fans were pleased to see him on stage again, but a computer operator in Canada definitely overstayed his welcome that evening in Albany.
However, the overall purpose for bringing Jeff out was a symbol that Phish was and is about family. Boston featured a memorable second set and a video montage during the setbreak that fans clamored to see, particularly since the first notes of Fluffhead were heard in a dormroom video from the early 1980s. This more than made up for a first set that many wondered if anything special would be brought out for the second set, particularly the special guests everyone talked about coming – Santana, the Giant Country Horns, anyone and everyone?! Fishman handed out a cake towards the front row during setbreak for fans to dive into, as many did, regardless of sticky hands that would not be cleaned till after the show. The second set did bring the heat fans were looking for, with monster versions of “Maze,” “Frankenstein,” and “Piper,” that made this show and run well worth it. Regardless, the detractors are present on the vibe/performance of this run, as it was an asterisk to many between a hot summer and even hotter time in Miami for New Years Eve.
Phish – Nassau Coliseum, Uniondale, NY – Friday, November 28, 2003
Set 1: Bouncing Around the Room, Runaway Jim, Ghost > What’s the Use? > AC/DC Bag > First Tube, Frankie Says > Bathtub Gin -> Free
Set 2: Waves > Sample in a Jar > Down with Disease[1], Walls of the Cave, Two Versions of Me, Crowd Control[2], Mike’s Song > I Am Hydrogen > Weekapaug Groove
Encore: Crimes of the Mind[3]
[1] Unfinished. [2] Debut. [3] The Dude of Life on vocals.
Disease was unfinished. This show included the debut of Crowd Control. Trey introduced Mike to sing “his song.” Crimes of the Mind (first since July 10, 1994 at SPAC – 504 shows) featured the Dude of Life on vocals. During the song, the Dude congratulated Phish on their 20 years together, and wished them success for 20 more.
Phish – Wachovia Spectrum, Philadelphia, PA – Saturday, November 29, 2003
Set 1: Wilson > Cars Trucks Buses, Limb By Limb, Dirt > Seven Below, Divided Sky, Fast Enough for You > Julius
Set 2: Twist -> Simple > Taste > Makisupa Policeman[1], Buffalo Bill[2] > David Bowie, Strange Design > Character Zero
Encore: Friday
[1] Keyword referenced waking up in “Hempstead.” [2] Tom Marshall on vocals.
Trey teased San-Ho-Zay in Seven Below, Julius, and Twist. The lyrics to Makisupa referenced waking up “in Hempstead.” Later in Makisupa, Trey commented on the upcoming 20th anniversary of the band, and noted Makisupa as the first original Phish song ever played. Trey also commented on his long-standing friendship with Tom Marshall and said that Tom had written Makisupa when he was a child. Trey brought Tom out on stage and noted that he thought Makisupa was written in 1969, leading Tom to note that we “have a 60’s song.” Prior to Tom singing on Buffalo Bill, Trey noted: “Tom is now going to sing you a song about a boss, a log, and a piece of rope.”
Phish – Pepsi Arena, Albany, NY – Monday, December 1, 2003
Set 1: Chalk Dust Torture, Stash, Guyute, Thunderhead > Sparkle, Wolfman’s Brother > Good Times Bad Times
Set 2: Tweezer -> Also Sprach Zarathustra > You Enjoy Myself, Camel Walk[1], Possum[1], Long Cool Woman in a Black Dress[1] > Run Like an Antelope[2]
Encore: Fire[3]
[1] Jeff Holdsworth on guitar and vocals. [2] Jeff Holdsworth on guitar and Tom Marshall on vocals. [3] Jeff Holdsworth on guitar.
Tweezer was preceded by a Dixie tease. Camel Walk through Fire featured Jeff Holdsworth on guitar. This was Jeff’s first known performance with his former Phish brethren since May 17, 1986 (1,348 shows). Camel Walk, Possum, and Long Cool Woman (first since October 30, 1998, or 180 shows) also featured Jeff on lead vocals. Antelope featured Tom Marshall on vocals.
Phish – Fleet Center, Boston, MA – Tuesday, December 2, 2003
Set 1: Harry Hood > Cavern, Birds of a Feather, Ya Mar, Horn > Piper > Anything But Me, Water in the Sky, Down with Disease
Set 2: Rock and Roll -> Weekapaug Groove[1] -> Tweezer Reprise[2] > Frankenstein -> Kung -> Frankenstein, All of These Dreams, The Wedge, Boogie On Reggae Woman > Cities > Maze, Waste
Encore: Bug
[1] Unfinished. [2] Mike’s Song lyrics sung by Trey.
This gig commemorated the 20th anniversary of the first Phish show. In the audience, a section of seats were roped off to make way for a music stand. The music stand held a three-ring binder that contained lyrics from the Phish canon, but it did not play an active role in the performance. Ya Mar contained teases of The Tra La La Song (One Banana, Two Banana). At the end of Disease, a video screen descended behind the stage. As the house lights remained down, a 25+ minute video was played featuring retrospective highlights from throughout Phish’s career. Before the second set, Mike brought out a tray of desserts and shared them with fans in front of the stage. Highway to Hell was briefly teased by Trey before Rock and Roll. Weekapaug was unfinished. Tweezer Reprise included lyrics (sung by Trey) from Mike’s Song. Appropriately, the post-show house music was the Beatles’ song Sgt. Pepper’s Lonely Heart’s Club Band (which begins with the lyric, “It was twenty years ago today…”).
NFA Jazz Masters Concert will continue for the 18th year in a row at the Flushing Town Hall. This beloved event is an annual highlight for New York City’s many jazz aficionados who know the Queens venue to be one of the city’s finest to find the best jazz artists.
Flushing Town Hall began a significant tradition when it hosted the first-ever NEA Jazz Masters concert on November 17, 2006. This remarkable occasion showcased three iconic NEA Jazz Masters: Jimmy Heath (saxophone); Clark Terry (trumpet); and Dr. Billy Taylor (piano). Since then, the Smithsonian affiliate has continued to dazzle jazz enthusiasts by welcoming a roster of luminaries most often found frequenting Manhattan’s renowned clubs. The Queens stage has witnessed performances by Earl May, Benny Powell, Albert “Tootie” Heath, Cándido Camero, Paquito D’Rivera, Reggie Workman, Toshiko Akiyoshi, Joey DeFrancesco, Dr. Barry Harris, Sheila Jordan, Antonio Hart, Bill Charlap, Gustavo Casenave, and many other jazz greats.
This year, the NEA Jazz Masters concert will bring arrangements of several NEA Jazz Masters and their own compositions to the stage, including performers Jimmy Owens, Gary Bartz, Louis Haves, Joann Brackeen, Ron Carter, and Wycliffe Gordon.
Jimmy Owens (2021 NEA Jazz Master) has over forty-five years of experience as a jazz trumpeter, composer, arranger, lecturer, and music education consultant. His experience covers a wide range of international musical achievements, which include extensive work as a studio musician, soloist, bandleader, and composer of orchestral compositions, movie scores, and ballets. Owens is one of the few trumpeters of his generation who performed with many extraordinary jazz leaders, including sitting in with Miles Davis at age 15 and playing with Kenny Barron, Count Basie, Kenny Burrell, Duke Ellington, Dizzy Gillespie, Benny Golson, Lionel Hampton, Charles Mingus, Max Roach, Archie Shepp, Billy Taylor, and Gerald Wilson.
Gary Bartz (2024 NEA Jazz Master) was born in 1940 in Baltimore, Maryland, to nightclub-owning parents. Because of his upbringing, Gary Bartz was exposed to many great jazz artists early on. Renowned for his “informal composition” (as opposed to improvisation) on alto saxophone since the 1960s, he collaborated with jazz luminaries like Max Roach, Charles Mingus, Art Blakey, and Miles Davis. With over 45 solo albums and 200 guest appearances, Bartz also mentors emerging jazz talents today. Music serves a higher purpose for him, passionately advocating for Black Americans and their musical heritage. Through his saxophone (alto and soprano) and vocals, Bartz communicates profound convictions about the role of Black Americans today.
Louis Hayes (2023 NEA Jazz Master) was born in 1937 in Detroit, Michigan. Hayes’ musical journey began with piano, before his father gave him a set of drums at age 10. Guided by a cousin who recognized his talent and was inspired by Detroit’s vibrant music scene in the 1950s, he honed his skills alongside luminaries like Yusef Lateef, Kenny Burrell, and Doug Watkins. At age 18, Hayes joined the Horace Silver Quintet in New York, making his mark with the iconic “Six Pieces Of Silver.” Over the next decade, he led and co-led dynamic, electrifying ensembles which included talents like Freddie Hubbard, Kenny Barron, and Dexter Gordon. Notable recent engagements include The Kennedy Center for the Arts and the Chivas Jazz Festival in Brazil. His latest endeavor, “Serenade for Horace,” pays tribute to his mentor Horace Silver, and marks his debut as a leader on Blue Note Records.
Joanne Brackeen (2018 NEA Jazz Master) was a child prodigy and learned piano at 11 in six months by transcribing eight Frankie Carle solos and began professional performances at 12. Early influences include Art Farmer and Dexter Gordon. She was offered a full scholarship from the Los Angeles Conservatory and attended classes less than one week before deciding the bandstand was more significant. Her distinct style demands attention in various musical settings, from solo to quintet. Her captivating improvisations and intricate, rhythmically daring compositions span a wide range of styles. As a full-time professor at Berklee College of Music (Boston, MA) and a guest professor at the New School (New York City), Brackeen imparts her expertise. Brackeen, an award-winning artist, tours globally, having played in 46 countries.
Ron Carter (1998 NEA Jazz Master) is among the most original, prolific, and influential bassists in jazz. He has recorded over 2200 albums and has a Guinness world record to prove it. From 1963 to 1968, he was a member of the acclaimed Miles Davis Quintet. Over his 60-year career, he has recorded with many of the jazz greats: Lena Horne, Bill Evans, B.B. King, Dexter Gordon, Wes Montgomery, Bobby Timmons, Eric Dolphy, Cannonball Adderley, and Jaki Byard. He can be heard on many iconic jazz records of the 60s and 70s such as Speak No Evil, Maiden Voyage, Red Clay, Speak Like a Child, Nefertiti, and Miles Smiles, to name a few. In 2015 Carter earned a Guinness World Record as the most recorded jazz bassist with 2,221 recordings and has recorded hundreds more since then.
Trombonist Wycliffe Gordon boasts an impressive career touring the world, performing to great acclaim from audiences and critics alike. He received the “Trombonist of the Year” accolade from the Jazz Journalists Association a record-breaking 13 times and claimed “Best Trombone” in the Downbeat Critics Poll an unprecedented six times (2020, 2018, 2016, 2014, 2013 & 2012). With a mantle adorned by the “Louie Award,” the International Trombone Award, and the Satchmo Award, among others, Wycliffe stands out as a prolific recording artist. He is celebrated for his distinctive signature sound, plunger technique, and unique vocals. His music graces numerous recordings, soundtracks, live DVDs, and documentaries, resonating with musicians and ensembles worldwide, and his arrangement of NPR’s “All Things Considered” theme song is heard daily across the globe.
“I feel truly privileged to welcome two of the newest NEA Jazz Masters, Gary Bartz, and Louis Hayes, alongside the return of some seasoned Masters and outstanding jazz talents to our stage…”Queens is the borough so many jazz legends have called home, and our annual NEA Jazz Masters concert upholds the borough’s history as a go-to destination for jazz icons and audiences alike.”
Ellen Kodadek, Executive and Artistic Director at Flushing Town Hall
The Legendary Jazz Masters concert at Flushing Town Hall on Friday, December 15, begins at 8:00 PM. Tickets are $40/$32 members and seniors, $20 students with ID. Table packages for two with refreshments are available for $130/$110 members.
From 5:00- 6:30 PM, patrons with paid tickets for the concert are invited to join a free pre-concert workshop, “NEA Jazz Masters in Conversation,” discussing the icons that the Masters have performed with, including Max Roach, Oscar Peterson, Charles Mingus, Art Blakey, and Billy Taylor.
For ticket information, visit this website. For the Flushing Town Hall schedule, visit this website.
Rochester jazz singer, songwriter, and performer Sage Bava’s five-song EP Falling In released on November 15, introducing audiences to a vibrant and interesting new talent.
Tracks like “Manchild,” “Deep Blue,” and “Imperfect Melody” showcase her sophisticated, soulful original sound and complement renditions of timeless classics “Misty” and “Someone To Watch Over Me.” These tracks and arrangements were crafted by Bava between Valencia, Spain, and her hometown of Rochester, featuring an ensemble of talented musicians.
Sage Bava photographed by Kristin Burns
Jazz has always held a special place in Sage’s heart. She hails from a unique background, having grown up on an animal rescue alongside her father, who had the privilege of playing piano for legendary figures like Buddy Rich and Paul Winter. Even as a young talent, Sage was already making her mark, starring in plays and collaborating with guitar icon Les Paul, all by the tender age of 13. While navigating a multifaceted childhood that included stints as a child actor and competitive tap dancer, she encountered her fair share of challenges. In her early teens, Sage grappled with depression and derealization, facing exploitative music producers more interested in her appearance than nurturing her undeniable talent. It was a dark chapter in her life, one that would ultimately set the stage for the profound highs and lows that have shaped her into the remarkable person and artist she is today.
Sage’s journey has taken her across the globe, from acting in London to solo adventures throughout Europe with just her backpack, guitar, and an unyielding spirit of adventure. Her return to the States brought her to the vibrant hub of New York City, but when the pandemic hit, she found herself back on her family’s farm. Soon after, she embarked on a transformative journey to Costa Rica to teach yoga. This time proved to be a deep awakening for her, a period of profound reconnection with nature and her own inner voice. Her spirituality flourished as she learned from wise teachers and shamans. Driven by her true passion, Sage decided to pursue her music once more. She applied for Berklee Valencia’s one-year master’s program in production, received a scholarship, and made the bold move to Spain. But Sage Bava isn’t just about the music. She’s a unique talent currently studying the psychology of spirituality at Columbia and occasionally working as a journalist.
Now, she is ready to share her captivating story, remarkable voice, and boundless talents with the world. Look for an album from Sage set to be distributed by AWAL in 2024 that promises to be a profound artistic statement. Multiple major U.S. festival appearances are already confirmed with much more to come.
Where do the songs on this EP come from?
Sage Bava: The songs on this amalgamation are all about love and the discovery of. These songs encompass everything, from the pure wonder to the pure past life kind of mystery that is love. It’s also about the heartbreak that comes with love, specifically when you lose yourself to the other in a way that takes your own voice away. Then there’s the breaking of love, which is the process of losing yourself in the other. The only way to regain yourself is to destroy that thing that you both created. So, the whole project takes you through these different iterations of love. At the end of the day, it’s really about knowing yourself. The songs include one called “Deep Blue,” which is about meeting someone that feels like they are you—a fragment of you from some other time and place and space that you’re now meeting. Within that meeting, there’s this wholeness that you experience. Then there are two of my favorite old songs that were written before 1930, which is wild. I added them because I wanted to give the project a very timeless feel.
What are the old songs?
Bava: “Someone to Watch Over Me,” which was so cool to dive into recently because I’ve always loved that song. I’ve been singing it since I was 13 or 14 years old. I always took the song at face value. I looked at Gershwin’s gorgeous, perfect lyrics, but I took it to be about this girl praying to whoever about having some man show up to take care of me. As of late, the song has transformed before my very eyes and means calling upon your guides, calling upon your protectors, calling upon this higher source of creativity and power that watches over you. I did a little video on the land that I grew up on in upstate New York, and it was a beautiful moment. There’s this bench on the top of this hill that has become this beautiful space of meditation and seeing for me. And so shooting this video there and saying someone to watch over me was a really full circle moment in my own becoming that was really beautiful. The other song that’s old is “Misty” by Erroll Garner. I’ve always just loved that song. I hear that opening and know that your soul is about to be filled and nourished. I just think it’s such a beautiful song, and it’s a feeling that I know deeply well, and Erroll encapsulates it wonderfully in its harmony.
What is the feeling?
Bava: It’s misty, love, lust—the meeting of two souls that creates chemical friction, leaving one in a space of clouds, sometimes in a space of mist. I love the fact that Erroll wrote that song when he was literally on a plane in the clouds. To me, it’s one of the most perfect songs ever written. So I hope I do it justice.
Let’s go back to the “Someone to Watch Over Me” video for a second. Why is there a scene in there where you’re naked?
Bava: [Laughter] Well, I think it’s interesting, the idea and the art behind feeling and being naked. Something that I’m really trying to tap into and allow myself to really surrender to is being my authentic naked self, letting that very vulnerable light shine.
So, is it something you’ve always been comfortable with, or are you getting more so?
Bava: I wouldn’t say I’m comfortable with it. It’s a challenge that I think is deeply important for anyone who is really interested and invested in their own becoming, which I think everyone should be. Because I think at the core of everyone, there’s a really beautiful source light that is deeply calm, is deeply peaceful, and is healing and cleansing to all. Nature cleanses itself. Nature grows, nature heals itself. And we are nature. We have the capability to do that. And the more connected to our source light we are, the faster we can do that for ourselves and then for others. So to me, this nakedness is just stripping away all of the constructs around that source light shine.
Would you ever do a show naked?
Bava: Sure, just for fun, and I think for art.
What’s the craziest show you ever did?
Bava: When “craziest” is mentioned, it brings me back to when I was 17, backpacking all over Europe by myself with just my guitar. I did a lot of crazy shows in spaces like churches, in the backs of bars, on big stages randomly. The wedding that I was asked to play at. I have a lot of crazy stories of playing in front of people. I didn’t speak one word of their language, and it all just kind of happened very spontaneously. And I definitely have a protector over me because some of these situations were very bizarre, and I should not have been so lucky to be as unscarred as I am. If only I had listened to that protector a bit more, I think I would’ve helped myself out.
So who do you think your protector is?
Bava: I don’t know. I think that’s the beauty of it. I think there are many; it’s just the awareness of there are many. I think it’s just the awareness of seeing them everywhere. I think everyone and everything are your greatest teacher because it’s merely reflecting back to you what you need to see, what you need to integrate, and what you need to change and rid yourself of to get closer and closer to that source of truth. So I think everyone is your protector, everyone is your teacher if you see that fast in them. Sometimes teachers can do the most harm, and they’re gonna show you parts of yourself and parts of the world that are really messed up. But there’s a great lesson in that.
Give me an example of one of those lessons and how that manifests in your music.
Bava: I think something really beautiful that I’ve been experiencing right now and really stepping into is this trusting of my own voice. I was raised on an animal rescue farm and was taught as a number one priority to be empathetic and to be kind and generous with my love and with my energy. It was a beautiful way to grow up. But I had to learn that empathy does not mean being a house for other people’s demons. You’re actually hurting them, and you’re hurting yourself if you allow yourself to be that person. I’ve had so many experiences of losing my voice to people, becoming for them, and not staying true to my own inner voice and therefore foregoing myself. Something that is deeply important to me and I want to do in the world is helping people, especially young women, in their process of learning their voice and staying true to their voice. There are so many stories I can tell you about that, but I think the lesson is much more important than the details.
What’s the lesson you want to give to young women, having gone through the industry yourself?
Bava: Listen to your voice. It’s very easy to think people know better. It’s very easy to think that you are young and naive and you don’t know the world, or you should listen to all of these people telling you what to do and who to be and how to act. Even if they’re not telling you in words, they’re making you feel a certain way. But I urge you to really stay true to your gut. Don’t numb that. Let it be powerful and let it be potent. Some people don’t know what to do with young women who will stand up for themself. And when you speak your truth, sometimes people are going to throw a tantrum. Sometimes people are going to try and control you and your mind, but the sooner that you can realize that that’s just them and their own work that they need to do on themselves, and you stay true to you, you’re going to have a much easier and quicker road. It isn’t easy but I believe it’s the only way, l’m still leaning this. There are many paths to get anywhere. My path was kind of here, there, and everywhere because I had to learn these lessons, and I had many different instances of having to learn them. So if you just stay on that path and not have to learn the lesson a million times over, it’ll be a much smoother and faster ride.
Do you feel like you’re ready for success now?
Bava: I think I’m ready for success. I think I’m ready for me to be living in my most vibrant and potent self. I’ve always loved music so much. I want it to be my life. I want always to be able to create and create with incredible people and have that be in my life, and be able to make things that serve this mission of bringing this feeling of connection to nature, which to me is just a connection to truth and self. It’s so deeply healing and that’s what I want to do with the music I make. I think it’s very important and very needed, so yes.
Who, for you, are those artists that best express longing and loneliness?
Bava: Melody Gardot is one of my favorite artists. She, to me, is only part human [laughter] and is part of something much more powerful. Her story is fascinating, and her surrender into her power without the need to reach for it. She just purely sits in it more so than anyone that I can think of. Perhaps also Norah Jones and Adele.
What’s your version of heaven right now?
Bava: Heaven is simple. Heaven is nature. We are nature. When we separate ourselves from it, we are harming ourselves. I believe spirit is an animal. I believe spirit is the tree. When we allow ourselves to become one with it, that’s heaven. I’ve just been reveling in my gratitude for my family and the space they live in, which is a beautiful farm where we get fresh vegetables that I can cook into nourishing vegan meals and just be so peaceful and accept myself and accept my journey. Because we must accept to be able to be truly present. I am in a very good space. I don’t think it’s going away because it’s a choice that you mentally make. No matter what externally, you can be there internally.
And now you’re going to Columbia?
Bava: Yes, I have been very called to do a deeper dive on psychology and spirituality. This has led me to want to study it, write about it, sing about it and just be in an era of growth with it. I’m writing a book called Universal Language, co-writing with Steve Baltin, an author and journalist. For the past several months, we’ve been doing interviews together with incredible artists. It just naturally happened that we both love to talk about consciousness, music, and spirit, asking artists about their connection to their creative process within connecting to that. Many incredible stories were told, and the idea of curating it all into something that people can read and be inspired by, and therefore connect more deeply to the music and more deeply to themselves, was just so obvious. So we’re working on writing this book.
What was your favorite interview during that process so far?
Bava: Definitely impossible to pick a favorite. Having Herbie Hancock call me on the phone was pretty amazing. Getting to ask him what jazz was, and him saying, “it’s spirit, baby,” was a moment that will ring in my ears for many years. Asking Mr. Hancock about his creative process and learning how important spirituality and Buddhism and ritual are was just affirmative to knowing that creation and spirit go in tandem. 99.9% of the artists that we talked to resonated deeply with that. The ones that didn’t, to me, just re-said it but in a different way. So I loved hearing from Baby Rose how important service is in her creation. Rick Rubin’s “The Creative Act” where he talks about how art is all a service to God. This thought of trying to create from a place of product and a place of Frankenstein-ing these ideas together, to me, was super soul-crushing and was the reason for many years why I had a hard time creating because I had lost my own spirit. So within knowing it’s vital to be connected to spirit in order to create, it makes it so much more important to protect your spirit. It makes it so much more important to be present with it because if that is a source of creation, you better have that be your priority.
How did you end up doing journalism? How has it influenced your music, getting to talk to all these musicians?
Bava: As much as I don’t believe everything happens for a reason, I do believe that things show up when the student is ready. For me, the process of this past year has been connecting and learning my voice, becoming, and trusting it. My favorite thing to do is talk about spirit and music, asking artists about the process and their artistry is the most fun thing ever. When I started being a fly on the wall and getting to ask questions with some of my favorite artists, I realized how much I love it because it’s truly my favorite thing, just to have deep conversations about life, love, and the abyss. It’s been really beautiful to talk to artists about the importance of learning and knowing their voice while I’m affirming this in myself. It’s just been this really bizarre reflection onto all of these things that are happening for me internally.
Has there been one or two interviews where you feel like it’s reflected most in you?
Bava: Moby was fascinating and really hit me hard because he’s a fellow vegan, but more so a fellow nature animal lover and activist. He said something that really shook me: we are nature, and when we sever ourselves from it, we harm ourselves. I realized how much I did that, not even when we’re talking about nature, meaning animals and nature, meaning environment, but nature meaning our truths about ourselves. When we sever that, sometimes we think we’re doing it for someone’s benefit, sometimes we think we are helping them. But I believe at the end of the day, anything that harms you is in the karmic forces that happen after. It’s not what you’re supposed to do. Everyone is supposed to stay with their truth. And severing yourself in that will come and bite you in the ass. Hearing Moby talk about that just brought me closer to my sense of self and also brought me closer to things that I love. Like I’ve always loved animals, but it just deepened it more.
Why do you think you did sever yourself from that?
Bava: Because people asked me to, and I didn’t know better. When I was young, 13, 14, 15, there were several producers that I worked with musically who asked me to be for them. By that, I mean they had an idea of what they wanted in their life, space, and creative process. They saw me as a malleable being that they could mold into being that for them. Raised with empathy, I thought I was supposed to do that as an act of kindness and caring, forsaking my own voice and sense of self to become, musically and otherwise, what they desired. It was deeply damaging and confusing. When that period ended, I was in a state of deep confusion. Until I learned these things and eradicated that from my soul, I finally regained clarity and my voice. There were times—three, four months—where it was painful to speak. It felt like something was clenching my throat, and I couldn’t speak because my spirit was so suppressed that the mere act of speaking my truth, which is my voice, was a painful experience. I now see it as a gift, as my favorite author mentioned before, the gift of suffering. How can you know something if you don’t experience it deeply? How can you have a mission in the world if you don’t know it deeply? So, within knowing something deeply, you must experience it deeply, and then you can bring it forward. If everyone looked at their life that way, we’d be more at peace and joyful. Spiritual leaders are usually blissed out, and I don’t trust a spiritual leader that’s not, because that is the truth they’re living in.
What do you want people to take from your EP when they hear it?
Bava: I want it to wash over you and make you feel. Through that feeling, you’ll connect more with yourself and your sense of self, and everything is love. Most of these songs could represent different forms of love—romantic love, man’s construct love, self-love. I hope it provides people with a peaceful and beautiful space to feel love and have some peace.
After four years, Guster made a return to the Beacon Theatre in New York City on Saturday, November 25. Billed as “A Night of Music & Comedy,” opening the show was comedian Chris Fleming who indeed provided the “Comedy” aspect of the night, followed by a whopping 24-song set by Guster.
Prior to their New York City show, Guster finished a series of early Fall Tour dates and the guys have been on “Dad duty” as Lead Singer Ryan Miller said from the stage, while adding it was “nice to get a chance to be a rock star for one night again.”
Full disclosure, this was my first Guster show, I knew nothing of the band other than the name, didn’t know any of their songs or hits for that matter. Musically, they were great, very tight on stage, all rotating instruments in a very impressive way, at times a full drum kit along with a full percussion station, bass and guitar players constantly switching, as pretty much every single band member sitting down at the keyboard for a song.
The crowd was really interesting as well, a mix of old and young, couples and even parents with their little kids, all singing along to pretty much every single song. Also admirable, was everyone stood up the minute the show started as if they knew what was coming. The band announced a new album that’s done and coming out in 2024, and even played a new track from it “Black Balloon”.
In order to keep things fresh, which as a first-time Guster concert attendee I appreciated, they broke the setup and mid-set embarked on a “Campfire” set, only two mics, seated at the lip of the stage they did six acoustic songs, all of which were fantastic, as the entire crowd sat down and sang along in true campfire style. Complete with a cardboard cutout of a little campfire and lighting to match.
Guster – Beacon Theatre – Saturday, November 25, 2023
Setlist: Diane, The Captain, Center of Attention, Mind Kontrol, Backyard, What You Call Love, Black Balloon, Communication (improv jam), Gangway, Manifest Destiny, Airport Song, Empire State, I Spy, Satellite, The Beginning of the End, Stay With Me Jesus, Happier, Amsterdam, Don’t Go, Come Downstairs and Say Hello, Do You Love Me, Mona Lisa, Terrified, Barrel of a Gun
A new live music venue called Electric Grinch has officially opened in Schenectady, a revamp of a once popular bar in the 1970s and 80s.
The venue opened its doors on November 16. The owner is Mitchell Ramsey, who also owns Jay St. Pub in Schenectady. What used to be a popular place for food, drinks, and live music more than 40 years ago on Erie Boulevard is now getting revamped into this new and exciting venue. The inside has a full bar, table seating, a stage large enough to accommodate full bands, a 1,000-square-foot back patio, and a 2,500-square-foot roof deck.
The venue is located at 116 Jay Street. The Electric Grinch is open Wednesday and Thursday from 4 p.m. to midnight, Friday from 4 p.m. to 1 a.m., and Saturday from 11 a.m. to 1 a.m.
The original Electric Grinch, courtesy of Times Union.
A full schedule and website are unavailable now, but check out their Instagram or Facebook for more information.
I’ve known Willie Nile for almost 10 years now, been to countless shows, I’ve shot a dozen music videos for him, and consider him a friend. I was thrilled when he asked me to come shoot his show at City Winery New York on Wednesday, November 22.
Booked as a Career Retrospective, Willie was going to play one song from each of his 16 albums, from his first self-titled from 1980 to his latest The Day The Earth Stood Still from 2021.
Nile’s current band consists of long-time rockers such as Jonny Pisano on Bass, Jimmy K. Bones on lead Guitar, Rob Clores on Keys, and Jon Weber on Drums. For the show at the Winery, he included special guest James Maddock who opened the show and also joined the band on a number of songs as backing vocals and on electric guitar.
Playing to a sold-out crowd, the band hammered through the 18-song setlist, with the various album covers displayed on screens as Willie went one by one and gave a little background on the album and the song before playing it. Willie who turned 75 this year, looking younger than ever, vibrant and full of life and energy, was a sight to behold, a true Rock n’ Roll icon.
Opening the show with a 30-minute solo acoustic set was fantastic singer-songwriter James Maddock whose latest album “Night Works” came out earlier this year, his set included mostly material off that album along with a few old hits. James is currently on tour in Europe until the end of the year but currently resides in Brooklyn, so he’s often playing shows in the New York area and comes highly recommended. Make sure to add him to your radar for 2024.
Willie Nile – City Winery New York – November 22, 2023
Setlist: Vagabond Moon, Golden Down, Places I Have Never Been, Hard Times in America, Across the River, Cell Phones Ringing (In the Pockets of the Dead), You Gotta Be a Buddha (In a Place Like This), Streets of New York, American Ride, Forever Wild, Blowin’ in the Wind (Bob Dylan cover), Children of Paradise, House of a Thousand Guitars, Run Free, One Guitar, The Day the Earth Stood Still, Heaven Help the Lonely, A Hard Day’s Night (The Beatles cover)
Runaway New York, a fashion and lifestyle brand based out of the Big Apple, is presenting an exclusive event titled Open ‘Til Midnight at Brooklyn’s Public Records on December 11. Featuring performances by Balu Brigada and Carlo Redl, the night will celebrate Runaway New York’s 5-year anniversary in their hometown.
Based in major cities such as Paris, Miami, London, Tokyo, and originally New York, Runaway New York is a fashion and lifestyle brand created by Jagger Walk. Committed to making an impact on their community, Runaway New York has worked alongside NYC’s City Meals On Wheels, delivering meals to elderly residents, and El Paso, TX’s Annunciation House, providing support to refugees and immigrants. Known for their statement loungewear, the brand is returning home for their 5-year anniversary this December.
Balu Brigada will make an appearance at the event, performing to support their upcoming EP Find A Way. The New Zealand-born alt-pop duo relocated to New York in 2022 after signing with Atlantic Records, and recently was crowned Best New Artist by People Magazine.
Carlo Redl will also perform, showcasing his talents likened to that of John Mayer, with a R&B twist. Earning the #1 song in Japan at age 21, he splits time between Miami and Tokyo as an upcoming singer-songwriter.
Runaway New York will celebrate their 5-year anniversary at Public Records in Brooklyn on December 11 at 7PM. With drinks, music, and opportunities to browse exclusive Runaway New York clothing, the night will bring together music, fashion, and community.
The vibrant dance scene in Albany is set to be illuminated once again as The Egg and the University at Albany join forces to present the groundbreaking Bill T. Jones/Arnie Zane Company on Saturday, December 2 at 8 pm, part of the Dance in Albany series.
The performance promises to captivate audiences at The Egg at the Empire State Plaza in downtown Albany, marking a return to the Capital Region since their last appearance in 2015.
Founded in 1982, the Bill T. Jones/Arnie Zane Company emerged from an extraordinary 11-year collaboration between Bill T. Jones and Arnie Zane (1948–1988). This partnership not only redefined the duet form but also foreshadowed themes of identity, form, and social commentary that have left an indelible mark on American dance. With a global footprint encompassing over 200 cities across 40 countries, the company stands as a beacon of innovation and power in the dance-theater world.
The company’s repertoire is a testament to its diversity, exploring various subject matters, visual imagery, and stylistic approaches to movement, voice, and stagecraft. Collaborating with an eclectic array of artists, including Keith Haring, Cassandra Wilson, and Jenny Holzer, the company’s intensely collaborative creation process has yielded a rich tapestry of performances.
The upcoming program by the Bill T. Jones/Arnie Zane Company will showcase “Love Redefined” from 1996 and “Story/” from 2013.
“Love Redefined,” inspired by the 1992 commission for the Lyon Opera Ballet titled “Love Defined,” is a powerful ensemble work that embodies Jones’ distinct and poetic style. Set to Daniel Johnston’s whimsical music and featuring décor by Donald Baechler, the performance is an energetic reflection on love and human relationships.
“Story/” is a reworking of “Story/Time” (2012), where chance plays a central role in choreography, music, lighting, set elements, and costumes. Set to Schubert’s String Quartet #14, Death and the Maiden, “Story/” draws from a trove of choreographic material spanning 35 years. The piece explores the dynamic interplay between movement and music, showcasing Jones’ exploration of the dramaturgical possibilities that arise from this interaction.
The Bill T. Jones/Arnie Zane Company has garnered numerous accolades, including New York Dance and Performance Awards (“Bessie”) for various productions. Noteworthy mentions include awards for “Chapel/Chapter” at Harlem Stage (2006) and “Deep Blue Sea” (2021). The company was also nominated for the 1999 Laurence Olivier Award for “Outstanding Achievement in Dance and Best New Dance Production.”
Before the performance, a Prelude talk sponsored by the Dance Alliance will take place at 7:15 pm at The Egg. Mary DiSanto-Rose, former Dance Department chair at Skidmore College, will engage in a conversation with Janet Wong, Associate Artistic Director of the company and New York Live Arts.
Tickets for the performance are priced at $36 and can be purchased at The Egg Box Office on the Concourse Level of the Empire State Plaza in Albany, by phone at 518-473-1845, and online at theegg.org.
Remaining performances in the Dance in Albany series promise a diverse and exciting lineup, including Mark Morris Dance Group (January 25), Ellen Sinopoli Dance Company with Capital Trio (January 27), Monica Bill Barnes & Company in “The Running Show” (February 3), NoGravity Theatre (February 9), Savion Glover (April 13), and Ellen Sinopoli Dance Company (May 18).
