Musefest Performers:
Elliot Martin's Black Castle
by Steve Rokitka
It's not every day you get to see a talented, proven songwriter, performer and producer developing an emergent type of music with three seasoned live musicians, much less when that performance happens to be in the midst of such a diverse musical event as Musefest.
Black Castle, Elliot Martin's solo release, was an amazing work. Delving into the ever-evolving realm of world electronica, the disc combined beats from African and Indian traditional music with European, Asian and American-style drum and bass and the roots reggae sensibilities that Martin displayed as part of John Brown's Body. Sometimes multi-layered and orchestral, sometimes close and organic, the music spoke with voices from a broad spectrum of cultures. We heard snippets of the JBB sound, an increasingly potent hip-hop influence, and most of all, Martin's skill as a producer-giving each song exactly what it needed.
For the last several years, Martin's primary live performances have been with John Brown's Body, and the material from Black Castle has been played mostly at smaller, infrequent gigs. At this year's Musefest, he embarks on a new session of live shows, performing tracks from Black Castle and other solo works with an all-star band that includes current JBB keyboardist Matthew Goodwin and Giant Panda Guerilla Dub Squad's Buddy Honeycup on drums and James Searl on bass.
Searl says that the blend of roots reggae and drum and bass on Martin's solo work fits with the direction that he and Honeycup had been going. Like Martin, they had been experimenting with making drum and bass performances work without electronic samples to create their distinctive sound. "It was sort of right up our alley. We'd been trying to do live drum and bass for many years now in organic fashion, with a bass and a drum set." The idea of electronic music sans-electronic playback is still relatively young, and the group continues to experiment with different combinations to get the right sound. "It's still very formative, but there's no sequencing- everything is actually being played."
Elliot Martin's skill at both songwriting and production, combined with three seasoned live performers, all trying their hands at an emergent style of music. It promises to bring a high level of energy to Musefest's field stage, and to bring out the best elements of Elliot Martin's material, which is the humanity of folk music and the spiritual conviction of the deepest roots reggae. It's offered in a voice of utmost humility and respect for both the audience and the art form. The messages are delivered by showing as much as by telling, as each song is in and of itself an exercise in meditation.
Thousands of One
by Steve Rokitka
There's a lot to be said for a band that's just as likely to be on the main stage at a hip-hop show, in Hawaii on a national tour, or playing to an audience of about a dozen at an organic grocery fundraiser. Making music successfully is a tricky thing in and of itself, so for a band creating a buzz with both their live gigs and recordings, making space to represent one's ideals is a thing worthy of respect.
Thousands of One blend activism-heavy hip-hop with funk and reggae beats, wrapped in a very spiritual and gently charismatic set of sensibilities. It's a delicate art making political, social and spiritually conscious music: people need to be able to access it in many different ways. Thousands of One is notorious for their funky, hypnotic, highly danceable beats, but also for their lyrical content, and the ideological and behavioral changes that it inspires. It's this mix of beats and beliefs that helps the group reach out to an ever-growing audience. I don't care where you're from,
says vocalist Jhakeem Haltom Whether it be the city, the country, whether it be a whole other nation, there's a human condition we're all dealing with.
Thousands of One got their start at the Rongovian Embassy in Trumansburg, where an open hip-hop jam turned into Stepper's Lounge, a weekly gig for the group. In the past several years, the group expanded their musical range and live performances, moving on to bigger and better gigs and, under the guidance of of John Brown's Body vocalist Elliott Martin, cut an LP that has since been on radios and Ipods all over central New York. After a tour of California and Hawaii this past winter, Thousands of One is back in Ithaca, and sure to once again inspire local fans at this year's Musefest.
Malang Diabate and Jali'
Malang Diabate is a prolific kora player registered with the National Council for Arts and Culture in Gambia in West Africa. He has been playing kora since childhood and because of his dedication, has had tremendous success.
Malang Diabate is also a recording artist and has been featured on recordings with Boubacar Diebate, Bela Fleck and Dialy Kounda, among others. Mr. Diabate also serves in many cultural functions. As a djeli, a traditional title designating he is of the Manding people and designated as a healer, mediator and master musician, he is personally responsible for maintaining an oral history of many generations before him. He is called upon in countless social settings to bring people together, sometimes to resolve disputes, and other times to help leaders of the noble class to make important decisions. His role is a complex one with many layers and no direct parallel in American society. Malang also teaches many students the art of the kora.
Recently relocated to Ithaca, he is quickly gaining popularity in our community. We at Musefest are excited to present this master of his craft with his relaxing and beautiful instrument. Malang will be performing with his cousin, Jembe player Jali'. Come absorb the music of Malang Diabate.
Kevin Kinsella and Ti Ti Chickapea
by Stu Fox
Music lovers are in for a special treat when Ti Ti Chickapea makes a rare appearance at Musefest. The band features four of Ithaca's most renowned musicians and their performance is likely to be one of the musical highlights of this year's festival.
The group began as a string trio in the late 1990s with cellist Hank Roberts, violinist Eric Aceto and guitarist and banjo player Richie Stearns, when the band released Change of Worlds
on Orchid Beat Records in 2000. They expanded into a four-piece band two years later when John Brown's Body guitarist and vocalist Kevin Kinsella joined forces with them to record &quoFirestick&quo for I-Town Records
Each of the band members has made a notable mark in music circles, and one of the unique things about this group is that they all come from different musical backgrounds. Kinsella's musical tastes were shaped by the reggae giants he saw performing at the Haunt during his youth, and he has become an influential figure in today's reggae sound. Roberts came out of the New York City downtown jazz scene in the 1980Õs and is known for his avant-garde work in jazz improvisational outfits with Bill Frisell, Tim Berne, Joey Baron, David Sanborn and former Police guitarist Andy Summers.
Stearns was a founding member of The Horse Flies, and he's also played with Donna the Buffalo and Natalie Merchant. His main musical influence is traditional old time music. Aceto is more immersed in jazz, acoustic folk and experimental music and has performed with the Burns Sisters Band, blues pianist Henry Gray, and many local groups over the years.
The band originally started out as an acoustic string trio but with all of the musical muses swirling around in this outfit, it is impossible to predict exactly what kind of progressions they will be digging into this August. They began working on new material for their next album during the spring and have booked several big shows this summer.
Ti Ti Chickapea is going to be appearing at the Taughannock Park and Central Park summer concert series before they play at Musefest. Their rhythmic vibrations should be finely tuned for this performance. The band members' different musical obligations place limitations on their ability to devote a lot of time to this project, but it looks like they will be diving deeper into the music this summer than ever before.
We're going to make this more groove-oriented, with a more Southern soul sound,
says Kinsella. I can't wait to hear the rhythmic concoctions these guys cook up this summer
The Pharcyde
by Rob Delphous
Here to enlighten, bringing its trademark whimsical flow and harmonic voices, the Pharcyde will perform at this year's Musefest. Those who have attended the festival in the past may question the addition of a major hip-hop act at our event. There is a parallel between what we are doing here at Musefest and the history of the hip-hop culture. Both communities embrace the love of music and dance as well as the celebration of freedom and respect. Taking a stand for altruistic ideals is a commonality that transcends culture, but can also be an expression of it. One may ask why a group like The Pharcyde would be invited to perform at our event when we mostly focus on underground local music. And some may wonder why they would accept our invitation. The fact is, hip-hop artists that promote a conscious positive message warrant an outlet to express what is empowering and beneficial.
Positive and conscious hip-hop is not often promoted on your average TV show, radio station, or music magazine, but it can be found if you look for it in the right places. When we open ourselves to a positive message, we can help expand that message, both in ourselves, and in others.
The Pharcyde may very well be one of the most resilient groups in the history of Hip Hop music. Originally a foursome, they released their debut in November of 1992. The album, Bizarre Ride II the Pharcyde, became one of the most influential hip hop albums of the 1990s. Their second single. Passing Me By
, became a hit on Billboard charts, and the group was on their way to being one of the most praised underground hip-hop acts known to date. The group began a busy touring schedule in support of their amazing progress in the hip-hop community. After support slots for De La Soul and A Tribe Called Quest, The Pharcyde was the first group to tour two years in a row on the second stage of Lollapalooza.
The group's second album, Labcabincalifornia, took a noticeably different direction than their debut, and although it was popular it did not match the success of their debut album. It would seem impossible to anticipate the unresolved differences that would eventually send The Pharcyde on a truly bizarre ride. After the release of this album, tensions began to rise within the group, ultimately ending with the departure of one of the founding members.
The late 1990's was a time of amazing growth in the hip-hop scene, and the Pharcyde returned with three members and an EP in the year 2000. A full album was released in the following year, with a mediocre receptionÑnot only by the public, but by the music industry itself. It was soon after this release that the group lost yet another member, who went on to record a solo album in 2002. Now stripped down to only two MCs, The Pharcyde returned after a four-year break with a renewed energy. They embraced new developments in hip-hop culture and rose to the challenge with yet another album, Humboldt Beginnings.
This brings us to the present-day duo known as The Pharcyde, which consists of Imani Wilcox and Bootie Brown, who continue to share their unique gift with audiences worldwide. Just returning from a European tour, they have what it takes to continue successfully, and anyone who has witnessed a performance on their recent tours will agree. The Pharcyde is strong and on track, staying true to themselves on a mission bound for certain success.
We invite you to open your mind and expand your consciousness as we proudly present The Pharcyde on Sunday night at this year's Musefest!
Giant Panda Guerilla Dub Squad
by Erin Leidy
Neighbors to the north Giant Panda Guerilla Dub Squad of Rochester will make their first appearance at Musefest in 2006. The band has been playing multiple weekly gigs in Rochester and beyond for three years which has led to a refined sound -- it's air-tight to say the least. This solid foundation makes way for dub meanderings of the sort that will be pleasing territory for listeners with a penchant for the psychedelic rock of the early '70s. With their feet planted firmly on the ground of traditional reggae their lyrics point toward a thoughtful and civic minded outlook that manages to be both optimistic and realistic -- like so many of their predecessors in modern Caribbean music, embracing the bittersweet peculiarities of the post-modern experience.
Through all this runs an equally significant current of spiritual energy serving to, at the very least, remind listeners of the influence that religion has had on the development of this genre of music. At its core, the Giant Panda sound is funky, complex and celebratory making it ideal fare for the festival setting.
Giant Panda Guerilla Dub Squad released their first full-length album, Slow Down
in March. They have spent the winter touring the northeast extensively and now have their sights set on the west coast. The band consists of Matt O'Brian (guitar and vocals), Chris O'Brian (drums and vocals), James Searl (bass and vocals), Dylan Savage (guitar and vocals), Skribe (percussion and vocals) and Rachel Orke (Fender Rhodes and melodica).
Where many other reggae bands grow stale, Giant Panda offers a refreshing sculpted song, a deep groove, smooth vocals, and inspiring lyrics,
says Papa Muse. Check out www.giantpandadub.com.
The Pietasters
by Erin Leidy
Ska-punk heavyweights The Pietasters will be making the journey from the DC area to Musefest for the second time. They're no strangers to central New York, their first appearance being at the old Haunt on Green St. in Ithaca in 1994. The extent of their touring goes far beyond the east coast. We did our time in LA,
says Stephen Jackson, the band's singer, as he recalls their stint with Epitaph/Hellcat Records where they made their most successful albumÑ1997's Willis. Having been based on both coasts they've covered a lot of ground on this continent and on six occasions have toured various parts of Europe.
The Pietasters define themselves by the raucousness of their shows so as you can imagine, performance is where their focus is trained. This band is classic '90s high-energy ska-punkÑa driving rock quintet with a very solid horn section. They've shared bills with No Doubt, The Violent Femmes, The Mighty Mighty Bosstones, and many others, including a turn on The Warped Tour. Influences include not only the usual suspects but healthy portions of '60s pop, Motown and soul, including James Brown, whom they can count among their own fans. In December of 2002 the group served as the Godfather of Soul's backing band in front of 25,000 people at a radio station-sponsored holiday party in Washington DC with great success. Their many fans aren't the only ones who get worked up when The Pietasters play. It's always been about having fun,
says Jackson. The band formed with that goal in mind when the members were all in college. Following graduation, they put together a record and a tour after which, one way or another, all their fates were sealed. When they got home half the band quit and went off to graduate school and the other half are still on the road. Since 1992, The Pietasters have put out seven studio albums and many EPs and singlesÑall while touring relentlessly. Last year they released their first DVD, Live at the 9:30 Club, which was recorded at the famous DC venue. They are currently working on their eighth album, which is as yet untitled and will most likely be released on the label Fueled by Ramen (owned by Less Than Jake drummer Vinnie Fiorello). The Pietasters are Jeremy Roberts/trombone, Toby Hansen/guitar, Carlos Linares/trumpet, Alan Makranczy/saxophone, Rob Stewart/drums, Stephen Jackson/vocals, Jorge Pezzimeni/bass and John Darby/keyboard. Check out www.stevelaplaca.com for info on the high-energy ska heroes.
Igor's Egg
by Nathan Maxwell Cann
New to the vibrant Ithaca music scene, Igor's Egg combines intricate composition, experimental improvisation, and quirkyness into a funk-groove throwdown with an artistic flare. Their instrumentation features dueling guitars, bass, drums, percussion, keyboards, and violin.
Their live show reminded me of the sophistication and flair of Frank Zappa's most extreme work, fused with the bounce and jam of bands like Phish, innovative and at the edge of reality. I went and saw them play at Castaways and experienced their performance in conjunction with an artistic indie film that never could be predicted. The band's show was wild, dramatic and impressive.
-- Papa Muse
It was of my purest intentions to conduct a civilized and highly academic interview with that elusive septet of Phyllo-sophical
degenerates, Igor's Egg. The following is an account of such an interview, conducted entirely within the confines of their official summer home and creative retreat: a large red blimp fashioned in the shape of a manatee, currently free-floating approximately 2,000 ft above the township of Carlsbad, New Jersey.
Nathan Maxwell Cann: So, tell me aboutÉ the Egg.
Adam Nash: Well, I prefer to have it scrambled, Jeff and Samuel like it over easy, Salvatore eats primarily omelets, and Rosen will only eat it whole.
Dave Rosen: Of course it depends on the overall consistency.
Samuel Henschen: A foolish consistency is the hobgoblin of little minds, adored by little statesman and philosophers and divines.
Jeff Scott: With consistency a great soul has simply nothing to do.
NMC: I'm sorry, but can you explain that? IÕd hate for you to be misunderstood. Samuel Henschen: Is it so bad to be misunderstood?
Adam Nash: To be great is to be misunderstood.
David Rosen: Men imagine that they communicate their virtue and vice only by overt actions, and do not see that virtue or vice emit a breath at every moment. (At this point, the interview was interrupted when drummer Johnny Boujan John
West stumbled in the room, drinking a Wild Turkey Manhattan out of the freshly chopped skull of Richard the III. Violinist Liz Cary followed close behind, carrying a large cardboard box with the words &quoFree Kittens&quo written on one side.)
Liz Cary: Listen! You can hear the children laughing!
Adam Nash: And this is what Igor's Egg is really all about.
The Egg's upcoming album, Prototype, is just a taste of the epic science-fiction mythology that they incorporate into their music. Igor's Egg hopes to bring something new to the musical world. Their style will for better or worse, invoke strong emotions in the hearts and minds of their listeners. You can find out more about the Egg and hear some tracks at www.igorsegg.com or www.myspace.com/igorsegg.
Dufus
by Derek Schleelein
ROIR recording artists Dufus have been busy in the past year, recording a new album, the Last Classed Blast
and touring across the country. Musefest will be their first show as a unit after frontman/guitarist Seth FaergolziaÕs solo tour of Europe. Rounding out the lineup are a rotating cast of multi instrumentalists, all part of the bandÕs Du-family.
For those new to them, Dufus is best described as a truly creative and chaotic force. Driven by SethÕs own (lack of) doctrine of The Complete and Absolute Disassemblement of Reality,
what the Dufus website calls a spiritual doctrine favoring the individual's transcendence of the status quo consensual hallucination,
you can expect a unique musical experience that has drawn comparisons to Zappa and Ween, mostly for similarities in attitude and execution rather than any sonic overlaps. For a band that has included over 30 members, you get the feeling that no two Dufus shows are the same.
Seth has his own story to tell about the origin and aesthetic of one of the strangest acts you are likely to see at Musefest.
Dufus first began when I taught one of my songs to three other guys, and we got up, played the first 3 parts of the song and then went into a 45-minute improvisation that ended with the final section of that song. It was ridiculous,
he recalls. From that was born an ethic of forming bands out of who was there, not exclusive tiny cliques that people would be involved in, but an all inclusive whole that anyone willing to work at it could be involved in.
Check out www.dufus.tv and learn more about this wacky anomaly that is Dufus.
The SeepeopleS
by Will Fox
SeepeopleS, led by Will Bradford, who is also the driving creative force in the band, play sonically majestic rock music that bends around genres and sub-genres without ever losing its appeal, appeal to just about anyone. It's a perfect sound for today's schizophrenic music fans who listen to as much indie rock as they do progressive rock, as much soul and jazz as house music or dub, hippies yearning to rock out a little harder, indie rockers patient enough to wait for the payoff, will all be initially pleased, then converted by Seepeoples' indie/psychedelic/dub rock 'n' roll.
Lyrically, many of the songs are political and socially charged, which the music mirrors; sometimes to temper the message, sometimes to reinforce it. Some songs that Bradford delivers in a high plaintive indie-like register are a wake-up call for today's society; others deal with the struggle of awareness and the beauty of hope. The lyrics are thought-provoking and straightforward, worked into this ambitiously creative music in a way that it brings to mind Pink Floyd's Animals.
You can also hear traces of influence from as wide an array of artists as Radiohead, The Mad Professor, and The Beatles in their music, but not once do you feel like the band is trying to sound a certain way or like a certain other band. The blend of various styles and influences that permeate through each song has given the Seepeoples a sound all their own, of all genres and therefore none. Visit www.seepeoples.com for a plethora of SeepeopleS particulars.
I get many solicitations from bands trying to attract my consideration, and honestly I don't always pay close attention. It's fortunate, however, that when the Seepeoples' management e-mailed me their Electronic Press Kit, I happened to give it a listen. Now I listen regularly. In a sea of endless new bands to experience, the Seepeoples have something distinctive and compelling.
- Papa Muse
Entrain
by Papa Muse
Entrain is described at their website as a funky, world, jam, ska, reggae, rock, stew with enough drums to sink a battleship.
This band's sound is polished and demonstrates their professionalism and ability to connect with and effect those who hear them. Their joy emanates and permeates the crowd, who assemble united and inspired.
I'll always remember the first time that I heard Entrain play. I was at the Fingerlakes Grassroots Festival of Music and Dance, open eyed and eager to explore new musical horizons. Entrain came out and blew away my most extreme expectations. People were packed right up to the stage dancing and laughing and full of life. I was awestruck when the band broke down into a drum jam, every musician skilled and intense. Their Mardis Gras party vibe and African and world rhythms burst through my heart with an unmistakable impact that has left me a huge fan. Entrain's high-energy danceable beats, horns, funk and melodic, skillfully crafted songs are instantly accessible, memorable, and fun.
Entrain has recorded five albums which are available on Dolphin Safe Records. All of these albums have been praised for their ability to shift effortlessly between musical stylesÑfrom rock, blues, calypso and ska, to zydeco, jazz and funkÑand often within the same song. The whole Entrain concept is based around the drums and infectious rhythms. Once we've got that . . . everything goes, anything goes,
explains drummer and founding member Tom Major. Trombone player and percussionist Sam Holmstock says, "The most important thing that we try to do with our music is bring everybody together."
Entrain's goal is not just to be the biggest and the best, says Major. We wanna create music that makes people feel good. When we look out from the stage, all we see is smiling faces and bodies moving. You can't beat that feeling. At the same time, if we can help to make peace and love cool again . . . great! There's enough negativity in the world, let's spread a little joy around and watch how infectious it can be.
This will be the second time in three years that Entrain plays at Musefest. They enjoyed the event so much in 2004 that they have offered to drive through the night between gigs in their native Massachusetts to be with us this summer. I am thrilled and grateful for the bands participation with Musefest and invite anybody who likes to dance, party and sing, to join us.
Entrain has a resume that could fill this page so I won't bother with those details, but if you are interested to learn more about them, please visit their website at www.entrain.com. I strongly suggest you see their live show, they will leave you satisfied and in awe.
Blue Sky Mission Club
by Derek Schleelein
Blue Sky Mission Club returns to the Musefest this year for the third time. Considering Musefest was the first festival we ever played, there is a feeling of both coming home and excitement for us,
says guitarist London McDaniel.
Blue Sky Mission Club plays high energy Zydeco and Rhythm and Blues grooves that propel the crowd to dance. The band has seen many incarnations, but are always consistent in their intension and style. Lap steel, squeeze box, washboard, bass, driving drums, and an assortment of quality songs makes BSMC a fun and energized experience.
According to McDaniel, There are few experiences as gratifying as touching the lives of our fans and fellow musicians. There is a unifying spirituality that comes from both the power of the lyrics and the movement of the music which we find elevating.
Not only are the BSMC regulars to the hometown crowd, but in the past year they have been warmly welcomed in Florida and Pennsylvania, where they have found fans even in potentially dire circumstances.
We played in San Destine FL, near Pensacola,
McDaniel remembers. We were scheduled to play for a small city event but to our surprise they had no PA system. This was somewhat of an issue considering there were hundreds of people waiting to hear us,
remembers McDaniel. So we grabbed our acoustic guitars and had an old fashioned hoe-down with hundreds of people. Afterwards we actually sold more CDs than we sold on the entire rest of the Florida tour. I can say without question we were the only acoustic act to ever grace that stage.
Not only that, but the band is working on a new record, a process not without its difficulties. The biggest challenge is to communicate the most personal sentiment in the most universal method. The process can be a bit un-nerving and exciting all at once,
McDaniel explains.
Blue Sky Mission Club makes people move, dance and even sing along. If there ever was a band worthy of a festival atmosphere, they are it. Be sure to reserve some foot stompin' space right up in front of the stage. www.blueskymissionclub.com.
Buckweat Zydeco
by Gene Ira Katz
ItÕs so ironic: Stanley Dural Jr. didn't even like the accordion back when he was growing up. I thought the accordion was for the older generation,
he said. My father played the accordion.
Meanwhile, young Stanley achieved a good deal of recognition playing the organ, performing on stages since the age of nine or ten, and eventually gaining a widespread reputation as a jazzy, funky, bluesy player rocking out on his Hammond B3. Every weekend, the Durals had a family music jam with Stanley playing rhythms on a washboard accompanying his father's accordion. That was really our washboard,
he remembers. The rest of the time we used it for clothes, but on the weekend we used it for music.
Those weekend sessions with Dad were his only childhood education on the squeezebox. He couldn't stand my music, and I damn sure couldn't stand his,
he says.
That was before he was invited to sit in for one night in the 1970's with dad's friend Clifton Chenier and his Red Hot Louisiana Band. From his first show with Chenier, known as the King of Zydeco, Stanley Dural Jr. was hooked. Man, we played that concert non-stop for four hours. I had so much fun that I wound up playing with Clifton for two years. That shows you, donÕt criticize what you donÕt understand.
He found Chenier's energy and the music very inspirational. When his stint with the Red Hot Louisiana Band was over, Dural took up the accordion and transformed himself into Buckwheat Zydeco, becoming one of the most popular practitioners of Creole music ever to come out of Louisiana.
After more than twenty albums and countless tours, Buckwheat has brought his own characteristic exuberance and rockin' sensibilities to the driving pulsations of the zydeco sound. On his recent CD, Jackpot, he infuses every song with a heap of soul along with that Louisiana hot sauce, featuring one dynamic original song after another, including some stone blues and roots reggae, as well as that irresistible zydeco. And don't call it Cajun, he says, explaining that zydeco was created by black French speaking Creoles of the Delta, with roots in African music and influenced by the rhythms of Haiti and the Caribbean, whereas Cajun was created by French speaking whites (Arcadians). ItÕs like the difference between R&B and rockabilly.
Since he first began playing zydeco, the Grammy-nominated Buckwheat says that he's brought it to a different level for a new generation, infusing contemporary sounds that expand the bouncy drive of the traditional Creole form. ThatÕs part of what keeps bringing new younger listeners to his live concerts. People have a tendency to listen to what they know. But you donÕt know what you like until you hear it.
Buckwheat says that when folks come to his shows Ò. . . somebodyÕs going to like something. And bring two pair of shoes, Ôcause youÕre going to wear Ôem out dancing.
Urban Horse Theives
by Derek Schleelein
This year is Urban Horse Thieves' third appearance at Musefest, an experience that they have come to enjoy. Their unique brand of outlaw Americana
has been gaining popularity all over the country.
Last year was great,
says guitarist/vocalist Dustin Stuhr. We look forward to the familiar faces, the relaxed atmosphere, and the enthusiastic music lovers that have come to be a regular part of this community event.
The band is rounded out by Joseph Rayle on bass and vocals, Charles d'Orban on guitar, Tony Cotraccia on drums, and Joseph Prusch on fiddle and vocals.
The past year was a good one in terms of gigs. There were some crazy moments in a few of the more backwoods venues we played. We've played bars that still don't adhere to the smoking ban, for example,
says Stuhr. We've had that 'Blues Brothers' kind of situation but without the chicken wire,
he recalls. But the highlight for me was the Americana Jubilee at the Rongo. That was one of those nights where the band seemed to really gel and effortlessly rose up to that collective consciousness feeling that is sometimes possible when playing music with a group of people.
In the past year UHT have been busier than ever, touring in central New York, recording an album, and recording a song for a film called 10mph
Ña documentary about two young men who traveled on a Segway from Seattle to Boston.
The filmmakers heard our song off of the I-Town Records compilation and contacted us about using it
Stuhr recalls. At the time, they were absolutely obscure and we enthusiastically agreed. Since then, they have finished editing the film, got into a bunch of film fests, won some awards, and look as though they will be picked up for distribution. The joke in the band for months was Ôwe have a song in a movie that you will never hear of,Õ but it's looking more and more as though that won't be the case.
Visit the Urban Horse Thieves at www.urbanhorsethieves.com
Speer-Specker-Henrie
The new Speer-Specker-Henrie album, (due for release later in 2006) secretly called Circle D Nation, and publicly named Time Flies When You're Having Fun rides on the wings of incredible guitarist and multi-instrumentalist Bobby Henrie, currently on a side project from his legendary rockabilly band Bobby Henrie & The Goners. HenrieÕs multi-tracking on guitar, mandolin, fiddle and banjo are a wonder to the ears. The songs are written by Danny Speer, an Ithaca guitarist and songwriter since the 70Õs Peabody Band, 80Õs Sinbad, and 90Õs Circle D. Speer has long remained dedicated to releasing CDs involving multi-genre songbird Dee Specker who is at her absolute best here. Their last CD on I-Town Records 2003, Speer-Specker-Henrie/ Circle D was just a warm-up for the new one.
Previously Speer and Specker released their own albums called The Curve in 2000 and Black Hats by The Circle D Band in 1992. Specker's vocals were a starring feature of Cornerstone albums on the Folk-Era label Out Of The Valley 1993 and Lonesome Town 1995, and her solo release Swingsation in 1997. Her voice has a warmth and expressive range that's only getting better as she and Henrie investigate jazz realms in another side of both of these skilled players and entertainers. Speer wrote the song A Thousand Ways
for them in that vein, but most of the songs on the new album offer a revisionist Americana, painting with a historical brush on Ever West
, Floodplain
, Oregon Trail,
and New Winter Sky
reaching forward to pre-rock dance blues that nod to Dan Hicks, Woody, Cucamonga and honky Ðtonk angels with Who Is The Queen Of Your Dreams
and That DoesnÕt Do Justice To Angels.
Homage is paid to The Highwoods Stringband with Chicken Coop Hill
and to Doc Watson on Bobby's instrumental Libby On The High Road.
On The Letter Of The Law Should Never Be Decreed to (Honest Thieves Like) You and Me,
Henrie quite effectively sings his one lead vocal of the CD's 12 songs. Speer sings three so it might seem Specker would carry the album's load with most of the lead vocals and some smart violin playing, but Henrie's lead-work and sensitive musicality in arranging and playing more than one track on all the songs makes it his show in a lot of ways.
His many friends around western New York are guaranteed to be happy when they get a load of these new Speer-Specker-Henrie tracks. We must not forget the fourth member of this band, bassist Doug Henrie (one of Bobby's four older brothers), who keeps it grounded and real on bull fiddle. The five Brothers still play once in a blue moon and Doug is a long time student of BobbyÕs instrumental genius who can lean forward with familial ears and find a special groove.
The Katherine Aelias Band: KAB a new Sound
by Vic Tif
Wow! The Katherine Aelias Band (KAB) rocks out! That was aptly demonstrated recently at Castaways. Performing and recording Lilith Fair Indie Rock
for the last six years, I was pleasantly surprised with KAB's new, bigger sound.
Recently, I had the chance to sit down and chat with Katherine Aelias:
Musefest: Why did you recently add guitarist John Pargh and keyboardist Dennis Montgomery?
Kathy: Although playing soft and sultry, which we still do in smaller venues, is nice, the band loves to rock out. They are friends we've known for a while. They've come off a hiatus from playing, and we recently got them to join KAB. They're fantastic musicians.
Musefest: Are they learning your original songs?
Kathy: Yes. We played eight of our originals at Castaways, and they will continue learning other songs.
Musefest: You like the bigger sound of the expanded band then?
Kathy: Yes, it really elevates the energy, and I love to rock out.
Kathy: Our songs are an artistic expression of our feelings and thoughts. Recently we've been motivated to political expression because of our concern about what's going on in the country and with our foreign policy. For those who think they know what this band is about, think again. Check out their website at www.katherineaeliasband.com. by Vic Tif Intelligent, indie pop is a refreshing change. Familiarize yourself with the band IY and youÕll discover exactly what I mean. The band has been playing together since the members were 13 years old and has a large local following. The audience for their performance at the recent I-Town compilation release show was packed upfront near the stage, people swaying, bopping, and grooving to IYÕs uplifting sounds and their original organic Ithaca flavor. If the blues is music for the heavy-hearted, then IY is certainly the opposite, crafting joyful-sounding tunes. Perhaps the upbeat sound of their songs has to do with the extent to which the Beatles have influenced songwriters Chris Frank and Nate Terepka. Frank and TerepkaÕs influences also include bands Radiohead, David Byrne, Paul Simon, and 1990s-era Eric Clapton. Although the music of IY feels joyous and light, one should not necessarily believe that the lyrics are merry. From TerepkaÕs ÒConcertaÓ: A new day rises up, a new way to destroy ourselves
he sees that it's good and looks at his watch, takes a stand and it's quiet
ÉheÕs finally done it, smiles so widelyÉcollapses at home and cries. These heady lyrics come from then-17-year-olds. Now 19 and releasing their second CD this July, one can easily understand that these songwriters' perspectives and approaches are changing and maturing rapidly and significantly. Frank and Terepka now collaborate far more than in the past. I've previously heard live songs that compelled me to purchase the recording right away, and this is one of them. I plan to schedule my festival security shift for when this band is not playing! Learn more about IY at www.iymusic.net. Since the band's appearance at Musefest in 2005, Seth Feldman kept a busy schedule playing shows, recording music, and finishing high school. Much of the fall and winter they recorded and produced their third official release, The Equistonaut EP, at Eocene Studio in Trumansburg, NY with guitarist Scott Nelson at the helm. This EP showcases Seth Feldman's stylistic versatility, their mature songwriting and their sophisticated production skills, making this five song collection a high point of their career. Seth Feldman also spent the past year polishing their live act, and have gained considerable recognition, taking the stage at The Haunt, Castaways, The Nines, Lost Dog Lounge, the Ithaca Commons, the Community School of Music and the Arts, The Rongo, 5 and other venue. They won the 2006 106-VIC 50-Hour Marathon Battle of the Bands, and have appeared on WICB, where they offer songs in regular rotation. This quartet of Benn Bartishevich (bass, guitar, vocals), Stephen Burton (bass, keyboard), Scott Nelson (guitar, drums, backup vocals), and Chris Ploss (drums, keyboards, backup vocals) continues increasing its accomplishments as they record their fourth release and third full-length album. Musefest 2006 will serve as a showcase for many of these new songs from this original and creative indie pop band. For more info on Seth Feldman see www.sethfeldman.com. by Derek Schleelein Hubcap returns to Musefest this year, and if history is any mark of future performance, things should go well. Gollnick, along with lead guitarist, Peter Glanville, bassist Walt Lorenzut, and drummer Ryan Cady have been playing out whenever possible and keeping busy as they build a reputation for solid rock music. Not only that, but Hubcap has found an enthusiastic audience in Western Europe, touring Belgium and Holland over the last two summers. Gollnick will also be performing a solo set in support of his newest album without his Hubcap compatriots. While performing solo requires a certain amount of adjustment, Gollnick finds it a valuable experience. And while the band's website shows a picture of the group in front of a Belgian prison (where they played a show) things didn't get too out of control for the band in Europe. The Musefest is proud to have Hubcap in its line up for 2006. For more information on this dynamo of a band, see www.hubcap.ws. by Shannon Bush CandyFloss is a four piece band that hails from Cortland, NY. Their sound is a perfect blend of Indie Rock and Alt. Country that has been called CandyFloss has recently recorded their first full-length album that includes the upbeat twang of CandyFloss is Clint Bush songwriter/guitar/vocals, Geoff Brown lead guitar/vocals, Matt Isaf drums/vocals and Jody Keith bass guitar. For a taste of something pleasant, check them out online at www.myspace.com/candyfloss. by Ron Filewich Papa Muse has got groove, a rock and roll edge, insightful and soulful lyrics, and catchy melodies. The Band's songs take you on an emotional journey through the far reaches of the mind. Their songs impress and they satisfy. Papa Muse benefits from the creative songwriting and the easy and wonderfully intuitive direction of Way. Way is also the principal organizer of Musefest, the well-known upstate New York annual music festival, and he runs the Band and Breakfast, a unique hotel for musicians, which offers a warm and friendly atmosphere at very reasonable rates for touring performers. The Papa Muse Band offers its catchy rock with psychedelica and funk that makes for easy understanding of its deeper messages. Over the past year, Papa Muse played a couple of great shows, offered a Capricorn bash in January, and shared a bill with Perfect Thyroid, all the while experimenting with an assortment of talented bass players. The quality of the Band's lineup took another giant step forward when Way's wife, Maco, former guitarist for the all female rock band, The Witching, learned all of Way's rhythm guitar parts for Papa Muse's repertoire, and now rehearses regularly with the Band. Way took up the bass guitar, contributing a funky flavor. Papa Muse offers its debut gig with this new lineup at The Ithaca Festival 2006 which also will mark the first time this charismatic couple rock out together along with Papa Muse. The results of Papa Muse's new lineup are magical. A unique duo for sure, Way and Maco are joined by virtuoso guitarist Sean Kobuk (Angels in the Rear view mirror: I-Town Records 2005). Sean and Way have been band mates for roughly six years, and in Papa Muse, Sean plays the role of recording engineer, tech head, web master, and often, arranger for the band. The most musically trained and precise player in the band, Sean often provides the key ingredient that makes Papa Muse distinctively exceptional. Greg McClure, Papa Muse's drummer, is the even-tempered, young go-getter who also plays in the indie punk band, Fairway. His hard-hitting and assertive drumming style is informed by his hunger to learn, his ability to adjust and refine his playing to fit Papa Muse material and his rare ability to take suggestions so readily and creatively. The band has exciting plans for the fall and winter, which include a run of shows in Upstate New York and a tour of Florida. Now that Way is engrossed in producing Musefest, a great community service of love and harmony, the band is holding off on recording its upcoming CD until August 2006. While Way had hoped to have the Papa Muse CD finished by now, his loving and untiring dedication to Musefest has had to take first priority. After he and his devoted Musefest team complete this great and most rewarding work, he and Papa Muse are looking forward to producing a most fantastic and fascinating CD. For an advanced peek at what makes Papa Muse's music so special, and what you may hear from them at Musefest 2006, check out the audio and video selections of Musefest 2005 at www.papamuse.com. Also check out www.myspace.com/papamuseIY: IY's Music Lifts Spirits
Sunny Day,
from IY's upcoming CD, finds Frank and Terepka alternating both writing and singing the stanzas.Seth Feldman
Hubcap
It was always great to have a chance to play for people who may have not heard us before and hang out,
recalls singer/guitarist Steve Gollnick. One year it was kind of a back and forth between the two stages with us, Sim Redmond, Plastic Nebraska, Johnny Dowd and the Mofos.
We've been playing a lot of shows, I wouldn't say touring, we all have full time jobs,
laughs Gollnick. We have been playing quite a bit in NYC and the Northeast whenever we can.
We had a really good time, it was really good to play every night for an extended period, we got really tight as a band,
Gollnick says. We got a really great response wherever we went. People in that part of Europe, they really know about American music, the history and everything, and they're really excited to check out new bands. It was cool to play places where it was clear that people were excited to hear us.
In one respect there's a little more freedom to it, I can play a lot of different songs without necessarily worrying about who knows what song to do, I can just do it on the fly and play what I feel like,
he saysI enjoy both for very different reasons. I have a lot of fun in Hubcap, the shows seem to get better and better which continually surprises me,
says Gollnick. We're really confident as a band right now. I'm still trying to get to that level of confidence playing solo. There's definitely a feeling of being naked up there. I don't talk that much on stage, and playing solo I talk even less, but it's not really nerve-wracking, I get into losing myself in the song and what not.
It was just normal, drunken regressive adolescence
Gollnick chuckles.CandyFloss
Atmospheric Rust.
The band is influenced by a wide range of music from Neil Young to Wilco, from Pearl Jam to Ryan Adams and the Grateful Dead.When the CD for Candyfloss came across my desk,
notes Papa Muse, I didn't expect much, but after hearing it I was pleasantly surprised. The songs are very catchy, the playing is skillful, and their sound is familiar yet somehow unique. When I couldn't stop humming their tunes, I knew that they would fit nicely among the Musefest roster.
County Fair
and the melodic calm of Strange Interference.
They have also recorded a version of their song Backwards Upstream
at Subcat Studios in Skaneateles NY that is to be included on the Subcat Records compilation set for release in the early summer of 2006.Papa Muse in 2006
