NYS Music 2024

Category: Features

  • Pitbull brings the “Party After Dark” Tour to the Mohegan Sun Arena

    After multiple shows in New York during the summer/fall leg of the “Party After Dark” Tour, Pitbull brought the tour north to the Mohegan Sun Arena in Connecticut. The sold-out crowd had options to see Pitbull at five locations during the summer and fall legs before he looped back around ahead of a European leg. Unlike the summer, special guest T-Pain did not come for this show leaving Pitbull the lone performer for the evening.

    Before Pitbull graced the stage, one of his DJs hyped the crowd up by playing music and getting the fans in the right mood. With the DJ on stage, there was a rush of fans trying to get inside for “Mr. 305.” The entire audience contained people of all ages. Whether it was people in their 60s or little kids, Pitbull had a diverse audience spanning a generation or two.

    Once Pitbull hopped on stage and began “Don’t Stop the Party,” off of 2012’s Global Warming: Meltdown, the dance party inside the casino arena started. For an hour and a half, Pitbull delivered hit after hit leaving the audience wowed and out of breath. When Pitbull ran on stage in the dark, from the back of the arena you could see a sea of phones leading to the barricade. The last time he was in the general area was Sept. 13 in Hartford and Sept. 12 on Long Island. Even if it was three short months, the excitement was in the air.

    The Mohegan Sun Arena is home to the Connecticut Sun. So the lower bowl seats are pulled out on metal stands. Throughout the night, fans danced with each other or by themselves. They also jumped to the music, the stands swayed back and forth. Like the lower bowl, the upper deck was also having a party. They did not sit down for one second during the show.

    During each song, the screens off to the sides and behind Pitbull and his seven-piece backing band and six backup dancers showed the audience. Each concertgoer had the same surprised and happy look on their faces. They were singing along and dancing to each show and you could just see the raw and pure joy on their faces throughout the night.

    Throughout the show, Pitbull and his dancers would run off stage after certain songs to change into different stage clothes. This led to Pitbull’s on-stage DJ playing music to keep the good energy alive. Whether it was Aerosmith & Run DMC’s “Walk This Way,” or Bell Biv DeVoe’s “Poison,” the DJ did a great job at not letting the show come to a screeching halt.

    When Pitbull and the dancers returned, they all had corresponding colors. Pitbull looked as snazzy as ever in his black, white, and red suit jacks. He dawned a charming smile each time a new color was debuted. His amazingly gorgeous dancers also had matching colors as they strutted around the stage for the entire 90 minutes. Pitbull was able to cleverly play off the dancers and vice versa to create a cheeky yet mesmerizing show.

    It’s impressive that Pitbull has a backing band behind him. Sometimes popstars and rappers do not carry any other on-stage personnel with them. But the previously mentioned seven-piece band was spectacular. There was guitar, bass, saxophone, drums, keyboards and percussion that all created a beautiful live wall of sound behind Pitbull. Having a band play live enhanced the pop sound that Pitbull has polished off so well. It adds another complex but necessary layer to the live performance.

    It was great to see Pitbull give a nod to other artists. Covering others’ tunes was his way of acknowledging their impact on him. Pitbull rapped a beautiful and clever version of Elic Crespo’s “Suavemente” which had the fans dancing all over the arena. He also included a cover of “Gasolina” by Daddy Yankee in his set. Hearing the familiar intro had fans looking at each as to say “I know this one.” It was great to hear Pitbull’s rendition of people’s favorite tracks.

    In between each song, Pitbull would give some advice to the audience and give them a pep talk while also thanking them for coming out to the show. At one point, he talked about how his one teacher, Hope Martinez had changed his life. He then told the sold-out crowd that he had built 12 schools nationwide as part of the S.L.A.M! program. S.L.A.M stands for “Sports Leadership, Arts & Management.” Those schools are “non-profit educational organization supporting the expansion of K-12 tuition-free, public charter schools in underrepresented communities nationwide.”

    Upon hearing this, the crowd roared in approval. It’s hard to imagine what The Beatles at Shea Stadium sounded like back in the 60s. Or, if you’ve never been to a Taylor Swift “Eras” Tour show, you might not be able to imagine what a roaring audience sounds like. A close third is any Pitbull show. He had the audience in a frenzy at the start of each song and at the end of the night.

    At the tail end of the show, the setlist got swapped around slightly. Instead of ending on “ Give Me Everything” off of 2011’s Planet Pit, he ended on the smash hit “Fireball” off of 2014’s Globalization. The quick change in songs at the end of a great subtle switch flowed nicely into the end of the show. When fans left the area, they all had smiles around.

    Pitbull is an entertainer that can easily fill up any arena, theater, or amphitheater. His hard work, drive and dedication for a great show spills out into the audience. It leaves the crowd with a lasting impression. The entire show is perfectly choreographed and the musicianship just doesn’t stop at “Mr. Worldwide.” He also surrounds himself with the best dancers and band to make sure that the show is as best as humanly possible. Seeing Pitbull live is an experience that everyone must do once in their life. Do yourself a favor and see him as soon as possible, you’ll witness one of the best and most pure entertainers on the road.

    Pitbull setlist: Don’t Stop the Party, Hotel Room Service, International Love/Bounce Generation Sweet Child o’ Mine/Rain Over Me (Guns N’ Roses cover), Whoop! (There It Is) (Tag Team cover), I Feel Good, Suavemente (Elvis Crespo cover), The Anthem, Gasolina (Daddy Yankee cover), Culo, I Know You Want Me (Calle Ocho), On the Floor/I Like It/DJ Got Us Fallin’ in Love, Timber, Time of Our Lives, Give Me Everything, Fireball.

  • In Focus: Phish Return to Madison Square Garden

    Phish kicked off their annual New Years Run at Madison Square Garden, the band’s 16th overall at the ‘World’s Most Famous Venue’ and a feather in the cap of a band who have had a remarkable 2024. 

    With shows at Sphere in Las Vegas and a stellar summer tour culminating at Mondegreen festival in Delaware (plus 4-night Mexico and Dicks runs) the foursome from Vermont have much to live up to at MSG, where the most recent performance by the band last New Year’s Eve featured a two-set stage production of the band’s Gamehendge rock opera, the holiest of Phish grails. 

    So while the bar is set high – let’s face it, Phish fans eternally set the bar high for the band – and the band doesn’t always reach that bar. It would be impossible to do so, but they gave it the ol’ college try on Saturday, December 28. 

    The show opening “Simple” would end up being the longest jam of the night, clocking in at 13 minutes, and when that’s the case, there’s a lack of flow that follows. “Free” followed and had some meat to it, but gave way to a sedate “Farmhouse”. Throw in “Poor Heart” and “Tube” plus a rare “Driver,” and the crowd was content to fall into a well placed first set “Reba,” with a beauty of a bliss jam within. A late first set “Oblivion” thankfully did not jam out for a change, and instead gave way to “Antelope” to close, as it so often has at the Garden.

    Set two looked to get things started with “Back on the Train,” and while things were headed in the right direction, “Axilla (Part 2)” limped out of the gate, with Anastasio being a bit ahead of the band. The song struggled until the outro, which worked its way nicely into “A Wave of Hope,” a jam to enjoyably get lost in. “Round Room” – which let’s be honest, needed a little more practice – was performed for only the seventh time ever, and first since 2016, yet an apropos song for Madison Square Garden. 

    Just as the excitement over “Round Room” died down, “I Always Wanted it This Way” (aka, Page EDM) took over mid-set, and after that, the rest of the set played out with a standard “Twist,” a pleasant “Mango Song”, “Blaze On”, “Cavern” and to close things out, “David Bowie.” 

    For the encore, “Mountains in the Mist” to start meant a multiple song encore was in the works, but the bar was set high when you’ve seen “Mountains” at Sphere. “Fuck Your Face” followed and random, but possibly influenced by a recent tech CEO tweet. “46 Days” to close was on par with much of the show – fun and energetic, but nothing incredible to write home about. 

    Phish fans have three more nights left in 2024, including the 25th anniversary of Big Cypress to celebrate. What does Phish have in store to close out 2024? Stay tuned!

    Setlist via Phish.net

    Set 1: Simple, Free, Farmhouse, Poor Heart, Tube, Kill Devil Falls, Driver, Reba[1], Oblivion > Run Like an Antelope

    Set 2: Back on the Train, Axilla (Part II) > A Wave of Hope > Round Room, I Always Wanted It This Way > Twist > The Mango Song > Blaze On > Cavern > David Bowie

    Encore: Mountains in the Mist, Fuck Your Face > 46 Days

    [1] No whistling.

    Reba did not contain the whistling ending. 

    Round Room was played for the first time since June 22, 2016 (322 shows)

    Photos by Taylor Weinberg

  • The Phish Before The Storm: December 30, 1995 at MSG

    Nineteen ninety-five was as formative and important a year for Phish as they come. So, it should come as no surprise that it ended at Madison Square Garden, a venue the band today calls “home.” However, the New Year’s run for 1995 would mark only the second and third times Phish ever played MSG. Even though New Year’s Eve ’95 may get all the “glory,” it’s lead-in from the night before has a lot to offer as well.

    The show began with the relatively new “Prince Caspian,” from then yet to be Billy Breathes album. It’s a relatively quick and nondescript version. But immediately at its conclusion, some familiar feedback ensues, the signature drum beat kicks in and Phish is off and running with a rare first set, “Also Sprach Zarathustra,” or simply “2001” as it’s commonly referred to today. Phish packs a decent punch in this arena rocker that certainly is a short version when compared to contemporary ones. Yet again, the next song begins before “2001” can even finish. This time it’s “Suzy Greenberg” with Page McConnell leading the way on piano, completing a unique opening trifecta.

    Phish MSG

    Another quick, familiar-sounding feedback jam slows things down a bit before Phish takes off again. This time it’s fueled by Jon Fishman’s signature drum intro to “David Bowie.” This gives the band their first real opportunity to explore the New Year’s space at MSG, and they do just that. A patiently crafted jam is accentuated with some brilliant Anastasio-provided guitar licks, which grow slowly in ferocity. This yields a hearty response of approval from the crowd as the first real jam of the night.

    The first set also features a “Kung” sandwich, with the opening and closing sections of “It’s Ice,” ably serving as the bread. There’s even a nod to Gamehendge, courtesy of the ensuing “The Man Who Stepped Into Yesterday” sequence, with the Mike Gordon-led “Avenu Malkenu,” placed right in the middle per usual. Emotions then come to a peak in the first set with an absolutely rousing “Divided Sky” that features a noticeably long “pause.” A quick romp through “Sample In A Jar” brings a first set that seemed to pull a little bit of everything from the band’s mid-90s repertoire.

    Phish MSG

    Native New Yorker, Mike Stone, got to make the chess move, on behalf of the audience prior to the start of the second set. This was the second of two chess matches between the band and their fans in 1995. These wound up being split. And for those unaware, the rematch looms.

    While the second set doesn’t offer up as much in the way of rarities as the first, it more than makes up for it in execution. “Ya Mar” opens the second stanza and includes a perfectly placed “Auld Lang Syne” tease from Trey. Another fairly new song still finding its legs in “Free” follows this. But the highlight of the set, and possibly the show, is the triumphant “Harry Hood” that comes next and builds to an incredibly emotional peak. When this is paired with a thunderous “AC/DC Bag,” it creates one of the earlier special Phish moments at MSG.

    “Lifeboy” serves as the well deserved ‘breather’ song after this impressive sequence of music. But that’s the last of its kind for this show. “Scent Of A Mule” sees a particularly drawn out “Mule Duel” between Trey and Page before its maniacal klezmer-esque finish. And the set ends in fine fashion with a double closer of sorts. A standard take on the Picture of Nectar classic “Cavern” begets an absolute whirlwind of a “Run Like An Antelope” and the typical musical chaos that comes with it.

    For an encore, Phish trotted out “A Day In The Life,” a Beatles cover that was also new to 1995. This would be the only non-instrumental cover of the evening. An impressive performance of nearly all originals, both new and old, defined the second ever Phish show at MSG. And it certainly laid the groundwork for what would be the third time’s “charm” the following evening.

    Phish MSG New York, NY 12/30/95

    Set 1: Prince Caspian > Also Sprach Zarathustra > Suzy Greenberg > David Bowie, Simple > It’s Ice -> Kung -> It’s Ice > The Man Who Stepped Into Yesterday > Avenu Malkenu > The Man Who Stepped Into Yesterday > Divided Sky, Sample In A Jar

    Set 2: Ya Mar, Free > Harry Hood > AC/DC Bag > Lifeboy, Scent Of A Mule > Cavern > Run Like An Antelope

    E: A Day In The Life

  • In Focus: Hayley Jane and Laura Leigh Warm up Ophelia’s in Albany

    Hayley Jane and Laura Leigh paired up for an unforgettable night of music at Ophelia’s in Albany on the bitter cold night of December 21st.

    Hayley Jane and Laura Leigh
    Photo by Pat Rogers

    The show capped off a week that saw Ophelia’s welcome Slidin’ Dirty relocating from Troy and serving up a deep menu of top notch burgers and more.

    Hayley Jane and Laura Leigh
    Photo by Chris Bobillo

    The evening was presented by Guthrie/Bell Productions and also the final Jam for Tots show of the holiday season. (thanks to all who brought an unwrapped toy!)

    Hayley Jane and Laura Leigh
    Photo by Pat Rogers

    A natural pairing for this show, Hayley Jane and Laura Leigh have performed shows together since 2022. Hayley pulls inspiration from so many styles – 60s + 70s rock + pop, musical theater, folk, blues, soul, psychedelic, funk + bluegrass – and offers a no holds barred approach to her sets. This made each song a performance, nothing less. Hayley Jane’s passion and energy are expressed out to the audience, bouncing back off and driving each show to new heights.

    Photo by Chris Bobillo

    Opening up, Laura Leigh’s set picked up steam slowly and offered no break once the wheels were turning. Hailing from Cambridge in Washington County, Laura Leigh has gone from busking around the Capital Region to performing on local stages to a growing audience. Her 2021 album Livin’ in Cambridge painted a picture of her small town, and newer songs since written offer a glimpse into a songwriter’s journey.

    Learn more about Hayley Jane and Laura Leigh.

    Photos by Chris Bobillo

    Hayley Jane and Laura Leigh
    Hayley Jane and Laura Leigh
    Hayley Jane and Laura Leigh
    Hayley Jane and Laura Leigh

    Photos by Pat Rogers

    Hayley Jane and Laura Leigh
    Hayley Jane and Laura Leigh

  • Hearing Aide: Ross Goldstein Releases Fifth Studio LP “Blunders” 

    Ross Goldstein released his brand new album, Blunders on November 15 on OddCat Records. The nine track, polished LP takes a deep dive into the world of psychedelia and features producer Eric Goulden (Wreckless Eric). This is Goldstein’s fifth full-length record, following his 2021 release Chutes and Ladders. 

    Ross Goldstein
    Artwork by Robert Beatty

    Recorded in Catskill, NY at Goulden’s home studio, Blunders was co-produced and engineered by Wreckless Eric. Both Goldstein and Goulden are credited with playing almost every instrument on the record. Despite a morose subject matter, there’s a noticeable warmth that encapsulates Blunders.

    Goldstein refers to the LP as “bummer psychedelia” and states that he was “aiming to achieve a cinematic mood and a feeling of being alone and lost on the road in America. Living on the road and feeling lonely and isolated are central themes of the record – attempting to pick up the pieces after relationships fall apart – both accepting and embracing failures.”

    Goldstein cites 60’s and 70’s pop, artists like Neil Young, The Beatles, and Grateful Dead as his primary influences as a songwriter. He also references Holland, the 1973 release by The Beach Boys as a major source of inspiration.

    Goldstein’s arrangements, eclectic songwriting and heavy use of imagery in his lyrics allow for each song to stand alone – yet they are pieced together in a way that not only establishes his goal of cinematic musicality, but creates a captivating piece of art from Blunders’ first note, to its last. From the country americana, tinged by psychedelia vibes of “My Slippers”, to the dreamy, albeit uneasy soundscapes on tracks like “The Village”, this record has a welcoming yet dark in nature attitude.

    His eccentric tones, emotional guitar solos, goosebump inducing textures and production techniques are reminiscent of bands like Pink Floyd and Ween. His use of spoken word on “Carrizozo” and “Ticker Tape”, the funk grooves of “Odd Man Out” and the seemingly not so lyrically serious “I Forgot To Comb My Hair” are just a few examples of how this genre-blending, borderline defying release synthesize under an umbrella of psychedelic folky goodness.

    Blunders is currently available on all streaming services – learn more and support Ross Goldstein here.

  • Tryst La Noir Returns with “Dirty & Wild” New Single, “Goddamn!”

    The Hudson Valley’s busiest goth triple-threat, musician/DJ/burlesque queen Tryst La Noir, has returned with a new single that’s as “raw, dirty and wild” as love itself, a sonic blast entitled “Goddamn!”

    Tryst’s latest is another preview of tunes earmarked for her as of yet untitled third album slated for release in Spring 2025. Earlier this year, Tryst and her collaborator, Brooklyn-based producer/guitarist Steve Woodzell, unleashed a duo of singles from the album  “Bathwater Blues” and “Oh Lover”.

    Tryst says, “In comparison to my previous albums, this will be my most vulnerable yet. I have been experimenting with instruments and sounds that I never had before.  And when it comes to the writing process, especially the lyrics, I am not sugarcoating anything.”

    The fierce “Goddamn” bears some of the hallmarks of Tryst’s greatest musical influences, including Nine Inch Nails, Nick Cave, Depeche Mode, PJ Harvey, Morphine, and even the bluesy love laments of jazz songbird, Billie Holiday. “I really love old blues music from the 40s, along with 60s psychedelia, 80s goth, 90s grunge and post-punk.  My music is a mash-up of all these styles, with an accent on full-on passion and energy.”

    Tryst’s newest single slams a slow industrial groove, accented with a dense mix of fuzzy guitars, impossibly big beats, howling synths, and her caterwauling vocals. Lyrically, the song profiles a fiery love affair that sparks a combustible attraction between lovers that comes with an overdose of both passion and toxicity.

    But music is just one facet of Tryst’s busy career. She also works as a DJ at leading area clubs, including Pearl Moon, Colony Woodstock, and The Avalon Lounge. Tryst also serves as a performer and host of a series of burlesque nights produced by Strangehouse, an event and video production concern she runs with her partner, musician/videographer Byron Frayne.

    Tryst La Noir

    Look for Tryst La Noir spinning at Kingston’s Unicorn Bar for its Bowie Birthday Ball on January 24 and her ongoing Friday Night Fever at Colony Woodstock on January 3.  She will also bring her burlesque spectacular to the Colony on Valentine’s Day.

  • Stacey Waterman: A Legend of The New York Backstage

    A New York music legend that remains backstage, Stacey Waterman has been making the state’s music scene move behind the scenes for well over 30 years now.

    Stacey Waterman

    A star of the music scene who actively avoids the limelight may seem like an oxymoron, but Stacey Waterman does so with utter grace and humility. A legend in New York’s backstage management scene, Waterman’s work has earned her a spot in the SAMMYs Hall of Fame alongside decades worth of respect from everyone within the industry and outside of it.

    The owner of The DMR Agency, Stacey is responsible for production management services for a wide host of promoters, venues, and events throughout Central New York. No factor of the industry is outside of her wheelhouse, specializing in concert and festival coordination and execution, booking and contract negotiations with talent, and settlement. 

    Having gotten her start in her early 20s managing the local band White Boy and the Wagon Burners, Waterman’s resume today is impressive beyond the meaning of the word. 

    The list of names in Stacey’s repertoire is incredibly expansive, including but not limited to Paul McCartney, Dave Matthews, Phish, and The Rolling Stones, though with over 30 years into the gig, she’s stated that being starstruck is a thing of the past while on the job.

    On a broader scale, Stacey has also worked with the likes of Live Nation, The New York State Fair, Creative Concerts, Famous Artist Broadway, Galaxy Events, FIL World Indoor Lacrosse Championships, and a myriad of other organizations.

    With an attentive eye and a clear, genuine care for the craft, each of Waterman’s shows receives the same amount of energy- that is to say, 100%. She balances professionalism and lightheartedness perfectly, reportedly doing everything from tracking down birthday cakes to hiring a veterinarian for a band member’s cat. 

    Stacey and her dog Shakima.

    In her own words from a conversation with Syracuse.com, she always does her best to accommodate a request no matter how challenging it may seem to accomplish because she “want(s) everyone to leave with a good feeling.”

    Beyond her freelance work, Waterman is responsible for one of her signature local events, The Salt City Waltz. A recreation of the iconic farewell concert captured by Martin Scorsese, the event features the biggest names of the area, uplifting and showcasing local creatives.

    A truly admirable woman in the music scene- especially the backstage portion that so often becomes a male-dominated space- it’s not difficult to call Waterman a genuine inspiration, and an admirably humble one at that.

    To keep up with Stacey and learn about her newest upcoming events, be sure to check out her Instagram page here.

  • Knockdown Center Announces Two Outline Festival Dates for 2025

    March 30 and April 12, 2025 have been announced as the first two dates of the Outline Festival in 2025. Featuring artists such as Thurston Moore, Michael Rother, Eiko Ishibashi, Explosions In The Sky, and more, they’ll perform during the Knockdown Center‘s flagship series, which continues to further a commitment to celebrating international expressions of independent music.

    Outline Festival

    Germany’s Michael Rother is set to headline the Main Hall on Sunday, March 30th, showcasing the pivotal works of Neu! and Harmonia. The evening will also feature performances by post-punk pioneer Thurston Moore, the Australian post-punk duo HTRK, and Japanese singer-songwriter and composer Eiko Ishibashi.

    On Saturday, April 12th at Knockdown Center, Outline Festival will expand its offerings to include a diverse showcase of avant-garde and alternative music, as well as instrumental, IDM, pop, and psychedelic genres. Across two stages, the festival will feature performances from Austin’s renowned post-rock quartet Explosions In The Sky, the Icelandic band múm, Guatemalan-born, Mexico City-based cellist and vocalist Mabe Fratti, Philadelphia shoegazers They Are Gutting a Body of Water, Dutch producer and innovator upsammy, and Mexico City’s no wave and krautrock-inspired group Diles Que No Me Maten.

    Throughout 2024, Outline will spotlight various genres and regions, continually evolving with each edition. The festival will present a range of performances, from the seismic sounds of Godspeed You! Black Emperor, Alan Sparhawk, Marina Herlop, and Maria BC, to hard rock and metal acts like The Armed, King Woman, Chat Pile, Cloakroom, Ragana, and Couch Slut.

    The event will culminate in a rapturous finale featuring Yaeji, Sofia Kourtesis, Ela Minus, Nourished by Time, and Malibu. Each new edition will be uniquely curated to highlight the best in both artists and audiences, pushing the boundaries of creativity and redefining what a venue and festival can be as it moves into 2025.

    Tickets are available now. Learn more about Knockdown Center and purchase tickets for March 30 fest here and for April 12 here.

  • Cab Calloway: The Hi De Ho Man

    Cabell “Cab” Calloway III was born on Christmas Day, 1907 in Rochester, living on Sycamore Street. His mother was a teacher and church organist and his father was a lawyer. When Calloway was 11, they moved to Baltimore. After he was caught playing dice on the church steps, his mother sent him to a reform school in Pennsylvania.

    When he returned to Baltimore, Calloway began private voice lessons and continued his study of music throughout school. He soon began performing at nightclubs in Baltimore and was mentored by Chick Webb and Johnny Jones.

    cab calloway

    In 1927, Calloway joined his older sister, Blanche, in a tour of Plantation Days. She achieved success first, he often credited her as an inspiration to enter show business. His parents wanted him to follow in his father’s footsteps and become a lawyer. Therefore, he enrolled to college in Chicago, but spent his nights at the Dreamland Ballroom, Sunset Cafe, and the Club Berlin. At the Sunset Cafe, he was an understudy for Adelaide Hall. He also met and performed with Louis Armstrong.

    Harlem

    In 1929, Calloway moved to Harlem, performing with the Alabamians band. They opened at the Savoy Ballroom and broke up soon after. With help from Armstrong, Calloway established himself as a vocalist by singing “Ain’t Misbehavin’” by Fats Waller. Soon after, The Missourians asked Calloway to join and front them.

    The following year, the band name shifted to Cab Calloway and His Orchestra. In 1931, the band replaced the Duke Ellington Orchestra at the Cotton Club while they were on tour. Due to the increased popularity, they were offered a permanent position there.

    cab calloway

    The band also performed regularly on radio broadcasts on NBC. Calloway also appeared on radio programs with Walter Winchell and Bing Crosby became the first African-American to have a nationally syndicated radio show. During the heights of the Great Depression, Calloway was earning $50,000 per year at the age of 23.

    The 30’s and 40’s

    In 1931, Calloway recorded his most famous song, “Minnie the Moocher.” This is the first single song by an African-American to sell one million records. Three of his songs, “The Old Man of the Mountain,” “St. James Infirmary Blues” and “Minnie the Moocher”, were performed in Betty Boop cartoons.

    Calloway soon received the nickname “The Hi De Ho Man.” He performed in the 1930s in short films for Paramount. In these, Calloway performs a gliding backstep dance move, a possible precursor to Michael Jackson’s moonwalk.

    Calloway’s band in the 1930s and 1940s included many notable musicians, such as Ben Webster, Ed Swayze, Cozy Cole, and Dizzy Gillespie. In 1940, Strike Up the Band, starring Mickey Rooney and Judy Garland, has a line of “You are not Cab Calloway” after playing poorly.

    In 1941, Calloway fired Gillespie from his orchestra after an onstage fracas erupted when Calloway was hit with spitballs. He wrongly accused Gillespie, who stabbed Calloway in the leg with a small knife.

    cab calloway

    In 1956, Clarence Robinson, who produced revues at the original Cotton Club and the Apollo Theater, and choreographed the movie Stormy Weather, cast Calloway as the main attraction for his project in Miami. The Cotton Club of Miami featured a troupe of 48 people, including singer Sallie Blair, George Kirby, Abbey Lincoln, and the dance troupe of Norma Miller. The success of the shows led to the Cotton Club Revue of 1957 which had stops at the Royal Nevada Hotel in Las Vegas, the Theatre Under The Sky in Central Park, Town Casino in Buffalo.

    Later Years

    The Cotton Club Revue of 1959 traveled to South America for engagements in Rio de Janeiro and Sao Paulo. They also stopped in Uruguay and Argentina before returning to North America which included a run on Broadway. Directed by Mervyn Nelson and choreographed by Joel Nobel, this edition featured Ketty Lester, The Three Chocolateers. The revue toured Europe in 1959 and 1960, bringing their act to Madrid, Paris, and London.

    Calloway remained a household name due to TV appearances and occasional concerts in the US and Europe. In 1961 and 1962, he toured with the Harlem Globetrotters, providing halftime entertainment during games.

    cab calloway

    In 1985, Calloway and his Orchestra appeared at The Ritz London Hotel where he was filmed for a 60-minute BBC TV show called The Cotton Club Comes to the Ritz. Adelaide Hall, Doc Cheatham, Max Roach, and the Nicholas Brothers also appeared on the bill. A performance with the Cincinnati Pops Orchestra directed by Erich Kunzel in August 1988 was recorded on video and features a classic presentation of “Minnie the Moocher”, 57 years after he first recorded it.

    On June 12, 1994, Calloway suffered a stroke at his home in Westchester County. He died five months later from pneumonia on November 18, 1994, at age 86, at a nursing home in Hockessin, Delaware.

    Awards and Accomplishments

    In 1990, Calloway was presented with the Beacons in Jazz Award from The New School. The NYC mayor at the time, David Dinkins, proclaimed the day “Cab Calloway Day.”

    The Cab Calloway School of the Arts was founded in Wilmington, Delaware in 1992.

    The New York Racing Association (NYRA) annually honors the jazz legend, a native of Rochester, with a stakes races restricted to NY-bred three-year-olds, as part of their New York Stallion Series. First run in 2003, The Calloway has since undergone various distance and surface changes. The race is currently run at Saratoga Racecourse, one of America’s most popular, premier racetracks. The Cab Calloway Stakes celebrated its 13th renewal on July 24, 2019.

    He is also a recipient of an Outer Critics Circle Award (1967), member of the Big Band and Jazz Hall of Fame (1987), Beacons in Jazz Award (1990), National Medal of Arts (1993), International Jazz Hall of Fame (1995), Grammy Hall of Fame for “Minnie the Moocher” (1999), and a Grammy Lifetime Achievement Award (2008). “Minnie the Moocher” was added to the Library of Congress National Registry in 2019.

  • The Black Crowes Close Tour with Spectacular Show at The Capitol Theatre

    Days before the holidays, The Black Crowes brought their Happiness Bastards (The Reprise) tour to the legendary Capitol Theatre in Port Chester. The band held the second North American leg of the tour in support of their newest record, Happiness Bastards after Aerosmith canceled their own farewell tour.

    While the band was out on the road, it was also announced that their previously mentioned record was nominated for a Grammy award. After a thrilling first night of music at The Capitol Theatre, the Black Crowes rode a massive high into night two.

    Just like night one (Saturday, December 21! the low temperature kept most famous from camping outside and waiting for the doors to open. By the time the 6:30 p.m. door time did arrive, there were only about 15-20 people in line. Before the opening act, George Porter Jr. & Runnin’ Pardners, “the cap” filled up in the blink of an eye. Fans quickly flocked inside from their cars once the doors opened. If you walked in, you might have thought The Black Crowes were immediately going on stage. That’s how many people were packed inside.

    By 8 p.m. the legendary George Porter Jr. walked on stage to begin his 45-minute set. Joining Porter Jr. was Michael Lemmler on keyboards and vocals, Chris Adkins on guitar and vocals and Terrence Houston on drums. The band played at most five or six songs that were infused with funk and jam.

    In comparison to last night’s setlist, there was more of a jump in their songs. These tunes got the crowd dancing more. At one point in between songs, Porter Jr. dedicated a tune to a friend of his that recently passed. Halfway through the band’s set, The Black Crowes guitarist, Nico Bereciartua watched from the side to witness the legend.

    Throughout the night, the band’s anchor, Houston was spectacular on the drums. It’s special when fans witness a drummer in a groove. No one could stop Houston, he brought his A-game with him. It’s easy to see why he calls himself the “groove guardian.” He has a great feel for the drums and for each song.

    The stagehands were also at the top of their game. They quickly swapped out George Porter Jr. & Runnin’ Pardners’ gear and got prepared for The Black Crowes. It wasn’t long until AC/DC’s “It’s a Long Way to the Top (If You Wanna Rock ’n’ Roll)” blasted at top volume across the PA system. In an instant, the house light flashed on and The Black Crowes started their 19-song set. The first tune played was the trilling “Bedside Manners” off Happiness Bastards.

    The Capitol Theatre is a legendary venue and massive names have played there. It’s only fitting that the band close out their tour by playing a setlist perfectly balanced with deep cuts and fan favorites. In between favorites and rarities, the group sprinkled in a few new tunes for the Port Chester audience. It’s great when a band acknowledges their newest record instead of completely ignoring it. It didn’t take long for the band to jump into deep cuts as they played into “Exit.” This rarity only appears on their 2010 live record, Wiser For The Time.

    The band features the two Robinson brothers, lead singer Chris Robinson and guitarist Rich Robinson. Joining them are Bereciartua on guitar, Sven Pipien on bass, Cully Symington on drums, and Erik Deutsch on keyboards. Rounding out the band were the amazingly talented Lesley Grant and Mackenzie Adams on background vocals. The dazzling singers’ dresses were made to look like Christmas trees. The dresses played great with Chris Robinson’s red suit, which put everyone in the holiday mood.

    Throughout the night, Chris Robinson ran around the entire stage and did not leave one corner unlooked. On the other hand, his brother stuck to his side of the stage and offered a warm yet shy smile. It wasn’t until one of the last songs of the night that Rich Robinson crossed the invisible line to the middle of the stage to sing with Chris Robinson.

    As the group crisscrossed through their discography, during “My Morning Song,” Chris Robinson showcased just how spectacular his voice is. He belted out bone-chilling lyrics that also included beautiful live harmonizations from Grant and Adams. “My Morning Song” was one of, if not the best song performed all night.

    During each solo, Bereciartua looked calm and collected on his side of the stage. Each solo was played with emotion and each note was played with a purpose. Bereciartua and Rich Robinson have a strong bond that goes way back to Rich Robinson’s solo group post-Black Crowes split up. It was great to see Rich Robinson look over to Bereciartua and offer a smile or a nod.

    With such a diverse discography, The Black Crowes covered a ton of eras in the two-hour span. At one point they got to “Thorn in My Pride” which appears off their Southern Harmony And Musical Companion record. The song was extended as Rich Robinson and Chris Robinson were going back and forth with each other to create a musical powerhouse. Chris Robinson would babble something into the mic which Rich Robinson would then inmate through a guitar riff. The Robinsons continued to play musical follow the leader. Only this time Chris Robinson swapped to a harmonia to carry the tune over the finish line.

    Despite this being the last show of the tour, the band remained in high spirits throughout. During their rendition of “Jealous Again,” Chris Robinson blew a kiss to his wife, Camille Robinson, who was sitting in the upper balcony. During the chorus, you could feel the fans in the general admission section jumping in unison to the beat. Their singing was even more deafening than the amp setups behind the band.

    As a little surprise, The Black Crowes gave a two-song encore instead of their usual one-song encore. But before they played a note, Chris Robinson publicly thanked all the members of the crew and the behind-the-scenes folks who make their rock and roll train run. It was an extremely classy move by “The Crowes” frontman. The band closed out their tour by playing the festive “Run Run Rudolph” before taking their final bows of the night.

    The next time that The Black Crowes run through New York, you have to go see them. Their drive to put on good shows is palpable and they feed off the energy from their loyal fans. The Robinson brothers have done an excellent job at keeping the rock and roll fire going in their historic career. Do yourself a favor and see one of the best rock bands still touring, they’ll leave you with unforgettable memories.

    George Porter Jr. & Runnin’ Pardners setlist: Out The Box, Stretch Your Rubberband, All We Wanna Do (Porter Batiste Stolz cover), Cabbage Alley, No More Okey Doke, They Love Each Other (Jerry Garcia cover), Ain’t No Use

    The Black Crowes’ setlist: Bedside Manners, Rats and Clowns, Think n’ Thin, Go Tell The Congregation, Exit, Rocks Off (The Rolling Stones cover), My Morning Song, Seeing Things, Hard to Handle (Otis Redding cover), Soul Singing, Oh! Sweet Nuthin’ (The Velvet Underground cover), Thorn in My Pride, Flesh Wound, Papa Was a Rollin’ Stone (The Undisputed Truth cover), Wilted Rose, Jealous Again, Remedy, Torn and Frayed (The Rolling Stones cover), Run Run Rudolph (Chuck Berry cover)