The facts are clear: second season post-Warren Haynes; no Spearhead; lots of indie-rock and pop; no jam, just a mountain bracing for a different clientele from the one who made it big in the first place. It has been underway for a while, however. The screen reads not “Red alert! Identity crisis” but rather, “Transformation complete.” We’ve moved on.
Saturday, Feb. 10: Little Red Wagon is lovely, spirited and reflective. Traditional in instrumentation and in overall sound, and with plenty of rural blues and café folk reference throughout, Little Red Wagon yet delivers a stern warning about doctrinal traditionalism in its lead track.
Friday, Feb. 9: The program takes audiences on an exploration of the music of 1860 to the 1930s for strings, piano and voice, ranging from the spirituals, art songs and poems of Harry T. Burleigh and Laurence Hope to the melodic chords of Samuel Barber and the hit songs of George & Ira Gershwin.
Sunday, Feb. 11: The band plays a jazzy, horn-powered blend of funk, soul and hip-hop, steeped in New Orleans brass and second-line tradition.
“Porcelain has several properties that make it kind of magical,” says Goldman. “It has silica in it, so it’s glass-like; the finish is very smooth and silky. And it’s a very white material, so glazes really ‘pop.’ But I love the translucence of it; that’s my thing.”
“Not only does Jimmy know a million guitar chords, he has a million stories. Sometimes, it’s like he speaks in parables.”
The big classical music event of January in our area was the Woodstock Chamber Orchestra’s concert at the Woodstock Playhouse on January 6.
Loel Barr’s first reaction when Robert Langdon of Saugerties’ Emerge Gallery asked her if she’d like to do an exhibition that covers all of her various styles of work was something akin to horror.
Saturday, Feb. 3: Hot wax on a cold night. Rock and soul connoisseur, curator and partymaker: Deejay Jonathan Toubin’s Soul Claps at BSP are the stuff of legend.
“Our job is to be unseen. When people go to a museum or gallery, they want to see the artist’s name on the wall, and it’s not our place to shine. We’re there to serve the artist.”