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Caffe Lena – Week at a Glance -12/15

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Greetings – By this time, many of you will have heard the news that an anonymous friend has made a $1 million donation to Caffè Lena. This extraordinary gesture reflects the donor’s love of folk music and a desire to sustain what Caffè Lena brings to the community. At a time of uncertain funding for arts organizations, they want to provide security for the concerts, education, commmunity outreach and connection you come here for. This remarkable donation will be placed in strategic reserves. This means that we’ll be better prepared to weather current and future challenges. Does it mean we’ve solved fundraising? We wish! Day-to-day programming still depends on you–our members, annual fund donors, volunteers, musicians, and audience members. Thank you for being part of the community that has gotten this storied venue to where it is today, and for helping us build its future.

And the music rolls on! Our week includes a very special Rochmon Record Club, an intimate show with jazz singer Jane Monheit and her pianist, the great singer-songwriter-storyteller Ellis Paul, sizzling brother-sister duo Jocelyn & Chris, and a gorgeous night of winter songs with two of the Capital District’s stand-out composers & bandleaders, Elizabeth Woodbury Kasius and Maria Zemantauski.

See you at the show,
Sarah

 

Carm Grasso – Thanks for Asking!

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Carm Grasso – Thanks for Asking! – by Liam Sweeny.

RRX: What was the very first reaction to your music, from the first person to ever hear so much as a practice jam or the demo of your first song?

CG: I remember this moment fondly and believe it helped shape the direction of my musical journey. Back in 2003, I built a studio in my home and nervously started recording songs without any real idea of where I was headed.  Given I had never done this kind of thing before, I was a bit unsure of myself as it pertained to recording, getting a proper and satisfactory take, if the project was going to vocal or instrumental, what other musicians would perform on the songs and more. Around that time, we threw a birthday party for my oldest daughter and had a lot of people at the house, including my daughter’s friends and their parents. One of the guests, Tearle Ashby, noticed a George Lynch instructional video in my stereo cabinet and said: “Hey, do you play guitar?”  I quickly confirmed and then proceeded to learn he was very talented and accomplished musician from the regional powerhouse progressive rock band, Fear of Flying, a band I ended up joining about a month later and played with for 15 years. On this day, I took him into my studio and let him hear what I’d been working on, albeit in secret. After I listening to the first tune, he looked at me and said: “Dude, this is really good material. What are your plans with this? Are you going to release it?”  I went on to tell him I wanted to do an all instrumental album but wasn’t sure if the songs were good enough or if I could do it; I needed help. He then said: “Yes, you can do this, Carm.  This is very good and you’re gifted.  I’ll help—I want to produce the album for you, let’s do this!”  His reaction to my music and words of encouragement sparked a fire in me, set me on my current path and helped me believe in myself. After many re-records and steps along the way, I released “Soul Stealer” as my first instrumental guitar rock album. Since then, I’ve released five albums with more music on the way.  You can check out my music on both bandcamp.com and your favorite streaming service.

RRX: Stereotypes are a bitch. I mean, aside from the really bad ones, you have cultural stereotypes about everything, including music.  Would do you think is the stereotype for the music you play, and how far are you away from it?

CG: The majority of music in my catalog falls into the realm of instrumental guitar rock.  In the way of a stereotypes, many people associate or categorize this kind of musical expression as “shred,” which generally entails fast, aggressive, highly technical and energetic playing. While it’s true I appreciate and incorporate those elements into my music, this is only part of the story. In my mind, my music transcends that label because I focus on art of songwriting with the guitar serving as my voice. I make a concerted effort to write memorable, well-structured songs in a huge variety of musical settings, with themes, a strong sense melody and dynamics. To this end, my songwriting tells a story and has many facets beyond an assortment of impressive guitar licks and techniques. My albums contain everything from hard-hitting rockers, to catchy, melodic compositions, acoustic pieces and heartfelt ballads.

RRX: Our style comes from the extension of our influences. It’s like an evolution. We’re influenced, and it inspires us to influence. What can you say about your influences, and what you feel you’ve done with their influence as a musician or band? Have you extended their work?

CG: In the way of influences, I grew up listening to melodic hard rock from the 1980’s.  This genre of music showcased the guitar along with dazzling guitar solos. I was enthralled by guitar heroes like Randy Rhoads, George Lynch and Yngwie Malmsteen. I then delved into the music of instrumental guitar masters like Al Di Meola, Joe Satriani, Steve Vai, Tony MacAlpine and others. When I reflect on my music, I recognize the combination of melodic rock and virtuosity on the guitar helped fuel and shape the creation of my own style. This melding applies to how I construct songs, to how I hear melodies and use the guitar to color a tune. I believe I have extended the work of my influences by creating something that is unique, it’s my own take and vision.  To this day, I am in awe of all the amazing talent around me and continue to draw inspiration, whether it be a local band, national act, a guitar virtuoso, a pop, rock, flamenco or country artist.

RRX: In the musical world, there are many supporting players. Recording engineers, sound techs, cover art designers. Who are three people that support the craft that you would like to shine a spotlight on?

CG: I am forever thankful for the huge cast of supporting players in my musical journey and evolution. I have been blessed to be surrounded by family and friends who support my musical endeavors, especially because not everyone understands the artist’s voyage and vision—but when they do, it’s a special energy and relationship that inspires me to be the best I can be. In the way of recognizing three people in particular, I would like to shine a light on Danny “Danymal” Lee.  In addition to being a ridiculously talented mixer, audio engineer and producer, he sees my vision, acts as my musical confidant and encourages me to reach for the stars.  We’ve worked on 5 albums to date and I believe the best is yet to come.  I’d also like to shine a light on mastering engineer Andy Vandette. In the world of mastering, Andy is a titan who has worked with a star-studded list of artists.  He has mastered all my releases and works tirelessly to ensure the best possible results for my albums.  I believe I’m the lucky one as it pertains to working with him and remain thankful he continues to master my music.  Finally, I’d like to honor the memory of my best friend, Todd Sardella.  Todd was a musical mastermind and my musical partner for close to 30 years. His friendship and our musical bond continue to have a profound impact on my musical world.

RRX: Playing out is tricky because you never know what’s going to happen when you get there. Sometimes everything goes wrong. What was your worst show like?

CG: Many artists talk about the magic that happens in the studio; the thrill of creating something new. With that said, you’re generally in a controlled environment and it’s very different than playing live given there are curveballs and wildcards involved. I recall a tricky outdoor gig a couple summers ago where everything seemed good to go:  the band had been firing on all cylinders, I was well-rehearsed, soundcheck went well, the stage was huge and the crowd was in place. Unfortunately, fate had different plans.  Within minutes of starting the first song, I recognized the mix was going to be a challenge. Then, my rig starting cutting out: I was scrambling to troubleshoot on the spot, trying to figure out if it was a guitar cord, a patch cable, battery, the amp itself or any combination of those things while the singer and crowd had a bewildered look on their faces: “What is going on right now, Carm? You’ve pretty much missed entire first tune.” Needless to say, this was less than ideal as I had to forgo using my preferred set up and the experience shaped the remainder of the gig. At the end of the show, I wasn’t feeling great but that’s showbusiness, folks! You just have to keep your confidence and head up, even in adversity—that’s the grit that forms growth and character.

RRX: Let’s talk about your next project, your next few. Just not the ones you’re working on now. The ones you have your eyes on for the future. What’s coming to us?

CG: Since the release of my latest instrumental guitar rock album, “Seed of Doubt” in May 2025, I have been working on 3 exciting projects. First, I have completed the songwriting and recorded all the guitars for a new instrumental guitar rock album, with an anticipated release in late 2026. Second, I am writing and recording music for a vocal album in the vein of my 2023 melodic rock release, Grasso Sardella, and plan to include a number of “heavier” songs to the mix. Finally, and after performing a well-received flamenco set to over 700 people in Miami, FL this past summer, I have my sights on releasing an all acoustic instrumental album and am well on my way to making this vision a reality in the future.

 

Link to find Carm Grasso music:  https://carmgrasso.bandcamp.com/

*Also on streaming services Spotify, Apple Music, Amazon Music and YouTube.

 

 

 

More from Liam Sweeny…

 

Life on the Cutting Edge – Discoveries and Advancements

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Life on the Cutting Edge – Discoveries and Advancements

A Brain Chip was Created that Connects to Real Thoughts

https://www.nature.com/articles/d41586-025-03714-0

New Battery Can Power a City by Falling

https://supercarblondie.com/gravity-battery-turns-skyscrapers-into-power-banks/

A Living Robot Can Make Copies of Itself Without DNA

https://www.npr.org/2021/12/01/1060027395/robots-xenobots-living-self-replicating-copy

Prog Digest – An Xperience Column

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Prog Digest – An Xperience Column – by Klyde Kadiddlehumper.

Gather ‘round, chillens, it’s Christmas Story time with your Old Unkle Klyde. Nope, not Prog related (although my super deluxe remastered “War of the Worlds” shipped today) – but fun.

After last year’s incident – it really was an honest mistake … really – there will be no sitting on kind ol’ Unk’s knee …

Anyway – at heart, at RadioRadioX and Xperience Monthly, we are storytellers. Whether interviews, or profiles, or articles – we like to tell stories. While not perfect, our goal is to get it right, or kinda right, or at least let you know when it’s what we think, not what we know. While Constant Companion spent years killing off Rob Schneider, likely ‘cause he played a Bob Fosse-like character and Fosse died in ‘87 – I don’t believe we have killed off anyone (of consequence at least) in these pages. Told a tall tale or two – sure. But homicide – nope.

Perpetrating a good-natured hoax is, however, in our wheelhouse. Sometimes, take what Klyde says with a grain of salt. Unless he is telling a story – not a tale.

I was reminded of a time when CC and I were first dating and having dinner with a couple who are amongst my best friends. Klyde’s friend knows a bunch of trivia and will tell you so. Let’s call him Not Silent Bob. Well, the tall tale goes like this.

During dinner, CC had listened attentively to a number of stories. And decided to get in on the fun.

“Well, you know, the Little Rascals was filmed in Troy,” she starts.

Having no idea where this is going, and not wanting to kill the vibe, Klyde nods in agreement.

And it continued. About the fact that there was a pretty thriving film business, way back when, well north of Battery Park City.

Not Silent Bob is enthralled. All that was needed was setting the hook.

Going on, CC goes all in. “You know that famous scene, on the ladder truck … the one going down the steep hill – no idea how they didn’t get killed. You know the street, Klyde.” I am implored to back this up.

Not missing a beat, I go, “Yeah – that’s Hoosick Street.”

Hook, line, and sinker.

CC can’t contain herself.

“You know, Not Silent Bob, I’m lying.” NSB’s wife did a spit take and began laughing uncontrollably.

Just enough truth to be plausible. Just stupid enough to be true. And a (mostly) complete fabrication.

The fact is that there was a thriving movie industry in Upstate – just not in Troy. High above Cayuga’s waters in Ithaca, N.Y. The Little Rascals were, indeed, filmed there. And that scene is memorable.

Don’t try to find the films – a certain disgraced star bought them up, never to be seen again, as he deemed them insensitive. Oh, and don’t try to find the WW2 Warner Brothers cartoon either.

A couple things brought all this to mind. Yet another case of a famous person being killed off in print, and a question a friend posted on LinkedIn.

To all his contacts, Steve asked that we provide one or two examples of things we *know* to be “true.” Define as you wish – physical or existential – truth.

Given the state of the many things – a much tougher task than one might imagine.

Perhaps there are some things we need to believe that simply cannot be true. The Tooth Fairy. The Easter Bunny. Krampus.

And then, we look at a house for sale with a young non-believer. He’s just a nice old man.

And there, leaning against the fireplace, is a well-worn, recognizable cane, and a swing set in the backyard.

A Merry, Happy, Peaceful holiday season, all. Do something nice, be someone nice. Be the person you always wanted to be when you still believed.

Until next time.

Klyde

More from Klyde Kadiddlehumper…

VinTri Hill @ Ship’s Pub, 12/13/2025

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Saturday Night, VinTri Hill opened up the floor at Ship’s Pub in Albany, playing their hits spanning across multiple albums.

 

Photography by Christopher Ebbs.

More from VinTri Hill here …

 

 

“Raiti’s Rescue Benefit Show” @ No Fun, 12/4/2025

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Raiti’s Rescue is an independent rescue by Mary Raiti to help rescue, care for, and adopt out cats in the Capital Region. On December 4, Byrdhouse Records presented a benefit show for them at No Fun, featuring God’s Not Buying a Horse Today, Cheesy Snacks, Kitty Kitty Meow Meow, and comedy by Sean Concannon.

 

Photography by Timothy Reidy.

More from No Fun here …

Neon Avenue @ Lark Hall, 12/5/2025

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On December 5, Neon Avenue returned to Lark Hall for another night of Grateful Dead music.

 

Photography by Timothy Reidy.

More from Lark Hall here …

…2..3..4 – An Xperience Column

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…2..3..4 – An Xperience Column – by Chris Busone.

I wasn’t much of a talker in my early youth. I am the youngest of six, and with my brothers and sisters and parents in the house, I was more of a happy observer. And I loved it. There was always lots of action and talking, and sometimes loud talking, and even louder sometimes, and it was all great fun and entertainment.

But my silence made some people uncomfortable because apparently, we are meant to be babbling nonstop as a species, even if we have absolutely nothing of consequence to say. So inevitably, someone would ask, “Are you ok? You haven’t said anything in a while.” And while I was touched by their concern, I really disliked that question. Still do. A lot.

When I was very young and silent, while other children were perpetrating merriment around me, the occasional crude adult would ask one of my parents, “Is he ok?” Or worse. “Is he backward?” That’s the word they used back then. Can you imagine grown adults saying that about a child? And to their parent?

“He’s fine,” my father would say emphatically, while fixing a steely gaze on this dolt. “He’ll talk when he has something to say. You should try it.” Then he’d put his arm around my shoulder and call them a curse word under his breath, but just loud enough for them to hear. (Thanks for that, by the way, Dad.)

The simple fact was that I was excruciatingly shy and had trouble talking to anyone I didn’t really know. And being a kid, outside of my immediate family, I didn’t know a whole hell of a lot of people. I mean, at four years old, the nightlife is pretty much nonexistent, so I wasn’t out clubbing and working the room, gladhanding. But as I grew a little older, even I recognized it was starting to be a problem. So, I began to develop this idea that I needed a conduit. Something that could help me convey the thoughts I had swirling around inside of me that I just couldn’t seem to express in a conventional manner. Then, as luck usually has it, I found it.

The guitar.

The guitar was perfect. It could stand in front of me. And I could stand behind it, while it helped me get on top of my thoughts. It could speak when I couldn’t. And it could accompany me when I could. It was the perfect conversational partner, and it never asked me if I was ok. It just played along. It’s always given me pleasure, passion, and strangely, a sense of worth. It’s just always … been.

Plus, it looks really cool.

I hear from time to time musicians being asked why they initially picked up an instrument or joined a band in the first place, and the answer is always the same old tired dribble … “To get girls!” they proudly proclaim.

Let me be clear; I do not believe that horsesh!t for one second. You don’t devote your time, effort, sweat, heart, your very being to something just so your 12-year-old crush will notice you. You do that sh!t because you are compelled to do it. It’s not a choice, at least not in my case. I couldn’t have stopped if I wanted to.

People have asked me what it is about guitar that I love so much. It’s hard to quantify, but I can say this: when I first looked at a guitar neck, age nine, it just made sense to me. And as a kid, not many things make sense … e.g., “Why do I have to be in the house by the time the streetlights are on? Why is ‘Because I said so,’ an acceptable answer to every inquiry? And what in the actual f*** is up with brussels sprouts?!” But the guitar always gave me a logical answer whenever I strummed it, never sent me to bed when Mannix was coming on the TV, and never, ever, made me eat my goddamn vegetables. (Seriously, you want me to eat these little green balls, but I get yelled at for putting marbles in my mouth??)

But as I was teaching my fingers to teach my guitar to make the sounds my ear was after, my guitar was teaching me things I desperately needed outside the musical realm. It was teaching me self-confidence and that, ultimately, I didn’t need it. In an incredible act of selflessness, my guitar was showing me that I didn’t need it to speak for me. I only needed it for what it was originally intended. Music. To make the music that, at first, I thought made me worthwhile. But my worth, it turns out, was not dependent on the guitar or the music. The guitar was showing me that I’m worth something with and without it. That I could have it in front of me, but I didn’t have to hide behind it. That I could come out from behind my guitar and be the person I knew I was inside, but could never find the words to express. That I didn’t need to play second fiddle to my guitar. (Cheesy, I know, but once you write that line, it stays in.)

Yes, my guitar is responsible for introducing me to almost everyone in my life who is most dear to me, including the most important person, my amazing wife. Were it not for my guitar, I would have never been in a band, and simply never have met the people who are my closest friends today, and never have met the love of my life. I can trace back, person by person, when I was first in close proximity to each of them simply because I was in the band, with my guitar. It put me in the places I needed to be, to meet the people I needed to know, who made my life what it came to be.

So, I never regret the days of my youth when my friends would call to me from outside to shoot hoop or whatever, but I instead remained in my room studiously fingering the pentatonic scale until it became second nature.

And again, there’s that thing where it looks really cool. So that’s nice.

But lest we make this too touching and Dickensian a tale (I mean, I wasn’t playing my guitar on street corners, mute and malnourished, begging for another helping of porridge), playing guitar has been one of the most enjoyable aspects of my life, and it has taken me places I never would have had access to without it.

I was, in fact, just recently talking to my good friend and former bandmate Jim Lazzaro about the places we went and the people we met when we were traveling in the band together. How we would have never seen those sites or met those folks were we not musicians. It’s truly been the Best of Times. And this time, now, is the best yet.

And still, today, people who knew me in my early silent years – childhood friends, cousins – when they see me on stage, say to me, “It’s crazy that that’s you up there. You were always so quiet.” Yea, I guess I was, and sort of still am.

Because every once in a quiet while I’ll lapse into a silent, stoic, solace in a club or at a show, prompting someone to interrupt my repose by uttering my favorite quizzical phrase, “Are you ok?” But thanks to my extensive work with 6-string therapy, I can truthfully answer, “Yea, I’m great.” And as a result of years of immense growth, I can also add, in an exaggerated, overly concerned tone, “Are you???” After which, I revel in the look of confusion on their face.

But by spinning this yarn of woe, I am not in any way proposing that I have the answer for every kid who feels emotionally disconnected from their surroundings. I don’t have any of the answers, and I’m absolutely certain I am no one’s role model. I can, however, say that when I found myself in that place, there was a lifeline that I reached for that gave me hope and got me through. And maybe they’re out there for everyone if you look for them.

But I can’t stress this enough: what the hell do I know? I’m just a guitar player.

So, in summation, this, for lack of a better term (because I can’t come up with one), is my love letter to the guitar. I’ve had and have many, and they all make me happy. I never leave home without one because you never know when things might turn musical, or the opportunity may arise when I can jump up on a stage, with a guitar strapped to my back, securely hanging in front of me, but not fronting for me, and count it off…2…3…4.

More from Chris Busone…

Howard Glassman – Xperience History

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Howard Glassman – Xperience History – by Rob Smittix.

Originally published October 2020.

Many of us local musicians and fans as well, felt as if a part of us has died when we got news that The Low Beat was closing. The scene will never be the same and we at RadioRadioX.com and Xperience Monthly needed to address this with a proper send-off. Today I took some time to talk with former owner Howard Glassman.

RRX: I did not receive word that our beloved Low Beat was going to be no more until… September 11th of this year; I saw a social media post simply stating “The Great Low Beat sell-off has begun. Stop in and get your piece of memorabilia/history/crap!! Bring a screwdriver, boxes and CASH MONEY!” I was saddened by the news of course but I understand. I assume in today’s state of things we will be losing more music venues. Although I hope not. What was the breaking point for you?

HG: Breaking point? How many pages do you have to spend on this? Honestly the breaking point was back in March when COVID hit and the federal government (that was aware of this coming sh** show as far back as…November?) did everything it could to down play this virus and the devastating effects that it was about to have on everyone both physically, mentally and monetarily. Sorry to get political in an entertainment piece. As much as we New Yorkers have had issues with the governor over the years, I lay none of this at his feet. You could see that the bar/live music business wasn’t coming back anytime soon with or without food service. Just wasn’t happening. I broke. Couldn’t sustain taking out any more loans and took the first offer I received for the building.

RRX: So for those who don’t know the legendary Valentines was the predecessor to The Low Beat. Obviously with Valentines the hospital took over the block but The Low Beat brought back a similar vibe for music fans and musicians alike. Do you think The Low Beat will be the predecessor for another music venue?

HG: Predecessor? Right now, at this time, I don’t know. The Hollow still seems to be in business serving food, so when and if music is allowed again inside, they will probably still be there. Upstate Concert Hall moving down into the old Cap Rep will fill a void in Albany, The Hangar in Troy will most likely have music again. As far as myself opening another joint, that’s the last thing on my mind right now.

RRX: So many memories for show-goers and bands but you must have more than a few great memories yourself. Care to share any highlights with us?
HG: Best memories were Wussy showing up close to midnight on a school night because they got popped outside of Cincinnati with weed in the van and the folks still waiting for them all pitched in, loaded their gear and got em onstage.
Garth Hudson sitting in with The Deadbeats….at 3:30am midweek. Steve Wynn solo storytelling about how The Bangles wrote “Hero Takes a Fall” about him. Any and every Hamell On Trial happy hour event. Any and every Figgs show. I’ve honestly forgotten more than I’d like to admit.

RRX: Saw some great shows at The Low Beat and played a few myself. Personally the Two Cow Garage and American Pinup was one of my favorites. Who were some of your favorite bands that you’ve booked at the Low Beat?

HG: The shows listed above and of course Two Cow Garage, The Regrettes, Howling Hex, One Eleven Heavy, Dan Stuart of Green on Red, Shonen Knife and the annual Burnt Hills first Friday in December shows. A lot of people didn’t see any of those shows.

RRX: No Pepper was painted below the stage and previously No Pepper Games beneath the Valentines stage. So as far as memorabilia, I’m sure this was #1 on most people’s lists. Being a huge Mets fan that you are, I am under the assumption this was a baseball term. What does it mean to you?

HG: No Pepper was originally painted on the Bogies stage back in ‘91. Took it with me to Valentines and naturally to The Low Beat. Pepper is a baseball warm up game of repetition where a player with a fungo bat (a broken bat that is heavily taped) will lightly hit a ball to three, four, five players all lined up. The main gist of it is the players field the ball cleanly and toss it back for the player with the back to repeat the process. In the early days of the game it was played near the walls between the dugout and home plate where fans would watch. One bad hop on a sharp ball and it could take a fan out. Hence the spray painting on the walls of No Pepper Games. More than you probably cared to know.

RRX: So what’s next for Coal Palace Kings, KranePool Records and Nighthawks?

HG: Coal Palace Kings hasn’t been in the same room since late February. You know why. If there’s ever a vaccine, we will convene again but probably not in time for the Black Friday show. KranePool Records throws a great Memorial Day party every year, but not this year. Hopefully in 2021.

Nighthawks (Troy NY) is open Wednesday through Friday noon-10pm, Saturday and Sunday brunch is from 10am-3pm and burgers, dinner and drinks until 10pm. Take out, delivery and socially distanced indoor dining. Wear a mask when moving about. True farm-to-table goodness like you’ve never experienced. Trust me.

Nighthawks is located at 461 Broadway in Troy and more can be found here.
https://www.facebook.com/nighthawkstroy/
https://www.nighthawkstroy.com/

 

 

More from Rob Smittix…

 

Girl Blue @ The Eleven, 12/5/2025

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First Friday saw Girl Blue performing at The Eleven. Hippiefunland TyeDyes was also present.

 

Photography by Timothy Reidy.

More from The Eleven here …