Kurt Elling Interview on WWUH 91.3 This Morning

ANNA WEBBER STUDIO ©2012

Kurt Elling is considered one of the most highly regarded jazz vocalists of our times. He’ll be leading a quintet on Wednesday, Oct. 1 at Infinity Hall, 32 Front St, Hartford. Details at www.infinityhall.com and 866-866-6306.

WWUH 91.3 FM features an interview with Kurt Elling – conducted by Chuck Obuchowski – on Tues, Sept. 30 at 10am. Chuck’s program, Out Here & Beyond, streams live at www.wwuh.org from 9am – noon, as do other morning jazz shows on Public Alternative Radio, which broadcasts as a community service from The University of Hartford. Listeners will also be treated to selections from several Elling recordings.

Dedicated to You, a tribute to the famous 1963 collaboration between singer Johnny Hartman and saxophonist John Coltrane, earned Kurt Elling a Grammy for Best Jazz Vocal Album in 2010; all 10 of Elling’s releases have received Grammy nominations.

WWUH presents jazz shows Monday – Friday mornings, and Tuesday – Friday evenings from 9pm – midnight. All programs can be accessed on demand for two weeks after their original broadcasts; a program archive is available at www.wwuh.org. The radio station has been one of Connecticut’s main sources of jazz programming since it began broadcasting on July 14, 1968.

 

I know you, Rider – an interview with John Rider of Max Creek

by @AuthorGriffin

I missed my calling.

As much as I enjoy interviewing musicians and writing about music for you all to read and especially songwriting (especially that), secretly, I’ve always just wanted to play bass in a band. Of course I don’t play bass or anything but whatevs, always wished for just that.

Even so, as much as I’ve secretly always wanted to play bass in a band, doing it for over 40 years sounds like a lot to me. Like, a lot… but not for John Rider of Max Creek.

max-creek

Creek has been making records and touring for their loyal fan base for over four decades from Connecticut to Costa Rica and way beyond, and John Rider has been there on bass for all of it. He’s the last remaining founding member even though the core front line of guitarist Scott Murawski, keyboardist Mark Mercier and Rider on bass has remained intact since the mid-70s. Creek is rounded out by the percussion team of Bill Carbone and Jamemurrell Stanley, neither of whom were alive when the band was founded, myself either for that matter. (source:maxcreek.com)

Let’s be clear: Max Creek does not need to do interviews. But, to John’s credit, he likes what he’s seeing Infinity Hall do for music in Connecticut and he was kind enough to take the time to speak with me about it and about his band and we can’t thank him enough for it. Hope you enjoy!

Griff: Today I have the privilege of speaking with John Rider, he’s played bass in Max Creek for over four decades who, this Saturday 9/20, will be performing at Infinity Hall Norfolk. Of course we all visit maxcreek.com for show info and follow the band on Twitter @maxcreek but John, thanks for taking the time today, thank you for doing this.

John: Sure, happy to.

Griff: So last year marked the 30th Anniversary of Creek’s double LP ‘Drink the Stars’ which was recorded live over several shows in 1982 and released the following year, and the band celebrated by offering up the 30th Anniversary Edition digital release of ‘Drink the Stars’ available on itunes, Amazon, Spotify and other fine online outlets…

John: And actually we’re considering putting it out again, this time on vinyl because people have been asking for that. I had rediscovered some of the original masters and such so we’ll see what can happen with it all.

Griff: Wow, a little inside baseball there, nice. You heard it here first. (Laughs) So what stands out in your memory about those shows, where were they and what were they like, the nights you recorded ‘Drink the Stars’?

John: They were at Cell Block 11 which was down almost underneath (Interstate) 84 in Hartford on the West Hartford line. Cell Block 11 was (laughs) owned by a guy, the reason he called it Cell Block 11 was that he had been in prison in New Jersey and that was his cell block. He thought that was a great joke, but he was a big supporter of Max Creek. Mainly because we always brought capacity crowds to the place, about 8 or 9 hundred people, there might have been a thousand for those particular shows. But we brought in a sound company who had done all our recordings up to that point called The Nineteen, which was out of Glastonbury. They had a studio there but they loaded all their equipment into a truck and recorded it from the truck parked outside the place. So, have you actually seen the set?

Griff: Just on the wall at Telefunken, actually. I just have the digital copy myself.

John: See way back when, whenever you had classical recordings they were always, because they were so long, they always came in box sets of two or three discs and the box itself had the leather book-type binding with the gold leaf across the spine saying what it was…

Griff: Oh, sure. Sure.

John: Right, so we were of the feeling that this was classic Creek that we were recording so we put it in a classical-style box and so the whole idea was that it was like the classical record set kind of thing. It was a lot of fun making it, it was probably the best… the most enjoyable album that I’ve worked on because it was totally live, very little post production in the studio. It was a pleasure to work on that particular one.

Griff: Nice. It’s amazing to hear you tell it, to hear about another time in Connecticut music. Clubs under 84 in Hartford, The Nineteen in Glastonbury, it’s really a history lesson, that’s awesome. In general, what do feel the biggest difference is between touring then and now, what stands out to you as better or worse or easier or harder than it was in the late 70s/early 80s?

John: Well, you know it’s not too different at all, really, except at this point and time, we don’t put up with as much. It’s like, you know, there were lots of things in the 70s & 80s, sleeping on floors and couches for one, that we don’t do anymore. (Laughs) Fortunately you get to the point were you can require certain things, but as far as road wear and tear and everything else it’s very much the same. Any bands that are new, starting out, I’m sure have the same frustrations. You can talk to other bands like in an airport or something, a newer band or an established band and it’s like they’ve all got the same stories so…

Griff: Just fewer in your case. No, I get that. I find that some musicians, the longer I hang out with them, I notice they tell the same road story or band anecdote more than once, do you have a favorite yourself? Is there a go-to war story you like to tell?

John: You know, it’s like one of those things I would think that probably… Mark (Mercier) seems to come up with those stories more than I do, and of course some of those stories I wouldn’t care to see in print…

Griff: (laughs) Absolutely.

John: I got a lot of em, but none that I’m ready to specifically share in a public nature.

Griff: Thats even better, I love that answer. What are you listening to yourself these days?

John: Lately it’s been mostly Creek actually, the band is just starting to write again and so I’ve been listening to a lot of that and getting that together, but normally I just listen to a real eclectic mix of things. Everything from pop that my son puts on, my younger son. My older sons are into Phish and The Grateful Dead and Max Creek oddly enough, but ahh, I go back to my old Gordon Lightfoot roots, always loved that guy and that’s were it’s been the past couple weeks.

Griff: Nice yeah, Iron & Wine is a band I listen to all the time, guy named Sam Beam, and I don’t know this for a fact, but listening to his music, he also is a Gordon Lightfoot fan, so when you’ve got some time, brother.

John: Sure.

Griff: John, again, I can’t thank you enough for taking the time today, anyone gigging for 40 years doesn’t need to grant interviews so it’s really very kind of you. I’m excited for the show Saturday in Norfolk and I know Infinity is very excited for some Creek as well…

John: Well, you know what, it’s partly because that when we started out in Hartford things were good. There was Mad Murphy’s on Union Place, and there was a couple of other places down there to play, and every year we’d play in Bushnell Park at night or sometimes they’d block off Union Place and have a giant block party and we’d play on the railroad station steps. That was in the 70s and it was a happening scene down there which has been lost. Largely because the whole live music scene in Hartford had sort of deteriorated so I’m very happy to see that the Infinity Music Hall has come in to Hartford and will hopefully revive that scene somewhat.

Griff: Me too. And thank you, I thoroughly enjoyed the little bit of history lesson on the Hartford music scene, sir, that was great, thanks. Just finally, what advice do you have for young folks starting out, what’s your secret to longevity? How do you play in a band for over forty years?

John: (laughs) It’s like when we got to ten years we had a big celebration at Trinity College and it was broadcast on the radio and we figured, ok well that’s probably it, another couple years and we’ll be done. Then 20 years came along and we said, ok better celebrate that. Then five years later we were still together, so ok so 25 years…

No, you know, I think we’ve all done the same thing you have to do in any marriage that lasts, you’ve all got to give and take, a lot of compromises and by doing that you end up staying together, whether it’s a marriage or a band. If you’re constantly just at each other, that’s not a band that’s going last very long. That’s a band that stays together long enough to make a big hit but they don’t even speak to each other off stage and that’s not going to last, there’s a lot of that that’s gone on. So I would say you’ve got to be willing to make compromises in order to last.

Griff: And you gotta love it, right?

John: Oh well, that’s the other thing, you’ve got to have the passion for it.

Griff: Well said. We will see you Saturday, John, thanks again.

Max Creek plays Infinity Hall Norfolk THIS SATURDAY 9/20 at 8pm! Can’t miss it! The band will also be performing at the legendary Nectar’s in Burlington, VT for their ‘Creekend at Nectar’s’ October 17 & 18, sounds pretty cool, just sayin… maxcreek.com for info and dates
Follow Max Creek @maxcreek
Follow Infinity Hall @InfinityHall
Follow me @AuthorGriffin

Until next time, thanks for clicking. Reading is good too. Thanks!

I know you, Rider – an interview with John Rider of Max Creek

by @AuthorGriffin

I missed my calling.

As much as I enjoy interviewing musicians and writing about music for you all to read and especially songwriting (especially that), secretly, I’ve always just wanted to play bass in a band. Of course I don’t play bass or anything but whatevs, always wished for just that.

Even so, as much as I’ve secretly always wanted to play bass in a band, doing it for over 40 years sounds like a lot to me. Like, a lot… but not for John Rider of Max Creek.

Creek has been making records and touring for their loyal fan base for over four decades from Connecticut to Costa Rica and way beyond, and John Rider has been there on bass for all of it. He’s the last remaining founding member even though the core front line of guitarist Scott Murawski, keyboardist Mark Mercier and Rider on bass has remained intact since the mid-70s. Creek is rounded out by the percussion team of Bill Carbone and Jamemurrell Stanley, neither of whom were alive when the band was founded, myself either for that matter. (source:maxcreek.com)

Let’s be clear: Max Creek does not need to do interviews. But, to John’s credit, he likes what he’s seeing Infinity Hall do for music in Connecticut and he was kind enough to take the time to speak with me about it and about his band and we can’t thank him enough for it. Hope you enjoy!

Griff: Today I have the privilege of speaking with John Rider, he’s played bass in Max Creek for over four decades who, this Saturday 9/20, will be performing at Infinity Hall Norfolk. Of course we all visit maxcreek.com for show info and follow the band on Twitter @maxcreek but John, thanks for taking the time today, thank you for doing this.

John: Sure, happy to.

Griff: So last year marked the 30th Anniversary of Creek’s double LP ‘Drink the Stars’ which was recorded live over several shows in 1982 and released the following year, and the band celebrated by offering up the 30th Anniversary Edition digital release of ‘Drink the Stars’ available on itunes, Amazon, Spotify and other fine online outlets…

John: And actually we’re considering putting it out again, this time on vinyl because people have been asking for that. I had rediscovered some of the original masters and such so we’ll see what can happen with it all.

Griff: Wow, a little inside baseball there, nice. You heard it here first. (Laughs) So what stands out in your memory about those shows, where were they and what were they like, the nights you recorded ‘Drink the Stars’?

John: They were at Cell Block 11 which was down almost underneath (Interstate) 84 in Hartford on the West Hartford line. Cell Block 11 was (laughs) owned by a guy, the reason he called it Cell Block 11 was that he had been in prison in New Jersey and that was his cell block. He thought that was a great joke, but he was a big supporter of Max Creek. Mainly because we always brought capacity crowds to the place, about 8 or 9 hundred people, there might have been a thousand for those particular shows. But we brought in a sound company who had done all our recordings up to that point called The Nineteen, which was out of Glastonbury. They had a studio there but they loaded all their equipment into a truck and recorded it from the truck parked outside the place. So, have you actually seen the set?

Griff: Just on the wall at Telefunken, actually. I just have the digital copy myself.

John: See way back when, whenever you had classical recordings they were always, because they were so long, they always came in box sets of two or three discs and the box itself had the leather book-type binding with the gold leaf across the spine saying what it was…

Griff: Oh, sure. Sure.

John: Right, so we were of the feeling that this was classic Creek that we were recording so we put it in a classical-style box and so the whole idea was that it was like the classical record set kind of thing. It was a lot of fun making it, it was probably the best… the most enjoyable album that I’ve worked on because it was totally live, very little post production in the studio. It was a pleasure to work on that particular one.

Griff: Nice. It’s amazing to hear you tell it, to hear about another time in Connecticut music. Clubs under 84 in Hartford, The Nineteen in Glastonbury, it’s really a history lesson, that’s awesome. In general, what do feel the biggest difference is between touring then and now, what stands out to you as better or worse or easier or harder than it was in the late 70s/early 80s?

John: Well, you know it’s not too different at all, really, except at this point and time, we don’t put up with as much. It’s like, you know, there were lots of things in the 70s & 80s, sleeping on floors and couches for one, that we don’t do anymore. (Laughs) Fortunately you get to the point were you can require certain things, but as far as road wear and tear and everything else it’s very much the same. Any bands that are new, starting out, I’m sure have the same frustrations. You can talk to other bands like in an airport or something, a newer band or an established band and it’s like they’ve all got the same stories so…

Griff: Just fewer in your case. No, I get that. I find that some musicians, the longer I hang out with them, I notice they tell the same road story or band anecdote more than once, do you have a favorite yourself? Is there a go-to war story you like to tell?

John: You know, it’s like one of those things I would think that probably… Mark (Mercier) seems to come up with those stories more than I do, and of course some of those stories I wouldn’t care to see in print…

Griff: (laughs) Absolutely.

John: I got a lot of em, but none that I’m ready to specifically share in a public nature.

Griff: Thats even better, I love that answer. What are you listening to yourself these days?

John: Lately it’s been mostly Creek actually, the band is just starting to write again and so I’ve been listening to a lot of that and getting that together, but normally I just listen to a real eclectic mix of things. Everything from pop that my son puts on, my younger son. My older sons are into Phish and The Grateful Dead and Max Creek oddly enough, but ahh, I go back to my old Gordon Lightfoot roots, always loved that guy and that’s were it’s been the past couple weeks.

Griff: Nice yeah, Iron & Wine is a band I listen to all the time, guy named Sam Beam, and I don’t know this for a fact, but listening to his music, he also is a Gordon Lightfoot fan, so when you’ve got some time, brother.

John: Sure.

Griff: John, again, I can’t thank you enough for taking the time today, anyone gigging for 40 years doesn’t need to grant interviews so it’s really very kind of you. I’m excited for the show Saturday in Norfolk and I know Infinity is very excited for some Creek as well…

John: Well, you know what, it’s partly because that when we started out in Hartford things were good. There was Mad Murphy’s on Union Place, and there was a couple of other places down there to play, and every year we’d play in Bushnell Park at night or sometimes they’d block off Union Place and have a giant block party and we’d play on the railroad station steps. That was in the 70s and it was a happening scene down there which has been lost. Largely because the whole live music scene in Hartford had sort of deteriorated so I’m very happy to see that the Infinity Music Hall has come in to Hartford and will hopefully revive that scene somewhat.

Griff: Me too. And thank you, I thoroughly enjoyed the little bit of history lesson on the Hartford music scene, sir, that was great, thanks. Just finally, what advice do you have for young folks starting out, what’s your secret to longevity? How do you play in a band for over forty years?

John: (laughs) It’s like when we got to ten years we had a big celebration at Trinity College and it was broadcast on the radio and we figured, ok well that’s probably it, another couple years and we’ll be done. Then 20 years came along and we said, ok better celebrate that. Then five years later we were still together, so ok so 25 years…

No, you know, I think we’ve all done the same thing you have to do in any marriage that lasts, you’ve all got to give and take, a lot of compromises and by doing that you end up staying together, whether it’s a marriage or a band. If you’re constantly just at each other, that’s not a band that’s going last very long. That’s a band that stays together long enough to make a big hit but they don’t even speak to each other off stage and that’s not going to last, there’s a lot of that that’s gone on. So I would say you’ve got to be willing to make compromises in order to last.

Griff: And you gotta love it, right?

John: Oh well, that’s the other thing, you’ve got to have the passion for it.

Griff: Well said. We will see you Saturday, John, thanks again.

Max Creek plays Infinity Hall Norfolk THIS SATURDAY 9/20 at 8pm! Can’t miss it! The band will also be performing at the legendary Nectar’s in Burlington, VT for their ‘Creekend at Nectar’s’ October 17 & 18, sounds pretty cool, just sayin… maxcreek.com for info and dates
Follow Max Creek @maxcreek
Follow Infinity Hall @InfinityHall
Follow me @AuthorGriffin

Until next time, thanks for clicking. Reading is good too. Thanks!

Talking with Lead Singer, Kat Wright, from Kat Wright & The Indomitable Soul Band

Our blogger, Emily Edelman, talked with Kat Wright about how the band formed, their most recent EDP, their upcoming performance at Infinity Hall on Thursday and more!

Tickets for the Kat Wright & The Indomitable Soul Band and The Naked Stills concert on Thursday, August 28th at 8pm in Norfolk are still available!  For more info on the show, click here.

katRockwood2

Mary Fahl Set to Perform at Infinity Hall September 6th

Our blogger Emily Edelman recently conducted a phone interview with former lead singer of the October Project, Mary Fahl!  They discussed Mary’s latest record (Love and Gravity), her live album and live band shows, and her upcoming performance at Infinity Hall Norfolk!

For more information on her show, check out our website by clicking here.

mary_photo_018

Emily Edelman Interviews Seth Glier, Will Open for Crystal Bowersox

Our Infinity blogger, Emily Edelman, recently chatted with multi-talented pianist and guitarist Seth Glier about songwriting, teaching, and his brand new album.  Seth is set to open for Crystal Bowersox at Infinity Hall Norfolk on Friday, August 15th at 8pm.  After listening to this interview and learning more about Seth, you will definitely want to buy tickets to his show with Crystal.  For more details on the show, click here.

S.Glier-7859_8X5hires

The Patterns by Wise Old Moon

womReview by @AuthorGriffin

In the long winter months of early 2014 a record was made in Connecticut, a good one.

With the help of long time co-conspirators Corey Pane and Christian Schrader, as well as a healthy smattering of other local musicians, Connor Zane Millican’s Wise Old Moon recorded The Patterns, the band’s much anticipated debut release.

Produced by Eric Lichter in his Dirt Floor Studios in Chester, The Patterns captures beautifully Wise Old Moon’s most attractive feature as a band, their live act. You could call their sound traditional, but that’s not the whole story. Millican writes in a genre of long-tested Americana music but, perhaps due in part to their youthful spirit, Wise Old Moon manages to transform back-home, familiar sounds into something fresh and new and definitely all their own.

The Patterns opens with a lovely instrumental, ‘The Pursuit’. Serving as a mission statement for the band’s overall sound, ‘The Pursuit’ is not only a brief synopsis of Wise Old Moon in general but also a preview of the tracks that follow. Songs like ‘Day Grifter’, a ballad for the down trodden and a crowd favorite at live shows, as well as ‘Money Right’, a nod to the art of getting by.

And of course there’s ‘The Patterns’, a meaningful and haunting number about self-realization that proves itself powerful enough for the vaunted distinction of title track.

The record closes with ‘Hustler Bound’, a playful to start, tragic to finish, all too familiar tale of struggles with addiction. Something every millennial in this country knows either first hand or vicariously through friends or loved ones.

Wise Old Moon truly manages to deliver with their debut release and I for one couldn’t be happier for Millican & Co. The band will be celebrating the album’s release on July 26th at Arch Street Tavern in Hartford, CT. Doors open at 8pm and a copy of The Patterns is included with the price of admission. For more information visit www.wiseoldmoonband.com

WISE-OLD-MOON-Press-Photo-2[1]
Earlier this month I sat down with Millican to chat about the new record, check it out:

Griff: Connor, thanks for coming by and hanging out today, brother. Welcome.

Connor: Sure, thanks for having me.

Griff: So summer is here, Wise Old Moon has an impressive slate of shows booked and you are about to release your debut album; you’ve got to be feeling pretty good right about now, huh?

Connor: I do. I feel anxious at the same time, but it’s a good anxious.

Griff: What was recording at Dirt Floor Studios like for you? Eric works exclusively in analog, correct?

Connor: No actually, he does offer full analog recording but we recorded digitally. The costs of analog can be prohibitive for one thing, but it was still a very organic process that had a lot of depth to it and I think the tracks came out with a great feel to them, even digitally recorded. We used a lot of older microphones, it was the middle of winter with a fireplace going in the room and snow falling some days too. Just really natural and comfortable and I think that comes through on a lot of the songs, it’s a calm album.

Griff: So what are the patterns you’re referencing in the title track? What is it exactly that you’re recognizing and, as the song says, keeping to yourself?

Connor: I guess, in a way, it’s an emotional thing, like you kind of have these tendencies inscribed in you from birth and you’re incapable of changing certain things about yourself. And that may be good or it may be bad, but sometimes you recognize that you’re just repeating the same pattern and sometimes that’s a bigger thing than you can even understand at a given time so you just bury it and you keep repeating that pattern so, in an emotional way, that’s what it means.

Griff: The Patterns opens with ‘The Pursuit’, a 1:40 instrumental. Do you think it’s a fair assessment to call ‘The Pursuit’ a general overview of the band’s sound?

Connor: Yeah, we have used it as kind of a theme song at some of our shows, or sometimes we use it as a palate cleanser of sorts, and it kind of made sense at the beginning of the record because it lets you to sort of creep in and it allows you to enter softly, like walking into the door of that studio through a couple inches of fresh snow. But also I think there’s an anxious energy in that song that is subtle and I think it’s just part of the emotional aspect of my songs and my music.

Griff: Now I love ‘Day Grifter’, it’s actually kind of funny for me because when you sing the words ‘Day Grifter’, to me it sometimes registers as you singing my name, Dave Griffin. So be honest, you can tell us, you wrote ‘Day Grifter’ about me, right?

Connor: (laughs) Dave Grifter!

Griff: (laughs) Yeah it’s just like a funny confidence for me, ya know?

Connor: That is funny.

Griff: Seriously though, is ‘Day Grifter’ somewhat autobiographical or are you describing someone you know or more of a fictional character?

Connor: I wrote that with our drummer Corey Pane while he was painting a big piece of plywood that had all these lines and wood grains, and we were kind of picking out these natural shapes. We saw this horse in the grain and this guy on the horse, and his head was this big knot in the wood and there was an emptiness there. So as Corey’s painting, at the time I lived in an apartment in Hartford, I wrote ‘Day Grifter’ just to him doing that. I kind of pictured in my head this guy… maybe a veteran of war struggling with addiction and he was, maybe in a physical reality, rambling through the desert on drugs his government had supplied him as an easy way to deal with his pain so it was kind of a reference to someone being strung out and not knowing where he was or where to go, but not really by his own choice. I think he’s a proud guy, ya know? But yeah, it sort of developed right they’re in front of my eyes as Corey was painting.

Griff: ‘Hustler Bound’ kind of picks up on some of those themes too, correct? I mentioned in the review that I view it as a topic that every millennial in this country knows either first hand or vicariously through others, do you think that’s a fair assessment?

Connor: Yeah that’s beautiful and it really hits home for me the way you end that statement because I didn’t actually write that song, that’s my girlfriend, Rachel Guzick, who wrote that song and she’s had to deal with addiction, not herself but indirectly. And so I’ve dealt with it indirectly as well, through her. She came home with that poem, which was an assignment for school and I really liked it and I arranged it as you hear it on the album. So when I read it, it just really hit home because of those reasons and because it’s everywhere, you can’t get away from it and it’s nearly impossible to deal with.

Griff: Do you have a favorite track on the record? One more meaningful to you than others?

Connor: Not really. When I play the songs for others is when I feel they take on their true meaning because everyone identifies with some aspect of a song. So people will come up to me and tell me different things about what they mean to them, things that sometimes were not even my intention. And other times I discover that a song is, or could be, about something that I hadn’t intended at all. Like one song that’s not on the album is called ‘Living Ain’t Easy’…

Griff: I really like that tune, actually.

Connor: Thanks. Yeah, one of the lyrics is ‘When you’re all lit up inside…’ and at the end of a show one night, this woman came up to me and said she works with cancer patients and she thought it really spoke to the treatment of cancer, like what patients go through during chemotherapy and such and I was really struck by that because I couldn’t even fathom that application of my music. That’s when the song takes shape. What starts out as me kind of mumbling out some lyrics and melodies develops into all new meanings and that to me is just crazy. And awesome. And that drives me to write more. I think ‘Hustler Bound’ is one of those songs that works on different levels as well.

Griff: Give us a little insight into your writing process.

Connor: I think the best songs that I come up with kind of flow out quickly in one session. They’re very directed and kind of form in one quick motion. It’s a moment. That’s why I was glad that no one was there in the recording process to really tell me what direction this album should go in, ya know? I think of this whole process as such a good experience for me because I didn’t have to think about following rules. At points I thought that maybe this one song is too sad and slow, and then I’d turn around and think, you know what, it doesn’t really matter, this is what I made. It was a comfortable feeling.

Griff: Awesome brother. Connor Millican, we wish you and Wise Old Moon all the best with The Patterns, and may it be the first of many more to come.

Connor: Thanks man.

The Patterns album release party is July 26th at Arch Street Tavern in Hartford, CT. Doors open at 8pm and a copy of The Patterns is included with the price of admission. For more information visit www.wiseoldmoonband.com