Hailing from Ithaca, six-piece funk band NEO Project dazzles audiences with their energetic stage presence and hypnotic fusion music. Their unique, high-energy sound and performances have blown crowds away for the better part of a decade. With an interesting mix of genres and insatiable chemistry, NEO Project is sure to put on an unforgettable performance.
Since 2012, the band has been on a mission to make crowds dance with their stellar improvisation and musicianship. NEO Project is made up of Elly Holiday and Jimbo Scott as lead vocalists, John White on keyboards and backup vocals, Dwight Carroll on electric guitar and vocals, Franklin Henry on electric bass, and Mike McCoy on drums. As well-decorated veterans of the music industry, including past careers as music professors, soul practitioners, and even a former Motown sideman, they each hold a deep love and passion for funk, soul, jazz, and R&B music.
In their many years of touring and making music, NEO Project has worn many hats when it comes to performing. Originally, they began as a funk band, but soon after realized their true potential in becoming an all-out dance band that blends a multitude of genres. Bringing in inspiration from Afro-Caribbean music, as well as soul, jazz, and R&B, NEO Project combines the genres that were truly inspirational to them, with their own improvisational twist.
Eventually, through years of fine-tuning their sound, NEO Project became exemplary of the great diversity within the music industry, proving that genres can absolutely coexist and share the spotlight at the same time. Along with their own original music, NEO Project reinterprets some of the best soul, jazz, and funk music out there with their own unique twist, covering a wide range of artists from Deee-Lite to James Brown. Their unique sound has brought thousands from all over the state to bars, concert halls, and festivals to enjoy some new-age fusion in classic old-fashioned styles.
Throughout the last ten years, the NEO Project family has performed all over New York, bringing the energy to music festivals and concert series alike. On July 11, the band headlined a performance at the Ithaca Summer Concert Series; their most recent surmounting success right from their hometown. Their most recent gig at the Finger Lakes Cider House brought the house down with their incredibly dynamic and original performance.
NEO Project’s funky, charming tunes have brought them widespread critical acclaim, from magazines to newspapers and more. “There’s a new band based in Ithaca, NY that will have you tapping your toes and shakin’ your groove thing to its unique, fun style of Neo Soul, Funk, Jazz, Rock, and Afro-Caribbean world grooves,” says Roger Theies of What’s Hot? magazine. Harry Segal of The Dock calls them “the tightest funk fusion band in the land!”
After a rousing ten-year anniversary, NEO Project’s reign is far from over. Catch NEO Project at The Range, 119 E State St, Ithaca, for a surefire performance that will never make you want to throw away your dancing shoes. The end of a busy season awaits the band as August begins, with headlining performances at the Geneva Lakefront Summer Concert Series on Wednesday, August 14. On September 2, NEO Project will perform for a private member’s exclusive event at the Ithaca Yacht Club, followed by a headlining performance at the Corning Harvest Fest on Saturday, September 21.
For any information on the band, be sure to visit their official Facebook page, linked here.
Bloomington, Indiana’s own Dizgo put out their third official studio LP, Melt on February 2nd. This follows the studio release of 2019’s Deeper, and their 2021 release of The Quarantine Compilation, an official live album.
Since its release, the on-the-rise electro-jam-funk band has been extensively touring in support of the new album, playing 40+ shows so far this year alone across the entire US. Dizgo has also made a name for themselves on the festival circuit, with appearances at major festivals like Peach, Summer Camp and Resonance. They’ve also supported acts such as Goose and Parliament-Funkadelic.
The quartet is made up of Andrew Pickel on guitar and vocals; Kevin Hinnefeld on bass, keys and vocals; Justin Clark on drums; and Jake Evatt on keys and vocals.
Photo Courtesy of dizgoband.com
One of the band’s strong suits and allures is their live improvisation; their ability to spontaneously communicate with each other in the moment is up there with the greats of the genre. With a melting pot of musical styles at their disposal, you never know what direction they’ll take their songs. Dizgo is effortlessly able to weave between musical styles at the drop of a hat. According to their biography, “Dizgo redefines the live experience by blending jamtronica with funk, deep-groove soul, and psychedelic rock, taking the audience on a musical journey that includes intricate compositions and extended improvisation. The result is something both danceable and introspective: soulful vocals, interweaving analog synths and shredding guitar all of which join forces under the banner of Dizgo.”
Melt does a great job at capturing elements of everyone’s favorite jamband and turning that unique blending of genres into a style and sound completely of their own. These influence’s shine throughout the record. When speaking on the album, the band shares, “When everything goes right, we all ‘melt’ into one collective unit, experiencing time & space together. The special moment where music connects and creates community – melting together a bond between the music, musician, and listener.”
Melt begins with the extremely funky “It’s Alright” right out of the gate. A catchy melody, synthesizer funk, grooving bass and the positive message that “it’s gonna be alright” lead into a tremendous guitar solo that brings the song to its peak.
Melt continues with this trend of up-beat danceable synthesizer funk. “Rainbow Lightning” keeps the energy high, and contains an extremely tight composed middle section. Dizgo composed harmonies in regard to the vocals and instrumentation are well executed and with intention. Even their prog influenced tracks, such as “Liquefaction” keep things spontaneous and danceable, despite its heavy nature at times.
Throughout the multiple genre-bending piece, the band is able to immediately bring us into a world of heavy metal and then at the snap of a finger transition into a buttery funk groove. Eventually this leads into a tranquil bliss that grows into a blistering guitar solo to end the tune. Their songwriting also has pop influences, notably on their tracks “Honey” and “Help Is On the Way”. Both of these songs were released as official singles. The album ends with one final bang, “Whiteout” a slow-building spacey introduction leads us into an ear-worm hook that you don’t want to end.
Dizgo’s studio LP Melt is currently available on all streaming services here.
On July 15, Lotus released their newest studio album, How to Dream in Color, embarking on a nationwide tour starting this past week, ending on New Year’s Eve in Philadelphia. This energetic, unique, and funky album is another hit for their discography, combining easy-listening funk with hip-hop and pop that gives it a perfect retro feel.
With a musical style as unique as Lotus, it can be hard to grab the attention of listeners and keep them interested. The opening track, “How Do I Come Down,” immediately captures the listener with a hypnotic drum beat and steady guitar riffs but quickly differentiates itself with funky, distorted vocals scattered throughout. It truly sets the tone for the rest of the album and may not be something that you’re used to, but it’s just as groovy nonetheless.
Throughout the album, Lotus manages to keep the listener on their toes. The album acts as a tribute to longtime percussionist Chuck Morris, following his and his son’s passing in 2023. During this transitional period, Lotus embraced a new approach to recording, including the use of layered drum sounds and a collage-based style that shows how far they’ve come their first few albums like Nomad (2005) or even their 2011 self-titled album.
With each track’s style, there is still a signature electronic spin one would expect from Lotus. How to Dream in Color puts the spotlight on the instrumentalists and gives them a chance to truly shine and show off their talents and experimentation through multiple genres. Most of the album is dedicated to the music itself, giving their musicianship a chance to shine. Songs with vocals like “Can You Hear the Sound” and the opening track “How Do I Come Down” are great introductions to the album, and elegantly juxtaposed against the full-instrumental tracks that surround it.
Lotus Album Release Show at Johnny Brenda’s. 7/11/2024. Photo: Jordan August
How to Live in Color is available on all streaming platforms. Lotus kicked off their tour in Lake George on Saturday, July 13, but the fun doesn’t stop there. The full tour is listed below. For more information and to purchase tickets, visit lotusvibes.com.
Lotus How to Dream in Color Tour
July 18 – Secret Dreams – Thornville, OH
August 15 – The Big E – Springfield, MA
August 30 – September 1 – Summerdance – Garrettsville, OH
October 2 – Paradise Rock Club – Boston, MA
October 3 – Toad’s Place – New Haven, CT
October 4 – State Theatre – Portland, ME
October 5- Higher Ground – Burlington, VT
October 9 – Jefferson Theater – Charlottesville, VA
Alexandria Bay’s Riverboat Bar is one of the premier spots for live music in Jefferson County. Throughout the Summer, the bar hosts a number of concerts each week, bringing audiences performances of indie, Americana, and more.
Summer 2024 sees 13 artists from New York State and beyond performing at the Riverboat Bar, bringing audiences plenty of variety.
Friday, July 19th will feature two sets by Utica’s The Old Main. Led by songwriter Seth Becker, the indie-folk quartet has toured across New York for over a decade. The band combines influences of John Prine and Wilco with stripped down instrumentation to create intimate Americana. Their set will begin at 10pm, with attendance being free.
Continuing with folk music, July 20th will feature a free show by CNY group The Rollin’ Rust. Singer-songwriter James VanDeuson leads the group, bringing an edge to traditional Americana. Their evocative songwriting and polished instrumentation has taken them around the country, performing across 45 cities in 2023 alone. Their debut Road Rats was nominated for Best Americana Album at the 2023 SAMMY Awards. They will play two sets beginning at 10pm.
On July 26th, the Riverboat Bar will host Syracuse’s Vaporeyes. Vaporeyes plays progressive rock heavily influenced by classic psychedelia. With lush keyboard textures, guitar, and rhythms, the band crafts dreamy musical soundscapes. Vaporeyes will play two free sets, beginning at 10pm.
August 2nd will feature a “Local Legendz Showcase,” featuring performances by a host of local musical artists. Holdown Upstate organized this event as part of their mission to increase community involvement in music throughout Upstate New York. This event represents a live version of Holdown Upstate’s “Local Legendz ” radio program highlighting up-and-coming artists from across New York. This free show will begin at 10pm.
On August 3rd, Joey Collins and the Creatives will perform at the Riverboat Bar. The trio originates from Watertown, but has played at shows and festivals across the state. Their sound incorporates influences of soul and folk into Indie rock. As part of their return to the Riverboat Bar, Joey Collins and the Creatives will play two free sets, beginning at 10pm.
August 9th will feature two sets by Syracuse’s Mike Powell and the Echosound. The band began during the Covid-19 lockdown, as Powell decided to go back to his roots while listening to his record collection. As soon as touring was possible, Powell enlisted musicians from Suracuse’s blues and folk scenes to start the Echosound. All five members collaborate to write lyrics and music for their Americana and rock influenced songs. This show comes after the release of their debut Plastic Spoon Honeymoon in 2023. The show will begin at 10pm, with a $5 cover at the door.
On August 10th, Albany’s Hilltop will perform two sets at the Riverboat Bar. The four-piece band began jamming at Mercy College in 2018. The quartet has 100 shows under their belt, blasting out funk-influenced rock numbers for their audiences. Their show will take place during Alexandria Bay’s Pirate Days festival, featuring events and exhibitions across town. Hilltop’s two sets will begin at 10pm, with a $5 cover charge at the door.
Connecticut-based funk band One Time Weekend will perform two nights of shows on August 16-17th. Across their two studio albums, One Time Weekend have made a name for themselves as a premier modern funk band. Their sound combines groovy pop melodies with progressive instrumentation. Their live shows bring an unmatched energy, with face-melting riffs and smooth vocals. One Time Weekend will play two sets each night, beginning at 10pm. Guests can buy tickets for $10 at the door each night, or a weekend pass for $15.
August 23rd will feature a free concert by Felix Free & the Rxcketeers. Born in Southern California, Felix Free moved to rural Upstate New York, where he honed his craft as a rapper. Free’s intimate lyricism and stage presence can conquer crowds both large and small. With the live band the Rxcketeers behind him, Free will bring his trademark Golden era hip hop stylings to the Riverboat Bar. This free show will begin at 10pm.
On August 24th, Connecticut’s Legalized will play two sets with DJ Nick Balkun. Legalized’s music defies genre, combining everything from funk and jazz to punk and psychedelic. With rock instrumentals and saxophone, their music is noisy and experimental yet infectiously groovy. Connecticut’s DJ Nick Balkun will join Legalized, playing a DJ/drum set. This free show will feature two sets starting at 10pm.
Double Barrel Blues Band will return to the Riverboat Bar for a weekend residency from August 30-September 1st. The Syracuse quartet plays all types of blues, including more traditional acoustic, and modern amplified styles. With the guitar chops of Mark Cloutier and John Hart, the group are regular nominees at the SAMMY awards blues category. Their residency will feature special guests making for a weekend-long blues-stravaganza. Each residency show is free, beginning at 8pm each night.
Organ Fairchild will kick off September at the Riverboat Bar with two free sets on September 6th. Beginning as a Buffalo-based Grateful Dead cover band in 1983, Organ Fairchild’s members honed their live music abilities in extended jams. In 2020, they rebranded themselves as an instrumental trio, featuring guitar, drums, and organs. The trio’s brand of instrumental funk has brought national renown, playing shows across the East Coast with legends of the jam band genre. Their sets will begin at 10pm.
September 7th will feature two free sets by Buffalo-based rock group Johnny Hart & the Mess. The band’s sound can loosely be defined as “alternative,” but combines influences of pop, blues, country, and more. With releases like Moonlite Motel and Neon Eyes the band has established itself as an up-and-comer in New York’s rock scene. Their sets will begin at 10pm.
Shapes will close out the Riverboat Bar’s summer season with a September 13th performance. Hailing from Toronto, the band’s music combines rock with influences of funk and afrobeat. The band never takes itself too seriously, including witty lyrics and humorous stage banter into their shows. With their groovy instrumentation and funny stage presence, Shapes is sure to keep audiences dancing and laughing all night long. Their two free sets will begin at 10pm.
For more information on the Riverboat Bar’s upcoming shows, visit their website here.
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.
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.
Brooklyn based soul-pop artists Lake Street Dive made their triumphant return to Beak & Skiff on Sunday, July 7. The Beak & Skiff veterans have been long embraced by the Central New York community.
Lake Street Dive was one of the first to bring live music back to the area during the Covid-19 pandemic, with a run of three consecutive shows at the venue in 2021. They are currently touring in support of their eighth studio album, Good Together.
The evening kicked off under crystal clear blue skies and warm temperatures, with a set by Alisa Amador, who won NPR Music’s Tiny Desk Contest in 2022, and dazzled the crowd with her blend of Spanish infused folk music. Amador’s powerful yet soothing vocals danced through out the already filled orchard valley and kept captive hold of the audience through out the 40 minute set. Late in her set, Amador paid tribute to Radiohead, with her own rendition of “High and Dry.”
The familiar opening synths of “Good Together” (the title track on the band’s latest release) kicked off Lake Street Dive’s set. The band immediately had the densely packed audience swaying and dancing, following the lead of singer and front-woman Rachael Price. Price enamored the audience with her charismatic stage presence as she strutted and danced across the stage, never missing a vocal beat. She took a seat and twirled at a makeshift bar on stage during “Seats at the Bar”, and even brought bystanders from side stage to center stage to dance along with her during the appropriately named “Dance with a Stranger.”
While much of the allure of seeing Lake Street Dive in concert is the fun and energetic set, perhaps the highlight on this evening was during “Twenty-Five,” the somber piano-ballad off the band’s latest release. Price’s vocals soared in perfect harmony with her bandmates during the emotional track, which likely left few dry eyes through out the audience.
Lake Street Dive would return to their high energy ways, closing their Beak & Skiff set with the Hall & Oates classic, “Rich Girl” and the band’s own fan favorite “Good Kisser”. The latter track’s catchy chorus allowed Price’s vocals to soar through out the LaFayette Valley one last time.
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.
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Western New York’s summer got a little brighter as Norah Jones’ latest tour with Mavis Staples blew through CMAC in Canandaigua and ArtPark in Lewiston on July 5th and 6th, despite the rains pouring down Friday night in Canandaigua.
Gospel legend, civil rights icon and sole surviving and torch-bearing Staples Singer, Mavis Staples and her band of bass, drums, guitar and backup singers, took the stage first. She needed assistance walking to the front of the stage, and took some breaks with a seat and some sips of tea in between songs, but when the mic was in front of her, she was a ball of fire. The stage, and the entire venue, was in her control.
Her voice, gravelly and soulful, belted out affirmations of love, for oneself, others, and of course God. Like a preacher from the pulpit, in case you missed the message, she repeated it a couple more times in her banter.
The set mixed Staples classics like “I’m Just a Soldier,” and “Heavy Makes Too Happy,” with Gospel standards like “I Belong to the Band, Hallelujah!” and more contemporary rock hits like Funkadelic’s “Can You Get to That” and the Talking Heads’ “Slippery People.” Mavis molded these latter tunes to her will, secular messages becoming spiritual. “What’s the matter with him? He’s alright. How do you know? The Lord won’t mind.” hits a little different coming from mouth of Mavis Staples than it does from David Byrne.
As Mavis was helped back off stage after her 45 minutes, she and her band received a rare and well-deserved opening-set standing ovation. One performance from a legendary lady in the books, one more to come.
After a short break, Norah Jones took the stage with Brian Blade behind the drums and Josh Lattanzi on bass, opening their set with “What Am I To You” off Jones’ second album Feels Like Home. Then just minutes in, Mavis Staples came back out to perform “I’ll Be Gone” which she recorded with Jones in 2019. Certainly an early-set show highlight to be blessed with both iconic voices playing off each other. Pete Remm, who wrote the song, was also on board on organ for that and off and on for the remainder of the show.
With that out of the way, Jones’ invited the rest of her band out, Sasha Dobson on guitar and vocals and Sami Stevens on keys and vocals. They kicked into some material from her stellar new release, Visions, with “Paradise” and “Running” before dropping back to early hit “Sunrise.”
The set continued to span her entire catalog, each song it’s own gift. Perfect little moments of musical joy popped out here and there, each tied off in a colorful bow, like from the streamers hanging as a backdrop. A singular smile-inducing note to close “Running,” beautifully bowed bass in “Sunrise,” Blade’s infectious groove in “Staring at the Wall,” the three-part vocal round on “I’m Awake.” Attentive ears were rewarded with these plentiful gifts throughout the night.
As Staples could bend a songs meaning to her will, Jones could likewise bend entire genres to her will. On the hushed and haunting “Little Broken Hearts,” she took on an indie-rock persona, strapping on a guitar. Then on “Queen of the Sea” she was belting out a country ballad. Her classic “Come Away With Me” was stripped back to the trio, with spare upright bass notes and subtle drums, it was Jones at her jazziest, taking control with her piano and voice. But she isn’t a rocker, singer/songwriter, country crooner, jazz musician or pop star. She’s Norah Jones and there’s no one else sounding quite like her.
She waited until the encore for the lone cover of the night, Tom Waits’ “Long Way Home,” before closing out the night properly with her classic hit “Don’t Know Why,”
Note: Review from CMAC, all photos from ArtPark by Patrick Sone Lin Htoo.
CMAC Setlist: What I Am To You, I’ll Be Gone (with Mavis Staples), Running, Sunrise, Begin Again, Tragedy, I’m Awake, I Just Wanna Dance, Out on the Road, Little Broken Hearts, Queen of the Sea, Staring at the Wall, Come Away With Me, All This Time, Happy Pills, Carry On E:ncore Long Way Home (Tom Waits), Don’t Know Why
On July 6, funk keyboardist Neal Francis brought a mixture of blues and rock-laced syncopation to Ridgefield Playhouse. The Saturday show brought folks together from across the tri-state area, treating concert-goers to a thrilling show in the small town of Ridgefield, CT.
With shaggy hair and striped pants, Neal Francis graced the stage. Accompanied by bassist Mike Starr, drummer Collin OâBrien, and guitarist Kellen Boersma, the band approached the audience. The show in Ridgefield marked their third day of back-to-back shows. Nevertheless, it was hard to tell based on their electrifying performance.
Francis and his band are currently in the middle of a U.S. tour, with a mix of headline shows and opening sets. Most recently he opened for Trombone Shorty & Orleans Avenue as well as KALEO and My Morning Jacket. The Connecticut show, however, was one of a select few without an opener, making the show extremely personal and to the point. Next, they’re off to Winnipeg, Canada on June 13th, after which they take a short break until their return to the east coast in August.
Neal Francis
The show immediately started with dynamically composed arrangements, however staying true to the nature of live music, Francis had to fix some technical issues from his pedals. Despite any malfunctions, he commanded the band to give a beat, making sure the music never stopped while he got to work on his rig. The dedication that the band displayed to keep the audience grooving exhibited true showmanship.
Being that Ridgefield Playhouse is a smaller room in the middle of a small town, the energy was more like that of a party, rather than a concert. Francis was able to communicate with the audience giving the environment such strong personableness. Everyone was excited to be there, whether they traveled for it or were just checking out a cool show nearby. Regardless, the crowd was brought together by their excitement and love for the music.
The versatility of the show also made for an outstanding experience. Francis of course gracefully tackled his hits, but not without playing some unfamiliar tunes. Everyone in the auditorium got to witness songs that only those with the honor of seeing Francis live receive. This emphasized the importance of live music and the role it plays in bringing fans and artists together. The songs all included rhythmic breakdowns. The expansion of the music continued to produce unique renditions special to the live show.
