It takes hours of tireless work to become an overnight success. Word to the wise: it takes 10 years for anyone to truly begin to see results. Nobody exemplifies this more than Buffalo’s first poet laureate, Jillian Hanesworth. Recently, she won an Emmy for her poetic efforts in conjunction with the Buffalo Bills.
Augustus Clarke and Jillian Hanesworth pose with their 2024 Sports Emmy received at Frederick P. Rose Hall in New York City [Marc Bryan-Brown Photography]
Before she began working with the Bills, Hanesworth poured in countless hours to conquer the struggle and pursue her truth. Born and raised in Buffalo – Hanesworth grew up within an artistic community where all walks of life embodied their roles to preserve art for generations to come.
The way that Hanesworth approaches art provides a refreshingly humble perspective. In the grand scheme of things, she views herself as a voice not the voice. Her voice is important, insofar, as it amplifies the voices of those around her, as well.
“You don’t have to be a known artist to be an artist.”
-Jillian Hanesworth
Perhaps, this humility and sacrifice toward her craft is the reason why more people are starting to hear about this phenomenal woman. Her firm dedication to uplifting those in need of knowledge without feeling any sense of entitlement strikes the perfect balance for this creative artist.
Purpose Plus Passion
Hanesworth’s multilayered approach to art, activism and advocacy make her an incredible social change agent. She reimagines justice with poetry and timely demonstrations – she does not wear a crown or sit on a high horse – she sees these actions as the service she owes to her community.
Hanesworth proves that the art of traditional storytelling is so important. Hanesworth shares her story so well as an artist. Buffalo’s first poet laureate and a familiar face for those suffering from Buffalo tragedies – Hanesworth set out to make a difference in her community.
As the founder of Literary Freedom she hosted pop-up bookstores in conjunction with her Buffalo Books program. Initially, she set out on a mission in Buffalo to increase the literacy rate for young scholars within her community.
She put a plan in place and aimed to raise $10K to reinvigorate 10 libraries. Shortly after she launched a GoFundMe, KeyBank in Buffalo met her fundraising goal to revamp selected libraries in Buffalo by putting local artwork on the walls and local authors on the shelves.
Grind Don’t Stop
As she put her nose to the grindstone and continued to do the Lord’s work – people began to notice her efforts. Shortly after the racially motivated shooting at Tops in Buffalo, the Bills asked Hanesworth if she could create something to help the people heal.
As life goes on, Hanesworth continues to find herself in situations to infuse lasting change. Those who set out to achieve something greater than themselves will ultimately find reward. From the jump, this woman set her sights on community literacy improvement and from there she has worked with several notable organizations who have given her a vehicle to move her message.
Hanesworth stepped into the artistic space with the right mentality and made moves according to her mission. Once people start to gravitate toward your art, it is not just about you anymore. Once your art and story arc take on a life of its own, you must ensure that you continue to double down on the reasons why you started.
Mr. Jive has cooked up a 12 song showcase worthy of a glance from a wider audience, titled, Hurry Up Please It’s Time”
Opening with “Monsters Write Pretty Songs,” Buggy immediately announces “Good luck,” with a thickly stacked vocal on top of the meandering rhythm guitar that jolts and grabs attention. The crispy blend of gospel and Doobie-esque backing vocals weave a soft takeoff before eventually punching the opening notes of “Scheherazade of Schenectady.” The first single off the record is appropriately verbose, as it touches on principles of fiction writing and brings up the heat after the smooth opener.
Relaxedly defiant, “Don’t Quit Your Day Job,” hints of the prog influence to come later in both “The Music is Beside the Point,” and “The Calendar is a Liar.” Distorted and stanky, the song that garnered the NPR shoutout from Bob Boilen and Bobby Carter somehow still gives front porch rocking chair vibes while hiding a middle finger attitude behind a content and fulfilled smile.
In “Another Song I Ain’t Allowed to Sing,” Buggy Jive offers reminders of his emotional range and musical intent while slowing down the pace, but featuring right-up-front lead vocals and an ocean of harmonies that keep the energy flowing. This range and intent returns in spades on “Autumn Is Burning.” The mid-album walking groove breaks out major key on a bridge change that feels like a full breath after the intentionally dark verse progression. While “Old Man Screams at Sky,” hits more like a barnhouse dance party than gospel groove, those dynamic controls and natural chord voicings remain steady and present.
“Ignore Them Fools,” and “Alpha the Beta,” both ooze confidence, with the former feeling like a class in session and the latter like a player on the field in action. “Alien Robot Love Song About Love,” and “Hurry Up Please It’s Time,” the final two tracks of the album, lay heavy wet grooves that drag the listener deep into the songwriters’ pocket lyrically and musically.
The entire work displays an adventurous attitude as a musician and a deep sensibility surrounding vocals that act as an homage to his influences, both perceived and expressed. Buggy Jive took a big swing on this record, and his dedication and emotion are both easily seen and felt throughout.
Only You Know and I Know is not only the name of one of his biggest hits, but it is also now the title of Dave Mason’s forthcoming autobiography. It’s a freewheeling testament proving that Dave was one of the most Zelig of rockers. He’s a “quiet giant” who had his fingerprints all over the work of not only the famous group he co-founded, Traffic, but defining tracks by pals like Jimi Hendrix, George Harrison, Derek and the Dominoes, The Rolling Stones, Paul McCartney, Delaney & Bonnie, Joe Cocker, Graham Nash, Fleetwood Mac and many more.
Raised on a farm and saddled with a hip condition that kept him bedridden for a year as a child, Dave discovered music at 12, when he plucked a ukulele out of a trash can while visiting his sister in San Diego. His first axe didn’t last long; his mother summarily used it to fix a stopped-up toilet! The would-be songwriter’s love of melody and harmony came from listening to The Platters while his still-underrated guitar chops were seeded by coping the solos of Hank Marvin and The Shadows and the Ventures, ones which he played in his early band, The Jaguars. He would see The Beatles, Stones and Dylan in concert and even meet Little Richard before he struck out on a professional career.
But it was the all-nighters at clubs in Birmingham where he would make his big connection, first with drummer Jim Capaldi in The Hellions then teenage Steve Winwood, when he was the star attraction in the Spencer Davis Group. Mason would contribute to the group’s latter-day hits, “Gimme Some Lovin’” and “I’m A Man,” before joining forces with Winwood, Capaldi and flautist Chris Wood in Traffic.
Dave Mason – photo by Chris Jensen
Mason’s star-crossed, on-again/off-again history with Traffic is a thread that runs through the entire book. After “getting it together” at their little country cottage in Berkshire, just like Dylan and The Band at Big Pink, they would record Mr. Fantasy, their hit debut disc. But it’s Dave’s song that the rest of the band hated, “Hole In My Shoe,” which was the biggest hit (#2). The tension within the band would lead Dave to quit on the eve of their first U.S. tour. But because the trio was lacking in original songs, Mason and his songs are welcomed back for the second album, 1968’s Traffic. He contributes “All Join In,” a tune penned on a caffeine jag in an Athens café and “Feelin’ Alright,” written on the Greek island of Hydra that would achieve classic status in its cover by Joe Cocker. Before the album was released, Dave would be fired from Traffic. He would be back for a couple of gigs captured on the album, Welcome to the Canteen, before a final split. At their 2006 induction into the Rock-n-Roll Hall of Fame, Dave was not invited to play with the band.
Dave’s move to the U.S. in 1971 puts him in the circle of Cass Elliot and the CS&N crew, along with Delaney & Bonnie. He becomes a part of the L.A. music scene bringing in A-list stars and session legends to record his truly great debut disc, Alone Together, closely followed by a duet album with Cass Elliot. He also becomes a part of the LaLa social whirl: partying with Sharon Tate and Abigail Folger shortly before the Manson murders, romancing actress Leigh Taylor Young and establishing close friendships with Dan Haggerty (TV’s Grizzly Adams) and Patrick Swayze.
Dave Mason must be a really great hang because many of the true icons of rock are pals who call upon his talents in the recording studio. He is featured on Jimi Hendrix’s “All Along the Watch Tower,” The Rolling Stones’ “Street Fighting Man,” Paul McCartney & Wings’ “Listen to What the Man Said” and George Harrison’s “All Things Must Pass.” It is Harrison who gives him a sitar which Mason plays on early Traffic tunes. It’s also Mason who purportedly shows George how to play slide during a break in a Delaney & Bonnie tour date. Through Delaney & Bonnie and the Harrison sessions, Dave is enlisted into an early version of Derek and The Dominoes. He leaves after a little recording and one live performance when the drug use in the band proves too much even for him. Though it’s seldom discussed, Dave was also a member of a post-Rumors Fleetwood Mac, touring from 1994-1995 and recording the album, Time.
While charmed in many places, Only You Know and I Know demonstrates Dave’s life has not been a complete bed of roses. He is honest here about his battles with addiction (mostly cocaine), his broken romances, the loss of his son and shortcomings as a father and his faulty business acumen (bankruptcies, bad management and recording contracts). There’s also talk of aborted music projects with Ginger Baker, Bob Dylan during his Desire album sessions and his trio with Leon Russell and Gary Wright. There is also his decision to move to St. Thomas in the Virgin Islands… a few days before Hurricane Hugo decimates it.
Mason is priming his fans for the release of his new memoir with 40-concert running through mid-October. The book and this latest tour prove that Dave is one of the true rock-n-roll survivors, someone for whom music is a salve and salvation which has helped him and his generations of fans cope with life’s inevitable hurdles.
Dave Mason tour Info can be found here, pre-order Only You Know and I Know, co-authored by Chris Epting, here
On Friday, June 21, Buffalo-based alt-folk artist Evan Anstey released his latest EP, Alternates II. As the second installment of Anstey’s “Alternates” series, this EP explores a wide range of genres and musical styles. With Alternates II, audiences can expect an awesome mix of hard rock, techno, and of course, a bit of bluegrass.
Debuting in 2016 with his EP Recent Time, Evan Anstey has played a role in the Western New York music scene. Born and raised in the area, Anstey began playing music at the age of 8. As he grew older, he began writing and performing his own music, both as a solo and group artist. Anstey co-founded, played guitar, and sang with rock bands Arrowdrive and The Moon Hunters. Since he was 17, Evan has served as a vocalist, guitarist, and occasional bassist in the indie-prog outfit Meat Raffle.
Evan Anstey’s alt-folk sound draws inspiration ranging from classic artists like Flatt & Scruggs to the progressive bluegrass of Nickel Creek and modern folk stylings of Aoife O’Donovan, John Paul White and Declan O’Rourke. His last EP, Alternates I, stayed true to his inspirations in folk and indie music. The instrumentation of the EP was mostly acoustic. However, its sequel is quite different.
For years, Evan Anstey gained traction as a folk artist. But with this EP, Anstey explored elements of other genres like hard rock and techno. The blend of these genres may come as a surprise to some, but the experimentation had been expertly handled. Like his last album, however, each track was a creative retelling of past songs he had performed live or co-wrote with his other groups. Anstey had the help of guest musicians to fully compose his vision.
Anstey played various instruments on Alternates II, including guitar, violin, bass, mandolin, keyboards, and ukulele. Guests artists Darryl Tonemah, LP Tonemah, Kris Brayley, Ernest “E.C.” Palmer, Alex Feig, and James Robert Kibby all feature on the six-track EP, each providing their own instrumentation and elements to the work.
I wanted to step out of the box on this one. Plans changed along the way, but that’s one of my favorite parts about making a record — the fluidity of art.
Evan Anstey
Alternates II is available on all streaming and download platforms. For more information on Evan Anstey, visit here.
Brooklyn-based alt-rock band, Gooseberry, released their brand new song “Dying To Meet You” on Friday, June 14. This release is the second single off their forthcoming debut album All My Friends Are Cattle coming out Sept. 6.
The musical team of singer and guitarist, Asa Daniels, drummer Evin Rossington, and bassist Will Hammond return to releasing music with two EPs and a multitude of singles under their belt. Since entering the scene in 2019, the band continues to focus on writing new music and playing shows. Constantly expanding their audience in venues like Baby’s All Right and Knitting Factory, Gooseberry undoubtedly stays true to themselves and their music reflects that.
Their new song, “Dying To Meet You,” carries that ethos wholeheartedly. As Daniels put it, “Ultimately, none of us knows much about either, and so if anything, this song is about sneering at those who think they’ve got it figured out.” The song begins slowly until it escalates into the classic bold Gooseberry sound. The accompanying music video tells the story and mirrors the music’s transition through its visuals.
The song, along with their previous single “Kikiyon,” gives fans a preview of their upcoming album All My Friends Are Cattle. Tracked over three months, the band had the help of Grammy-winning engineers Colin Bryson, Phil Joly, and Jennica Best who have worked with the likes of Zach Bryan, Lana Del Rey, and Colatura respectively.
There’s something about this tune that is eerie, like something beyond explanation is peering over your shoulder waiting for you to turn your head around. For the breakdowns in this song, our producer (Colin Bryson) brought a tiny handheld distortion mic into the studio for me to scream into. And I screamed my head off. That was cathartic. Hopefully this song brings our fans catharsis. Or a sore throat.
Asa Daniels, singer
To listen to Gooseberry’s new single “Dying To Meet You,” find it here on your preferred streaming service.
Buffalo based band Organ Fairchild officially released their third studio record, Songs We Didn’t Write on June 7th. The 44 minute, 9 track collection of instrumental covers follows the 2023 release of Leisure Suit.
The trio is made up of Joe Bellanti on organ and keyboards, Corey Kertzie on drums and percussion, and Dave Ruch on guitar. According to Ruch, it was his son’s idea for the band to record and release an entire album of covers. He says “being a completely instrumental band, we’ve always loved the challenge of rearranging some of our favorite music in the organ trio format, and since our live shows always include some choice covers, this felt like a super fun project and a bit of a no-brainer!”
Left to Right: Kertzie, Ruch, Bellanti (Photo by Joe Cascio)
Songs We Didn’t Write was recorded and mixed by grammy award winning Justin Guip at Milan Hill Studios, and mastered by Alan Evans of Soulive. The record notably features grammy award winning and rock & roll hall-of-famer Jorma Kaukonen (Jefferson Airplane, Hot Tuna) on guitar for Otis Redding’s “Hard to Handle” and The Brass Machine’s horn section on Stevie Wonder’s “I Wish”. The album features a wide variety of artists and influences, from Harry Styles to Bob Marley and Grateful Dead.
“Hard to Handle” features electric (pun intended) guitar work by both Jorma and Ruch. The guitar-led track explodes into solos, before coming to a peak with both Jorma and Ruch trading solos with each other. The rhythm section of Bellanti and Kertzie hold it down together so well here and across the entire record.
“I Wish”, which features The Brass Machine, is a high-energy, freshly arranged take on the classic Stevie Wonder tune. The trombone, trumpet and saxophone additions elevate the song to new heights, and their solos end the song with a bang.
Photo by Matt Shotwell
The band goes back to their roots with songs like “Lazy River Road” and “Lost Sailor.” They were all members of “Wild Knights”, a Grateful Dead tribute based in Buffalo where they first met in 1983. The influence the Dead has in their playing and style is apparent, noticeably in Ruch’s guitar playing and his phrasing. The band does an excellent job at making these songs their own while paying their respect to the originals. Their arrangements are fresh, and they give these covers the space that allows for the song to breathe and come to life in their unique organ trio instrumentation.
Songs We Didn’t Write is currently available on all streaming services [here].
Tracklist:
Them Belly Full (Bob Marley)
Lost Sailor (Grateful Dead)
Hallelujah (Leonard Cohen)
Canyon Moon (Harry Styles)
Hard to Handle (Otis Redding)
Eleanor Rigby (The Beatles)
Lazy River Road (Grateful Dead)
I Wish (Stevie Wonder)
Redemption Song (Bob Marley)
Organ Fairchild 2024 New York Tour Dates:
July 13th – ADK Brew & Chew – Peru, NY
July 18th-21st – Finger Lakes GrassRoots Festival – Trumansburg, NY
July 31st – Center for the Arts of Homer – Homer, NY
August 3rd – Cobblestoned Vibes – Buffalo, NY
September 5th – Party on the Patio – Saranac Lake, NY
November 6th – Foothills Performing Arts Center – Oneonta, NY
Meet Little Stranger: an eclectic musical duo hailing from Charleston, South Carolina, originally rooted in the vibrant city of Philadelphia. The band is known for their unique blend of indie rap pop, infusing funky distorted guitar riffs with soulful trumpet and saxophone melodies. Their dynamic sound and playful stage presence have captivated audiences across the country, establishing them as a notable act in the contemporary music scene.
When it comes to genre-blending and innovative soundscapes, Little Stranger stands out as a trailblazer in the indie music world. The Charleston-based duo, originally from Philadelphia, has carved a niche for themselves with their eclectic mix of indie rap pop, a fusion that combines the raw energy of hip-hop with the melodic charm of indie pop and the vibrancy of live instruments.
Roots and Formation
Little Stranger is the brainchild of John and Kevin Shields (no relation), two musicians whose artistic synergy has led to the creation of a distinctive sound that defies conventional genre boundaries. Their journey began in Philadelphia, where they honed their craft and developed a unique musical identity before moving to Charleston. The relocation infused their music with a fresh perspective, adding layers of Southern charm to their already dynamic style.
The hallmark of Little Stranger’s music is its infectious energy and playful spirit. Their songs often feature funky distorted guitar riffs, complemented by trumpet and saxophone backups that add a soulful touch to their sound. Tracks like “Coffee & a Joint” resonate deeply with their audience, offering relatable themes wrapped in catchy melodies. Their music is not only aural but also visual, with their live performances characterized by vibrant, playful antics and an engaging stage presence.
New Single and Upcoming Album
The duo recently released their new single “Sofia” off their upcoming album Sat Around Trippin, set to be released on June 28. “Sofia” is a groovy track that deals with a breakup in typical Little Stranger fashion, featuring quick-witted lyrics that poke fun at both their ex and themselves. The song’s playful yet introspective tone perfectly encapsulates the band’s unique approach to songwriting.
Little Stranger’s live shows are a testament to their reputation as performers who know how to entertain and connect with their audience. At events like the Governors Ball, they have wowed crowds with their high-energy sets and whimsical stage antics. Kevin’s humorous quips, such as “everything’s legal so you can do whatever you want today” and playful banter about the attractiveness of the crowd, create an atmosphere of inclusivity and fun.
Headline Tour
Adding to their excitement, Little Stranger is embarking on a headline tour that includes stops at Brooklyn Bowl in Williamsburg and Buffalo Iron Works in Buffalo. This tour promises to bring their energetic performances and distinctive sound to a wider audience, further solidifying their presence in the music scene.
Looking to the Future
With a growing fanbase and a string of successful performances, including their recent set at Governors Bal 2024, Little Stranger is poised to continue their ascent in the music world. Their commitment to innovation and their ability to blend genres seamlessly ensures that they remain at the forefront of the indie music scene.
In a musical landscape often dominated by mainstream sounds, Little Stranger brings a refreshing change with their indie rap pop fusion, proving that creativity and originality still have a significant place in the industry. As they continue to evolve and push the boundaries of their sound, fans can look forward to more exciting music and unforgettable live performances from this dynamic duo.
It was a hometown throwdown with an added twist for Spafford Saturday night. Playing the third show of their summer tour at The Colony in Woodstock on June 15, it notably featured Mike Gantzer of Aqueous filling in for Spafford guitarist Brian Moss as he continues dealing with the effects of a brutal crash the band was involved in earlier this spring. More than the sum of its parts, the show must go on and it did, yielding a most memorable and unique night of improvisational jams.
Mike Gantzer of Aqueous filled in for Spafford guitarist Brian Moss during the Woodstock performance on 6/15/24.
The quaint counterculture community of Woodstock was bustling with activity in the hours leading up to the show. Colorful, vibrant and welcoming, the main drag was covered in pride flags and business was booming at the numerous mom-and-pop gift shops, galleries, and gastropubs around town. The energy in the air felt like a throwback in time, reminding me of the neighborhood block parties when I was young and everything felt safe. Prior to showtime, early attendees at The Colony were treated to the delightful Americana sounds of The Jack Grace Band on the back patio stage. It was inside on the Ballroom stage, however, where the real magic was about to take place.
Spafford performing at The Colony in Woodstock, NY 6/15/24.
Fresh off their first gigs together in Rochester and the Northlands Music Festival, this incarnation of Spafford hit the ground running hard. With a schedule that includes 10 shows in 11 days, don’t let anyone tell you touring life is easy. Consisting of bassist Jordan Fairless, drummer Nick Tkachyk and keyboardist Cory Schechtman, the Spafford members humbly welcomed and thanked guitarist Mike Gantzer for joining them on this run of shows. Easing into things with an opening improvisational groove, it was around 17 minutes in when the band landed on the first actual Spafford song of the night, the explosive fan favorite “It’s a Bunch.”
Performing with man down, Spafford looked to Mike Ganzter to man up on 6/15/24.
Playing with a man down, it was here when Gantzer really stepped up and cut loose first the time, announcing his presence with swagger and authority, showcasing his undeniable ability as a player. Emoting with passion and simultaneously shredding his sparkling blue Gibson axe with the best of them, let’s be clear, no one can “replace” Brian Moss, but it was around this part of the show when you realized this was an unprecedented kind of Spafford experience. That we were witnessing something special and not only were things going to be just fine, they were going to be absolute fire.
Leaning heavily on bassist Jordan Fairless to handle the majority of vocal duties on this run, Saturday night at The Colony took on extra special significance for him. After celebrating his wedding anniversary two days prior, it was not only a homecoming for Jordan, but a full-on family reunion as well. With his beautiful wife and daughter in attendance, every time the local Woodstock resident stepped up to the mic you could see the sparkle in his eyes as he sang out to them. Touching and beautiful, the first time we’d hear it was on “Lonely,” a song written years ago and has emerged as one of the bands biggest jam vehicles.
It was a hometown throwdown for Spafford’s bassist Jordan Fairless who lives in Woodstock.
Clocking in just shy of the 20-minute mark, it was the clear standout of the first set and just seemed to hit a little harder given the circumstances of this particular night. Jordan’s soothing vocals carried over into the bluesy come down of “Shake You Loose” from 2022’s Simple Mysteries and would send the audience burning straight through intermission.
Met a man in New York and he had no time for me.
His New York minutes, they were ticking away.
But I’m not gonna give up, no I’ll just keep on standing here.
Waiting for that day…when we all say.
You don’t have to be lonely. Look no further, you can hold me.
And I will hold you till you’re not lonely.
We’ve got each other, and I’ll be on your side till the morning comes.
-Lyrics from “Lonely”
Prior to the start of the second set, the unofficial fifth member and band namesake, Chuck “Spafford” Johnson who would treat the audience to a reading of his poem “Would Etal.” A privilege to hear one of “Chuck’s Dreams” in person, his purpose with the band cannot be overstated. Aside from being a published poet, Johnson has also penned the lyrics for several of the bands most beloved songs, including “My Road, My Road,” “The Postman,” and “Slip and Squander.” He’s also the man primarily responsible for running the free Spafford live streams on YouTube and doing what some might call “God’s work.” Fans can’t thank him enough.
Chuck’s Dream: Lyricist Chuck “Spafford” Johnson read his poem “Would Etal” during set break on 6/15/2024.
Returning to the stage for round two, Spafford wasted no time putting the pedal to the metal by opening with “Diesel Driver,” a song that many fans have now come to associate with the aforementioned crash in March that still lingers over the band. It’s exploratory jam would segue nicely into the new and highly danceable Corey Schectman space-funk instrumental “Machine Elves” that had the entire room moving and grooving. Another sentimental moment came next as Fairless sang the blues based “Home (One Place I’ll Never Be). Dedicating the song to his wife two days prior, here he was able to sing it to her in person and just down the street from where they now live.
Spafford performing at The Colony in Woodstock, NY 6/15/24.
Playing up the novelty of Jordan’s homecoming, the undisputed jam of the night evolved next in the form of a near 30 minute version of “Leave the Light On,” a song first played by the band in 2012. This time, however, it seemed to take on a whole new level of maturity. Listening intently to each other and exchanging glances, the creativity flowed between the four musicians on stage. Largely anchored by the handiwork of drummer Nick Tkachyk, you would never know this lineup has only played a few shows together.
Mike Gantzer performing with Spafford at The Colony on 6/15/24.
Finding some limits and pushing through them, the playing was relentless and the improv was intense. With Gantzer pouring every ounce his of passion and spirit into the performance, you know somewhere out there Brian Moss is smiling knowing he made the right call. Feeling more comfortable with each passing show, you can see the healthy respect these guys have for each other and the budding friendship that’s blooming.
It’s so cold at night, and I pretend that it’s all right.
But I keep your candle burning in the window.
Leave the light on for me lady.
So in the darkness I can find my way home.
Leave the light on for me lady.
Let me know that I’m not alone
-Lyrics from “Leave the Light On”
Holding court near the merch stand with a small group of people listening intently, Gantzer opened up about the challenges of learning such intricate material in such a short time. While comparisons to Moss are inevitable and both players are among the scene’s elite, it’s not quite as turn-key when it comes to the type of improvisation Spafford is known for. Making it clear that he was honored to get the call and that he’s feeling a bit of pressure to deliver the goods, he humbly noted he “can’t play the songs like Brian does, that he can only play like himself.” Feeding off the crowd’s energy and hoping to send it all the way back to his friend, it’s fair to say Uncle Mike met all expectations and exceeded them in Woodstock.
Mike Gantzer performing with Spafford at The Colony on 6/15/24.
Returning to the stage for a brief encore, Jordan would address the crowd once again, thanking them for coming out to the show and thanking Gantzer for his incredible job filling in. After planting the homecoming seeds all night long, Spafford would finally spit them out with the lone cover and final song of the evening, a tasty take on Herbe Hancock’s “Watermelon Man.”
Mike Gantzer will remain with the Spafford through the remainder of the month before the band reevaluates. Following a scheduled run through Colorado and an appearance at the 4848 Festival in July, East Coast fans won’t need to wait long to see Spafford again. They’ve just announced a number of new tour dates in August that includes a stop at Lincoln Hill Farms in Canandaigua, linking up with red-hot New York jammers Annie in the Water. As for the future of guitarist Brian Moss, no one seems quite sure when he’ll return to the fold. Requesting privacy at this time, we here at NYS Music wish him all the best and hope the healing power of music starts working its magic soon.
Spafford | June 15, 2024 | The Colony | Woodstock, NY
Set1: Jam > It’s a Bunch > Lonely, Shake You Loose.
Set 2: Diesel Driver > Machine Elves, Home (One Place I’ll Never Be) < Leave the Light On.
In June 2004, the “end” was nigh for Phish as a band. The thought-to-be career-ending Coventry festival was slated for mid-August and all indications at this time was that there was no turning back and to savor every last performance. Before Phish would hang it up though, they graced SPAC with a two-day run over Father’s Day Weekend that featured moments of sheer brilliance, musical flubs that were all too common to this era and a surprise dad of their own that evoked memories of a happier time in the band’s history.
This particular SPAC run, only the fourth and fifth times that the band has ever played here, starts off with a bit of a surprise in the form of a “Reba” opener. Phish breezes through the composed sections of this intricate arrangement with ease before a relatively brief but euphoric improvised jam that follows. Alas, there would be no whistle-led ending to this one. Instead the band immediately pivots to a much more traditional show opener in “Runaway Jim.” Trey Anastasio leads the way on this one with some driving guitar fills which continually increase the tempo and depth of the ensuing jam until it comes to a head.
Tonight’s show maintains a relatively old school feel to it early on with the “NICU” that comes next with the “looked back on those days when my life was a haze” and the “Play it, Leo” lines both getting a hearty round of applause from the SPAC faithful. Phish then finally dives into their newer material with “Scents and Subtle Sounds” from their Undermind album which was just officially released last week. There would be no slow introduction for this one though as heard on the album. Instead Phish immediately jumps into the lyrical portion of the song, the first time they would ever do this. “Scents” yields another brief but truly uplifting outro jam with keyboardist Page McConnell pounding away on the piano while he and bassist Mike Gordon bookend it with harmonized lyrics.
Phish 2004 SPAC poster by Louis Arzonico
There’s a noticeable break between songs afterwards, perhaps with Phish trying decide how to end this first set at SPAC. It begins with a very slow, almost plodding “Wolfman’s Brother” that the band really takes their time with and certainly doesn’t suffer from a lack of funk. The “Walls of the Cave” that follows provides some of the best moments of the first set. After its typical thunderous outro jam, Phish takes it around the block and then some, going into a full Type II ambient/melodic jam that includes guitar riffs from Anastasio that would reappear in tomorrow night’s second set. As the jam slowly peters out, drummer Jon Fishman starts up the signature high-hat intro to “David Bowie” which closes out the first set in grand fashion.
Phish jumps right back into the deep end to begin the second set with the second ever performance of “A Song I Heard The Ocean Sing,” another new selection from Undermind which debuted days earlier in Brooklyn. It showcases the band’s true colors with a rollicking early jam that stays true to the song’s original structure before veering off into another exploratory Type II vehicle that elicits authentic aquatic vibes in its early stages before a slow and gradual reshape back to form.
poster by Jason Lees
This sets for the stage for “Piper,” a legendary version that phish.net properly describes as “a multi-section improvisational super heavyweight.” There’s no slow build in this 30-minute plus rendition that some argue is the best one of all time. Phish gets right down to business immediately, ripping through the brief lyrical section before leaping into a ferocious jam that starts off at an incredible pace and doesn’t let up for a while. At one point, the jam starts to ascend in a true “Tweezer Reprise”-like fashion without the song ever actually being played, with Anastasio going full rock god mode and vamping maniacally. It’s all adds up to a “Piper” that rivals the one played at Camp Oswego in 1999 and one that certainly belongs in any “Best Of” discussion.
The groove that develops on the back end of “Piper” eventually rounds cleanly into the beginning of “Gotta Jibboo.” Anastasio has the digital delay loop ready to go and this yields another joyous albeit brief jam that never rounds back into the end of “Jibboo.” Phish instead pivots to “Limb By Limb” with a standout version that features a series of patiently crafted, blissful peaks. “Cavern” then brings the second set to a close, marred a little bit by Anastasio completely spacing on some of the lyrics. Phish ends the first show at SPAC this weekend with a tame and relatively nondescript “Wading In the Velvet Sea.” Unfortunately, the same couldn’t be said about their “last” one of these at Coventry later this summer.
June 19 review by Tim O’Shea
Phish – Saratoga Performing Arts Center (SPAC) – Saratoga Springs, NY – Saturday, June 19, 2004
Set 1: Reba, Runaway Jim>NICU>Scents and Subtle Sounds, Wolfman’s Brother, Walls of the Cave->David Bowie
Set 2: A Song I Heard The Ocean Sing>Piper->Gotta Jibboo>Limb by Limb, Cavern
E: Wading in the Velvet Sea
https://www.youtube.com/watch?v=_UIBFR2eVVs
In 2009, fans returned to SPAC for what would be a five-years and two month gap between Phish shows in Saratoga Springs, but no one at the time knew this, let alone the band. Having only played SPAC five times between 1994 and 2004, the band found new affinity for the (originally) summer home of the New York City Ballet and Philadelphia Orchestra. With Anastasio spending time from 2007-08 living in Saratoga Springs while serving probation, return trips to SPAC have been frequent, almost annual events, marking 19 shows since 2009 alone.
But this 2.0 era show stands out (as does the night before) with jam highlights throughout, erasing even if briefly the specter of the band’s ‘final’ shows coming up less than two months later. Never has the phrase “never miss a Sunday show” been more ominous, as for some, this would be the last time they would see the band perform live for many years.
Phish SPAC 2004 poster by Ryan Kerrigan
Opening up the first set with an energetic “Rift” that lit the audience up, segueing into “Julius” during which Trey broke a guitar string. Following the repair, the band was joined by Dr. Jack McConnell, the father of Page “Chairman of the Boards” McConnell, who performed “Bill Bailey, Won’t You Please Come Home” for the first time since 1999, even donning his tap shoes to soft shoe on this Father’s Day. This sit-in followed Jay-Z joining Phish just two days later in Coney Island on “99 Problems” and “Big Pimpin’.’
Shirt design by Tripp
The “Waves” that followed had a heavier flow to it, pushing past the composed section and keeping the song upbeat and lively until the end. A funky ‘Gumbo” gave way to a trio of shorter songs – “Water in the Sky,” “Horn” and “Poor Heart,” which offered a break in the action, before delivering a 22+ minute version of The Who’s “Drowned.” You could lump “Drowned” in with the second set jamming that followed, and rightly so – this version of “Drowned” is often overlooked because of the lore that has followed the second set of 6/20/2004, but should not be. Anastasio is in the zone throughout, shredding and leading the way, even working in a tease of Deep Purple’s “Lazy.”
Set two began with RoundRoom track “Seven Below” that showed early promise on December 31, 2002, and delivered in each appearance until that point. Starting out dark and working the tempo up, “-7” found its way into a rocking version of “Ghost.” This pairing would be found that November in Albany as another substantial “Seven Below” > “Ghost.’
An all-time great jam followed, with the rocking funk of “Twist” getting the balcony bouncing. At 21 minutes long, this deserves a few listens. By 7:00, the first Type II jam has lifted off, and as you listen, every two minutes, there is a fresh section of improv dissimilar from the previous two minutes. The jam from 7:00-17:00 just keeps evolving and developing, with Anastasio once again leading the way, while Fishman and Gordon lay down the rhythm to keep the pace. Locked in, after 17:00, “Twist” shreds until Anastasio pulls out the ‘hose’ and winds the song towards conclusion.
shirt design by Dylan Levene
“You Enjoy Myself” would follow and close the set, offering thunderous approval from fans and giving SPAC the ever rare, and coveted, four song set. An encore of “Good Times Bad Times” was bittersweet and is served as a mantra for that summer’s fateful tour, one that would put the band on hold for four and a half years, but bring them back stronger than ever in 2009.
Phish – Saratoga Performing Arts Center (SPAC), Saratoga Springs, NY – Sunday, June 20, 2004
Set 1: Rift > Julius, Bill Bailey, Won’t You Please Come Home?[1], Waves, Gumbo, Water in the Sky, Horn, Poor Heart > Drowned Set 2: Seven Below > Ghost -> Twist, You Enjoy Myself Encore: Good Times Bad Times [1] Dr. Jack McConnell on vocals and tap shoes
From June 14th to June 16th, the Tribeca Film Festival hosted an extraordinary event, Deniro Con, celebrating the illustrious career and 80th birthday of New York icon and Tribeca co-founder, Robert De Niro.
This special tribute brought together a remarkable lineup of De Niro’s collaborators, including Chazz Palminteri, Quentin Tarantino, Billy Crystal, Whoopi Goldberg, Christopher Walken, Martin Scorsese, and Nas, among others.
A Star-Studded Celebration
Deniro Con was an extraordinary gathering that honored De Niro’s extensive career and contributions to cinema. The event featured a multitude of panels, discussions, and screenings, highlighting the legendary actor’s collaborations and iconic roles. The presence of industry giants and close associates underscored De Niro’s significant impact on film and his enduring legacy.
Opening Day: “Jackie Brown” Screening and Tarantino Conversation
The festivities kicked off on June 14th with a screening of “Jackie Brown” at the SVA Theater. Presented in its original 35mm format, the screening was followed by an engaging 45-minute conversation between Quentin Tarantino and Robert De Niro. The discussion delved into De Niro’s portrayal of Louis, a character marked by his minimal dialogue but profound physicality and nuanced expressions.
Tarantino admitted to a slight regret for not giving De Niro more lines, recognizing the actor’s exceptional talent with dialogue. However, he praised De Niro’s ability to convey depth through subtle gestures and expressions, capturing the complexity of a man dulled by prison but not devoid of intelligence. They also reflected on broader filmmaking aspects, such as the importance of authentic period settings and the dynamic relationships between actors and directors. Tarantino lauded De Niro’s versatility, acknowledging how he captivates audiences across diverse roles.
Day Two: “Mean Streets” and a Dialogue with Scorsese and Nas
On June 15th, the Beacon Theatre hosted a screening of “Mean Streets,” followed by a riveting conversation featuring Martin Scorsese, Robert De Niro, and moderated by rapper Nas. The dialogue, introduced by Tribeca co-founder Jane Rosenthal, provided a retrospective on the prolific 50-year collaboration between Scorsese and De Niro, which began with “Mean Streets” and spanned ten films, including their latest, “Killers of the Flower Moon.”
Scorsese discussed the enduring relevance of “Mean Streets,” highlighting its authentic depiction of New York City’s essence, loyalty, and immigrant experiences. He shared anecdotes about the film’s production challenges, including navigating local organized crime and funding obstacles. De Niro and Scorsese emphasized the authenticity and lasting impact of their work, comparing their cinematic influence to that of top-tier musicians in their fields.
De Niro Is an Icon: An Exhibit & Immersive Film
A central feature of Deniro Con was the exhibit “DE NIRO IS AN ICON: AN EXHIBIT & IMMERSIVE FILM,” held at Spring Studios in Tribeca. This career-spanning exhibit celebrated De Niro’s 80 years with over 300 items primarily sourced from his personal archive. The collection included rare images and videos, annotated scripts, costumes, research materials, and storyboards, offering fans a comprehensive look at his monumental career.
A standout element of the exhibit was the short film “De Niro, New York,” produced by Little Cinema and showcased within the Hexadome. This cutting-edge structure, crafted by Berlin’s Institute for Sound and Music, provided an immersive viewing experience, further highlighting De Niro’s deep connection to New York City.
Screenings Around the City
In addition to the central exhibits at Spring Studios, Deniro Con screenings took place across various theaters in New York City, including the iconic Beacon Theatre. These screenings allowed fans to revisit De Niro’s seminal works in classic cinematic settings, enhancing the celebratory atmosphere of the event.
Conclusion
Deniro Con was a fitting tribute to Robert De Niro’s monumental contributions to film and his indelible mark on the industry. Through insightful conversations, rare exhibits, and nostalgic screenings, the event encapsulated the essence of De Niro’s career, celebrating the man who has become a true icon of cinema and a beloved figure in New York City. As De Niro continues to inspire future generations, Deniro Con stands as a testament to his enduring legacy and unparalleled talent.
