I first saw The Police in 1981 during the "Ghost In The Machine" tour at the Carrier Dome in Syracuse. At this point the band was transitioning from the post-punk-textured reggae pop of its first three albums and getting more technical, more orchestral, more arena. It was my first big concert, and though I've grown to enjoy things more on the sweatier, in-your-face, up-your-butt level that smaller clubs deliver, it was an amazing show. Flash forward 27 years to Saturday night and I was back in front of The Police at HSBC Arena in Buffalo. On a simple stage with

I hustled to the Dryden Theatre Friday night to catch Dreamland Faces accompany a rare showing of short films exclusive to the George Eastman House. The accordion-and-saw-playing duo (Karen Majewicz and Andy McCormick) often accompany old cartoons, and on Friday, among other films (including one of trippy kaleidoscopic images, one on record-making, and another about a haunted hotel) it brought life and voice to Felix the Cat and his cohorts. The accordion could be raucous at times, as when McCormick, in a fit of emotion, stood and seemed to shake the instrument at the screen. When he gave a long

In many cases it goes way beyond fandom. When one artist influences another to the point of emulation, you cross over into disciple territory. When you're a fan, you're fond of; you dig; you enjoy; you dance to; you sing along to in the car. When you're a disciple, you carry the message further. Ithaca's Revision is undoubtedly influenced by Medeski Martin & Wood; the trio cops the same guitar/organ/drums assault steeped in acid and jazz. I'm sure the band members are fans, but it's gone beyond that. And now more than ever the whole jam-band idiom has stopped looking

CMAC will feature yet another rock 'n' roll  legend -- John Fogerty -- to this, its best season in years. The show will take place Thursday, August 7. Show details are pending. Check this website for more details in the future.

Hinkley brought its charm and experimental-turned-alt-country set -- including tracks from 2006's "Estate Sale" -- to the WXXI Onstage program last Thursday night. Instrumentals with titles like "The Line for the Inflatable Rumpus Room" might seem peculiar, if you didn't somehow get the feeling that the band was actually waiting in that line. By the song's end, it appeared bassist Keith Perkins had made it inside; eyes to the sky, he was jumping up and down. Banjo-picking, hat-wearing Gregory Paul brought out his newest musical instrument venture, the saw, on request, but sadly didn't use it on any of the songs.

As soon as Detroit soul sensation Bettye Lavette let go of her escort's arm, the woman let fly. Lavette wailed salty and sultry to the large Lilac Festival crowd in the grass last Thursday night. Her voice was pure emotion - more Tina than Tina - breaking wherever the heart in the song did.Sporting a new band, Lavette kicked into the Lucinda Williams-penned "Joy" with an extra slow - I like to call it baby-makin' - groove that had the whole scene gyratin' and anticipatin'. This song drives me wild. Her mid-60's hit "My Man Is A Lovin' Man" never

On Thursday night heavy rock duo Local H had one of the best stage mixes I've ever heard come off the Bug Jar stage. The band played a lot of its newer material with dynamic punch and intensity. It was loud, with guitarist Scott Lucas covering both low and high ends of the spectrum, yet it didn't hurt. It was in-your-face but extremely crisp and distinct. The band's closing cover of Cheap Trick's "Goodnight Now" had me squealing like a girl.I managed to sandwich Thursday with 40 Rod Lightning. Saw them perform on the Breakfast Buzz with Kimberly and Beck