Interview with Michael League of Snarky Puppy

Usually a band has at least 4 people in it with the classic assortment of bass, drums and guitars along with the occasional keyboards. If you add a horn section, then you’re talking about a band that can have as many as 8 members. Now imagine a band with 40 members. Yes, 40 members. Enter the life of Michael League, the bassist, composer and producer of the Grammy award winning jazz fusion band Snarky Puppy. The group will be performing at the Newport Jazz Festival this weekend at Fort Adams, so Michael and I talked about managing so many members in the band, moving from Denton, TX to Brooklyn in 2004, their latest release Sylva, the numerous collaborations Snarky Puppy has done and what the future holds for jazz.

Rob Duguay: So Snarky Puppy isn’t your average band with it being a collective of 40 musicians. How does it play out when you guys go on tour? Does it depend on whoever is available at the time or does everyone follow a certain schedule?

Michael League: It kind of depends on who is available. There are certain guys who get asked more regularly because they were part of the more difficult touring years, but in total it’s between 30 and 40 guys that rotate.

R.D.: How do you manage it all? You have all of these different personalities so people must have their little quirks.

M.L.: Everyone is surprisingly cool about it actually, everyone understands that their all part of a large group of musicians so we’re all kind of a collective in that way and there are no egos. Obviously everyone wants to go to Japan whenever we go to Japan and places like that but people recognize that eventually they’ll be in a position to experience things that other guys in the band are not so there is a lot of understanding that gets exhibited.

R.D.: Must be pretty refreshing when everyone involved is for the group as a whole rather than only being in it for themselves. Since starting the band in Denton, TX and now being based in Brooklyn, what was the transition like for you and the band from going to a small city to a big metropolis?

M.L.: We moved at different times, each member of the band moved on their own so there were a lot of different kinds of experiences but one thing I’m sure everybody shared during that time was that they were broke and doing everything they could to pay their rent and to stay alive in the city. I think that it’s an important part of most artists’ lives, the period of struggle, turmoil or whatever. Everybody adjusted to it and they found their groove and found a support system and they were able to make it through and become sustainable in New York.

R.D.: Long time Brooklyn venues, dive bars and many other places that have been known to give the city its unique character are going away. As an artist living in Brooklyn, is it difficult living there nowadays with so much transition going on?

M.L.: I’ve always thought of New York as a city that is constantly changing, it’s part of what makes it what it is. I was reading an article the other day about what Penn Station looked like in 1960 versus what it looks like now. Change is a very constant thing generally in the world but in New York City it happens every day. When you go on tour for 3 months and come back you see new businesses in your neighborhood and old businesses have closed down. I think people always tend to say that it was better before, but that’s kind of what everyone always says about everything. I love being part of a city that’s constantly changing, and to be fair I’ve only been there for a couple weeks in the past year due to traveling so much so every time I go back it’s like a new city for me. It’s sad to see your favorite places go but new great places are popping up all the time.

R.D.: This past May Snarky Puppy released Sylva, it’s a collaborative album the band did with the Dutch jazz & pop orchestra The Metropole Orkest. How did two bands from opposite sides of the Atlantic come together to make this happen?

M.L.: The managers of The Metropole Orkest saw us recording an album in The Netherlands, an album called We Like It Here. They came to a recording session and liked what they heard so right afterwards they just offered us to do a record together and we agreed and before we knew it we were doing it.

R.D.: Both bands must have learned a lot from each other during the recording process.

M.L.: I can’t speak for The Metropole Orkest but for us we learned a lot during the process. Before we never played with a symphony orchestra and we never worked under a conductor. Thank God both the orchestra and the conductor are absolutely amazing and flexible and aware of the world in which we live. It didn’t feel like 2 different worlds, it really felt like we understood each other very well so we were very fortunate in that sense.

R.D.: For other collaborations, Snarky Puppy has collaborated and performed with the likes of Erykah Badu, Justin Timberlake and Snoop Dogg. That’s quite the trio to have played with, so what was it like working with each artist?

M.L.: The band does collaborate with loads of artists as a band but Erykah, Justin, Snoop Dogg, P. Diddy and all of these people are artists that individual members of the band play with. It wasn’t like Snarky Puppy did something with Justin Timberlake, we have 2 or 3 members that play in his band. Snarky Puppy does have an album series called Family Dinner where we collaborate with different artists, different vocalists and different instrumentalists. Out of the 30 or 40 people that we’ve done stuff with, no one’s been difficult. Reputations are an important thing in the music industry so when we hear that someone has a bad reputation we don’t work with them.

R.D.: What do you think the future holds for jazz? Whenever you listen to Snarky Puppy you definitely notice a big free jazz influence. Do you think that jazz will ever go back to the mainstream like it used to be back in the day? Or do you think it’s exactly where it belongs with its own devoted following and by itself separated from the rest?

M.L.: I think music evolves and I think that in order to stay relevant music has to change with the time and the culture of the generation. I think a lot of jazz musicians are making music that very much suits the time and place that we live in. I think the best examples of that would be Esperanza Spaulding, Robert Glasper and people that have brought modern hip hop, r&b and soul and elements of those musics into jazz. I think we do the same thing, I don’t know if we’re a jazz group or what but we’re all jazz musicians and we are very familiar with the tradition and we incorporate a lot of elements of jazz into our music as well elements from two of three dozen other styles of music and that’s just what we do. Jazz has been kept alive through those kinds of blends and fusions but it’s a big question. Music has always been the easiest defined in retrospect. We can look back to the late 60’s and early 70’s and talk about Miles Davis’ Bitches Brew or whatever and Miles’ really experimental stuff and say it’s in the jazz genre but at that time were people calling it jazz? I don’t know. I think that it’s an American music and its tradition lives in a lot of different artists and different styles of music so in that way it can never really die.

For more info on the band and their music, check out Snarky Puppy’s Website: http://snarkypuppy.com

Tickets are still available for this weekend’s Newport Jazz Festival: http://newportjazzfest.org

Photo Essay: Less Than Jake at Lupo’s a

Hot Days — Ska, Rocksteady, and Reggae: A Brief Musical History

During a sweltering rehearsal the other night, we decided we were only going to run through some reggae and rocksteady tunes. It was too hot to move, too humid to breathe. We most certainly didn’t want to run through any raucous ska numbers. This reminded me, however, of the story of how ska fell out of fashion in Jamaica during the mid to late ’60s.

But let’s start at the beginning.

Late ’50s Jamaica saw a mix of musical styles played on the island. Tourists wanted to hear Calypso or its Jamaican equivalent, Mento, while the Jamaicans wanted to hear the sounds they were catching over the radio waves from Florida and the States — soul, jazz and R&B.

Hotels and resorts showcased Calypso and Mento, while R&B, jazz and soul were a feature of the many sound systems around Jamaica. A sound system was a generator, a turntable and some speakers loaded in a truck and set up for a street party. The owners and operators of the sound systems would charge admission and sell food and alcohol. Operating in the ghettos, the competition between sound systems was fierce and often violent.

By day, most professional musicians worked the hotels and restaurants, but they also had a very productive career recording for the various music studios that were popping up. Local sound system operators such as Coxone Dodd and Duke Reid had taken the competition of owning and playing the latest exclusive music at their dances to a new level, and that was recording music.

At first it was jazz, R&B, swing and boogie compositions. But as the race for a one-up on rival sound systems escalated, they began to add to the mix. The pace was frenetic. Musicians would record a song, and by the end of the day it was pressed and being played at its respective sound system. Audience reaction to the tune was judged and in the days that followed, clones of the tune from its originator or from the competition could be heard.

Soon as you know it, the sounds of Mento, boogie, blues, R&B, jazz and Latin rhythms had been blended and distilled into the new hit sound: ska!

Ska and its attendant dance style were kings of the ring for most of the ’60s, specifically ’64 and ’65. But in the summer of ’66 that all changed. And the prime catalyst for the change was this: It was HOT!

Jamaica ska, while not as fast as Two Tone or Third Wave Ska, is still a very energetic and upbeat music. And when it’s scorching hot outside, the sound systems and dance halls found that people just didn’t, or couldn’t, dance to it. So the tempo slowed down. Way down. And this is what sparked my memory at rehearsal. Playing ska, much less dancing to it, is an intense aerobic workout. (In fact, I hear there are even places in NYC and LA that advertise ska workouts.) Not something your average person wants to do in a heat wave.

So in the summer of ’66, as the heat went up, the tempo went down. Along the way, the music lost the big brass sections common to ska and added more vocalists, and thus Rocksteady was born.

Rocksteady, also known as “Lover’s Rock” due to its slow dance tempo and often romantic lyrics, kept ska’s basic formula of the guitar hitting the “skank” on the offbeat while the drums kept the groove on the two and four count. The bass however, lost its bouncy walk and became much more melodic. And it was this style of rhythm that, in a year or so, would give rise to reggae in the same way as ska gave birth to rocksteady.

And we can all see/hear where reggae went!

Music is constantly evolving. All styles and genres feed on each other and innovation as well as on fads and trends. But I don’t think you’ll find another instance where the weather and the audience had such a hand in determining the direction in which a musical style grew.

Rocksteady and reggae till the weather breaks …

PS. You can get a taste of ska, rocksteady and a whole lot of reggae at this year’s Waterfront Reggae Fest taking place at India Point Park in Providence on Saturday, August 8. It features Steel Pulse, Yellowman, Third World, Mighty Mystic, High Hopes Band and local Motif winner of Best Reggae/Ska, The Copacetics. There will also be a smorgasbord of Jamaican food, so you can really get a taste!

There will also be a Reggae Fest after party held at The Parlour on North Main St. in Providence featuring The Copacetics, The Natural Element Band and more.

DISCLAIMER! The musical history lesson above was brought to you for entertainment purposes and pulled from the countless album liner notes and books I’ve read on the subject. For facts and specifics please check out the amazing books by Heather Augustyn. There is also a documentary making the rounds in the US called Legends of Ska: Cool and Copasetic playing August 4 at the Somerville Theater in Somerville, Mass, and August 5 at The Brattle in Cambridge, Mass.

CD Review: Adam Michael Rothberg’s Soul Of A Man In 2013, Boston musician Adam Michael Rothberg was diagnosed with a rare and potentially life-threatening cancer. The treatment and fallout from his illness has resulted in his introspective new CD, Soul Of A Man.

The moody title track was performed by Blind Willie Johnson in 1930. The percussion by Fabio Pirozollo nicely complements Rothberg’s haunting vocals. “I’ve traveled different countries/Traveled to the furthest lands/Couldn’t find nobody could tell me/Tell me what is the soul of a man,” Rothberg sings.

“Gonna Be Fine” is about the lonely life of a musician on the road. Rothberg’s lyrics brilliantly capture this theme. ”Too many motel rooms sucking down diesel fumes/we all smelled like locker rooms/too much love on the phone.”

“Only Human” is about the sometimes frustrating struggle to find true love.

“Crazy For You” was clearly inspired by the works of Paul McCartney and Randy Newman. It’s a romantic jazzy composition and a throwback to a more innocent time. It’s the best McCartney tribute you could ever hope to hear.

Another highlight is “The Guitar Song,” an upbeat folk tune featuring a banjo and mandolin. “Take my vintage Cadillac car/but don’t you touch my guitar,” Rothberg sings.

“Postcards from the Moon” is an intriguing look at what God thinks of humanity. “I’d like you to walk in my shoes for a mile/I made the world in one week/But so what/Cause I watched you destroy all I made.”

“Lullaby” and “Shirley’s Gone” close out the album. They are a pair of contemplative songs about death.

Befitting the title of his album, Rothberg sings with a tremendous amount of passion and soul. These songs are imbued with heart and stir the emotions of the listener with genuine feeling. The backing musicians also do a spectacular job.

Soul Of A Man can be purchased at CDBaby.com. Some of Rothberg’s songs can be found on iTunes. Rothberg is currently touring around Massachusetts to promote the album. For a full list of dates, go to his website: amrsounds.com. Newport Jazz Festival: 61st Annual Preview

Last year marked a milestone as the revered Newport Jazz Festival turned 60, cementing its place in the realm of music festivals. The 60th anniversary even added a third music-filled day, something they’re repeating this year. Since 1954, the Newport Jazz Festival, aka “America’s First Annual Jazz Festival,” has seen and heard thousands of notable jazz musicians: Miles Davis, Ella Fitzgerald, Etta James, Ray Charles, Billie Holiday and Duke Ellington … and the list goes on.

Originating in New Orleans African-American communities, jazz is at the tippy top of the list of America’s greatest contributions to the art world. The Newport Jazz Festival played an interesting role in global acceptance and mainstream appeal of jazz music. It began when Newport socialites Elaine and Louis Lorillard felt some excitement was missing from their lives of luxury. Enter George Wein, then owner of a Boston jazz club called Storyville. The Lorillards and Wein were introduced, he suggested a healthy dose of jazz to cure their boredom and Wein was hired to organize the festival.

Sixty-one years later, George Wein is just as much a legend as his festivals (did I mention he also co- founded the Newport Folk Festival in ‘59?). Pro tip: Jazz and folk festival artists will be in attendance to celebrate Wein’s 90th birthday, his life and contributions to the music world at the Newport Festivals Gala on August 1 at The Breakers.

Featuring over 40 of the world’s greatest established artists and emerging artists in jazz, this year’s lineup consists of traditional, contemporary and innovative orchestras, quartets, quintets, octets, ensembles and a swarm of the most notable jazz acts to date. Wein is also bringing Storyville to Newport, transporting that undeniable jazz club atmosphere to a new stage, with intimate seating for 100 guests. Intimate performances are unheard of at music festivals where mammoth size tends to prevent that. Storyville hopes to change this; it’s likely to be a crowd-pleaser. Three full days of music, four stages and two locations may make this year’s Jazz Festival the biggest yet.

The Kick-Off Cocktail Party will be at the International Tennis Hall of Fame on Friday. Featuring performances by Chris Botti (2014 Grammy-winner for “Best Pop Instrumental Album”) and Jon Batiste & Stay Human (future CBS LateNight bandleader and an endless list of credentials and awards).

Fort Adams State Park will be the main locale of festival events and performances. Booked to perform this season are Snarky Puppy, who seamlessly fuse a deep knowledge and respect for musical tradition with innovation; they groove like there’s no tomorrow. Jon Batiste & Stay Human, mentioned earlier, will be making history by performing four Newport Festival sets in one week, a Festival first! Dr. John and the Night Trippers, who canceled their scheduled appearance last year due to illness, will be bringing his unique blend of voodoo mysticism, funk, rhythm & blues, psychedelic rock and Creole roots back to Newport. Cassandra Wilson is an American jazz musician, incorporating blues, country and folk music into her work. She will be celebrating Billie Holiday at this year’s fest. Of the 40-plus performers listed in the line-up, 19 are making their Newport debut.

The Storyville stage will host intimate piano sets and conversations with artists. Ashley Kahn, a Grammy-winning author, educator, music journalist and concert producer, will take to the stage to host a Miles Davis Talk. This year’s fest is celebrating the 60th anniversary of Davis’ first performance at Newport in ‘55. There will also be a playback of music from the new Columbia/Legacy Recordings box set Miles Davis at Newport 1955-1975: The Bootleg Series Vol.4. Navigating this year’s festival will be easier than ever with the new app, “Newport Jazz.” Available in the iTunes app store and free to download, this will be your tour guide through the fest. It includes performance schedules, artist profiles, a festival map and the option to create a customized schedule — an itinerary of sorts. These festival apps are wonderfully helpful, easy to use and take away the stress of staying on top of the whos, whats and wheres of festival traversing.

For more information on the Newport Jazz Festival presented by Natixis Global Asset Management, go to newportjazzfest.org or newportfestivalsfoundation.org.

Get excited for this year’s festival by checking out some pics from last year. Photos by Richard McCaffrey.

Alt-Nation: VulGarrity’s Afterlife

On their 4th release, Afterlife, VulGarrity conjures up another batch of supernatural-themed thrillers. VulGarrity are a brother/sister team composed of Shawn and Tracy (Vul)Garrity that are known for swapping instruments back and forth and being obsessed with horror movies and the supernatural. They even used to have their own web series that delved into skits involving all kinds of paranormal stuff and Santa Claus. For this obsession, some (or one) in the local media have referred to them as the sinister siblings. Afterlife is no different from the cover artwork depicting the sinister siblings in a graveyard dressed as ghosts from another era to the tunes with titles like “Dead Dance,” “Maniac Shuffle,” and the infectious lead single, “Stygian Night.”

VulGarrity are tough to pin down because there are elements of so many different rock formats going on including everything prog-metal to post-punk while still touching on everything from ’80s pop, synth- funk and classic rock riffs while circling the bases. This time around, they expand to include what I think is their first straight out acoustic ballad to the heavens in “Dear God.” It has more of a “We Are the World” feel than the XTC tune of the same name. Things shift fast in VulGarrity’s universe, though. The next tune, “Flight Simulator,” sounds like an ’80s funk recreation center dance floor banger in the vein of Morris Day. I’d love to quote the lyrics, but what I think I hear is usually wrong; Shawn VulGarrity is spitting gold here. “Wait Here for You” has a synth-tinged heavy rock verse before melting into an ’80s pop chorus. Afterlife goes cover to cover without losing any momentum as the closer, “West Coast Broke,” is so simple and so damn catchy that it is my favorite of the bunch. Not since Tupac has any musician managed to continue to crank out grave rave and roll party classics in the Afterlife. Records are nice, but the real measure of any band is to experience them live. VulGarrity has earned their stripes there, becoming the first band to win the WXIN and WBRU Rock Hunts against some pretty stiff competition in some of those rounds. VulGarrity is a trip because on one song Shawn will be drumming while controlling a guitar loop pedal that was recorded at the start of the song while Tracy is on bass. Next song, Shawn might move to keyboards while Tracy mans the drums. It makes for different sounds on different songs that keep everything fresh. I asked Shawn VulGarrity a few questions about what is shaking in the VulGarrity universe and also about School of Rock: Seekonk where he is music director. School of Rock is another must-see act. They played the Motif Music Awards not too long ago and the sight of these 15-year-old kids slaying Earth Wind and Fire was mesmerizing!

Marc Clarkin: Afterlife is VulGarrity’s fourth release. Is there anything you tried to do differently on this release?

Shawn VulGarrity: We added an electronic drum pad into the mix while writing/recording this album with the intention of adding it to our live show. It didn’t pan out because we found we were getting all the electronic drum sounds we needed from our keyboard and the drum pad wasn’t adding much, so we took it out of the live show.

MC: VulGarrity songs and photos have always played with a horror/paranormal theme. What are some of the things that influence your songwriting?

SV: Horror movies and novels are a huge influence on a lot of what we do. Even the personal experiences we write about tend to be colored by the horror genre because we grew up fascinated by (maybe even obsessed with) it. It continues to be a large part of our lives.

MC: Does being a two-piece ever affect your songwriting as far as creating something that can be performed live by just the two of you?

SV: Absolutely. All of our songs start out live. We add very little to them in the studio so that our live show is not too far off from the recordings. I imagine our music would be wildly different if we had more people in the band.

MC: How did you get involved in the School of Rock?

SV: I was toying with the idea of opening a school and then I was approached about coming on board as the music director for the School of Rock: Seekonk in September 2012. I took what turned out to be my dream job — a challenging but highly rewarding job. We teach our students songs and then book performances for them at real venues so they get to experience all that goes in to putting on a concert — lights, sound, hair, makeup … the works. They perform on the same stages as some of their heroes and become better musicians in the process.

MC: There are some amazing musicians in School of Rock. What has the experience of mentoring been like?

SV: Being a part of the experience is truly amazing. Many of our students barely say a word when they first sign up, and by the time their first show rolls around they are different people. Spending several months preparing for a performance with your peers changes you, makes you better at your instrument, communication, social interaction, and life in general. I get to see that every day. Words can’t express how awesome it is. MC: Do you have one favorite moment or moments that stand out as a musician?

SV: Winning the WBRU Rock Hunt, and all of the shows that came as a result of that, was pretty special and probably had a great deal to do with Tracy and I continuing down this road. Playing Foo Fest in 2013 was pretty amazing, too, as it was the biggest audience we’ve performed to thus far.

Midday Records Release features releases and performances by VulGarrity, Latin Metrics, Hwuevo, Nate Cozzolino, Global Crash, and Far Below at Firehouse 13 on July 25. Email music news to [email protected]

Folk Fest Performances That Aren’t to Be Missed

Folkers rejoice! George Wein and the Newport Foundation are ready to kick off the 56th anniversary of the legendary Newport Folk Festival. In the past half-century, the Folk Festival has provided moments that have shaped not only the music community, but history as a whole, from the Pixies going all- acoustic for their headlining set in 2005 to Bob Dylan’s fabled performance at the 1965 iteration of the festival when he played electric for the first time in his career.

This year will no doubt add to the plethora of memories and moments in Newport’s legacy, but what is one to do when there are over 55 bands performing during the weekend and most sets overlap? Well folks, I’m here to tell you that it’s manageable and that amidst the many names on the lineup that you don’t know (I’ll admit I didn’t know a few), there are hidden gems that are worth your time and ears.

Below is a list of the top five bands you should see per day at the Newport Folk Festival and I promise there will not be any overlaps, so don’t hyperventilate over having to choose between two extraordinary musicians.

Friday, July 24

5. Tallest Man On Earth (Fort Stage); 4 – 5pm: Kristian Matsson, the genius behind Tallest Man On Earth, is hot off the release of his latest album, Dark Bird is Home, which is so melodically dark that it entices you to listen to the end in order to capture the essence of his storytelling. Known for his unbelievable live performances, Matsson will hypnotize Newport with his engrossing melodies.

4. Haunt the House (Harbor Stage); 11 – 11:40am: Straight from Westerly, this folk group is one of the Ocean State’s best hidden gems and they’ll open the 2015 Newport Folk Festival. Intricacy is the name of their game and that intricacy has earned them admiration in the folk community of RI.

3. The Lone Bellow (Fort Stage); 2:30 – 3:30pm: This Folk Trio from Brooklyn have been storming the folk scene since 2011 with hits such as “Fake Roses” and “Green Eyes and a Heart of Gold.” Recently putting out their sophomore album, Then Came the Morning, these folks show no sign of slowing down and will even have those in their beach chairs stomping their feet. 2. Leon Bridges (Quad Stage); 1:35 – 2:25pm: What can I say that hasn’t been said about this otherworldly soul singer? I’ve been obsessed with him since the release of his first EP, Coming Home (which also happens to be the name of his recently released debut album). Known for his simply dramatic guitar playing and powerful vocals, Bridges is a powerhouse and is any day bound to break through as one of this generation’s seminal soul musicians.

1. Roger Waters/Unannounced (Fort Stage); 5:30 – 7:30pm: No further introduction is needed for this legendary musician and songwriter. Waters is the bassist, songwriter and mastermind behind Pink Floyd, who I’m sure most of you heard of. In what has been promised to be an intimate set of music, I am curious as to see who the unannounced artist is playing before Waters from 5:30 till right when his set begins. I have my fingers crossed that we will see the return of My Morning Jacket to the Fort, the first time since their rained-out performance in 2012.

Saturday, July 25

5. Madisen Ward & Mama Bear (Harbor Stage); 1:10 – 2pm: This mom and son duo from Kansas City aim to bring their irresistible charm and soulful hooks to the folks in Newport in a blistering 50- minute set. With their debut album now out, Skeleton Crew, expect good vibes and heartfelt moments from Madisen and Ruth Ward on the Harbor Stage.

4. The Decemberists (Fort Stage); 6:15 – 7:30pm: Being on the Newport Folk Festival Board of Advisors is a big role to fill for lead singer, Colin Meloy, but on Saturday, he will have to play double duty as his band, The Decemberists, takes the Fort Stage as the night’s headliner. Hailing from Portland, this folk ensemble plans to storm the stage behind the release of their eccentric new album, What a Terrible World, What a Beautiful World.

3. The Barr Brothers (Fort Stage); 12:10 – 12:55pm: Coming from the backyard of Providence, Andrew and Brad Barr are bringing their styling of sci-folk to the Folk Festival in a set will be as locally legendary as last year’s performance of Deer Tick on the Fort Stage (which was beyond words for a longtime fan). Whether you have heard of sci-folk or not, the Barr Brothers will take you on a trip through their eclectic take on folk music.

2. Courtney Barnett (Quad Stage); 2:55 – 3:50pm: I’m sure many of you music nuts have heard of this young Aussie who has been making quite a name for herself with her debut album Sometimes I Sit and Think, and Sometimes I Just Sit. Her rough-around-the-edges personality and vocal prowess have made her many fans and for those who count themselves as such, this set is a must-see.

1. Unannounced (Fort Stage); 3:50 – 4:20: While being the shortest set of the festival, one can only guess who will fill in during this time-constrained spot. Could it be the return of Bob Dylan or the debut of a new Newport legend? All your answers will be revealed when this artist steps foot on the Fort Stage on Saturday afternoon.

Sunday, July 26

5. Jon Baptiste & Stay Human (Fort Stage); 12:40 – 1:30pm: 2015 has been quite the year for Jon Baptiste. From being the poster child for the Newport Jazz Festival to being named the bandleader for Stephen Colbert’s turn on “The Late Show,” Baptiste is a talented jazz musician who has sparked interest amongst his contemporaries and is sure to provide a spitfire set at Folk fest before his performance at next week’s Jazz Festival. 4. Hozier (Fort Stage); 4:45 – 5:50pm: Hozier has become somewhat of a worldwide phenomenon due to his hit “Take Me to Church,” but who remembers when this Englishman took the Harbor Stage last year and performed a roaring performance of “Work Song” with the Berklee Gospel & Roots Choir? Newport is fortunate to have Hozier back to the Fort this year, but this time around, he will take the Fort Stage, recreating 2014 magic all over again.

3. The Felice Brothers (Quad Stage); 2:45 – 3:40pm: In 2009, The Felice Brothers made Newport history when they performed in the mud after a storm took out the electricity on stage. Well, The Felice Brothers are back in action and providing a kick-ass performance of their Catskill folk-rock on the Quad Stage this year. Hopefully, it will be as interesting as their 2009 mud performance.

2. First Aid Kit (Fort Stage); 3:20 – 4:20pm: Okay, I know I promised no overlaps in the beginning, but these girls are too amazing to disregard. Traveling all the way from Sweden, Johanna & Klara Söderberg are touring behind their 2014 release, Stay Gold. This sister duet is known for their impeccable vocals and addictive lyrics that keep fans coming back for more. Do yourself a favor and catch these sisters during this rare American performance.

1. ‘65 Revisited (Fort Stage); 6:15 – 7:30pm: Finally, we have come to the end of this year’s Folk Festival, and what better way to celebrate it than with commemoration of Dylan’s 50th Anniversary of going electric at Newport Folk Festival? Billed as a musical extravaganza for the ages, no one knows exactly who will show up. But one thing is certain: Dylan’s music will be celebrated in the most ceremonial way possible.

Folk Fest — All Is Not Lost!

I’m willing to bet you’re pretty bummed you didn’t get tickets to the sold-out Newport Folk Fest this year, right? You stay up late nights thinking about how you won’t get to see Roger Waters, The Decemberists, Hozier, Sufjan Stevens, Iron & Wine and First Aid Kit.

You’re not alone — a lot of us are here to keep you company while you mourn the loss of this year’s incredible lineup. Or have you?

Even though the Folk Fest is sold out, there’s still hope. Some of the artists who are playing the Fort’s stages by day are also performing at smaller venues by night. You just have to know where to look.

Of course, there’s the annual Deer Tick performance at the Blues Café during all three days of the festival, but tickets for that show are just as impossible to get your hands on as it is for the main event. But luckily, The Jane Pickens Theatre is one venue that’s swooping in to save the day with after-shows Thursday through Saturday. Though some of their shows are also sold out, you could be lucky enough to snag a ticket to see the Watkins Family Hour on Thursday the 23rd, State of the Union on Friday the 24th or Heartbreaker Banquet with a handful of other bands on Saturday the 25th if you search around the festival’s website: newportfolk.org/tickets

Hope restaurant on Broadway is another hot spot for after-party shows, hosting three bands both Friday and Saturday night. These shows still have some tickets left, so grab ‘em while you can!

Pro tip: Rumors has it that folk bands wind up last-minute as live entertainment for bars and other late- night venues around Newport, so you may just get lucky and score an ultra-intimate show without spending a dime! After the Fest is over for the day, just wander the streets and bar hop. Who knows? You might just get lucky.

While planning for this year’s festival, get nostalgic with these pictures from last year. Photos by Richard McCaffrey

Album Of The Week: Wilco’s Star Wars

Once in a while, a talented and established band will blindside the masses with an unexpected release. It causes a buzz for a few days among the band’s loyal fans. That’s pretty much what happened when Chicago Americana rock act Wilco unexpectedly released Star Wars a few days ago. The release has a fuzzy psychedelic edge to it, glossing over Jeff Tweedy’s trademark rhythmic strums while unleashing guitar slinging madman Nels Cline on every track. Definitely a refreshing record to come out in a year filled with musical gems, Star Wars reaches for the skies.

The band’s 9th studio album, Star Wars has a lot of grit. Wilco strays even more away from the pop sensibilities of previous albums Sky Blue Sky and Yankee Hotel Foxtrot and gets back to their roots. It has a similar sound to the band’s 1995 debut A.M., but there’s a heavier bass tone and you’ll hear tinges of garage rock and blues. A few tracks are absolutely nasty (in a good way) and soulful; you can’t help but dig what Wilco is doing from front to back. Ladies and gentlemen, Star Wars is proof that one of America’s favorite rock bands just got weirder.

The name of Wilco’s new album is pretty interesting, huh? Star Wars? Did George Lucas help finance the record? Are Wilco the new Mos Eisley house band in The Force Awakens? We’re going to find out from the band sooner or later. Anyways, here are my top tracks off of the Album Of The Week.

Very bluesy and fuzzy, “Pickled Ginger” is a mix of Motown soul and Delta blues that will put you in a rude mood. It’s almost as if Wilco is trying to do his best impression of Canned Heat and doing a damn good job of it. A tad swampy, “The Joke Explained” has a laid back way about it, but man is it reminiscent of Creedence Clearwater Revival with the twangy guitars. “King Of You” is another rocker that has a triumphant chorus you’re bound to enjoy.

The next time New Englanders can catch Wilco is coming up pretty quickly. They’ll be at the 20th Annual Gathering Of The Vibes happening at Seaside Park in Bridgeport, Conn., on August 1 as part of a weekend full of fun. Before you head down to the 203, you can download Star Wars for free on Wilco’s website. Experience the beauty that comes with the unexpected.

Tickets to Gathering Of The Vibes: gatheringofthevibes.festivalticketing.com/boxoffice

Download Star Wars on Wilco’s website: wilcoworld.net

BridgeFest: Representing RI Spirit

Late July is a bustling time in downtown Newport with the Folk and Jazz fests bookending the last two weekends of the month. With Newport Folk Festival running July 24 – 26 and the Newport Jazz Festival from July 31 – August 2, you’re going to have to pay your babysitter double time on these last heat- soaked days of July.

A problem arises: What is the music-lover to do in the wasteland that represents the weekdays between the Jazz and Folk Fests? For the 7th year in a row, the Arts and Cultural Alliance of Newport County is hosting BridgeFest, a celebration of art, music education and of course, the best in live local music. This festival will last from July 27 – 30, filling in that mischievous gap between Newport’s biggest festivals. Whether you enjoy arts and crafts or some music-centered yoga classes, BridgeFest is the place to be when anxiously awaiting your next taste of George Wein’s festival extravaganza after Folk Fest. Everything will kick off on Monday, July 27 with a 7th annual opening soiree featuring music from ZanRicky.

The highlight of this festival comes through its variety of music, whether you’re a fan of local rock or prefer the classical stylings of Bach. In Queen Anne Square, you can receive your fixing of jazz via some eclectic stylings of Caribbean and folk jazz. Classical offerings will be provided at St. Matthew’s Church in Jamestown with daily performances that focus on the celebration of Bach’s 330th birthday (who looks pretty good for his age).

Motif, in conjunction with Jimmy’s Saloon, will host this year’s rock stage, featuring outstanding local acts that will expose you to the best the RI music scene can offer. All artists featured are Motif music award nominees — and many of them winners — guaranteeing a quality of music that is far superior to other local scenes. I highly recommend catching SexCoffee on Tuesday and The Viennagram on Thursday, but honestly, you won’t go wrong going any of the four days.

If you’re just sick of all this music and hullabaloo, head to Trinity Church for BridgeFest’s arts and crafts fair where you can sit back and relax while watching your child create your next fridge masterpiece. Free yoga classes will also be provided daily at the festival along with an interactive musical education seminar at the Redwood Library.

Newport is a happening place this summer and you’d be crazy not to go explore what this ocean town has to offer. While the Folk and Jazz Fests have become looming giants, don’t forget BridgeFest, an incredible week-long representation of RI spirit and the soul of Newport.