Music legends Billy Joel and Stevie Nicks have announced a single tri-state appearance in a joint show at MetLife Stadium in August.
Rock and Roll icons in their own rights, Billy Joel and Stevie Nicks’ careers are genuinely unparalleled.
The Piano Man himself, Joel is a New York native and is considered one of the most beloved recording artists in history, being the sixth best selling recording artists and the fourth best selling solo artist with a grand total of 160 million records sold worldwide.
Joel is one of the most engaging and best-selling live acts of all time with a monumental 150 shows performed at Madison Square Garden alone in what is regarded as one of the greatest arena runs in history.
photo by Myrna Suarez
Beloved for both her membership and vocal contributions to Fleetwood Mac and her whimsical solo singer-songwriter works, Stevie Nicks is a walking legend. Having been the first woman inducted into the Rock & Roll Hall of Fame twice, Nicks has captivated audiences for decades now with her deft storytelling and sharp songwriting skills.
With a collective 220 million albums sold under her belt, Nicks is a continuous inspiration for those in the industry and beyond, mentoring younger performers to this day.
The two iconic musicians will be bringing the best of their musical careers to the MetLife Stadium stage on Friday, August 8. Their first and only tri-state appearance together, the show promises to be an unforgettable once-in-a-lifetime event.
In addition to the evening being the first of its kind for the duo, August 8 will mark Joel’s first time in East Rutherford since he performed at Continental Airlines Arena in 2002, and Nicks’ return to North Jersey for the first time as a solo act since June of 2012.
Tickets for the Billy Joel and Stevie Nicks one-time-only show at MetLife Stadium will go live on Friday, December 13 at 10:00 AM.
Former NFL pro bowler and NY Giant tight end Darren Waller continues his post-retirement musical journey with a new single and music video featuring Westside Boogie. The inspiring track explores themes of personal introspection, blending vulnerability and memories of self-doubt to create a strong message of growth and self-discovery. Additionally, Shady Records artist, Westside Boogie, chimes in with his own moment of self-reflection to top off the emotional record. Similarly, the music video is therapeutic in its presentation, with Waller rhyming his verse as he solemnly raps his verse.
Getting Boogie for this record was really organic, thanks to a mutual connection from my high school basketball days. As an artist, he’s incredibly versatile and vulnerable, which made him a perfect fit for the record. We’ve both found success and joy in a lot of areas of our personal lives, but we’re still looking for the answers to our deepest questions.
– Darren Waller
All in all, Waller has been using his newfound career as a music artist as a form of therapy, The new song follows Waller’s Internal Warfare: This Too Shall Pass EP, which dropped last month. Inspired by a year of significant transformation, the EP takes an in-depth look at personal and professional highs and lows he experienced. Moreover, earlier this year, Waller also released On Notice: Bag Talk EP, showcasing his artistic versatility, and Mind Games: It’s All In Your Head EP, which touches on Waller’s decision to retire from the NFL.
Since calling it quits, the former NFL star has dropped a number of viral records including “Who Knew (Her Perspective)” dedicated to his ex-wife, Kelsey Plum of the Las Vegas Aces. After being drafted into the NFL in 2015, waller began exploring music, inspired by his great-grandfather, the iconic jazz pianist Fats Waller. While music initially took a back seat to football, Darren made his musical debut in 2021 with the project Delusions of Clarity. Following that release, Waller received a placement on the official Madden NFL soundtrack in 2023.
The Long Island Music and Entertainment Hall of Fame (LIMEHOF) marked its 20th anniversary with a special Holiday Celebration over the weekend of November 30th and December 1st. This two-day event brought together an incredible mix of local and legendary talent, creating an unforgettable experience for attendees.
Day 1: A Rich Tapestry of Sounds
The festivities kicked off on November 30th, featuring an eclectic mix of performances. Casey Adams opened the night with his soulful energy, followed by Mark Newman’s smooth rock stylings. The Kerry Kearney Band brought their signature blend of blues and rock, while the Stanton Anderson Band closed out the evening with an electrifying set that kept the crowd on their feet.
Day 2: A Star-Studded Celebration
The second day, December 1st, was a true celebration of music, featuring a lineup that spanned genres and generations. One of the highlights of the day was the performance by Ernie and the Band, who took the stage with a setlist that included Tangled Up in Blue, No Rest, Summertime, and Dead Man Walking. The band’s dynamic sound was a testament to their organic, genre-blending approach to music, which has earned them a devoted following.
I had the chance to talk with Ernie and the Band after their performance, where they shared insights into their musical journey. Founders John and Rob, best friends since childhood, were joined by Nick and Brady, who completed the band’s lineup. Their songwriting process is fluid, beginning with a simple melody, lyric, or progression that grows into a full song. The band cited standout performances at the Great South Bay Music Festival and their recent two-night run at Industry in Huntington as major highlights of their career.
Next up was the legendary DMC (Daryl McDaniels), who took the stage with Johnny Juice and Richard Barone. Before his performance, I had the chance to speak with DMC, where he shared how his passion for storytelling has expanded beyond music. He began by talking about how his college lectures evolved into speaking engagements at high schools, middle schools, and elementary schools, where he adapted his message for younger audiences. His love for storytelling led him to write a children’s book about his childhood experience with bullying, offering kids a relatable narrative that connects with his career in hip-hop.
DMC also reflected on his early influences, revealing how his love for comic books sparked his creativity before he found music through the diverse sounds of 1970s New York radio. When I asked about today’s hip-hop scene, DMC rejected the notion that hip-hop is only for the young, asserting that veteran artists like himself continue to carry the torch for future generations.
In a conversation with DJ Johnny Juice, renowned turntablist and producer for Public Enemy, he emphasized the importance of authenticity for aspiring DJs and producers, advising them to “do it for yourself” and trust that the right audience will follow. Juice distinguished between DJ culture and turntablism, praising the technical advancements but cautioning against losing the human touch, urging DJs to “inject your personality into the cut.” Reflecting on his roots as a Latin percussionist, he explained how his rhythmic style of scratching was influenced by playing bongos and congas as a child. His move from the Bronx to Long Island allowed him to blend diverse influences, creating a unique, genre-defying sound that set Long Island hip-hop apart.
A major highlight of DMC’s set was his tribute to Billy Joel, where he shared his excitement about a collaboration that blends Billy Joel’s You May Be Right with hip-hop. DMC jokingly revealed his dream of getting Billy Joel involved in writing original songs for his Broadway musical, which is based on DMC’s life story. “I think Billy Joel needs to be a part of this. We’re gonna make history, baby!” DMC laughed.
Following the tribute, DMC performed several Run-D.M.C. classics, including It’s Tricky, Walk This Way, and Christmas in Hollis. The crowd was energized as he seamlessly blended his iconic hip-hop sound with rock influences, paying homage to the roots of both genres. DMC’s son, Dson McDaniels, also performed his new song Pray, showing the next generation of McDaniels talent.
He also praised the LIMEHOF as a “holy place” where diverse genres come together to create a rich cultural tapestry—a “gumbo” that nourishes the heart, mind, body, and soul. Reflecting on his journey from a fan listening to rock legends on the radio to sharing stages with icons like David Lee Roth, Dave Navarro, and Aerosmith, DMC highlighted the surreal honor of standing among those he once admired. He emphasized the unity of genres—rock, hip-hop, blues, and jazz—and reminded the audience that while disco may have faded, the music and its spirit live on. With heartfelt gratitude, DMC concluded by urging everyone to keep dancing and supporting live music, leaving the audience energized and inspired.
After DMC’s electrifying performance, comedian Paul Anthony took the stage for a killer stand-up routine that had the audience laughing from start to finish.
The festivities continued with Firetog & Co, who performed tracks like How a Heart Breaks and Ball and Chain, followed by American Idol’s Christiaan Padavan, who captivated the crowd with his renditions of Vienna by Billy Joel, Just the Two of Us, I Left My Heart in San Francisco, and Please Come Home for Christmas.
The celebration at the LIMEHOF concluded with a high-energy performance from The Original Gossip Band, who closed out the weekend with their songs Above Water, Front Liners, Megan, and Driving to the End.
The date Dec. 8, 1980 will be remembered infamously throughout history as the night John Lennon was shot outside his New York City apartment. The Beatles member and songwriter was returning home from the Record Plant recording studio with his wife Yoko Ono, fresh off their recently released collaborative album, Double Fantasy, when tragedy struck.
Left: John Lennon, Right: Christine Lavin – photos via CNN and Fleming Artists
Lennon was shot four times in the back and was pronounced dead on arrival at the hospital. Fans mourned his death afterwards gathering outside The Dakota, the apartment building where he lived and outside of which he was killed.
Double Fantasy, album by John Lennon and Yoko Ono, released 1980
Four years later, Lennon’s tragic murder was recalled by Christine Lavin, a long-time folk singer-songwriter and guitarist in her song, aptly titled “The Dakota.”
Newspaper headline in Liverpool Photo, Dec. 9th, 1980 via rarenewspapers.com
The song is the final track on her 13 song, self-produced album, Future Fossils, released in 1984. “The Dakota” was actually written a year or two following Lennon’s death, the song inspired by Lavin being stuck in rush hour traffic in NYC as “Imagine” happened to play on the taxi radio.
Album art for Fossil Fuels by Christine Lavin, released 1984
Lavin never actually mentions Lennon by name in the song, alluding to his death primarily through her imagery of the events that unfolded outside of the Dakota. Lavin spent much of her professional career playing venues in New York City and lived only a few blocks away from the Dakota at the time Lennon was killed.
To see one of her musical idols, murdered in a city she called home, was shocking she said in an interview with NYS Music. “That night is burned into my memory,” she said. “To this, day I can’t walk near the scene of the crime without thinking about it.”
In her song, the building serves as an unmoving reminder of that horrific night, a symbol of senseless death that is difficult to escape.
John Lennon and Yoko Ono outside the Dakota – Photo via Getty Images
The chorus finds herself reflecting on the night of Lennon’s death with soft emotion and heartbreak as Lavin sings:
“Every time I see the Dakota, I think about that night. Shots ringing out, the angry shouts, A man losing his life.”
“The Dakota” – Christine Lavin
The closest Lavin comes to referencing Lennon himself is by quoting one of his most popular and enduring songs, “Imagine.” In a unique twist however, Lavin takes the familiar, hopeful tune and bitterly exposes the unrealistic idyllic world, Lennon so vividly painted.
I don’t believe in coincidence So why then on the radio Did an old familiar voice Echo back from not so long ago? “Imagine all the people Living life in peace.” Well, it’s hard to do When you are on this blood-stained street.
“The Dakota” – Christine Lavin
Lavin’s grief and anger over the famed singer’s unnecessary death reaches its peak at this point, the bridge and climax of the song. The lyrics play out like a conversation with herself, as a harmony of voices sing Lennon’s famed lines, and Lavin replies with her honest answer.
Album art for Imagine by John Lennon
“It was just the way I felt at the time,” Lavin explained. “Imagine is so optimistic but it’s almost too optimistic in ways when we think of how the world is today. And it is harder to [be optimistic] when your on that street because to think the man that wrote those lines had such a tragic and violent end doesn’t make sense. Its such a contradiction.”
Still, Lavin said she tries to use her power as a songwriter to find a glimmer of light in a dark situation.
“As songwriters anything we can right that can help us to overcome the dark side of our nature I think we owe to the world,” she said. “It’s acknowledging the world we live in, but knowing we can do better and that it is our duty to do better.”
Lavin said the decision not to mention Lennon’s name in the song was purposeful – she didn’t want to look like she was exploiting the situation. Quite the contrary, Yoko One ended up publishing Lavin’s lyrics in a book she edited about John Lennon.
Memories of John Lennon by Yoko Ono, the book Lavin’s song is featured in
As the song continues, Lavin reflects further on her anger, asking for peace of mind.
I wish I had the answer To the simple question, ‘Why?’ … I wish I could take these bitter thoughts And just shake them from my mind
“The Dakota” Christine Lavin
In what would be Lennon’s last interview before his death, he talked with a crew from RKO Radio in his home in the Dakota. Eerily enough, at one point during the conversation, Lennon pondered themes of death and getting older.
“When we were kids, 30 was death, right?” he said. “I’m 40 now and I feel just … I feel better than before.” He later added, “I consider that my work won’t be finished until I’m dead and buried and I hope that’s a long, long time.”
The Dakota as seen from Central Park West – Photo via Wikipedia
Even in 2022, memories of Lennon’s death haunt the state of New York. Although, The Dakota has undergone extensive renovations, it still maintains its signature gothic architecture and remains home to numerous celebrities, thanks to its prime location facing Central Park.
Lennon’s killer, now 67, also lives, albeit behind bars at the Green Haven Correctional Facility in New York. Just this September, he was denied parole for the 12th time. Yoko Ono, has historically sent a letter to the parole board every two years to request her husband’s murderer remain in prison, CNN reported.
Despite the painful reminders, Lennon’s legacy and hope for a better world persists long after his death as well.
An annual tribute concert is held in Lennon’s name in NYC bringing together famous musicians and celebrities in a night of song and remembrance. Proceeds also go to supporting songwriting programs in elementary schools. One selected artist is also awarded with the John Lennon Real Love Award, this year given to Joan Osborne.
Joan Osborne to receive this years John Lennon Real Love Award
Lavin’s final lyrics capture the conflicting emotions around wanting to forget the tragedy but remember Lennon’s greatness as she closes out the chorus singing:
“Well, it’s something we shouldn’t dwell upon But it’s something we shouldn’t ignore Too many good men have been cut down Let’s pray there won’t be any more.”
“The Dakota” – Christine Lavin
John Lennon is memorialized in “Strawberry Fields,” a section of Central Park across the street from the Dakota that Yoko Ono landscaped in honor of her husband.
The Empower Federal Credit Union Amphitheater in Syracuse has announced a controversial ban on personal lawn chairs for all shows presented by Live Nation.
Photo via syracuseamphitheater.com
Opening its doors to the people of Syracuse and beyond in 2015, the Empower FCU Amphitheater at Lakeview has hosted a wide variety of household acts throughout its career thus far.
Quickly becoming both a local and fan favorite, one of the Amphitheater’s most beloved aspects is certainly its expansive opportunities for outdoor seating beyond its pavilion- though a newly announced policy indicates a major shift in their outdoor concert experience.
Alongside the announcement of country artist Cody Jinks being added to their already impressive 2025 concert roster, the Empower FCU Amphitheater has published disclaimers prior to new ticket sales indicating a new lawn chair policy that has received mixed responses.
In a new pop-up seemingly applicable to all dates including and following Jinks’ show on August 17, The Empower FCU venue has announced a ban on the usage of personal lawn chairs for all shows presented by Live Nation.
“For the safety, comfort and experience of all fans, outside lawn chairs will NOT be permitted inside the venue for Live Nation shows. A limited number of lawn chair rentals will be available for advance purchase online or at the venue on the day of the event, while supplies last.”
– Live Nation
It should be noted that while this announcement comes as a shocking upset to the local community and fans of outdoor live music from beyond Syracuse, it seems to be within the routine policy of all venues in partnership with Live Nation.
It is uncertain how the newly introduced up-charge for venue-provided seating will affect the success and sales of events held within the Amphitheater, as its open lawn typically provides an additional 12,000 tickets for concert goers beyond the pavilion’s 5,000.
With their updated policy, lawn chairs will come at an additional cost to concert-goers. For reference, lawn tickets for Thomas Rhett’s show on August 21 are categorized as either a standard general admission $41.75 ticket or a “Take A Seat – Lawn Ticket + Chair Rental” package for an additional $11.
Photo via syracuseamphitheater.com
While limitations on lawn chair usage are not new to the venue with several sold-out shows instituting the Amphitheater’s 2022 policy similarly banning outside lawn chairs for concerts with attendance above 14,000, a shift to this degree is new and certainly jarring for veterans and folks new to the venue alike who will now experience a large majority of concerts with rental fees in the place of personal belongings.
For more information on the Empower FCU Amphitheater’s events and policies, visit the venue’s official Live Nation page here.
Phish has made their way across New York State in the Fall many times over the years, particularly in 1995 and 1997. Those stand out years in Phish history overshadow 1999, and the December 5 show in Rochester deserves a second look for more than the “Jennifer Dances” premiere with which it has come to be associated.
A warm afternoon before the show gave way to a cold and windy night, just the weather shift you’d expect near Lake Ontario in early December. Two years removed from their December 11 show at Blue Cross Arena, which featured a monster “Down with Disease” and the debut of Ween’s “Roses are Free,” you’d be forgiven if you didn’t listen to the other Rochester Phish show from the tail end of the 90s. But what a show this one was too.
An overlooked Fall Tour show, this one captures ‘Never Miss a Sunday Show’ perfectly. Give a listen via Phish Tracks and you’ll see why. The first set begins with “Carini” busting out of the gate for a short and sweet version. “Gotta Jibboo,” was just beginning a span of heavy rotation that went through Fall 2000, and featured deep bass from Mike Gordon who tucked himself right into the pocket of the groove, with Trey Anastasio accelerating towards a hearty finish.
“Back on the Train” follows, adding another of the four Farmhouse tracks heard this night, then a top tier “Taste” that clocked in over 13 minutes is a must hear version as well. “Bug” and “Sparkle” follow, and then BAM!, a strong “Tube” with added keys from Trey who explored this added outlet many times on this tour, all the way through Big Cypress.
“Lawn Boy” and “Ginseng Sullivan” filled in before a new twist on “Twist” emerged, with a new arrangement that would continue to evolve over time, and may feel even more familiar to fans these days than versions prior. This long and winding “Twist” keeps it up for 12 minutes to close the first set.
Starting set 2 with “Mike’s Song” boded well and ol’ reliable did not shy away from stretching its legs until an unexpected segue into “Meatstick,” which had been finding frequent plays since that summer. While this version clocks in at a strong 12 minutes, it is only the second most notable version from New York State (at that time,) as the band led an effort to have the crowd perform the “Meatstick” dance at Camp Oswego enter the Guinness Book of World Records. Little did the Rochester audience know that this song would usher in the new millenium a mere 26 days later.
This version of “Meatstick” is now unique in that it does not feature Japanese lyrics, something that would not appear until the next summer in Japan, and later in America, becoming a staple of nearly every version of since 2009.
After “I am Hydrogen” segued out of “Meatstick,” a fiery “Weekapaug Groove” with no let up wrapped up this Mike’s Groove. A loud speaker hiss can be heard before the start of “Brian and Robert,” and after this breather, Trey spoke to the audience, saying,
Thank you, we played here a few years ago and we were talking backstage, this is definitely a very favorite room of ours, people are very cool and its a special place and we apprecaite being here. we’re going to trying out a brand new song on you, it’s called “Jennifer Dances”
Trey Anastasio, preparing the world for “Jennifer Dances”
With a little less salt in the gravy this night, the excitement and elation of getting a debut original was palpable, and the crowd got the first of the storied “Jennifer Dances.” Maybe you enjoy it, maybe you chase it, and perhaps you loathe the mention of this ‘ballad,’ but on this night, the audience was laser focused on the new tune.
The remainder of the set picked up after the dip in the middle that the interrupted the flow. The “Maze” clocks in at nearly 15 minutes, full of driving funk via Page McConnell’s keys, and is followed up nicely by “Fluffhead,” adding an exclamation point to the “Maze.” But wait, there’s more! “Chalkdust Torture” > “Frankenstein” closed the set with as much back to back energy as pounding a Red Bull and following up with a 5 Hour Energy – hearts were pumping at full capacity for the final half of this set.
For an encore, the band left the stage and returned to a microphone set up on Page Side, so those on the floor gravitated over for an up close version of the barbershop quartet “Hello My Baby, ” by then a fading acapella number and the last one until 2009. “Character Zero” found the energy from the second set, bottled it up and unleashed on the crowd to close the night.
Phish have made their presence known in Rochester over the years and made their December 1999 show as memorable as the 1997 show that garners the most attention. In that way, December 5, 1999 is the Jan Brady of Phish shows in the Flower City. Stream the show via Phish Tracks.
Phish, December 5, 1999 – Blue Cross Arena, Rochester, NY
Set 1: Carini > Gotta Jibboo, Back on the Train, Taste, Bug, Sparkle, Tube, Lawn Boy, Ginseng Sullivan, Twist[1] Set 2: Mike’s Song -> Meatstick > I Am Hydrogen > Weekapaug Groove, Brian and Robert, Jennifer Dances[2], Maze, Fluffhead > Chalk Dust Torture > Frankenstein Encore: Character Zero, Hello My Baby [1] Slightly new arrangement. [2] Debut.
In 1986, Bob Mugge, the foremost documentarian of music giants, decided to make a film about jazz’s greatest living improviser, the “Saxophone Colossus” himself, Sonny Rollins.
Prior to tackling the mighty Rollins, Mugge had created acclaimed documentaries profiling Latin pop star/political activist Ruben Blades, proto-rapper Gil Scott-Heron, soul/gospel legend Al Green, intergalactic jazz visionary Sun Ra and a bevy of reggae’s biggest stars at 1983’s Sunsplash Festival.
To capture Rollins, Mugge would first travel to Tokyo for the world premiere of his “Concerto for Tenor Saxophone and Orchestra” with the Yomiuri Nippon Symphony. The director then sought to contrast the pageantry of the symphony hall by documenting Rollins at what he called a “bread and butter gig,” a typical performance by Sonny and his four-man touring band of the time.
In search of a suitably dramatic background, Mugge first attempted to get approval to film Rollins and band on a Circle Line Jazz Cruise on the Hudson River in Manhattan. When this fell through, Mugge lucked into something that proved even more unique. It was a concert already on Rollins’ schedule that would take place upon a rock stage at one of America’s most impressive earthworks, the sculpted rock quarry Opus 40 in Saugerties, New York.
Created by pioneering artist Harvey Fite between 1939 and his death in 1976, Opus 40 is a world-famous sculpture park and museum with 50 acres of meadows, forested paths and bluestone quarries — including 6.5 acres of earthwork sculpture — in the heart of the Hudson Valley in Saugerties, NY. Called “the Stonehenge of North America,” Opus 40 welcomes more than 20,000 visitors yearly. It has also been the site of scores of concerts by artists like Richie Havens, Pete Seeger and Jimmy Cliff, theater stagings ranging from Macbeth to Hair and numerous films and music videos, including Amanda Palmer’s version of Pink Floyd’s “Mother.”
But no event would have the lasting impact of the performance by Rollins on August 16, 1986, one which is cemented forever as the centerpiece of Mugge’s recently re-released and expanded documentary, SAXOPHONE COLOSSUS.
“When it came to planning my next film, I thought what would be more interesting than doing a film on the greatest living jazz improviser,” recalls Mugge. “Sonny’s wife and manager Lucille also wanted to show that Sonny was still playing great, the best of his career perhaps. As a nice coincidence, they were then preparing for the world premiere of Rollins’ concerto taking place in Japan, so we filmed that then the Opus 40 show.
“Opus 40 is a sculpture rock quarry made by another lone genius” Mugge continues. “The monument coming out of it (the 9 ton, 14-foot tall bluestone monolith called “Flame”) proved to be the perfect opening image for the film. It embodied the ‘Saxophone Colossus’ which I knew would be the title of the film, which is also the title of one of Sonny’s most heralded albums.”
“I can’t remember how we originally booked Sonny, but a week before the concert I got a call from Mugge,” says Tad Richards, a writer, visual artist and Fite’s stepson who has run the Opus 40 non-profit with his wife Pat since 1986. “He said they were making a film and that the Circle Line gig fell through and needed to set something up quickly. He had seen us on Sonny’s itinerary and wondered if they could film it. I said we’d be honored.
“Neither of us really knew what we were getting into as holding concerts was still relatively new here and we had no idea what filming would entail,” continues Richards. “To say we were pleasantly surprised, that doesn’t do it justice.”
The film kicks off with the jaw-dropping “G-Man,” a 15-minute plus excursion where Rollins proves he is indeed the world’s greatest jazz improviser.
As the camera pans down from the monolith, we come up from behind to see Sonny Rollins and his band on the rocky stage with a huge audience in the foreground. After the simple four-bar head is repeated a couple of times, Rollins is galloping off, digging deeper and deeper, with rapid-fire chromatic licks and arpeggios alternating with long held notes and basso growls, often powered by cheeks puffed out from circular breathing. Every so often, he returns to the head and you think he is winding down, just to go off again for another few minutes of profoundly melodic and deeply emotional improvisation. With every new chapter and return, Sonny ups the energy and excitement, seeming to spiritually levitate the large and intensely focused crowd seated on Opus 40’s spacious lawn.
“’G-Man’ proved as much as anything else that he was at the peak of his powers,” adds Mugge. “It became the centerpiece of the soundtrack CD and the film.”
The real drama came later, when in the midst of a long solo improvisation in which he prowled the stone stage like a panther, Sonny Rollins decided to leap off it onto another stone outcropping six feet below.
Tad Richards recalls: “I was sitting with Lucille Rollins on the lawn, stage right, when Sonny suddenly disappeared, stage left. The audience gasped, Lucille especially, and everything stopped. And then, still out of sight, Sonny started playing again, so powerfully and beautifully that everyone in the place assumed it was part of the show, even the musicians. You can see them in the movie; first shocked, then laughing as he starts playing again.
“After a few minutes, Sonny is still playing, still out of sight and Lucille says – ‘I’m a little worried, can you go and check on him?’ So I did and I found Sonny lying on his back, playing with the cameraman standing over him. We waited until he finished his solo and then helped him to his feet.
“Sonny asked how long we wanted him to play and I said I would stop the concert right then, if he needed medical attention. ‘No man,’ he growled, “I’m going to finish the gig’ which he did standing, propped up on one foot. Afterwards, two of our volunteers who were EMTs took him over to Northern Dutchess Hospital where they confirmed he had broken his heel.”
Another witness that day was local saxophonist Gus Mancini.
“What happened was that Sonny was doing one of his long solos, quoting every song there is between these incredible improvised riffs,” remembers Mancini. “Suddenly, he leaps from the flat stone stage to one below and disappears. After a slight pause, he starts playing again, for a long time, still out of sight. Everyone kept wondering where he was. Turns out he broke his heel and was taken off in a golf cart. I actually saw him the next day on TV in a cast and was amazed at how much longer he played at the concert, with his foot in that condition.”
Mugge concludes: “It was a very surreal moment that became famous in the jazz community even before the film was finished.”
The film soundtrack CD, “G-Man,” includes other remarkable performances from that day at Opus 40. These include lengthy outings on two Rollins’ classics, “Don’t Stop the Carnival” and “Tenor Madness,” but none as fiery as the concert and film opener.
I have had the pleasure of seeing Rollins a half dozen times over the years. These included shows at NYC’s The Bottom Line, the Village Gate and his legendary 80th birthday show at Carnegie Hall, where he played for the first time on stage with Ornette Coleman. I also saw the discussed Circle Line Cruise show, a week after his outing at Opus 40.
The Circle Line concert was, with little doubt, one of the three best shows I’ve ever seen. At it, Rollins played with his casted foot elevated, laying back in a Lazy Boy Lounger! It was typical of the Sonny shows I saw. He started off with an equally exciting and lengthy version of “G-Man,” building and digging deeper with each passing minute, without ever being boring or repetitious. He did an even more amazing and lengthy exploration on Stevie Wonder’s “Isn’t She Lovely,” the encore of this boat show. I saw him do the same thing on his opening number shortly thereafter at The Bottom Line show.
After these first numbers, I always asked myself if I should just leave. What more could he possibly do to impress, entertain, enlighten? I had certainly gotten my money’s worth. It was always pure musical gladiator stuff – creativity, craft and soulsmanship of the highest order from a lone genius. A performance checkmate in one move.
Today, 90-year old Sonny Rollins lives the quiet life in Woodstock, N.Y., retired from playing due to respiratory issues linked to his being in downtown NYC on 9/11. You can enjoy him speaking about his life and craft, and at the height of his improvisational powers with his Opus 40 performance and footage from his never-released concerto with Mugge’s new expanded Blu-Ray version of the documentary.
For more jazz goodness, check out Tad Richards’ Listening to Prestige, a multipart book series and blog that is chronicling all the releases from this great independent jazz label of 50s and 60s (530 and counting to date). For the past 22 years, Gus Mancini has been performing live every Sunday morning on WDST/Radio Woodstock’s “Woodstock Roundtable with Doug Grunther,” as well as gigging with numerous outfits including his rotating cast of improv warriors, The Sonic Soul Band. And for another spirited but definitely less awe-inspiring musical chapter from Opus 40 past, catch this writer performing “Divine Nonchalance” with his Spaghetti Eastern Music under the monolith at a show on Labor Day 2018.
On Nov. 15, Brooklyn-based multi-instrumentalist Ciao Malz (Malia DelaCruz) released her newest single “Two Feet Tall.” The single is the first from her debut EP, Safe Then Sorry, to be released via Audio Antihero on Dec. 6.
The memorable melodies and infectious chorus sticks in your head long after the song ends while the emotionally rich lyrics leave you with much to think about. In true Bedroom Pop fashion, the cheerful verses are complemented by thoughtful, albeit pessimistic, moments of sheer honesty as the chorus comes back around.
Each time the tempo slows, the song avoids hitting a resolving note until it returns to the verse. As the song ends, DelaCruz’s repetition of the phrase “I can never tell” hits home in a genuine way that most songs lack. The production on the song is top-tier and makes the track fit comfortably on any college radio rotation, or indie pop playlist you can imagine. All this, combined with the thematically resonant vocal delivery and wobbly guitars, strikes a distinct note, helping “Two Feet Tall” quickly become her most-streamed song since its release.
Ciao Malz draws inspiration from artists such as Elliott Smith, Jerry Jeff Walker, and Men I Trust, blending witty introspection with a dynamic musical style. While her self-released demos garnered attention from NPR, WFUV, Loud Women, and others, this latest work is her most mature, eclectic, and polished to date.
Her music first reached the Audio Antihero label when she issued a cover of Frog’s “You Know I’m Down” in 2023, and the label then offered to work with her on this debut. In addition to numerous other collaborations at her Lower East Side studio, Malia DelaCruz has also been played bass for the acclaimed Sister.group (with Hannah Pruzinsky, Ceci Sturman, and James Chrisman).
On Oct. 3, Brooklyn-based rock project sweet93, fronted by lead vocalist Chloe Kohanski, released their latest single, “what’s true?”
The titular question drives the melancholy track to a desolate dreamscape in three-quarter time. “what’s true?” represents a foray deep into Dream Pop. Drawing inspiration from notable groups such as Beach House, sweet93 moves away from the angst-ridden, rougher sound of previous singles (“Stars Above” and “Be My Best“) and continue down that path of introspection, getting tighter more straightforward in their songwriting.
The loss of hope conveyed so clearly in “what’s true?” is most recognizable in Kohanski’s 2023 OurVinyl Sessions Acoustic EP. However, sweet93’s newest effort delivers layers of ambient noise, reverberated into oblivion, creating a sound that holds up on all fronts. On the acoustic live EP, Kohanski’s vocals shine brilliantly, proving beyond any shadow of a doubt that she’s a talented singer. Yet, the professional-grade production on their newest song only adds to the list of factors that make sweet93 a standout listen.
The best thing about sweet93 is they’re a new act that’s still trying to find their sound. When every sound they try sounds great, you know you have a special group on your hands, especially when Kohanski’s vocals sound like a young, mellow Janis Joplin.
Since 2021, sweet93 has been apart of the NYC music scene collaborating with friends like Porches and playing shows with Ovlov and untitled (halo). sweet93 opened for Porches, at their most recent gig at Brooklyn Steel on Nov. 20, and contributed vocals to his latest album Shirt, on the song “Bread Believer.”
sweet93 informs us “There’s more music on the way, they’re constantly trying new things and experimenting in the studio.”
Fast Tony Productions has announced the Sunday Blues Festival at The Parting Glass in Saratoga Springs for February 2, 2025.
Featured Guitarist – Toronzo Cannon
Headlining the festival is world-renowned blues guitarist and vocalist Toronzo Cannon. This isn’t just another night of great live music—it’s a celebration of the blues in a venue that captures the magic of intimate live performances.
If you’re a fan of blues, live music, or just good times, this is shaping up to be a night you won’t want to miss. Cannon has become a force to be reckoned with in the world of electric blues. His unique blend of modern Chicago blues, soulful vocals, and electrifying guitar work has earned him rave reviews from all over. Whether he’s ripping through an emotionally-charged guitar solo or delivering a poignant social commentary through his lyrics, Cannon’s performances leave audiences spellbound.
Fast Tony Productions may be new to Saratoga, but Anthony Mangano-Delaney has already shown his ability to pull off big events. His first show in November 2024, featuring Bywater Call, was a resounding success, drawing a crowd of 150 and setting the stage for continued exciting performances to come. Tony is also eager to see how Fast Tony Productions can carve out its space within the vibrant Saratoga music scene with venues like Caffe Lena, Putnam Place, and SPAC.
Known for its cozy atmosphere, The Parting Glass is the perfect backdrop for one of Chicago’s brightest blues stars. The festival kicks off at 5:00 PM with non-stop music leading into Toronzo Cannon’s headlining set at 7:30 PM.
For ticket information on the February 2, 2025, Sunday Blues Festival at The Parting Glass in Saratoga Springs, click here.
