Monobloc, a band emerging from New York City’s DIY scene, has released a new single, “Where is My Garden?”.
Led by vocalist Tommy Waldron and bassist Michael Silverglade, Monobloc effortlessly merges post-punk instrumentation and attitude with pop sensibilities. With Zack Pockrose on drums, and guitarists Ben Scofield and Nina Lüders, Monobloc creates a nostalgic sound reminiscent of Television and The Strokes.
Julia Tarantino
Chronicling the internal battle between materialism and gratitude, Monobloc describes conflict with vivid imagery and refreshing honesty.
Unpublished praised the single for its honesty and timelessness: “with intricate, overlapping rhythms balanced with the straightforward ‘tell it how it is’ type lyrics, Monobloc … [creates] a timeless track that will be accessible through generations.”
The black and white music video, self-directed by the band, compliments the wiry, insistent guitar work and rousing chorus. Tommy Waldron said of the instrumentation, “Attached to the main riff of the song was this chorus I really wanted to use but could never find a place where it made sense. … It was a great wide theme – a bit Springsteen and better yet, the closest I could legally get to saying “Where are your friends tonight?”
Monobloc shared their first single, “I’m Just Trying to Love You” in early 2024. As Monobloc continues to hone in on their electric live shows, DIY attitude and artistic capabilities, more music is to come.
A full list of Monobloc’s tour dates is available below, along with the official “Where is My Garden?” music video. Tickets are available here.
AUGUST
2 – Pete’s Candy Store – Brooklyn NY
21 – Sebright Arms – London, UK (debut UK performance)
23 – All Points East Festival – London, UK (w/ LCD Soundsystem)
25 – Rock En Seine Festival – Paris, FR (debut EU performance)
On July 10, Brooklyn-based art-pop duo Rubblebucket released their newest single, “Rattlesnake,” along with its corresponding music video. Filled with groovy basslines, punchy brass and saxophone riffs, and hard-hitting lyrics in a deceptively cool and catchy tone, “Rattlesnake” is the newest edition to a laundry list of funky tunes sure to make your hips move.
Based on lead singer Klamia Traver’s own struggles with mental health and anxiety, the lyrics to “Rattlesnake” present a situation that almost everyone can relate to. The band loosely adapted a poem Kalmia wrote called “Time For the Rattlesnake” from her poetry book Year of The Banana. The poem recalls an encounter Traver had with the animal, jokingly saying, “The beauty of it took my breath away. But I later ruminated about how even when I am faced with the most breathtaking of our planet’s offerings, it can still be very hard to be present, focused & relaxed because of the chronic anxiety from which I suffer.”
The song opens with, “I don’t want to analyze you / But it seems you’re stuck in a cage / Let the child inside drive you / You’ve got what it takes.” Rattlesnake, in this instance, acts as a metaphor for someone so coiled and wrapped up in their own worries, fears, and anxieties that they prevent themselves from chasing new opportunities and ideas, even if it is something their “inner child” so desperately craved. The bridge’s lyrics further implement this idea, this time bringing the perspectives of outsiders into it: “Sometimes you gotta kill your idols / Psychedelic cage / In the footsteps of our mothers / We make the same mistakes.”
With such an intense undertone, looking at the lyrics alone makes the tune sound morose and dark. But instead, nothing could be further from the truth. In fact, the song is almost deceptively catchy. The groovy bassline, provided by the band’s other half, Alex Toth, nearly makes you forget about the unsettling lyrics. Renata Zieguer’s strings certainly add another unique element to the instrumentation, bringing a classic ’70s-style disco charm. Kalmia Traver’s light, soothing vocals almost make you forget about the fears the song forces you to face. The band went full disco-funk with “Rattlesnake”, producing a track that sounds like Bee Gees and Michael Jackson meets Stereolab.
For Rubblebucket, therapy takes the form of a dance party. “Rattlesnake” is a refreshing, funky tune that certainly stands out with its creative sound, and even more creative music video, reminiscent of something we would’ve seen from Talking Heads. The message here is clear: uncoil yourself like a rattlesnake, but dance while you do it.
“Rattlesnake” is out now and available on all streaming platforms and be sure to catch Rubblebucket at their announced live shows for 2024, one in Washington and one in New Hampshire.
Spillway, a brother duo from Woodstock, made their musical debut on July 9, with their first release, “Are You Having Fun Yet?”
Twin brothers, Aaron and Wyatt Mones have been making music for years as singer-songwriters and multi-instrumentalists. However, this time around, they’re making music under their new project, Spillway. Named after the street they grew up on in Woodstock, the project emphasizes the sentiment of their musical upbringing and collaborations as brothers, even when they live on opposite coasts.
Their new single “Are You Having Fun Yet?”, gives listeners a folky tune mixed with a more universal pop sound and hints of country western. Inspired by the music of artists like Blake Mills, Frank Ocean, and Sufjan Stevens, the song represents the artistic direction of each brother respectively, coming from different perspectives and environments. The song is successful in evoking nostalgia and reflection and truly has appealing features for vast tastes in music.
The new song is Spillway’s first release on Indiana-based independent label, Wally Opus Records. The brothers self-produced the record themselves, having to either work remotely from each other or commute across the country to do so. So far, the song is gaining traction quickly on streaming services for having been out just less than a week. If “Are You Having Fun Yet?” is any indication of what Spillway will produce in the future, fans of folk and indie are going to want to keep them on their radar.
Listen to “Are You Having Fun Yet?” on your preferred streaming platform here.
Jim Jones’ rapping and delivery have aged like wine. Thus it comes as no surprise that as Brady Watt sifted through beats at — Dipset affiliates — Heatmakers’ studio, he could not help but think of Capo. “With Dipset already on my mind, we reached out to Jim Jones, and he miraculously came to the studio a few days later,” Watt recalls.
Brady Watt adds his touch to The Heatmakers’ beat, creating “Godspeed.”
Hence, the end result –“Godspeed”– is classic Heatmakers beat. Backed by a high pitch and soul sample, the record sees Jim Jones introspectively shares his life and times and Brady Watt delivers a passionate chorus. Yet during the recording process, Watt was mourning the loss of a close friend’s father. Thus channeling his emotions into the song, turning his sadness into a passionate message about gratitude, alignment with destiny and God’s timing.
“Jim did the verse on the spot and brought everything to the next level. Thankfully, my cameraman was there to document everything,” Watt reveals. Indeed, the music video for “Godspeed” consists of the intimate studio session, showcasing Watt’s diversity as he provides vocals, production and instrumentation on the record.
“I’m a lifelong Dipset fan,” Watt shares. “Over the years, I’ve developed a friendship with Jim and Heatmakerz. I’m always making beats, but I wanted to see what would happen if I used someone else’s production while still adding my instrumentation and bass.”
More From Brady Watt
Ultimately, “Godspeed” is the latest feather in the cap of the the multi-instrumentalist/producer. After all Watt has been a hip hop mainstay thanks to his musical chops. Aside from being a well-renowned live musician and session bass player, he continues to push musical boundaries with his groundbreaking “Bass & Bars” series, which has now garnered over 100 million views.
Over the weekend of July 5-7, Levitate Music and Arts Festival returned to the Marshfield Fairgrounds in Marshfield, MA for the 11th installment.
This family friendly festival is full of good vibes, art, music and community, featuring three stages, a skate ramp as well as a kids zone.
There were many food and beverage vendors which offered a great variety of cuisines and dessert options, as well as a large number of vendors selling their artwork and handmade items, offering henna, jewelry, glitter hair and make up.
As you walked through festival, you could watch artists work on large murals, an incredible sight to watch them work and create over the three day festival. Large sails were suspended overhead, and a misting tent helped provide shaded areas for festival attendees to take a break from the sun and chill out.
This year there was a stellar line up of performers, as there has been in past years, with every performance a treat to see.
Friday
Kicking off the weekend of music was the Levitate Foundation Winner Blue Light Bandits, playing on the Soul Stage, where fans later caught Lee Ross and Stolen Gin. The Style Stage saw performances from Grace Bowers, Neal Francis and Orebolo, with crowds greeting them with excitement.
The Stoke Stage held performances from Jon Muq, The Moss, Dirty Heads (who played songs “Medusa”, “Bum, Bum”, “Sloth’s Revenge”, “Burn Slow” among others) and Mt. Joy who closed out the music on Friday.
Orebolo
Saturday
The overcast day with off and on misty weather didn’t stop the crowds from enjoying the day. Eagerly awaiting the 12:30pm start time, multiple entrances were filling fast. While in line, attendees chatted about their experiences on Friday and what they were looking forward to doing or what bands they were planning to check out that day. Playing first on the Soul Stage was the band Snacktime from Philadelphia, along with The Mark King Band and Joe Samba later that day.
The crowds swarmed around the other stages through the day, with The Hip Abduction, Iration, and Tash Sultana playing sets on the nearby Style Stage. Staggered set times gave everyone plenty of time to catch many shows throughout the weekend. G. Love & Special sauce, Cory Wong, and The Elovators all had great sets on the Stoke Stage.
Sunday
Sunday was the warmest day of all three days at Levitate Music and Arts Festival but that didn’t stop the crowds from continuing to enjoy the festival. Performing throughout the day was Gracie Grace & All The Good Boys, Little Stranger, Daniel Donato’s Cosmic Country, The Rins, Richie Mitch & the Coal Miners, Ziggy Alberts, Karina Rykman, Oliver Anthony played his well-known hit song “Rich Men North of Richmond.”
Closing the main stage were Charlie Crockett and the highly anticipated performance from Sublime, who drew multiple generations of fans, playing a great selection of hits such as “What I Got,” Pawn Shop,” “Saw Red,” and “Bad Fish.”
Singer-songwriter Leo Sawikin from New York City put out his latest single “What Is The Answer” on July 10.
Sawikin is coming off of the success of his last single, “Till You’re Somebody Else,” which charted #1 on the Mediabase A/C Independent Artists Chart.
Leo Sawikin is the former frontman of the NYC indie-folk band The Chordaes and has continued to make solo music of the same caliber, as exemplified by “What Is The Answer”. Over the past few years, he’s been busy releasing singles, including “Hold On”, “The Same Mistakes”, “Don’t Pass It By”, “New York I’m Coming Home”, and “This River.” Sawikin’s songwriting and musicianship have earned him rave reviews from a slew of music critics.
“What Is The Answer” enters the existential realm, asking important questions about “what consciousness is and questions whether it’s something that transcends our physical lives or ends when we pass,” as Sawikin explains. The instrumentation and harmonies project that constant wondering about life, the unknown, and stronger forces.
…a profound message wrapped in indie-folk with dreamy shimmer pop sensibilities reminiscent of a gentle breeze on a warm summer night. Leo’s vocal performance is consistently captivating, evoking a sense of raw sincerity and emotional depth that resonates with listeners.
Honk Magazine
Fans of Sawikin’s music can also look forward to his sophomore solo album, which will drop sometime in 2024, produced by Phil Ek (Grouplove, Fleet Foxes, Modest Mouse) and mastered by Greg Calbi (The Smile, Bob Dylan, Bon Iver). More information to be released in the near future. For now, however, his 2021 album Row Me Away is available to listen to on all streaming platforms.
In the midst of “What Is The Answer’s” release, Sawikin has been on a national tour opening for Jon McLaughlin in May and June. Additionally, he has big things in store for Fall 2024 with a handful of more dates. He’ll be hitting the road again starting Sep. 17, traveling the East Coast until late November.
‘What Is The Answer’ is a song that asks what consciousness is and questions whether it’s something that transcends our physical lives or ends when we pass. Will there be pain, or will it be peaceful? It also ties into the theme of ‘Till You’re Somebody Else,’ in that it sees our current lives as just a moment in our existence.
Leo Sawikin
Leo Sawikin with Jon McLaughlin Tour Dates:
Tues, Sept 17- Hummelstown, PA at The Englewood
Thurs, Sept 19- Sellersville, PA at Sellersville Theater
Fri, Sept 20- Bay Shore, NY at Boulton Center For The Arts
Sat, Sept 21- Northampton, MA at Iron Horse
Sun, Sept 22- Pawling, NY at Daryl’s House
Thurs, Sept 26- Portland, ME at One Longfellow Square
Fri, Sept 27- Natick, MA at The Center For The Arts
Sat, Sept 28- Old Saybrook, CT at The Kate
Sun, Sept 29- New York, NY at City Winery
Sat, Nov 23- Nashville, TN at City Winery
For more information about Leo Sawikin or to listen to “What Is The Answer,” visit www.leosawikin.com.
From Brooklyn-based Bassline Records, grammy-winning r&b/gospel ensemble The Sounds of Blackness return with a reinvented Ann Nesby in an uptempo dance and soul infused remix with producer Raf N’ Soul. Released on July 4, “We Rise (Raf N’ Soul New York Remix)” was originally written by Ann Nesby and Victor Simonelli for the Atlanta Olympic Games. At the present time Simonelli sought out DJ and producer Raf N’ Soul to revamp the powerful record. Hence, the resulting arrangement of diverse musical styles brings life to the record and its powerful and unifying message.
Thus, in 7 minutes and 10 seconds Raf n’ Soul takes everything to the next level with an orchestra of gospel, r&b, house and dance music all seamlessly coinciding. Chiefly, “We Rise (Raf N’ Soul New York Remix)” sets the stage with an uptempo dance beat as Ann Nesby’s ferocious vocals carry throughout. However the record is a makeup of varying styles with Detroit string player Marleen Rice offering an r&b/orchestral touch while trumpet player Syreeta Thompson bringing a southern jazz twist to the electric blend.
“We Rise” Behind The Scenes
To top this momentous release Raf N’ Soul Productions shared a a behind the scenes documentary into the making of “We Rise (Raf N’ Soul New York Remix).” The short-film offers an inside look into the impressive production team behind the record. A studio session hosting Recording Academy voting members Raf N’ Soul and Syreeta Thompson, multiple grammy winners, and Aretha Franklin’s former violinist in Marleen Rice was expectedly a free-flowing exchange of talent and creativity. After, Ann Nesby shared thoughts on the meaning behind “We Rise,” before getting an inside look into the concept and photoshoot behind the single’s artwork.
We Rise is a song that was developed to encourage people that were going through something or working to rise above a goal that they felt was so depressing for them and to know that there’s a winner inside of you that no one can stop. And when you see that goal coming through you know who you are and that your dream has become reality.
– Ann Nesby
Ann Nesby & The Sounds of Blackness
Ann Nesby and The Sounds of Blackness walk hand-in-hand as less heralded legends of R&B, gospel and soul-music. However, their lasting influences are in the generation of artists that honed their voice in church. Nonetheless, they are vital part of history, to which their sustained cultural relevance and critical-acclaim is a testament to.
More than two decades of Disco Biscuits music festival memories converged in Central New York over July 4-6. Combining the rocky terrain of Skye Top Festival Grounds in Van Etten, the hills of Hunter Mountain, the prime rural location of Mariaville and the heat and humidity of Montage Mountain, Camp Biscos of years past were recalled throughout the weekend, these elements compacting into a look at a bright spot in the once boisterous Northeast music festival scene.
Even with all music bumped to be an hour or so earlier than announced, the full Camp Bisco Biscoland experience was on tap. New artists to discover, veteran jam and funk acts to catch up with, Tractorbeam, various DJ sets, a Silent Disco for the post-11 pm noise curfew, and adding in the humidity and heat coupled with the threat of rain/storms, and it was like Camp Bisco 2008 all over again.
Wonderland Forest, which has the potential to be the Caverns of the Northeast, makes the experience not just inside the venue, but the location includes a drive into the rural foothills in southern Onondaga County, with a unique and accessible layout found nowhere else in the Northeast. A byproduct of the Covid-pandemic, the venue’s management thinks differently about the events they plan, the fans they cater to, and the experience that everyone has upon arrival and throughout the weekend. With a summer calendar of events lined up that rivals amphitheaters around the state, Wonderland Forest is shaping up to make Central New York a true live music destination.
Thursday arrival was smooth whether you were car camping or bringing the RV along. Staff solved preferred camping shuttle issues quickly to get fans to their sites and out to see the music.
The initial afternoon slate of music featured opening acts from JImkata, a nationally touring electro-rock band with ties to nearby Ithaca, and Kitchen Dwellers a very non-local band from Montana continually growing in popularity and serving up a blend of bluegrass and psychedelic rock.
Day 1 also featured two sets from a pair of renowned DJs, starting with Mark Farina who played an hour’s worth of house music and his signature “mushroom jazz” at the Saloon Stage. Nora En Pure, a deep house producer known for her signature style of downtempo techno, followed on the Main Stage with a set of music that served as a fitting appetizer for the main course that evening.
That would be Tractorbeam, the Disco Biscuits musical alter ego per se, which features a more techno/dance heavy and lyric-less approach to their music mixed along with other electronica inspirations. Tonight leaned heavily on the “other” with a slew of first timers making their way into the two-hour set that never truly stopped at any point until Katy Perry belted out “Firework.”
A first-time cover of Porter Robinson’s “Language” started the set and funneled perfectly into the techno-styled “Confrontation” that the band has mixed into Disco Biscuits sets as of late. The rest of the set followed suit, blending a mix of electronica classics like Fisher’s “Losing It” that segued effortlessly into a rousing “The Great Abyss” with the laser light show now at full strength. The set even featured a cover of Darude’s “Sandstorm,” also played for the first time.
With the band fittingly adorned in blue and red Adidas track suits for the holiday, they continued to effortlessly churn through new additions to the Tractorbeam musical repertoire, like their take on Fred Again & Baby Keem’s “Leavemealone” that featured some incredible work on the e-drums from Allen Aucoin. The following segment of “Monster” > “Uber Glue” > “Photograph” flowed seamlessly and was the only true run of Biscuits originals. And although there would be no professional pyrotechnics set off on the 4th, the Tractorbeam set ended with a proper cover of Katy Perry’s “Firework” that put an end to the first night of music at Biscoland.
Friday warmed up fast and brought along that Camp Bisco humidity of legend and ill repute. Early sets from Dizgo and RAQ brought out those looking to get out of their campsites and hotels. Lespecial kept the crowd engaged, with bassist Luke Bemand poking fun at himself for wearing black jeans on such a hot day, bringing up Cloudchord on guitar during “Enter Sandstorm,” calling back to the Tractorbeam debut of “Sandstorm” the night before. Bemand and Co. flattered the sun-baked crowd throughout the set, reminding those gathered at the main stage “your body is a Wonderland Forest.” Sets from Lettuce and Break Science framed the night ahead, a warm up in the evening daylight for the Biscuits.
For the first proper weekend set of Disco Biscuits, a 14-minute “Vassillios” opened things up with the classic old school tune, something rare to find on this night of fresh/er Biscuits. However, we could not confirm at press time that first set highlight “Dino Baby” was influenced by regional brisket. The smoothly flowing “Dino Baby” stretched itself into an inverted “Crickets,” and once the jam was found, gave a bridge to the first (lyrical) debut of the night, “In the End We Have Forever,” although it had been played fully instrumental at Electric Forest two weeks prior. “No Recollection” closed the set with bassist Marc Brownstein encouraging the crowd (and band) they’d keep the setbreak short at 20 minutes, which they nearly delivered on.
The second set saw the debut of “Another Spin” spanning more than 30 minutes,and based on the March 9, 2024 “No Recollection” jam, per Biscuits Internet Project. Working into the end of “Another Plan of Attack”, the band debuted “Losing It,” again with lyrics, after presenting the instrumental version during Tractorbeam on Thursday night, a rare double-debut for a band that has been unloading fresh new material on fans like an A-list comic hitting the Comedy Cellar night after night for 15-minute sets.
Dipping back into the beginning of “Another Plan of Attack,” the only other old school Biscuits song of the night, “Catalyst” made itself welcome, grinding the end of the set towards “Ring the Doorbell Twice.” You’d be hard-pressed to find a dull moment from these sets, with plenty to unpack from the debuts upon relistens.
The last day of this year’s Biscoland offered a brief respite from some of the humidity and more varied musical acts leading up to two more sets of Disco Biscuits. Saxsquatch, which is exactly what it sounds like, braved the weather and delivered covers on the sax at the Saloon Stage in the early afternoon. Later on the Main Stage, albeit after a bit of a delay, The Breakfast reunited for a set of psychedelic-infused rock that included a spot-on cover of MGMT’s “Time To Pretend.” Afterwards, Space Bacon played to a full and lively crowd back on the Saloon Stage, setting the stage perfectly for the headliners with some Bisco-esque guitar riffs and impressive jamming overall.
The Biscuits continued to mesh the old with the new in their last two sets of the weekend, starting with a true old school number in “Basis For A Day.” The show began with a cohesive instrumental jam that started off fast and never let up for well over 10 minutes until the familiar chorus, with some added orchestral effects from Magner on keys, rang out. The jam out of “Basis” was patiently crafted and segued seamlessly into “Freeze,” from the band’s recent Revolution In Motion release. The extended jam out of “Freeze” led into “Better In Doses,” a completely brand new song debuted, featuring Barber on lead vocals and an infectious beat that seemed like it could have easily fit alongside other “Motion” songs on the album.
The second set began with one last nod to the days of old with a massive “House Dog Party Favor” opener that reached almost 30 minutes in length. From the ashes of the second “House Dog” jam arose yet another new song making its live debut, “Trap Door.” This elicited an intense, slow build of a jam that steamrolled perfectly into a “Cyclone” that continued to build the momentum and even used samples of Outkast’s “So Fresh, So Clean.”
An inverted “Above The Waves’ followed and served as the other massive jam vehicle of the second set. After one last introduction to “Trap Door,” the show came to a close with one last silky smooth transition into “Digital Buddha,” which allotted one last opportunity of samples and true Biscuits rock.
For those that still had a little left in the tank, a Cloudchord silent disco set was the final performance of this year’s Biscoland due to the last minute change in schedule. The Revolution in Motion producer was armed with a guitar and a drum machine and even brought up Barber for a short few minutes on a run through of “Shocked,” giving those in attendees one last chance to soak up the very last remnants of Biscoland 2.
The Disco Biscuits community has rallied to support a fan who was injured by a tree that fell in the night of July 5. A GoFundMe has been set up. Learn more here to help Mary Wallace on her road to recovery.
Disco Biscuits 2024 Tour Dates 7/11 – Selbyville, DE – Freeman Arts Pavilion 7/12 – Atlantic City, NJ – Bourbon Ballroom 7/13 – Richmond, VA – The National 7/14 – Wilmington, NC – Greenfield Lake Amphitheater 7/15 – Isle of Palms, SC – The Windjammer 7/18-19 Thornville, OH – Secret Dreams Festival 7/20 – Patchogue, NY – Great South Bay Music Festival 8/9-11 – Long Pond, PA – Elements Festival 8/29-30 – TBA 8/31-9/1 – Murphysboro, IL – Weekend at the Cave 9/6 – Dillon, CO – Dillon Amphitheater 9/7 – Bellvue, CO – Mishawaka Amphitheatre (SOLD OUT) 9/8 – Bellvue, CO – Mishawaka Amphitheatre (SOLD OUT) 9/11 – Salt Lake City, UT – The Depot 9/13 – Livingston, MT – Pine Creek Lodge (TRACTORBEAM) 9/14-15 – Livingston, MT – Pine Creek Lodge
Jazz vocalist Andy James from Las Vegas, NV put out her own rendition of the Billy Joel classic, “New York State of Mind.” The song, which is accompanied by a music video, is the latest single from her upcoming album, Let Me See Your Heart.
Andy James has been a part of the entertainment industry for years. As an experienced dancer in Europe and a passionate Jazz singer, her music contains musings of her many experiences. She significantly expresses personal messages in her originals and adds new perspectives to beloved jazz songs.
Let Me See Your Heart is James’ fifth album which she will release on August 9 on Le Coq Records. The album features contributions from a variety of renowned jazz musicians and frequent collaborators of James. The music includes pianist Jon Cowherd, drummer Nate Smith, percussionist Alex Acuna and bassist John Patitucci. Additionally, Grammy Award-winning keyboardist John Beasley, saxophonist and bass clarinetist John Ellis, guitarist Chico Pinheiro, and organist Ronnie Foster have features.
The new rendition of “New York State of Mind” is a melting pot of sounds, creating a refreshing alternative to the classic piano ballad. The new perspective is exciting, providing a larger and more upbeat combination of instruments and including a female vocalist. The song reflects James’ jazz beginnings of casually recording songs that spoke to her. James ensured that the song upheld the personal and relaxed value while giving it a fresh spin.
For me, the song that best sums up everything that’s great about this album may, in fact, be ‘New York State of Mind’ – it sounds so new and so different, not only does it makes me feel like I never really heard the song before, but it makes me look at the city itself with whole new eyes. For a lifelong New Yorker, that’s really saying something.
Will Friedwald, Jazz Critic
Andy James is currently on tour, having just played shows at The Cutting Room in New York City, as well as a show in Nashville at Rudy’s Jazz Room. Next, she returns to Europe for a series of shows throughout July and August.
For more information about Andy James’ music visit www.andyjames.com
Starting back in 2002 with a lineup that included Aretha Franklin, Norah Jones, and Sonny Rollins, the CGI Rochester International Jazz Festival continued in 2024 for it’s 21st edition with acts that included Taj Mahal, Sheila E., John Oates, and Christone “Kingfish” Ingram.
John Oates
Hosting over 1,700 artists from 15 countries at 20 venues, Rochester was transformed into a music mecca from June 21-29, as the annual music festival took to the streets surrounding Eastman School of Music.
With The famed music school in the heart of the festival, they provided three stages for use during for incoming acts. Kodak Hall at Eastman Theatre, Hatch Recital Hall, and Kilbourn Hall, all of which are housed in the same building along the makeshift Jazz St.
Kodak Hall is the largest of the venues, and played host this year to Taj Mahal, John Oates, Lee Ritenour, Laufey, and Samara Joy as headliners. While Mahal and Ritenour each garnered a respectable crowd the first weekend it was Laufey and Joy who each packed Kodak Hall, with fans lining up shoulder to shoulder to get their seats.
Rochester Regional Big Tent
Laufey, who hails from ReykjavÃk, Iceland, has risen to stardom in recent years after playing with Iceland Symphony Orchestra at 15 and competing on regional variations of The Voice and Got Talent. Winner of 2024 Grammy for Best Traditional Pop Vocal Album for Bewitched, she amazed the sellout crowd with her classic and smooth jazzy voice. A sound that transports the listener back in time where you had to adjust the AM dial manually. Bringing the classic jazz sounds to Gen Z fans, Laufey mixes in some pop music layers that keeps her audience on their toes, regardless of age. In the days after the show, I could still hear fans talking about her and how they can’t wait to see her again, or how it was one of the highlights of their week.
Samara Joy made her third trip to Rochester for the festival, this time as a headlining act. The Brooklyn native has played the previous two years on smaller stages and packed the house each time, so it only seemed fit that she played the Kodak Hall. Fans were packing the theatre for nearly 45 minutes prior to showtime, as they eagerly awaited the three-time Grammy winner to grace the stage.
With refined vocals and strong comparisons to the likes of Ella Fitzgerald and Billie Holiday, Joy has delivered top tier performances three years in a row for the Rochester crowd, and she shows no signs of letting off the gas as she continues her current tour.
Playing to a much smaller crowd than other headliners, John Oates came into Rochester, and delivered an outstanding performance to the group of lucky fans who dedicated their time. Half of the 70s and 80s powerhouse Hall and Oates, the latter played a simple set of Americana/Roots, sounding like a rustic Mark Knopfler. With each song, came a story. A story of how a song became what it is, or a personal story like showing up to a meeting with a bucket list recording artist, while still recovering from a night in the Big Easy. A relic of a bygone era, John Oates needs to be on your concert wish list in 2024. Tour Dates
In addition to Kodak Hall, Hatch Recital Hall and Kilbourn Hall both hosted a series of shows with nothing less than excellence during each performance. Hatch Recital Hall is a classic hall with a handful of balcony seats available. The smallest of three theatres, Hatch offers incredible acoustics throughout and played host to some great piano pieces and woodwind sounds. Featured acts here included Franck Amsallem, Bill Charlap, and Connie Han.
Eastman Theatre
Kilbourn has more of an old world feel to it, and lends itself to little more diverse acts. ARTEMIS, Edmar Castaneda, and Django Festival All Stars were just a few of the amazing acts to serenade patrons of the hall.
Castaneda is a Columbian born harpist, who plays the piece flawlessly while laughing and having the time of his life. Not something you see or hear every day, the harp delivers majestic sounds with every strum that left the crowd in awe. Accompanying Castaneda on stage were a drummer who offered simple background beats, and a flutist who matched sounds perfectly as the show moved on.
Django All Stars (Samson Schmitt on lead guitar, Pierre Blanchard on violin, Ludovic Beier on accordion and accordion, Antonio Licusati on bass, Franko Mehrstein on rhythm guitar) played both Kilbourn Hall and Rochester Regional Big Tent across the street. For the smaller venues, each of these performances were nothing less than amazing and easily one of my favorites to watch. With duals that rivaled the banjos in Deliverance, this stellar group of artists bring the music of Django Reinhardt into the modern era and put their own spin on it in the process.
Moving on the smaller venues, The Wilder Room has become a go to spot for festival goers in recent years. A former club for affluent locals, the Wilder Room offers a beautiful space for music. Great acoustics with the open floorplan and high ceilings, Levin Brothers, Twisted Pine, and CMD were among the acts that graced the stage. CMD made their presense know on the last night of the festival and did not disappoint. I spoke with a couple fans who stayed late on this night just to see the band for second time. A trio of local musicians, CMD (Casey Filliaci, Mark Terranova, and Dave Cohen) delivers a jazzy spin on 80s pop and rock hits from artists like Peter Gabriel, Sting, and Lou Gramm that make the listeners hear an old favorite in a new way. All three musicians have other projects in the mix, but seem to have the right connection here and will have an album coming out in December.
âJazz isn’t a style…it’s a feeling.â
C. Filiaci
Christ Church, tucked right inside the festival perimeter, is a hidden gem of venues. Darker in mood, the acoustics are truly amazing, as Alex Hitchcock, Andy Milne & Unison, and Kaisa’s Machine were able to create sounds that resonated all around the church walls and left patrons yearning for more.
While this nine-day affair was focused on music, you can’t have a festival without food. Enter food trucks. Grilled cheese, poutine, mac and cheese, and meatballs were just a sampling of the culinary delights you had to choose from. Local staples like Macarollin and The Meatball Truck Co were on site and always had a line. Newer trucks like Roc Dilla Food Truck and MelttruckROC came in this week and put Macarollin and The Meatball Truck on notice. Roc Dilla was the run-away winner for me, with quite possibly the best quesadilla I have ever had. Perfectly crisped shell with cheese blend and pork carnitas on the inside and then drizzled with homemade ‘dilla’ sauce and fried tortilla strips. Classically served with pico de gallo and sour cream, this quesadilla will give you the jazz hands as you head to your next destination.
MacarollinRoc DillaMelt Truck Roc
As the festival hits day five, a new stage is erected on the grounds known as Parcel 5. The site of a former shopping center, Parcel 5 is now an empty lot that politicians and local developers fight over almost on monthly basis about what to do with it. Currently, there is nothing permanent there for activities, and it has been used for the Jazz Festival for the past seven or eight years, always drawing large crowds. Sponsored by mega grocery store, Wegmans Food Markets, these shows are all free, all the time. Surrounded by more food and beer trucks, the grounds become a gathering place for music fans and anyone who just wants to let loose. Artimus Pyle, Trombone Shorty, Bruce Hornsby, and Robin Thicke have drawn huge crowds in recent years. 2024 brought an amazing lineup that included Sheila E., Miller and The Other Sinners, Cimafunk, and Jon Cleary.
Shiela E. is no stranger to Rochester, as she has played this festival on multiple occasions, and still amazes anyone who shows up. Miller and The Other Sinners have made themselves known in Western NY in recent years and played to an amped up crowd. Bluesy, jazzy, and folky, David Miller heads the band with authority and everyone on stage plays up to the energy level set forth.
The best act from this stage has to be Cimafunk, where Afro-Cuban Rock is the name of the game and Erik Alejandro Iglesias RodrÃguez knocked it out of the park with ease. Backed by an energetic group of eight fellow Cubans, Cimafunk’s music forces fans to get up and get moving before they can even think about it. Drawing inspiration from George Clinton, James Brown, and Prince, Cimafunk is more than just street beats, its a vibe like you have never heard before. A couple fans I encountered from Syracuse have taken road trips and even cruises to experience the shows. Look for them near you, and if you like to dance, you need to go see them.
For 21 years, the CGI Rochester International Jazz Festival has graced downtown with a wide variety of musical talent from all over the world. Free shows, ticketed shows, workshops, fun, and food are all a part of what has made this event grow tremendously over the years. All this is thanks to producers and founder John Nugent and Marc Iacona who have worked tirelessly to build the festival to what it is today. 2025 will be here before you know it, so make plans now for June 20-28.
Taj MahalTaj MahalTaj MahalTaj MahalThunderstorm ArtisThunderstorm ArtisShuffle DemonsShuffle DemonsShuffle DemonsMiller and The Other SinnersMiller and The Other SinnersMiller and The Other SinnersMiller and The Other SinnersMiller and The Other SinnersMiller and The Other SinnersLaufeyLaufeyLaufeyLaufeyJohn OatesJohn OatesJohn OatesJohn OatesJohn OatesJohn OatesEdmar CastanedaEdmar CastanedaEdmar CastanedaEdmar CastanedaEdmar CastanedaEdmar CastanedaEdmar CastanedaDumpstaphunkDumpstaphunkDumpstaphunkDumpstaphunkDjango All StarsDjango All StarsDjango All StarsDjango All StarsDjango All StarsDjango All StarsDjango All StarsCMDCMDAl ChezAlex Hitchcock Alex Hitchcock Alex Hitchcock Alex Hitchcock Andrea BrachfeldAndrea BrachfeldAndrea BrachfeldAndrea BrachfeldAndy MilneAndy MilneAndy MilneCimafunkCimafunkCimafunkCimafunkCimafunkArtemisArtemisArtemisArtemisArtemisCMDCMDCMDCMDCMDCimafunkCimafunkCimafunkCimafunkCimafunkCimafunk
