The Blog of Jason “Jayce” Olshefsky

I stopped by The Bug Jar (219 Monroe Ave.) for the show — one I was quite excited about. Dr . Hamburger was providing projected video over the bands. Starting out was The Leaky Boat Blues which was Tim from A Wonderful. He played some great acoustic that I really liked. Next was a nearly minimal version of Baby Shiver’s Boutique. I have to make it a point to see these guys more often — their “motley folk” music is enhanced by their singer’s crystal clear and ever-so-melancholic voice. Finishing up the night was Autumn In Halifax — just Dave this time accompanied by the electronic-boxes form of the Leaves. His luscious, poetic acoustic rock always cracks open some inner creativity and I’m left longing for the night to never end.

I headed to Boulder Coffee Co. (100 Alexander St.) to catch the show there. When I got there, Where is Fred Brown? was already playing. Conceived as a three-piece with John Valenti, Alfred Brown, and Paul Burke, it’s temporarily named for the absence of its middle member. They played a great set of melodic trance-snyth. It had this nice dreamlike finish to it. I also stayed for The Bogs Visionary Orchestra who played some excellent “new Americana”, so-to-speak: rooted in Americana, but with a modern-rock presence. Unfortunately, the flu I’d been fighting for the past three days was getting the best of me and I didn’t stay for Seth Faergolzia.

The other day, I met the drummer for The Beaumonts. He mentioned playing in Hypnotic Clambake and I knew that JoAnn Vaccaro also played with them (among a cast of thousands, I guess) so I had seen him again at the show last weekend. Well, we got to talking about The Beaumonts and Rochester people, and he mentioned that Marianne Buckley would be in town and would be playing with them today. I had known Marianne (and Steve from The Beaumonts) for years — they were among the first people I ever met in Rochester in the “music scene”.

So today I’m at Village Gate Square (274 N. Goodman St.) to see the band. I discovered it was an event called Taste of the Gate by a group called Rochester A-List. Their deal is that if you sign up for the mailing list of the “best” events in Rochester and had RSVPed for the Taste of the Gate event, it would have been $10 instead of $15. I gathered that some or all of the money collected went to an adoption service which was there and had a raffle as well.

The event was — I guess — a way for restaurants at Village Gate to showcase their food. California Rollin’ at Village Gate Square (274 N. Goodman St.) took it seriously and produced a great number of sushi rolls. Salena’s (274 N. Goodman St., at Village Gate), I believe, provided a chicken wing tray with a kind of salsa sauce that was quite good. And although I only hovered near their table for part of the time, as best I can tell, The Gate House (274 N. Goodman St., in the Village Gate; formerly Salena’s location) put out two sandwiches and (possibly) a pizza. Nonetheless, the $15 “buffet” wasn’t much of a deal for the 200 or so people who were there.

Well anyway, The Beaumonts were excellent. They play a sort of rock with a ska-ish fluidity. Steve’s influence in the band is at the forefront, and their CD is (so far) fantastic. Plus, I got to chat with my old pal Marianne — formerly of White Cotton Panties. I wore the T-shirt for the band that I had autographed at Norton’s Pub (1730 Goodman St.) or some such place. It’s sure been a while …

Ali and I stopped by Boulder Coffee Co. (100 Alexander St.) to see Gaylord. When we arrived, the crowd was unusually sparse, but I figured I had just predicted on the wrong end of things: I commented when we were leaving Ali’s that if I get there at 8 p.m., the band won’t start until 10:30, but if I arrive at 9 p.m., they will have already played — more often than not, it’s the latter case. I even checked their chalkboard schedule and Gaylord was listed — I was concerned that I mistakenly arrived at the other, identically named Boulder Coffee Co. (955 Genesee St.)

Well, we waited for an hour or so, but no crowd began to form. In fact, I saw nobody else who I’ve become acquainted as friends of the guys in the band. I asked at the bar and was told that Gaylord would not be playing. Apparently every other Gaylord fan got the memo.

It would have been helpful if Boulder had updated their website earlier than today: I last checked it yesterday. It would have been courteous if they had a sign at the bar — or, perhaps, offered the information without prompting. In the past, I have found the serving staff (not necessarily the people working this night) to be apathetic at best and downright hostile toward live bands. They’d turn off the “house” music so the band could play only with great reluctance and repeated prompting (sometimes, not at all). They’d be openly negative about nearly every act I’ve ever seen — usually making snide comments about how much they suck whenever I’d get a drink. And I’ve never seen them be supportive of unusual requests, like when a performer would like to extend the night for an enthusiastic crowd. To top it off, the start-times of shows tend to vary, and bands appear and disappear from the schedule at an alarming rate.

But you know, it works from a business sense. After all, if I had known beforehand, I probably wouldn’t have come down and wouldn’t have spent any money. So thumbs-up to you, Boulder. Good job!

I headed out to [LOCATION REDACTED] to see a show with some bands. Up first was Colonel Parmisan who did some slick looping noise and feedback. Oliver/Reeg was next in a more electronic form (which I guess is called “AC-DC”) and they played a sort-of experimental-alternative rock instrumental kind of thing. Next was Autumn In Halifax who are still a strong favorite of mine … the poetic lyrics over equally-interesting electrically-modified acoustic is just the ticket. Finally was out-of-towners Deleted Scenes who also put on a good show with their experimental-alternative rock.

Unfortunately, I can’t really talk about where I was because it’s a secret. See there’s that fairly new law that the City has been using to shut down non-commercial music events — as opposed to out-of-control house parties as it was “intended”. As such, the shows are quietly announced through word-of-mouth, and only friends get told where to go.

Ali was really sad she couldn’t make it, but Christina and I forged on to The Bug Jar (219 Monroe Ave.) to see The Lobster Quadrille play. Opening up was Daryl Fleming and the Public Domain who did a fine job. They spun some lyrical, interesting, groove-rock-ish country/folk/rock … if that’s any help at all. The Lobster Quadrille really did a great job too. They brought their Gothic satirical gospel back to the Bug Jar, and even had a bunch of toy instruments so the audience could join in too. Their new CD is — like many bands CD’s — an idealized studio form of their live work, but it gives us fans a chance to learn all the words.

Ali and I headed to The Constellation Brands Marvin Sands Performing Arts Center (CMAC) (Lincoln Hill Dr., Canandaigua) to see David Byrne and Ani DiFranco. She bought me the tickets for our anniversary last month and I gotta say, I had a great time. Oh yeah, and we saved the $10 on parking because Ali has friends who live about a quarter mile from CMAC and they let us park there. That savings paid for all of about 1 beer, though.

Anyway, Ani DiFranco — although I don’t seek out her work — was very good. I imagine she’s incredible to see in a small venue, but it’s terribly difficult to pull off that kind of personal connection among a thousand people. Since I’m not all that familiar with her, I wasn’t nearly as excited or interested.

David Byrne, however, has been consistently great in my book. I liked his PowerPoint-based art in Trees, Tombstones, & Bullet Points when I saw him present it in October, 2004 and I’ve enjoyed what he’s done with music. In this show, he didn’t use as much multimedia as I’d seen before, but all the performers were dressed in white and changed appearance considerable with the use of stage lighting and the lighting on the back curtains.

I’ll be sure to look for the new album because it has the power and pop-rock feel of old Talking Heads stuff while still feeling current (as if old Talking Heads heard by fresh ears doesn’t sound modern enough). We were about to leave after the second encore, but he and his band were coerced into a third encore so Ali and I headed to the front row. The security guards eventually even let the stairways fill up with people.

Overall it was a blast and I had a great time. Thanks, Ali!

It’s been a while, but I got back to Monty’s Krown (875 Monroe Ave.) to catch The Enablers. It was fun to get back to the old haunt, and the band didn’t disappoint. They play a strong mix of punk and rock, although at this point it’s mostly cover songs. Their originals were solid and the mix of music … I mean — wow — who plays the Hollies?

I’ll definitely be keeping an eye on them … even if they do change their name. [In my opinion, The Enablers is a fine name, but at the request of the lead singer, I added my favorite fake band name to their list of possibilities: Fist the Bride even though it was destined for a fake metal band.]

I headed to Boulder Coffee Co. (100 Alexander St.) to check out the bands. To be honest, I didn’t like any who opened up but the night was redeemed when Jon Moses brought up members of each band and included them in his wild acoustic improvisation.

I got a little melancholic listening to the first bands (and I’m not going to mention them by name because it just isn’t worth it; in fact, half the problem was nobody operating the mixing board, and I was too mopey in my melancholy to bother to step up and do it). After having gone out to see bands so often for so long, it all seems to blur together at times. I mean, obviously everyone there had originality to add to the human musical vernacular, but it was all derivative (as it has been in almost every case forever), and all trying to be something — trying to be some direct affectation on sound … scripted … logical.

When Jon Moses played, though, his songs were absurdly simple: repetitions of barely 3 chords on guitar and often with just a single sentence of lyrics. That was just the foundation, though. The real show was in the spontaneous improvisation. It was not scripted, and even though that form of improvisation has been done some uncountable number of times before, it was exciting. Because by not being scripted, no body knew what was going to be the result — very different from even one person knowing. It was dangerous. And it worked.

Later that night, Ali and I headed to The Bug Jar (219 Monroe Ave.) to see the bands. Starting off, Stone Baby did some pretty good ambient noise although I got tired of it before they had finished. Likewise, the last band was Mountains who did also performed some good ambient noise — somewhat different and somewhat more engaging than Stone Baby.

Autumn In Halifax played in the middle. I was impressed when I first heard Dave Merulla’s solo presentation, but have grown to love the band with “the Leaves” — a semi-rotating group of backup performers. On this particular night, I made a note that they “uncork my dreams and inspires me to create”. The meandering melodies and the ambiguous lyrics lead my mind to a place where I contemplate my dreams, goals, and projects in life. It’s really a treat.