Beyond Funk: An Interview with The Motet

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Started in 1998 by drummer Dave Watts, The Motet has been redefining the meaning of modern-day funk since its inception. The seven-piece band follows no generic model and has been making booties shake with their high-energy sets for over a decade. With a new album in the works and a continuous stream of tour dates all over the country, they show no signs of slowing down.

The Motet creates a funky afro-beat electronica that is irresistible and almost impossible to not dance to. Despite the amount of members, the band is able to cohesively and effectively merge all of the instruments and vocals, but in a way that complements each one in its own way.

Photo Courtesy of Bear Creek Music and Arts Festival

During their second appearance at Bear Creek Music and Arts Festival, I was able to sit down with a majority of the group to talk about various topics, including their return to Bear Creek and their plans for the future. Continue reading to find out how the band got its name, what the members think about sit-ins and more.

*Some quotes are attributed to the band although a specific member said it.

Is this your first Bear Creek?

The Motet: No. As The Motet, we were here for the second [Bear Creek]. Motet was here about six years ago.

 

How would you compare this festival to other festivals you’ve played at?

Dave Watts: Better, better for sure.

Garrett Sayers: It’s one of our favorites. It’s my personal favorite.

Dave Watts: Maybe even more than Jam Cruise.

Garrett Sayers: I’d say so.

Dave Watts: You’re not on a boat.

Garrett Sayers: The thing about Jam Cruise is that the Jam Room is very cool.

The Motet: As far as Bear Creek, it’s our absolute favorite because there are musicians everywhere – players that we respect. It’s an awesome time with lots of sit-ins, good friends, fun. Yay!

The Motet: We were apart of Spring Fest a couple of times, which is a bluegrass festival. It’s a little harder for us to commute with the bluegrass scene.

The Motet: It’s not really our niche. I, personally, do like bluegrass music because it’s tough to play banjo rifts if you don’t play banjo.

 

At a festival like that, you would stand out more.

Dave Watts: We did. People were psyched. They were like, ‘Drums! Yes! Finally!’ It doesn’t work the other way around. You don’t have a bluegrass band at a funk festival, where everyone is like, ‘Banjo! Ya, Finally!’

Joey Porter: We get the best of both worlds.

Where did you guys grow up and what did you grow up listening to? What were your influences when you were young?

Dave Watts: ‘70s funk and disco. And The Beatles, but everyone is influenced by The Beatles.

Joey Porter: I listened to a lot of jazz and funk.

 

Where are you guys from?

The Motet: The band is from Colorado.

 

Did all of you grow up in the Midwest?

Dave Watts: No, three of us are from the East Coast [Ryan, Garrett, Dave].

Garrett Sayers: We’re East Coasters.

Joey Porter: I’m from the south [Nashville] and he is from Colorado.

[Gabe Mervine is also from the East Coast —New Jersey; lead singer Jans Ingber is from Eugene, Oregon]

 

Where on the east coast did you guys grow up?

Dave Watts: Boston.

Garrett Sayers: Connecticut.

Ryan Jalbert: Massachusetts, Chicopee in western Massachusetts.

 

I actually know the area pretty good. Did you guys go to college or did you transition from musician to professional musician?

Dave Watts: I went to BU. Most of us went to school.

Gabe Mervine: I went to CU Boulder.

Did all of you guys study music in college?

The Motet: Most of us. Yeah, pretty much.

When you find artists that have studied music, I believe that there’s a lot more meaning behind the music and it’s more intricate. Did you find it difficult to study music or were you passionate about it from a young age?

Ryan Jalbert: I found it difficult but for me, my school had a lot of great professors and they were all very disgruntled. I went to Westfield State College. It was like running the gauntlet, asking myself if I really wanted to do this. Studying music, you take more classes and are busy all the time. But it was good.
How did The Motet form? Are all of you original members?

Dave Watts: Just me. I started the band in ’98 and it kind of started on Halloween. We’ve continued a Halloween tradition over the years in Colorado. Some of our biggest shows are around Halloween in Colorado. It’s grown and grown, and now we play the Ogden Theatre in Denver, the Boulder Theater. This year, we did what we call Mixtape 1980. We just played music from the year 1980. It was really fun.

How did you guys meet each other?

Slowly, we built up. It started with me calling my friends saying, “I got a gig.” We made our first record in 2000, and we never stopped. It’s not like we had auditions or anything like that. It was kind of a word of mouth thing. I called Garrett in 2002. He was on the East Coast with a group and just took a chance. I needed a bass player, so I said, “Let’s call the best bass player we’ve seen.” And he said yes. We had no idea – Oh, there’s Bootsy Collins. This is why I like Bear Creek. There’s Bernie and Bootsy. That kind of shit is awesome, especially in the woods.

We got lucky with all of the different players, who knows who, friends of friends kind of thing. It’s grown over the years.

 

I feel like that’s how a lot of bands are in this scene, a sort of tight-knit family.

Dave Watts: It’s definitely a community of it’s own.

 

The word “motet” has its origins in classical music. The definition I found said that a motet is a word that is applied to a number of highly varied choral musical compositions.

Garrett Sayers: I actually had to play some motets during college, but I want to explain that. Instead of a quartet or a quintet, we’re a motet. When Dave started the band, there was a different amount of people on stage each time, so it didn’t make sense to call it a specific number.

Matt Pitts: Honestly, to this day, we perform in Colorado and almost have 14 members on stage. We bring out dancers. We really like to bring up production to what our budget affords.

Dave Watts: It’s exactly what Garrett said. I couldn’t call it one particular thing, like quintet or quartet, because it’s always shifting and changing. Like Matt said, even though the core seven of us travel together and do most of the out-of-town gigs, a lot of times when we’re at home, we’ll add members. We like sit-ins. Yesterday, we had a couple of sit-ins. It ups the vibe and energy of the music.

 

Speaking of sit-ins, how do you choose who you want to sit in with you?

The Motet: It kind of has a lot to do with who we’re friends with, but there are certainly a lot of musicians that we admire here. The list of people to choose at this festival is endless.
Matt Pitts: As a saxophone player, I was talking to all of the horn players around and invited everyone to come sit in.

This is the first festival that I’ve been to with the artist-at-large, sit in concept. What do you guys think of it? Does it expand your musical horizons or do you think it downplays your own music?

Dave Watts: It’s great. When you’re playing music, it’s like speaking a language. You’re talking to people. When you bring someone else in who has different life experiences with their music, it’s going to add to the conversation. It’s going to make things more colorful.  It’s going to open your mind a little bit. We all do different gigs with different bands when we’re at home, traveling, side projects and that sort of thing. It keeps it fresh. We’re not a band that just has pop tunes and plays the tunes the same way every time. We like to add an element of surprise. Having sit-ins brings someone else into the conversation and tells a different story.

The Motet: We like to surprise ourselves.

 

As a group, what has been your biggest challenge thus far?

Dave Watts: Making this record that we’re making is a challenge. This record is very much a group effort. Coordinating seven people to try to write, record, mix and make decisions is really tricky. It takes an effort. A lot of bands have one person just leading it in those terms for a reason. It’s a lot more efficient. But there is something to be gained by having seven people really put in their creative input. The record we’re making is really unique to anything we’ve ever made in the past because we’re all there for it.

 

If you’ve been making music for 15 years and this is the most creative album you’ve made, that’s definitely an accomplishment. You’ve been doing this for so long and you’re still able to create even more creative stuff?

Dave Watts: That’s been our m.o. really: to always do something different, try things differently, try to mix it up, stylistically, anyway really when we’re going through the process. This one is a group effort. It’s cool. It’s a lot stronger. The whole thing is greater than the sum of its parts. But it’s also a pain in the ass too.

 

With its extensive past, The Motet refuses to stop creating new and refreshing music. Don’t pass up the next opportunity you have to see them. You will not regret it.

Unfortunately, the interview had to be cut short due to some time restraints. Thank you to The Motet for taking time out of their schedules to sit down and chat.

 

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Bear Creek 2013: Experience the magic of FUNK

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Bear Creek is not just a music and art festival. It’s more of a way of life. Year after year, music lovers of all kinds make their way to the enchanting Suwannee Music Park for five days of live music. For some, Bear Creek has become a ritual, a tradition, a promise to return the following year. For some, like myself, it is the first time experiencing the tight-knit family of the Creek. After seeing Bear Creek for myself, I can see why they would want to come back.

The drive to Bear Creek Music and Arts Festival was bleak. It was raining and foggy. You could barely see 50 yards ahead of you. I expected the weekend to be the same. People who have been to festivals all over the country and the world and have been to Bear Creek have said it is the best. I was hoping the weather wouldn’t interrupt my first experience of this magical festival.

The weather turned out to be OK for the majority of the weekend. The overcast atmosphere allowed for a cool wind and for it to not be too hot or too cold. We arrived on Friday in the early afternoon and set up camp. After getting settled in, we started the weekend with Antibalas. They brought an intense energy that matched the crowds. In every direction, people were dancing. Bear Creek was in full swing.

 

The Motet was up next. If anyone can make funk intense, it’s these guys. The soothing voice of Jans Ingber compliments all of the instruments so well. Drummer Dave Watts, founder of the band, has made the cohesiveness of the members one of the main components, and it shows. Roosevelt Collier and Nigel Hall made “artist at large” appearances, and all around, this was one of the more fun and powerful sets of the weekend.

 

We headed to Galactic for a set full of diverse covers expanding from hip-hop to rock. There were guest appearances by David Shaw, Maggie Koerner, Chali 2na and Roosevelt Collier. We, then, decided to split up the time between Greenhouse Lounge and Kung Fu. It ended up being a wise choice. While I’ll always love Greenhouse Lounge, going to the Music Hall for Kung Fu worked out well. The building was heated, it wasn’t too packed, the bathrooms had lights, and KungFu rocked. The lead singer from the Motet, Inger, stopped in for a song or two. But Todd Stoops from Kung Fu playing four keyboards at once will forever amaze me.

 

As we made our way back to the Amphitheater Stage, I started getting jittery and more excited. Bonobo was up next. It’s hard to describe this set because, for me, it’s indescribable. The mood, ambiance and sheer brilliance of the music took me by surprise. We engrossed ourselves in the middle of the crowd while Simon Green took us to far-away places with his soulful and emotional songs.

Immersed in the forest, the Amphitheater Stage was the perfect place for a Bonobo performance. Szjerdene was even more intriguing with her outstandingly warm and beautiful voice. The production, particularly the visuals and lighting, were top quality. From ambient to funk to tribal drums, Bonobo and his band made you want to jump up and down, stand still with your eyes closed, and gently sway with the rhythm all at the same time. He played for an extra 20 minutes, and when he finally did end his set, Green mentioned that he had been looking forward to performing at Suwannee again. This was definitely my favorite set of the weekend and I would recommend his music to anyone.

After such a mind-altering performance, I went back to my campsite and got a good night’s rest. I knew I was going to need it for Saturday.

 

I awoke to the chatter of the early risers and a trumpet. The Campground Stage was having a sound check, and after, I cooked lunch to the sounds of Lucky Costello. Their remixed Star Wars soundtrack was a perfect way to start the day.

If I had to describe Saturday of Bear Creek in one word, I would call it “funky.” Bootsy Collins and the Funk Unity Band transported all of Bear Creek back to the 1970s. Sporting multiple outfits and instruments, including a star-shaped bass that lit up, Bootsy Collins was a sight to see, if not, a spectacle.

If you look up “funk” in the dictionary, I’m pretty sure a picture of Bootsy Collins will be there. With more than enough sexual references to make your grandmother uncomfortable, Bootsy had everyone poppin’ their thangs. Fully engaged with the audience, Bootsy started several chants and even attempted to make his way through a gap that the audience formed, but ultimately, didn’t make it 10 feet because the crowd swarmed him. His alter ego “Casper, the friendly ghost” made an appearance, along with long-time partner George Clinton and Bernie Worrell. Bootsy showed a modern-day crowd what funk is really all about.

The Roots were another notable act from Saturday. Probably the most anticipated set by the festivalgoers, I hadn’t seen the Amphitheater Stage that packed throughout the entire weekend. Seamlessly merging one song into the next, hip-hops only band put on a performance that had the crowd dancing the entire time. They played some of their classics, like “Table of Contents” and “The Seed (2.0),” and live reworks of classics, like “Sweet Child O’ Mine” and “Welcome To Jamrock.” Questlove and Black Thought proved their talents, each through their respectable skill. Questlove’s drumming was a prominent presence, as always, and Black Thought’s rapping was smooth as butter.

Karl Denson’s Tiny Universe was a nice surprise. I, coincidentally, ran into a group of my friends, and for a second, I felt like it was fate that brought me to this set. As the “unofficial eighth member” of Slightly Stoopid, Karl provides a driving saxophone and flute line, but it is reminiscent of the older James Bond movies. Karl Denson’s Tiny Universe has a jazzy feel, but puts a modern twist on psychedelic funk and rock.

 

The Bear Creek All-stars were up next. This was a collaboration set featuring LettuceDumpstaphunk and almost every other artist at Bear Creek. They slowly introduced one, two, three musicians until the stage was completely full. Alecia ChakourNigel Hall, Neal Evans, George Porter Jr., Nikki Glaspie, the list goes on. The audience witnessed a mass of contributions to produce one sound; it was beautiful. There were so many instruments being played and so many voices singing, my ears felt overwhelmed with musical delight.

Instead of going to the silent disco, we decided to check out Zach Deputy’s late-night set at a random campground. It had started raining, but the tree canopy was protecting us for the most part. By the time we got to the front of the crowd, it had doubled in size and there was no telling how many people were behind us. A fog machine engulfed the crowd, making people disappear into the clouds and rain. It got so rowdy, the cops had to shut it down.

 

On Sunday, the festival cut back to only two stages, the Porch Stage and the Amphitheater Stage with no conflictions. To my surprise, a lot of people decided to pack up and leave, missing some of the best music of the weekend.

 

The Jennifer Hartswick Band featured many sit-ins, including Jans Ingber, Natalie Cressman, George Porter Jr. and more. My favorite part of this set was Hartswick’s take on Janis Joplin’s “Little Piece of My Heart.” She almost made it sound better than the Queen of Psychedelic Soul herself. Jennifer Hartswick voice is so emotional and soulful that it’s hard to not listen to her when she sings.

However, the most moving performance of the day, possibly the festival, was Roosevelt Collier and Nigel Hall’s Gospel Surprise. For a lot of musicians, religion plays a major role in developing a style, and that proves to be extremely true for Collier and Hall. Their Sunday mass was something I had never seen before. Gospel music rung through the trees as musicians took their turn belting into the microphone, singing hymns and traditional church songs. Alecia Chakour, Natalie Cressman, Erin Boyd and Jennifer Hartswick took the role of the choir, and their voices merged together to create a sweet and angelic sound. Collier’s steel guitar and Hall’s piano resonated throughout the amphitheater. It was a religious experience, even for those who are not religious. Some were brought to tears and some danced joyfully.

After church, Zach Deputy served us some good ol’ chicken pot pie – well sort of. He was about to close his set with one of his most beloved songs, “Chicken Pot Pie,” when he was cut short because of time restrictions. Festival favorite and Bear Creek veteran, Zach Deputy is a “ one-man army, fighting for yo groove.” His Caribbean-infused, island style music instantly got the crowd to move their feet. He proceeded to display his talents in bluegrass, the blues, gospel and soul, live looping, guitars and harmonicas. Everyone I saw at this Zach Deputy set had a smile on his or her face.

As the festival started winding down, the crowd size was noticeably smaller. Dumpstaphunk was the second-to-last-performer, but they energized and brought all of the patrons to the Amphitheater Stage for the last magical moments of the weekend. The bittersweet end came with Lettuce. They brought out the stars of Bear Creek to perform one more time until next year. When they exited the stage, the crowd erupted with, “We want the funk! Gotta have that funk!” Lettuce came back for an epic encore with “Madison Square.”

 

And just like that, it was over. It seemed to pass in the blink of an eye, but as the saying goes, time flies when you’re having fun. Until next time, Bear Creek.

 

via Bionic Beatlab

 

Halloween 2013: Night of the Living Boys Noize

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After the disappointment of canceling the opening show on his first ever “LIVE” tour in Fort Lauderdale last year, Boys Noize is back in South Florida to bring you one of the spookiest and unforgettable Halloweens you have yet to experience. Alongside a few very select dates for his North American fall tour, he decided to make a stop at Miami’s Grand Central for some scary beats and treats on Oct. 31.

Boys Noize, also known as Alex Ridha, has been one of my favorite electronic artists and producers since I was first introduced to his music in 2009. He is the mastermind behind Boys Noize Records, which hosts artists like Strip SteveSiriusmoDjedjotronic and up-and-comer SCNTST. Ridha is known for his bone-chilling and hair-raising sets that normally exceed all expectations. He has worked with countless other musicians, including Mr. OizoSkrillex and Erol Alkan. I could literally talk about Boys Noize all day, but nobody has time for that.

 

His latest solo release is a 5-track EP entitled Go Hard. It includes one of my new favorites, “Starwin.” However, I think that Go Hard is a deviation away from his previous and signature style. The EP experiments with trap-like sounds, especially with “Push Em Up” and “Excuse Me.” Somehow, Ridha still retains that dark, mysterious, mechanical and robotic sound that he is known for. A real musician is able to exhibit progression throughout their career, but also maintain the sounds and styles that they are known for. I believe that Boys Noize is a perfect example of this.

 

Brought to you by Poplife, Red Rabbit and Grand Central Present, tickets are currently $25 and can be found HERE. Doors open at 10 p.m., and this is an 18+ event.

via Bionic Beatlab

Moby is back with a new album

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Right when the music world thought that Moby would never make a comeback, “Innocents” was released on Sept. 30.

This is a complete and thorough piece of work, unlike many of the albums I’ve listened to lately. The production quality is immaculate. For the first time in his 20-year career, Moby allowed another producer, Mark “Spike” Stent, to work with him. Stent is known for working with Coldplay, Lady Gaga and Beyoncé, a highly drastic change than what Moby is celebrated for.

Somehow, the two make it work. “Innocents” captures the typical Moby sound and style that everyone is accustomed to, but it is different in so many ways. For starters, the extensive amount of collaborations creates a different aura for the album. The soothing, soulful and emotional voices of Inyang Bassey and Cold Sparks, among others, work perfectly with Moby’s elegant chords and symphonies.

His move from New York City to Los Angeles seems to have had an impact on his creativity. The album is a return back to form for the musician, as repetition plays a major key in the cohesiveness for not only the album, but for most of the songs individually as well.

The use of pianos and violins, the harmonics and the melancholy ambiance are reminiscent of previous Moby albums. As listeners, we know what to expect from Moby and don’t anticipate any surprises. However, he is able to hypnotize you and draw you further into the album. In my opinion, this is what he does best, and it is most exquisitely displayed with this most recent album, especially with the closing 10-minute song.

After being in the music business for over two decades, Moby is proof that experience pays off. He has a following and will always be considered a major player in the music industry, but most people have written him off lately due to the disappointment of his last two albums. Not any more. With “Innocents,” Moby creates a sound that is just as respectable as any of his past hits.

While it is still not one of my favorite Moby albums, I am able to view him in a new light because of this newfound experimentation with his past methods. Moby’s music is talented and touching. “Innocents” is no exception.

 

http://www.alligator.org/blogs/thursday/article_44c24d8e-37a1-11e3-9535-0019bb2963f4.html

Cheating on Pandora, with iTunes Radio

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Apple Inc.’s iTunes has finally made its way into the streaming game. ITunes Radio premiered with the release of the new iOS7 upgrade, and within the first five days, it had 11 million unique users.

As the leader in music sales, iTunes has a plethora of music to offer. However, most reviews of the new service have criticized that it is not as personalized as Pandora Media Inc. or Spotify Ltd. Apple advertises on it’s website that with each song that is played, your stations will become more and more tailored to your tastes. The more the radio is used, the more it will adapt to your preferences. Creepy, right?

ITunes Radio bases its song selection on the music in your library. The star to the left of the play/pause button allows you to decide if you want iTunes Radio to “play more like this,” “never play this song,” or add the song to your “iTunes wish list.” You can share stations with your friends via mail, message, Facebook or Twitter. As your taste develops on the new radio service, your friends will be able to follow your progression. This is the perfect feature to follow friends with good taste in music and for those lazy ones that never want to find their own tunes.

The new radio service is fully integrated with iTunes, making buying new music easier and more tempting than ever. The price of each song is located in the top right corner of the mobile screens, almost as if it is a constant reminder that you can still be spending more money, and why not give it to Apple?

ITunes Radio has over 250 stations, and you must have Wi-Fi or use your cellular data for it to work. You can skip six songs per hour per station, just like Pandora.  Another shared feature are the ads, even though many users said that iTunes Radio had less. For $25 a year, you can store all of your music, not just iTunes-bought music, in the iCloud and enjoy ad-free radio with iTunes Match.

Where does this leave other streaming radio companies? The overwhelming response to the new service has left many wondering if Apple users will stop listening on their normal streaming service and switch to iTunes Radio.

“We believe iTunes Radio will only have a modest impact,” Tim Westergren, the founder of Pandora, said at a conference on Sept. 24 in New York. He also said that Pandora has had many competitors, some bigger, and that they would prevail.

The aesthetics of the new iTunes Radio are pleasing, like most Apple products, but I wouldn’t be so quick to ditch Pandora or Spotify.

 

http://www.alligator.org/blogs/thursday/article_9064a922-2cab-11e3-8a1b-001a4bcf887a.html

MGMT surprises audiences again with release of third album

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When you hear the band name MGMT, most people will automatically think about their hit song, “Kids.” However, with their self-titled third LP, MGMT has created a sound that is not quite what you’d expect to hear.

Released on Sept. 17, the new album flew under the radar for many fans as MGMT continues to push the envelope and make music that doesn’t associate themselves with the iconic sound of “Kids” and their first album.

The new album perfectly captures a psychedelic rock feel, one reminiscent of the 1960s with a modern twist. While some songs flow together immaculately, others seem like they come out of nowhere. The weirdness of the album becomes accepted, especially if you understand how quirky Andrew VanWyngarden and Ben Goldwasser can really be.

After the “Time to Pretend” EP and a tour opening for of Montreal in 2006, VanWyngarden and Goldwasser gained what they consider accidental fame and signed a deal with Columbia Records. It was an unexpected offer that wasn’t that easy to just say, “Yes,” to. The life-changing decision brought their first album, “Oracular Spectacular,” and catapulted the group to gain international recognition.

“Congratulations,” their second album, brought a completely different sound, one that turned some of their fans away. While figuring out how to deal with such a rapid ascent to stardom, it reinforced the idea that MGMT wasn’t afraid to push boundaries. “Oracular Spectacular” was a winning formula with mainstream audiences, yet with “Congratulations,” the duo decided to explore new musical territory.

While this exploration gained new fans, including some famous ones, non-musician fans were not pleased. According to a Pitchfork article [http://pitchfork.com/features/cover-story/reader/mgmt/] and interview, “Congratulations” sold 75 percent less than its predecessor upon its release date. Because of this, many assumed that Columbia would be more restrictive with their next LP.

However, that turned out to not be the case. “MGMT” is a well-thought out album that shows the creativity and compatibility of the duo. It experiments with numerous genres including rock, pop and indie. The lyrics are dark, and at some points, I wonder how sad someone really had to be to write them to convey such deep emotion.

Many of the MGMT’s younger fans will criticize the album for not having their old sound and feel, but MGMT from the beginning has been about new and different music. This album shows the progression of maturity that the group has gone through. They went from being two college buddies messing around to internationally known and talented musicians on a major record label, testing the waters with something unexpected. While it may be a different sound, it is a good one worth giving a listen to.

 

http://www.alligator.org/blogs/thursday/article_788b852c-271b-11e3-90b8-0019bb2963f4.html

Food Review: Chocolate Night

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Samantha Doucette,

Contributing Writer

Dark chocolate pomegranate, white chocolate pumpkin swirl, chocolate maple bacon pecan – the choices seem almost endless. Where, in Gainesville, can you find ice cream flavors like this?

Tucked in the corner of the shopping center on West University Ave. and Southwest 34th Street is Sweet Dreams of Gainesville, the first local ice cream shop in Gainesville to not bear a franchise name.

From 1 p.m. to 10 p.m. on Sunday, Sweet Dreams held its Chocolate Night, an event that happens only twice a year. This special day is when Sweet Dreams clears out the ice cream cases of all the regular flavors and showcases 36 different kinds of chocolate ice cream.

“We start making the ice cream weeks in advance,” Michael Manfredi, owner and founder of Sweet Dreams, said. “Thirty-six flavors, 72 boxes of ice cream, almost 200 gallons.”

The event started two years ago and has become more successful every time they do it, Manfredi said. On Chocolate Night, the shop sells anywhere from 800 to 1,100 bowls of ice cream and those are sometimes shared between multiple people.

For the event, they use mini scoops that are the size of golf balls so you can get an assortment of flavors. You can get anywhere from two to 30 mini scoops, ranging from the prices of $3.50 to $25.

“We don’t miss this if we can help it. You can’t go wrong,” Anthony Newsholme, a self-claimed chocoholic, said. “We’re probably going to go to a movie and come back for more.”

Manfredi said that he had a hard time keeping up with all the different chocolate flavors, like rocky road and heavenly hash, because all of the ice cream and waffle cones are homemade in the shop. He decided to only have a regular house chocolate and nothing else.

The idea came to Manfredi when he wanted to do something special for Valentine’s Day. He featured a raspberry chocolate flavor and a spicy Mayan chocolate that is made with chilies and cinnamon. Before the event could even take place, the spicy Mayan chocolate sold out and another batch had to be made.

Manfredi started adding more and more chocolate flavors until a night completely dedicated to chocolate was created.

Chocolate Night rarely features the same chocolate ice creams. Manfredi and his wife, Lisa, always introduce new flavors and tweak the recipes of old ones. They only keep customer favorites, like the spicy Mayan chocolate, continuously on the Chocolate Night menu.

“They let you taste everything first, which is nice. They’re actually very efficient even though there are so many people,” Dixie Lee, a patron of Chocolate Night, said.

If you missed this fall’s Chocolate Night, you still have spring to look forward to where a whole new set of chocolate flavors will be available.