Contact: daniella@pressherepublicity.com 

Website: sethglier.com 

Players: Seth Glier, vocals, guitar, keyboards 

Photo by Mark Shilowich

Material: Marking the release of his new album, Everything, solely devoted to climate change, Grammy®-nominated artist Seth Glier, took the audience on a journey, imagining a world where we are one with our planet. With topics ranging from foraging for mushrooms to trees having in depth conversations, Glier’s vision is one of hope and problem solving. In “Birches,” trees cry out for what they are missing: The Maples are moving/Spinning northbound seed by seed/Praying for snow and the sap that needs running. In his strongest appeal to our collective efforts to preserve the planet, Glier implores us to consider all living breathing entities in “Rise:” What if this is the beginning/Not the beginning of the end/We all belong, we all belong to the rhythm/So rise. 

Musicianship: Although considered a folk singer/songwriter, Glier transcends that designation with a panoply of sounds from guitar to keyboards and programmed instruments. The absence of a backing band did not impact the performance as Glier fills the spaces with these elements along with the high energy he exudes. His vocals are powerful and often have more of a pop sensibility than what would be considered a traditional “folky” sound or style. 

Performance: He managed to deliver messages that were packaged with a high level of musicality, humor, and sincerity, never hitting us over the head or bemoaning our fate, which was refreshing. There were also plenty of charming anecdotes to accompany the songs. 

Summary: Seth Glier’s commitment to the issues reads authentic. Without preaching or scolding, he paints a tapestry of what can be, with positivity and musical acumen. He has collaborated with musicians in Ukraine, Mongolia, China, and Mexico during his time working with the U.S. State Department and shared the bill with a diverse list of artists including Ronnie Spector, James Taylor, and Ani DiFranco. 

Web: waterseedmusic.com

Players: Lou Hill, founder, bandleader, composer, drummer; Rahim Glaspy, vocals; Ten, vocals; Jentleman Sharp, keyboards, vocals; Grant Hudson, guitar; Willie Martin, bass; Robert Ramson, sax; Cinese Love, flute; Greg Banks, Flagboy Giz, special guests

Material: It was all about New Orleans at Nublu’s on New York City’s Lower East Side. This energetic mashup of R&B, funk, and jazz, is reminiscent of acts like Rick James, Earth, Wind & Fire, and Sly And The Family Stone. Dubbed “Future Funk,” Water Seed is currently spreading Nola culture throughout the world, working with the Mayor’s Office of New Orleans and the NOLA Office of Cultural Economy. The material is uplifting, life-affirming and flat out danceable, characterized by tight grooves and notable theatrics. “Open Sesame,” encourages us to reach out and grab that brass ring because tonight is your night: Don’t you be afraid to be/all the things that you want to be/close your eyes and count to three/open sesame. Slowing  down the pace is the more R&B sultry love ballad “Rest Of My Life.” You’re the one I finally found/the one I’m looking for/…I’ll do the time/I’ll be with you the rest of my life.

Musicianship: The various grooves and continuous high energy the band maintains keeps the crowd thoroughly engaged. Hill sets the tone while offering a few tasty drum solos. Other band members also have their own solo moments while Glaspy, Ten, and Love, the three fronting band members, keep the focus on vocals and staging.

Performance: The band mixes it up by trading off lead singers and adding choreographed moves, matching the music note for note. To further drive home the New Orleans flavor, special guest Flagboy Giz, dressed in authentic full Mardi Gras Indian regalia, performed three indigenous numbers.

Summary: Water Seed are true collaborators.They work well off each other while taking full advantage of their individual time in the spotlight. They have charted on Billboard and recently released a new EP entitled Sounds Of The Wasteland.

Photo by Mark Shiwolich

Contact: katie@pressherepublicity.com

Web: riesbrothers.com

Players: Charlie Ries, vocals, drums, keyboards, melodica; Jordan Ries, guitar, ukulele, bottle slide

Material: This Florida-based brother outfit takes their inspiration from a number of influences, from Nirvana, The Red Hot Chili Peppers, to The White Stripes and John Mayer. Combining rock, reggae, rap, and blues, they not only move from style to style, but blend several styles into one big musical adventure. 

They kick off the set with their recent  single, “Strange Times,” where Jordan Ries immediately shows off his polished guitar skills in this rock-driven number. “Street Lights,” with its laid-back feel and more pop sensibility is the most singable of the set. The lyrics are descriptive with definable imagery and a guitar lick that serves as a strong motif connecting the verses: Cause there’s something ‘bout the street lights, street lights/that keeps on going all night, all night/I swear that it just feels right, feels right/so let’s keep goin’ on. Solidly making the case for the duo’s grasp on various genres, is the authentic sounding “Take It Back,” their foray into reggae.

Musicianship: Impressive technique on multiple instruments renders the duo a virtual two-man band. They each handle more than one instrument; sometimes juggling two within the same song. As lead vocalist, Charlie Ries shines in various styles. Jordan Ries, on guitar can compete with the best of them and plays the instrument as though it were an extension of himself. He also plays a mean ukulele.

Performance: There is no shortage of entertaining elements from their stage antics (Jordan occasionally plays guitar holding it behind his head) to the light show in their final number. They don’t talk much between songs, but the wall-to-wall music format works for them while still maintaining a connection with the audience. 

Summary: The Ries Brothers have a synergy that works well, incorporating their individual roles. With two distinct personas, Jordan being the more extroverted and Charlie the more reserved, they truly complement each other. Their new video, “Strange Times,” is out now.

– Ellen Woloshin

Contact: beatrice@empktrp.com

Web: albamusik.com

Players: Bárbara Martínez, vocals; Albert Alabedra, guitars; Bob DiGiacomo, fretless bass; Gonzalo Grau, piano; Arturo Soriano,flute; Olayda la Cubana, background vocals and claps; Laura Peralta, background vocals and claps; Keita Ogawa, percussion; Engin Günaydin, drums; Ernesto Llorens, violin; Baba Moussa, talking drum; Tim Ries saxophone; Adriana Olivares, dancer; Nelida Tirado, dancer  

Material: Performing together for the past decade, Barbara Martinez, a native of Venezuela and Albert Alabedra, who hales from Barcelona, took their alliance one step further, adding songwriting to their resume. In the wake of the pandemic, they penned songs that would bring light and joy to the aftermath of a very dark time. Pooling their collective Latin influences, they touch upon salsa, flamenco, blues, and world music. The lyrics are entirely in Spanish, but even if you don’t speak the language, the underlying feeling of their music is still easily conveyed.    

In “Te Oro,” (translation) “I Wish For You,” we see one partner who is more committed than the other: We’re always taking two different roads/And I am always waiting for you/At the train station/In case I see your train coming from the platform…I pray for you. “Sunflowers,” which is the track for their official music video, paints a magical landscape graced by a field of sunflowers and a woman who finds inner peace as she walks through what is likened to a Van Gogh painting. “Words,” a charming duet performed by Martinez and Alabedra, showcases the duo without any backing band, a tender and quiet respite from the larger instrumental sounds.

Musicianship: Martinez’s vocals are strong, especially in the mid-range, and well balanced in relation to the band, considering their size. Alabedra’s guitar work is lyrical and smooth and a good fit with Martinez. The band they have assembled is top-shelf in every way and full of intriguing sounds.

Performance: There is an emphasis on the relationship between music and dance, and Martinez performs some flamenco with her supporting dancers, infectious enough to have some of the audience up on their feet. As striking as the band was, there were ample opportunities to break down further into smaller musical groupings that would feature the duo as the song “Words” did, while adding even more variety to the show.

Summary: Alba Musik is a highly professional outfit brimming with musicality and warmth and a keen sense of what it means to entertain. With so many talented musicians on stage, further division of labor might have featured more of the duo, since everything emanates from their collaboration. Their debut album Dawn, was released this past May.

Contact: craiggreenbergmusic@gmail.com

Web: craiggreenbergmusic.com

Players: Craig Greenberg, piano guitar, vocals; Hiroyuki Matsuura, drums; Jim Kuras, bass; Wayne Silver, guitar

Material: There is always a danger of pigeonholing an artist by trying to fit them neatly into a genre. Though more on the pop-rock spectrum, with comparisons to Billy Joel and Ben Folds, Greenberg is still his own creation who chronicles relationships and how he sees the world through his own unique prism. His songs are mostly piano- centric with a backing band, but the piano is commonly the driving force. Relationships and self-examination are the subject matter at the heart of his song content, occasionally veering off into other directions. ”Going  Back To The Start,” Greenberg revisits less complicated times with the hopes of returning to them: I’m going back to the start when the future was bright/I’m breaking the chains of my heart/ Gonna make it alright/No sense of anger/No fears slow me down/It’s gone in the blink of an eye.

“In Need of A Friend,” Greenberg follows  parallel lives on a lonely track who connect: I’m left alone at the end of a night/I feel so low when I’m cold inside/And I know I’m in need of a friend/I held the flame but it burned too fast/The plans we made weren’t made to last/ And so I am looking for a friend/And your light will soon shine in my window/..And one day the stars align/She greets me with a smile…And just like that we know the seed begins to grow.

Musicianship: Greenberg’s got great piano chops and really brings life to the songs, as a result. He also plays a more than respectable guitar. Vocally, he is never overpowered by his own playing, creating a nice balance between the two. Matsuura on percussion and Kuras on bass add color and nuance to the performance.

Performance: Despite a slight cold, Greenberg soldiered through the set, showcasing a good mix of material. Switching to guitar while also featuring Wayne Silver for a guest artist spot, added diversity to the musical and visual landscape. Greenberg’s songs are packed with stories and his songs would be even better served with some anecdotes or revelations as to what these songs mean to him, further endearing him to his audience. 

Summary: Though you can clearly hear the influences behind his music, Greenberg doesn’t chase musical trends. He sticks to his guns with his own brand of piano-centric material. Letting more of the personal genie out of the bottle with dialogue and backstories will further cement him to his audience.  

– Ellen Woloshin

Contact: beatrice@empktpr.com

Web: regrettingalmosteverything.com

Players: Danny Ursetti, music & arrangements; Lauren Taslitz, book & lyrics; Beth Leavel, singer; Jeff Blumenkrantz, singer; Paul Staroba, musical director

Material: The launch of an original musical is nothing short of daunting, a journey comprised of many steps from creation to actual staging. Once the creative process is completed, there is usually a reading of the work and/or performance of the songs where potential investors and other production people are invited. In the case of Regretting Almost Everything, the creators have not only recorded all the songs from the show, but put them on various music platforms as well as getting press coverage. 

Regretting Almost Everything, a two-person musical comedy, explores the relationship ups and downs of Anne and Clay, empty nesters, as they experience their new station in life. Without the distractions of caring for children they are faced with the stark reality of each other. This performance showcases four of the show’s songs which occur at the 25-year juncture in their marriage. “Behind The Wheel” finds the couple engaging in a mundane, everyday activity that quickly erodes into an exercise in finger-pointing. Clay sings: I buckle up/I close my eyes/I should have skipped the curly fries/when she’s behind the wheel…and Anne replies: Sixty-five is only a suggestion…and Clay says: But not in the city! In ”No, I don’t (yes, I do),” Anne flirts with the idea of having an affair, but is saddled with ambivalence: I want to be distracted/I want to be consumed and hopelessly attracted/till I’m worse than useless and I don’t care/ I want to have an affair.  But after exploring that notion she adds: But I want to want my old life/that’s why it won’t happen.

Musicianship: Leavel, a Tony-winning actress and singer, has a voice that not only musically puts the song over, but conveys the lyric content with absolute conviction. Blumenkrantz follows suit, and as a composer and lyricist himself, underscores the importance of moving the story forward.

Performance: As seasoned stage actors and singers, they bring this married couple to life in just four songs. Though this is not a staged production of the work, the goal is to let the story unfold as much as possible in this setting. By the conclusion of the performance, this audience can walk away with a clear understanding of the work.

Summary: The success of the show will depend on multiple factors; however, with its solid writing, a universal message, and the right luck, it stands an excellent chance.

– Ellen Woloshin

Contact: beatrice@empktpr.com

Website: ericbolton.ca

Players: Eric Bolton, vocals, guitar

Material: On the heels of his new release, Here Between, acoustic artist, Eric Bolton, offered up an intimate evening of music and soul-baring. Though he is grappling to understand himself in relation to the world and relationships, he is still filled with optimism and good will vis-à-vis the future.
Earlier in the set, Bolton describes what a perfect world would look like if he could shape it to fit his vision: I got tired of dreaming/Dreams have been my only guarantee/Come in my door and making me believe. In “You,” Bolton struggles with the lack of support and disconcerting messages he received when he came out as a gay man. In free-form style he shares those feelings: You were there/I never saw you/… I only wanted to be real/ I only wanted you/I didn’t want to only feel a life I’m made to lose. “Neon Soul,” gives us an up-tempo, spirited song, with unexpected chord changes. Ending the set with one final question, in “Lessons in Love,” the still ever-hopeful, Bolton asks: Love is the cure for so much on this earth/Yeah, the pain it could replace/But what of the time from your world to mine/Can love still fill that space/? In flowing 6/8 time, a rhythmic departure from previous numbers, the melody for this one will stick in your memory.

Musicianship: Vocally, this artist has been compared to singers like Michael Stipe and Chris Cornell, immediately evident given the timbre of his voice, which is warm and rich in tone. He is fluent on the guitar and provides good backing accompaniment, which is necessary since this is his entire instrumental foundation.

Performance: Bolton’s mild-mannered persona tracks with his song style, never hitting you over the head with his point of view or personal convictions. Bolton provided an in-depth backstory for every song in addition to letting us in on his writing process. In this setting, it added dimension to songs that might otherwise remain cryptic to the listener. Given that there is one lone instrument and one voice throughout, cutting down the set slightly would have further strengthened the show while preserving its intimacy.

Summary: Eric Bolton is a thoughtful songwriter who is not afraid to explore his deeper emotions. He approaches them head on, sometimes in a song style that is less structured, but always with an eye to greater self-understanding. Tightening up the show by reducing its length would have made for an even stronger performance.
– Ellen Woloshin

Contact: beatrice@empktpr.com

Web: rebeccafolsom.com

Players: Rebecca Folsom, vocals, guitar; Mark Oblinger, vocals, acoustic guitar; Weissenborn lap steel guitar, Oud viol de gamba; Robert Johnson, vocals; Eric Moon, piano, Wurlitzer b3, accordion; Sandra Wong, fiddle, Nyckelharpa; Eric Thorin, electric and upright bass; Christian Teele, drums, percussion. Nick Forster, Steve Szymanski, Carli Zug, Mireille Bakhos, Raqaya Alfaris, guest artists

Material: Debuting her latest release, Sanctuary, Rebecca Folsom shared a collection of songs penned with fellow activists and advocates for social change. The songs speak to those on the fringes who are dealing with mental health issues, racial and gender discrimination, gun violence and incarceration, to name a few.    

    Musically, Folsom straddles between folk and gospel and gets her inspiration from actual interviews and conversations with those who have experienced these issues, as well as from her own life experience. Together, they form the songs’ narratives. 

“Sanctuary,” the title cut, with its inviting piano intro, thematically evens out the human playing field: One world we are brothers and sisters/one world it’s really rather small/one world ours to care for/one world together/a sanctuary for all. “Rise Up,” a gospel-inspired song, is a call-to-action to our collective humanity: Rise up in my power of glory/rise even higher/gonna fly so high/ gonna shine my light/gonna rise.

Musicianship: Folsom’s voice is the musical equivalent of water cascading through a mountain. While her warm, rich alto sound is the meaty part of her voice, her upper range is equally powerful. She has assembled a group of musicians who complement her while bringing in sounds from instruments not often heard in our current pop music culture.

Performance: Seemingly comfortable in her own skin, Folsom conveys her commitment to the issues with sincerity and authenticity. She more than adequately gives the backstory for each song, which in the case of these selections, is instrumental in their creation. When performing “Rise Up,” Folsom invites the heads of various non-profits to take the stage and join in song, a very meaningful moment in the set. Though her work more than addresses the challenges central to their stories, it would have been intriguing to hear her vesion of a timeless classic in the genre.

Summary: When a singer’s unique sound and heart come together, that’s the moment they hit the sweet spot. Rebecca Folsom achieves that with her song content and powers of expression. Adding to this weighty collection, hearing her spin on one of the classic socially conscious gems would have been a welcome addition. 

– Ellen Woloshin

New York, NY

Contact: beatrice@empktpr.com

Web: mollyryan.com

Players: Dan Levinson, clarinet, sax; Andy Schumm, trumpet; Rossano Sportiello, piano; Rob Adkins, bass; Kevin Dorn, drums

Material: Marking their 40th anniversary, Hot House Magazine, jazz’s premier guide, hosted an evening of style and sophistication complete with live performances. The celebration, taking place in one of New York City’s elegant brownstones, re-created the mood and ambiance of a bygone era. Adding even more authenticity to the evening, were sets by several female jazz singers offering their brand and interpretation of that period. Molly Ryan, a regular on the New York City jazz circuit, effectively channeled big band singers of the 1930s, performing songs which included “Putting All My Eggs in One Basket,” “The Folks Who Live on the Hill,” and “A Nightingale Sang in Berkeley Square.”

Musicianship: The singer was joined by a group of top-shelf musicians, their instrumental makeup pairing perfectly with Ryan’s vocals. Choosing material that is well-suited to her voice, Ryan’s style and phrasing comport with the sounds originally heard in a bygone era. Her range is dynamically even, but her ace in the hole is in the song styling itself. 

Performance: The party atmosphere filled the venue, which offered a space dedicated to the performances. There, Ryan and band had an attentive audience, while other party goers gathered to listen in an adjoining room. Since this was not a formal show, Ryan had to walk the line of being foreground and background, and she managed adeptly. The set was well balanced between up-tempo numbers and ballads.

Summary: Molly Ryan is true to her chosen genre in her song choices and the interpretations of them. One of the advantages of being in a specific niche is that the marketing path is more obvious. Not only is she a bonafide jazz singer, but she falls into a specific sub-genre that comprises the 1930s through the Big Band era. That makes it much easier for booking opportunities and connecting with your core fanbase. Ryan has certainly carved out her path with clarity and definition. 

Contact: dreamspider@gmail.com

Web: damntallbuildings.com

Players. Max Capistran, guitar, banjo, vocals; Sasha Dubyk, upright bass, vocals; Avery Ballotta, fiddle

Material: Although bluegrass is at the heart of their music, other influences include jazz, swing, and ragtime. Portraying what might be considered the mundane occurrences of everyday life, the trio gives importance to these moments so often overlooked, conveying sincerity in mood and messaging. 

In “Dark Window Panes,” a pure bluegrass number, an energetic up-tempo beat contrasts a more melancholy sentiment: Dark window panes/everything looks the same/Deep as an oil stain in your pocket/Layin’ in the morning sun illuminates everyone/ But I couldn’t see much of any at all. Though there is lament in the lyric, the music has a joyful vibe. Dubyk, who is also a painter with a passion for buying shoes, sums it up in “Painter”: I got some new shoes baby and I’m feelin’ fine/And it looks like we got blue skies comin’ up and down the line.

Musicianship: Performing bluegrass without the requisite chops is a potential trainwreck. But this trio is so technically proficient that they can let go and play with abandon, fostering a strong connection with the listener. Guitarist Capistran, the band’s glue, lays the foundation. Dubryk, the lone female voice in the outfit, brings depth and texture to the overall sound, while fiddler Ballotta adds the dazzle.

Performance: Capistran, acting frontman, excelled at weaving casual banter with song setup. At other times he simply opened a window into their lives and creative process. It’s no wonder that before the band played venues, they were busking on street corners where they honed the ability to become a tight unit while attracting listeners. In that setting, so much is dependent on grabbing the attention of passersby that you must work harder than when you have a rapt audience in a club. 

This performance, billed as the release show for their new album, Sleeping Dogs, consisted of mostly original material, but a couple of heavy-hitting covers would be a treat to hear, especially coming from a band of this caliber. However, they did close the show with a cover of “I’ll Not Be A Stranger,” a perfect way to end.

Summary: Aspiring performers could take a lesson from this band. They demonstrate a profound understanding of the performer/audience relationship as well as the give and take with each other, fully enjoying their time on stage. The band recently locked in a residency at Pete’s Candy store in Brooklyn this coming February. 

Photo by Mark Shiwolich