Alt-Nation: An Interview with Dick Valentine of Electric Six

For the past few summers the Electric Six have come to Providence like The Rapture to liberate souls from the sweltering heat and summer repeats. Electric Six don’t make many promises, but if you’re looking for a band to tell you about a dance epidemic, or better yet, bring you a dance epidemic, you’ll need to see Electric Six this Sunday, August 21, at Fete. Electric Six harness heavy rock guitars, disco beats and singer Dick Valentine’s always entertaining observations to make the alternate universe version of The Killers. You know, the one where The Killers are actually a great band. If you happen to disagree with me and like The Killers, then you really need to come to this show because you are going to have your mind blown!

Electric Six have most recently released a movie via a kickstarter called Electric Six Roulette Stars of Metro Detroit, the premise of which is the band aspect of Electric Six is just a cover-up to hide the millions of dollars they launder from metro Detroit casinos. As for the movie, I was entertained, but have a hard time envisioning Electric Six getting their own HBO series (ala Flight of The Conchords or Tenacious D) anytime soon. Music wise, the band has released 11 studio albums, a live album and a couple of rarities records. I talked to Dick Valentine last fall on the release of the band’s most recent album, Bitch, Don’t Let Me Die!, from the road in Birmingham, Alabama, about mortality, politics, his pornographic thrillers and more. The conversation went a little like … this:

Marc Clarkin: The newest album is called Bitch, Don’t Let Me Die! With the title and songs like “Take Another Shape,” did you have a theme of mortality?

Dick Valentine: No, a lot times someone says we need a press release by tomorrow, and I just come up with stuff. That’s pretty much the whole way I’ve operated every time I’ve had to write stuff for the band. I’m just writing things because space needs to be filled.

MC: Over the years you’ve had catchy tunes with big choruses like “Alone With Your Body” that is pretty much about necrophilia and “Steal Your Bones” about cloning.

DV: Some friends of mine have died so I write songs that pay tribute to them. I don’t want to forget about them just because they are dead. So I’ll write songs about dead people.

MC: Was there any story behind “Big Red Arthur” about Santa Claus going down a chimney only to land on spikes?

DV: That’s entirely true. When that song came together I just had the vision of Santa Claus that got impaled on spikes. There is just something very English about the song. I’ve got the whole video in my head – it would be shot in IMAX scope or Dolby scope and it would be really impressive. You’d just follow one of those young English kids that look like a young Wayne Rooney running through Manchester or something trying to get away from Santa Claus.

MC: You’ve been putting out solo albums regularly and occasionally playing the odd solo acoustic show. I saw you a couple of years ago in Boston where you did a solo set with a full band and did a song from the web zombie series you scored. Any plans to ever put that music out? DV: There are no plans. I don’t think we can put those recordings out. I mean we’ve asked a few times. What I might do when there is time is just re-record all those songs. I can re-record and do all those songs. I just can’t (legally) put out the recordings of those songs (that were used in the show). That is food for thought, though, when there is time.

MC: If in the next presidential election a Republican wins, does the song “Rock and Roll Evacuation” make it back in the set list the next show? Or do we have to wait for inauguration day?

DV: We would have to wait till we are dragged into another war. There are a couple of Democratic candidates that I could see dragging us into a war as well. That is kind of the main thing, but we’ll take it one step at a time. The older I get the less concerned I get with any of it.

MC: I interviewed you once before the 2008 election where you said if Hillary won, you were going to start covering Electric Light Orchestra’s “Evil Woman.” Is that still on the table?

DV: You’ve got a better memory than me. That is probably just something I said. That is probably just pandering to the crowd to be completely honest. I don’t really have an opinion of Hillary Clinton. I don’t really understand people who loathe her. She is just kind of there. I don’t really have an opinion about her.

MC: In addition to putting out your solo and Electric Six albums, you’ve have a party planner that people can buy online. What makes a great party?

DV: I’m just trying my best to relate to people that like to party. I’ve never liked to party so I’m just trying to have another thing to sell. I found this website where you could sell PDFs (https://www.amazon.com/Dick-Valentines-Party-Planner-Guide-ebook/dp/B00SU9N78U) and I thought I like to write. I like to write things so let’s find things to write. I thought about writing stock market advice, self-help, and motivational stuff as well but you know, there are only so many hours in the day. I’m working on the sequel to (his pornographic thriller EBook) Chinatown Reacharound (https://www.amazon.com/Chinatown-Reacharound-Tyler-Spencer-ebook/dp/B00KGL0QNO) that is taking up most of my writing time now. It is equally pornographic and thrilling.

MC: From the 11 albums, do you have a favorite song to play live?

DV: Right now we’re playing “Dime, Dime, Penny, Dime” (from Bitch, Don’t Let Me Die!) and I’m having so much fun with it. We’ve never had a song quite like that in the set. “Pink Flamingos” (from Switzerland) comes close, but this more of a tongue twister. It is just a really fun song to do live. We usually only get around to learning three or four new songs when a new record comes out to do live.

MC: Do you have a favorite older song to bring back live?

DV: I always love doing “When I Get to the Green Building.” There are certain songs that we’ve never played before that I’d like to try. Like “Face Cuts,” I think that would be good. But we have way too much material.

Electric Six, Math the Band, VulGarrity, & Eric & The Nothing will rock Fete on August 2.

Email music news to [email protected] Moga Reunites At The Met on August 19

It’s always sad when a great band breaks up, and you can say that about Moga, a rock ‘n’ roll band that has the swampiness reminiscent of Creedence Clearwater Revival and is as soulfully genuine as The Band. It’s been a few years since they were playing venues within The Creative Capital and they’re getting back together for a show at The Met in Pawtucket on Friday, August 19 with fellow locals Last Good Tooth and The Sugar Honey Iced Tea. Ahead of the show I had a chat with guitarist Greg Mallozzi about what brought the band back together, his time in Brooklyn, what he thinks of the growth of Providence’s music scene and whether this will be Moga’s only show.

Rob Duguay: It’s been a while since Moga played their last show. What sparked the idea of a reunion?

Greg Mallozzi: Basically it sort of started as something that we joked about. Honestly it started as a joke because I think none of us actually thought that we’d ever play again, we were pretty jet set on that so we’d joke about it. One thing led to another and we realized that we were all in the same place at the same time so we figured that we’d actually do it instead of continually joking about it all the time. We then wanted to see if we could still play, then we played and it was pretty cool so we figured that for all these years of kidding around about doing it that we’d actually do it. In general we had always started as us kidding around about it and then saying that it would never happen and now it’s happening.

RD: You were living in Brooklyn for a bit. What were you doing in Brooklyn and what were the other guys in the band doing during this hiatus?

GM: Personally, I totally stopped playing music. I don’t even have a guitar. I was in New York working on film-related projects that I was a part of and I sort of started fresh over there. So I was doing that and everyone else went about their ways. I know Ollie and Max [Fisher] still played on and off and Reilly [Graham] also had moved to Vermont in Burlington and he was playing a lot with a band along with his own stuff. More or less, everyone just sort of had their jobs and they were sort of doing their own thing.

RD: What kind of film stuff were you doing in Brooklyn?

GM: I was searching for an internship out there for a while and I landed one so I sort of moved out there on a limb when I got an internship. Through that internship I had networked with some people then one thing led to another and I ended up getting a pretty standard nine-to-five type job. So I made the decision of whether to stay in Brooklyn and keep this job or to come back to Providence and at the time it was a really good opportunity so I decided to go to New York for a while and do this job, which I ended up doing for two years.

RD: What do you think has changed when it comes to local music in Providence now versus how it was six years ago?

GM: I think when we played a lot I found that it almost seemed competitive with bands trying to get big and get out of Providence rather than just have fun, play a show and have a good time. I found that back then that there was a lot of people doing that and they were looking past Providence and trying to get out there. I think it was kind of competitive in a way, which I guess any music scene is. At the same time we had our group of bands we played with, which was really fun, and we’d always play with each other and play each other’s songs. It was sort of a mix, but what I got out of it at the time was a lot of competitiveness between bands and I think that was kind of a reason to why we fizzled out. We’re more about just having fun and having people come out and having a good show. We weren’t really concerned with getting signed or getting huge or anything. In all honesty I haven’t really been in the loop nowadays but there are a lot of the same bands. I think The Silks are awesome, I think they’re doing some really cool stuff. I’m not really sure about nowadays. Back a few years ago it always seemed competitive, but I don’t know if it’s the same way now.

RD: After the show on the August 19, does Moga have anything planned for the ? Can we expect more shows from the band or even a new album or EP?

GM: I don’t know, when we started we practiced a couple times and it sounded really cool. We had discussed about what if we recorded an album again and once again it was sort of like a joke but who knows? The show coming up was initially a joke and it ended up happening so maybe we’ll try to record an album. As it stands now, nothing is really planned.

Get tickets to see Moga @ The Met on August 19 here: themetri.com/events/moga-4; Listen to Moga on Bandcamp: mogaband.bandcamp.com

DOT AIR Lands in Pawtucket Society tends to explore music at a surface-level, focusing on the listenability and melodic components of the art rather than the artistic expression and genuine craft behind each bar of music.

In Pawtucket, an exploration of sound will come alive on Saturday, August 20, when the DOT AIR experimental music festival lands with a roster of its most eclectic lineup, including everything from improv vocalization to psychoacoustic percussions and every other musical genre you probably never knew existed.

DOT AIR’s roots are in its inaugural iteration in 2014 with its mission to “explore sound, art and performance in ways that push boundaries and utilize creative spaces that are constructed or left behind by modern and post-modern technology and culture.”

Deterring from the norm of traditional music festivals, DOT AIR structures its yearly lineup not around the most popular musicians, but around those performers who add a sort of eclecticism and best exemplify the foundation of sonic architecture and its stability over the past century.

Since its inception, the festival has hosted 29 musicians as well as various film and art installations, and this year, DOT AIR hosts more than 10 more musicians that all have their own stake in the realm of noise-centered music.

Headlining the festivities will be the prolific Hailu Mergia, the Ethiopian instrumentalist who merges modern technology and classical instrumentation to rise above his dictatorial past under the Mengistu Regime. Just imagine if the Sun Ra Arkestra went electronic and toned down on the psychedelics (but not too much) and poof, you have Mergia’s smooth stylings.

The undercard of DOT AIR is just as commendable as the headliner, with a wide array of genre bending and unique improvisation.

MEMi, a husband and wife duo out of LA, mixes the elegant melodies of their cellos with modern DIY technology to create one of the most original sounds that certainly deserves anyone’s ears at the festival.

However, the pinnacle of noise music transcends with the sounds of Providence-based, WORK/DEATH. I’ve been following Scott Reber for the past year as he’s explored new avenues with noise music and WORK/DEATH’s material is paving the way for a noise music renaissance in Rhode Island.

Other notable musicians are trumpeter Forber Graham, composer and percussionist Sarah Hennies and guitar duo F/I/P.

If you count yourself a fan of the visual arts, DOT AIR has you covered with a roster of experimental architects and painters as well as dancers, including the supremely talented Elm City Dance Collective and one of the most adept modern artists in Providence, Alex Hamrick, who incorporates text-based content into his artistic vision. With technology progressing at breakneck speeds during the 21st century, DOT AIR aims to showcase the dynamic strides that this technological revolution has had in the domains of the visual and performing arts. Though as we dive further into this era ruled by technology, we must ultimately remember to use this technology to our advantage and hopefully not create Skynet in the meantime.

Hip-Hop: An Interview with Unstable Era

This weekend I got the opportunity to catch up with two of my favorite artists coming out of RI. I met these guys not too long ago and it is awesome to see how much they have grown as artists over the past year. Although a lot of people directly associate drugs and violence with hip-hop music, this duo is aiming to travel in a different direction by avoiding the street life and going off to college while still chasing their dreams on a daily basis.

Spocka Summa: Can you introduce yourselves and tell me where you’re from?

Unstable Era: Our names are Taj Amani and Silver and we’re from Providence.

SS: How does living in an urban setting inspire you?

UE: It forces us to go through a lot of life experiences and struggles, which fuel our message and choice of content. Also traveling to different urban settings allows us to realize that there’s more out there than just where we’re from.

SS: How do you view the local hip-hop scene?

UE: We believe the hip-hop scene is at an early stage in the city, but is definitely developing and becoming more of a presence in our local culture.

SS: What is your message?

UE: To focus on being yourself and becoming a better version of yourself. We also focus on spreading peace and unity. Good vibes only on this side.

SS: What is your goal?

UE: To support ourselves and the people closest to us, and to be able to change people’s lives and become an inspiration for the youth

SS: What are your thoughts on local hip-hop beef?

UE: We feel that it’s pointless and it’s something we don’t get involved with. Focusing on our own camp and building our fanbase are our priories.

SS: Where can we find your music? Taj Amani: soundcloud.com/taj-amani Silver: Soundcloud.com/silverd4

SS: Do you have any upcoming projects?

Taj Amani: I have an EP called Promises coming this fall.

Silver: I have an EP called Digital Paradise dropping later this summer.

Hip-hop stands for a lot. For some it is a way to tell a story of their life and ambitions. For others it can be a way to escape a negative environment. We all have choices in life — some may be harder to make then others — but if you focus on your end goal anything is achievable.

Kaya Stewart Rocked the Theater Awards

Being the daughter of a famous musician can make you live in one hell of a shadow, especially when you’re born to a member of a band as big as the Eurythmics. Fortunately for Kaya Stewart, her radiance and charisma shine through, and she is an amazing performer and artist in her own right.

Motif had the pleasure of having Kaya and her band as our closing act for the beloved annual Theater Awards, held at Fete Music Hall on Sunday, August 7. This event was entertaining with a lot of colorful characters, and Kaya was a perfect fit. Stewart and her band are high energy, pop greatness. They use traditional instruments with new electronic sounds to create a truly exhilarating experience with their set. She mashes classic rock, pop and EDM all together in a particularly potent concoction.

She started off the show with her biggest hit to-date: “In Love With A Boy.” The studio version of this song is hard-hitting accompanied by cool electronic tones throughout, but when performed live it has a slightly more classic vibe to it. Live, the synchronizer tones are replaced with the classic drums, guitar and bass. This made the song sound gritty, and along with Kaya’s rustic and powerful voice, I thought it was an awesome combo.

To end the night, she hit us with her most recent single, “Sleepover,” which is truly infectious and a pop hit. You can’t help but move your body. I heard the song before, but to a newcomer, you start listening and the head starts bobbing. Then the foot starts a’tapping. Next thing you know, you’re singing the chorus and swinging your hips, not caring who is around. With Kaya’s spirited dance moves and her band rocking out, you can’t help but have a good time.

Kaya is only 16, and the only place she can go from here is up. She’s a triple threat. With her fantastic vocals, witty and catchy lyrics, and fierce stage presence, anyone can enjoy what she brings to the stage. I have a feeling she is going to be one of those artists you see now and in a couple years will just blow up and be huge! Catch her now so some day you can brag about seeing her before she became a superstar.

Emeline Easton Captivates Motif Theater Award Audience

Think back to when you were 18. Maybe you were watching your GPA fall in your first semester of college (sorry Mom and Dad) or working hard in order to purchase that used 1992 Cutlass Ciera from that shady car dealership two towns over.

Though for Emeline Easton, a singer-songwriter and actress from Providence, being 18 is another step into the realm of stardom.

Releasing her first single, “Inside Out,” back when she was 14, Easton has quickly grown to prominence in the alt-pop scene of Providence.

Easton’s quirky and fiercely enigmatic vocals provide the distinctive element to her live performances and prove that charting on the Top 100 on iTunes with her single, “You,” wasn’t accidental.

Case in point was her performance at this year’s Motif Theater Awards, sharing the bill with Kaya Stewart, daughter of The Eurythmics’ David Stewart. Easton came out with purpose during her 20-minute performance, which included various pieces from her upcoming self-titled EP, set to release in January 2017. Quite noteworthy about her appearance was her cover of ’s “Crazy,” which was beautifully haunting coming from the pipes of an 18 year old.

Don’t think that is impressive enough? Easton has already starred in independent films and shorts, including Siren and Band Girls, and is in the process of filming a brand new short.

Easton also is no stranger to local theater, with appearances in productions ranging from The Gamm Theatre to the Trinity Repertory Company. Not bad for a girl who played the lead role of “Annie” at 9 years old.

Keep up with Easton on social media to find upcoming local shows and possibly a single or two before the release of her upcoming EP this January.

Alt-Nation: Joe Moody, Electric Six and Handsome Pete

When local studio owner Joe Moody passed away earlier this year it left a gaping wound in the heart of the local music community. Through his Danger Studio, Joe recorded hundreds of aspiring musicians across multiple genres. He gave many artists the opportunity to give voice to their dreams by documenting their work on a recording. In Joe’s honor, a motley collection of Providence metal titans will be reuniting to play together for the first time since 1997. Some of these bands — like Shed — have never done a reunion show! Kilgore Smudge vocalist Jay Berndt was kind enough to take some time to answer a few questions on the show, Kilgore and what he is up to now.

Marc Clarkin: Can you talk about Joe Moody’s influence on your music career?

Jay Berndt: With all the recording studios I’ve been in, Joe was easily the nicest, sweetest guy to work with. He had this immediate way of putting you at ease. And let’s face it: Musicians can be delicate creatures, especially under the microscope in the studio. When we first recorded our Spill demo with Joe in August 1993, we had never been in a recording studio. The whole recording process can be incredibly intimidating and Joe really helped build all of our confidence as songwriters and musicians. He just made the whole process interesting and fun. We recorded, overdubbed and mixed the 10 songs on Spill in 14 hours, which is just unheard of. It also fostered our love of recording because of that amazing first experience with Joe. We went on to record with him another six or seven times. And based on the songwriting as well as the quality of his recordings, we attracted A&R from Warner Bros. and ended up getting signed. So much of what we learned from working with Joe greatly helped us when recording Blue Collar Solitude and A Search For Reason for a major label. Even though I was only able to spend maybe a dozen or so times with him in the studio with Kilgore or other projects, I’m incredibly grateful for the time we spent with him. MC: All these years later, what is it like revisiting the Kilgore material?

JB: It’s kind of like putting on an old pair of shoes … really comfortable and familiar. I mean, I’ve known Bill Southerland (drummer) and Brian McKenzie (guitarist/songwriter) since I was 16 years old. So it’s been great just hanging out with my really old friends. It’s strange though, because many of these songs are more than 20 years old and when those songs were written, I was a very different person. Since then I’ve grown as a musician, singer and lyricist. So it’s hard for me not to be critical of lyrics I wrote as a lazy 20-year-old kid. I suppose they’re part of our history, but it’s hard for me not to roll my eyes at a garbage line like “You can lick my f#cking rod, ’cause I believe in a merciful God.”

MC: You have a new hard rock band called the Bloodriders. How do you compare the energy and vibe doing the hard rock thing vs. nearly 20 years ago?

JB: Well the Bloodriders are me and the former members of local Providence band Kanerko (Anthony Palumbo on guitar, Kevin Marszalek on bass, Nick Iddon on drums). I’ve said it has this Danzig singing for Clutch kind of a feel. It definitely has a tremendous amount of energy and swagger. And I absolutely love playing with Bloodriders. I feel like I sing better and with more intensity than I did with Kilgore. (The next Bloodriders show is Saturday 9/10 at the Parlour with Pistol Shot Gypsy, Sex Coffee and Adaptor/Adaptor.) It’s just a different time now compared to the scene in the ’90s. It doesn’t feel like a unified scene to me. Back then, it seemed we had a bond with bands like Shed, Freak Show and Times Expired … and we had a bond with the fans. Maybe it’s my age, but when I go to see younger bands at clubs, the crowds just feel so weak. A band will be on stage killing it, and 20 people are looking at their phones. Considering the amount of old timers coming to the Met on August 20, I think we’re gonna see a lot of dancing out there. Many of us nursing our old backs the following day!

Kilgore Smudge, Times Expired, Shed, and State of Corruption will all reunite to rock the Met Café in Joe Moody’s honor on August 20.

Electric Six

There are few guarantees in life, but one of them for the last 15 years is that Electric Six has been getting people up to shake their asses all over the world. Electric Six pair loud guitars with groovy beats and offbeat humor rhymes to create the perfect rock ‘n’ roll dance party. It is like the spawn of an orgy between the members of Kiss, Talking Heads and Abba. The Electric Six have proven over the course of 10 studio albums that they are the dance commanders in . For the uninitiated, check out the Electric Six’s debut album, Fire, and prepared to have your mind blown. For casual fans looking to further submit to Electric Six’s will, I recommend the albums Switzerland and Flashy. But to miss them at Fete … that’s just crazy talk, hombre.

Electric Six, Math the Band, VulGarrity, and Eric & The Nothing will rock Fete on August 21.

Handsome Pete’s Annual Birthday Shitshow

The end of August in the local music show means one thing – it is time for Handsome Pete Lima’s annual birthday shit show! The event has become beloved by offering things like one-off tribute bands with each year having a different theme. This year’s show is no exception featuring the first performance in over 11 years for 2004 WBRU Rock Hunt Finalists, Jagolinzer! Jagolinzer was like a mix of post-punk meets trashy garage rock, and their lineup had serious pedigree with members of The L.U.V.s and The Fantastics included in the mix. Handsome Pete will be doing double duty pounding the skins for both post-punks Civility and Jagolinzer. The Blue Album will headline the show playing my favorite Weezer album, Pinkerton, cover to cover.

The Blue Album, Jagolinzer, and Civility will rock the Columbus Theatre on August 27.

Email music news to [email protected]

Album Of The Week: Dinosaur Jr.’s Give A Glimpse Of What Yer Not

How exactly can a band that started out in the ’80s be considered a breath of fresh air now? Well you’ll have to start listening to what Amherst, Massachusetts, sludgy trio Dinosaur Jr. have been putting out since the original trio of guitarist J Mascis, bassist Lou Barlow and drummer Murph got back together in 2005. Since then the band has released four stellar albums including their most recent, Give A Glimpse Of What Yer Not, that was released on August 5. It still has that trademark shred from the band’s beginnings in the ’80s and the polish from the band’s releases in the ’90s. What makes it different than the other post-reunion albums is that the song structures are a bit more abstract.

Give A Glimpse Of What Yer Not is intriguing with how everything is set up. A few of the tracks in the beginning are loud, abrasive and upbeat. Then it gets changed up with a few songs that are sludge ballads alternating with other diverse material. It makes Dinosaur Jr.’s new album very unique, but don’t worry — there are still plenty of stunning solos courtesy of Mascis. The trio isn’t afraid to take chances on themselves musically and for a band with a dedicated and cult-like fan base, that takes some guts.

Dinosaur Jr. have always been one of the most consistent acts out there today. If someone likes music that’s heavy, energetic and emphatic, then chances are they’re a fan of the trio from Amherst. There’s a no-nonsense approach to the band’s music that has to be admired. The songs stand out by themselves and there are no frills; that’s what makes this band so great. Let’s examine more of the greatness with the top tracks off of my Album Of The Week, shall we?

“Goin Down” is a ripper and a wonderful introduction to what Give A Glimpse Of What Yer Not is all about. The riffs that Mascis unleashes in this track are close to godliness. With a lead-up that’s a bit psychedelic, “Good To Know” is another track that’s adorned with riffs and Mascis’ twang. Barlow always gets a tad personal with the music he writes and “Love Is…” is exactly that. The acoustic-based track is influenced by his recent marriage along with being a bit of a nod to his early work with Sebadoh.

Dinosaur Jr. already rolled through New England in July by playing The Met in Pawtucket on July 14 and the Blue Hills Bank Pavilion in Boston on July 19 with Jane’s Addiction and Living Colour. The good news is that they will be coming back to the area when they play at College Street Music Hall in New Haven, Connecticut, on September 7. As if that show won’t be awesome enough, they’ll be sharing the stage with Cleveland punks Cloud Nothings. It should be a rad time, but until then grab a copy of Give A Glimpse Of What Yer Not. Your ears will be filled with electric sludge but everything will come clear.

Stream “Goin Down” from Dinosaur Jr.’s Bandcamp: dinosaurjr.bandcamp.com/track/goin- down; Dinosaur Jr.’s Website: dinosaurjr.com

Don’t Quit Your Day Job, Greg Bass!

Welcome back again, ladies and gentlemen! I want to ask you all to do me a favor: Find me on social media or comment on the article or Motif‘s Facebook page to tell me what you think of my imaginary interview/gameshow/newspaper column. But enough about us. Let’s talk about this week’s guest! He’s a man you can often find on or behind the stage based on his job(s), and he plays three different instruments in four different bands and is named after only one of those instruments. I am proud to introduce you to Mr. Greg Bass, not to be confused with another guy named Greg who also plays bass but has nothing to do with this Greg or these bands. Here we go …

Josh Hurst: How old are you and where do you live?

Greg Bass: I’m 51 and live in East Providence.

JH: What band(s) are you in and what do you do in them?

GB: I’m in The SuperMags and am on stand-up drums and vocals, in The Bastards I’m on bass and vocals, in The Standards I’m on bass, guitar and vocals and in Satisfaction Society I’m on guitar and vocals.

I still have my full PA system and do occasional sound gigs. I also have a little studio at the house and take on small recording projects from time to time.

JH: How long have you been at this rock ‘n’ roll thing?

GB: A long time! Since 1981. I started playing gigs when I was 16.

JH: What do you do to pay the rent?

GB: I’m a production manager at ATR Treehouse in Providence, which is a production company. We stage events such as corporate meetings, commencements and concerts. We also rent out A/V equipment to the public: speakers, projectors, lights and some backline gear, too. Our repair and install departments are also very busy.

I’m also a non-denominational minister/wedding officiant. When my schedule allows, I take the occasional wedding gig.

JH: How did you end up with your current day job?

GB: Word of mouth. A couple of key people left ATR Treehouse in quick succession. The owner knew of me, rang me up and we came to terms. It’s all about your network and reputation!

JH: What drives you to keep at music if you need to have the day job to pay bills?

GB: I love it! I love to perform for an audience. If I didn’t play music, I’d be an actor. Ok, I’m a ham. I admit it.

JH: Besides the income, what keeps you at your current day job?

GB: It’s a great job in that I’m still working in the biz, keeping up with gear, keeping my skills sharp and meeting people who produce live events.

JH: Does anything in your day job correlate to your musical endeavors?

GB: Yes, that’s part of what keeps me in it. We are hired to stage concerts at times. Last year we did the WBRU concerts at Waterplace Park, which includes advancing gigs and meeting the bands. It’s great. We rent and sell gear to clubs and musicians. I get to talk gear with folks and make gear suggestions or help troubleshoot issues with gear. Our repair department brings local music-types in, too. Plus I can buy gear at dealer cost!

JH: Where can anyone interested find you during your day work and/or night work?

GB: My day job website is atrtreehouse.com. My sound/studio stuff is at scredco.com Book me for weddings here: rockinnuptials.com. And find my bands at facebook.com/bastardsRI, facebook.com/thesupermags, facebook.com/satisfactionsociety and facebook.com/standardsri.

Is This ?: My Time At Newport Jazz Fest

This past weekend members of the jazz faithful from across the country packed into their cars and headed toward the grand display that encompasses the annual Newport Jazz Festival. Thousands pack onto the tiny peninsula where the historic Fort Adams resides and which for two weekends each year houses some of the best sounds from across the globe, with the second occasion hosting the hottest and brightest talent from the world of jazz. This year did not disappoint with its wide array of artists and groups that showcased the entire spectrum of what we can consider jazz. Being such a diverse category of music, I would imagine that it’s hard to try to present a well-rounded lineup while also finding artists that can draw a crowd, but seeing as how they were able to sell out the Saturday, it appears as though they had no difficulty with the balance. While all of the three days had a good smattering of talent, they all felt as if it each had its own unique character and statement to make. With that in mind, here are some condensed thoughts on the 2016 edition of this historic festival.

The rain tried to keep down the spirits of those in attendance on Friday, but soon enough the clouds parted and the sun was shining on all who stuck it out. While jazz has always been known for rewarding a musician’s dominance over the acoustic instrument, this day was a heavy nod toward the blending of electronic effects and instruments into the typical arsenal. Masterful sets by Kneebody and the Donny McCaslin Group showcased the possibilities of this analog and digital marriage by using a sea of different keyboards, pedals and amplifications to enhance their virtuosic playing and collective dynamic. It was a toss-up between who did it best, but keyboardists Adam Benjamin (Kneebody) and Jason Lindner (D.M.G.) both utilized their various synths and effects to craft otherworldly textures in which their horn players — Donny McCaslin leading his group on saxophone, both Ben Wendel on saxophone and Shane Endsley on trumpet for Kneebody — could weave lines in and out creating sonorous blends unachievable through pure acoustical means. However, proving that the acoustic still has a commanding presence, Tyshawn Sorey and his trio Alloy went through a set-long composition, commissioned by the George Wein/Doris Duke Artistic Programming Fund, that intermingled bits of mystical notation with freewheeling improvisations that had the harbor stage crowd captivated for the entire hour. What struck me most about this day in hindsight is how this mix — acoustic and electronic, analog and digital, old and new — spilled over into the over arching theme of this year: a celebration of what was, is and will be in jazz.

Saturday we got a solid look into what was and is, with a roster full of hallowed names who have shaped the music for decades or at the very least have become the goal posts of this genre over the last few years. Legends such as John Scofield and Joe Lovano were passing fiery lines to each other on the Quad stage while on the Fort stage, The Bad Plus paid homage to Ornette Coleman with their expansive but reverent interpretations of Coleman’s album Science Fiction. Even younger groups like The Hot Sardines presented sounds most associated with the “then” rather than “now,” but still presented a lightning set of hot swing with marvelous arrangements and fantastic interplay. Though not strictly a jazz act, but certainly with her fair share of global renown, Norah Jones — with the aid of Brain Blade and Chris Thomas — conquered her set on the Fort stage with grace and and soul, showing off her chops from when she honed her skills as a jazz singer in her early years in NYC. Both the Chick Corea Trilogy (featuring fellow masters Christian McBride and Brian Blade) and Gregory Porter had magnificent sets on Saturday after also closing night one at the Tennis Hall Of Fame. Each group was comprised of musicians who are at the absolute pinnacle of creative ability, but somehow still manage to reach higher through all of their sets; the Trilogy with their awe-inspiring instrumental prowess and Porter with his warm and embracing voice backed by musicians of equal caliber. It’s no surprise as to why this day sold out.

Not to be outdone, the final day of the festival featured artists who currently are reshaping jazz and will be redefining it for many years. The future was evident on Sunday. Opening the day on the Fort stage was new jazz convert Nels Cline presenting large ensemble compositions from his upcoming album Lovers. I didn’t know what to expect but was surprised to hear a rich set of Gil Evans-sounding textures floating around semi-orchestral arrangements of stunning depth. Later on, Christian Scott Atunde Adujuah and his ensemble tore down the Harbor stage with Scott’s “Stretch Music” in which they explored a face melting fusion of a wide range of musical forms or languages. Although Charles Lloyd has been blowing minds for decades now, he and his quartet of younger lions — Jason Moran, Reuben Rogers, and Eric Harland — played some of the most adventurous and stirring music of the festival. If you could make your way close enough to the mobbed Quad stage to check out Kamasi Washington and his group, you were treated to an unrivaled majesty that further cemented jazz’s adulation toward its latest rising star. This all being said, while it’s hard to definitively choose, probably my favorite set of the entire weekend was Ben Williams & Sound Effect on the Harbor stage. From a groove that wouldn’t quit, to an inhuman group blend and tightness, mixed with individual performances that are the stuff of legend, to an intoxicating energy within the audience, it’s impossible to accurately express the immensity of that experience. If that was the only performance you saw, you would have left the festival dragging your jaw, it really was that good. Also, if we’re talking about the future of jazz I have to give shout-outs to the brilliant performances from all the local young talent that performed in the URI Big Band, RIMEA Senior All-State Jazz Ensemble, MMEA All State Jazz Band and Berklee Global Jazz Ambassadors; you all were incredible and we can’t wait to see how you make your marks on this music.

Overall, this year showed an interesting blend of the variety of sounds observable under the category “jazz”, and there were so many inspiring performances and moments from this festival that all of us who had the chance to attend should feel truly blessed. As we left the Fort one final time to close out this year’s festival season in Newport, I am imbued with a renewed sense of hope. With the recent shifts in the upper structures of the Newport Festival Foundations comes the inevitable stench of outside judgment and doomsday prediction. Yet, judging on how the Jazz Fest felt only five years ago compared to now, there is a definite sense that this celebrated event is in the midst of a revitalization and return to its full glory as it sits above the rest in the pantheon of music festivals around the world. There are areas that need to be addressed, but the talent has arrived and artists are eagerly awaiting their chance to take their places next to giants who hold up this massive history. Keep your eyes focused on newportjazzfest.org for all Newport Jazz Festival news, and be sure to grab the necessary provisions in order to make your next migration to one of the greatest music festivals this side of the Milky Way.

Happening Around Town:

The John Allmark Jazz Orchestra; Mondays @ The Met (Pawtucket)

Is This Jazz?; first Friday, bimonthly @ AS220 (Providence) isthisjazz.tumblr.com

Joe Potenza; Fridays @ Tarragon Bar (Providence)

Groove Merchants; Mondays @ Fifth Element (Newport)

Jazz Jam;Tuesdays @ Ten Rocks (Pawtucket)

Parlour Jazz Jam; third Sunday each month @ The Parlour (Providence)

Matunuck Beach Hot Jazz Party; Mondays @ The Ocean Mist (Matunuck)

To add your listing please email [email protected].

Ben Shaw is a local composer, performer, writer, and podcaster. Dig into his works at ahueofshaw.tumblr.com or find him on Twitter @ahueofshaw.