NYS Music 20​13

Author: Brennan Fischer

  • Karl Denson’s Tiny Universe Brings Westcott to New Plane

    Karl Denson’s Tiny Universe brought its brand of classic and masterfully innovative improvisational jazz funk to the Westcott Theater on September 17th. Comprised of an ensemble of veteran-status, time-tested talent, Tiny Universe was able to maintain a captivating energy that after a very long set, left listeners wanting even more. And they delivered.

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    How was this possible you ask? Karl Denson is a machine. Plain and simple. Don’t let the gray hairs on his beard mislead you. His presence and music are loud, energetic, fast, strong, and beautifully complex. This guy tears through airwaves like they were toilet paper. Based on his insanely muscular build, it looks like he could tear through a phone book or two also. But as Karl wowed us with his wild funky jazz lines, he reassured us that he was not just one mean-blowin’, jacked badass, but more of that wise, cool uncle-type that pushes you to be your best. About two thirds of the way through the set, he took the audience aside and gave us guys a pep talk on how to effectively get your groove back. It included a lesson on “Washing your a**.” It was funny, endearing and a great segue into a groovy jam.

    It wasn’t all about Karl though. Given, Lenny Kravitz’s band and Slightly Stoopid are pretty big credentials, but Denson’s counterparts were nothing to be scoffed at. Chris Littlefield held down the a somber, poetic and often avant garde vibe on the trumpet and flugelhorn, while a young-looking DJ Williams kept an explosive energy in his solos and a tight-funky sound to his rhythm guitar. Although these two players served as the pillars in support of Denson’s mastery, all of the band’s music was worthy of praise. Of special note to this humble listener was a long improv set based on a classic by David “Fathead” Newman (saxophonist for Ray Charles and Herbie Mann) called “Front Money.” It was hot. And as an encore they played their take on “Seven Nation Army” by the White Stripes.  This song also featured a sick solo from the brassy-sassy female trombonist from the Mike Dillon Band. It was a great way to end a night of great music.

  • Turkuaz Lays Down the Funk on the Westcott Theater

    Brooklyn based power funk/soul/jam band Turkuaz dropped it hard on the Westcott Theater Saturday June 29th. Although a relatively smaller event in terms of attendance, Turkuaz fans and all the funky people in the house got down to the sound with no lack of soul.

    Turkuaz is a ten-piece band with a solid battalion of horns, rhythm, vocals and chords that round out a funky groove. Their compositions reflect an innovative and musically sophisticated take on the often repetitive funk sound – think James Brown telling you to “get on up” over and over again. Turkuaz has taken funk to a whole new level by composing multilayered, multi-movement funk orchestrations. If funk-opera were a thing, Turkuaz would be the originators. Their songs suggested a foundation built around tight and well-balanced vocal arrangements that utilized a number of band members. Slightly raspy and classically punchy guitarist Dave Brandwein traded off lead vocals with smoother, soulful, baritone sax player Josh Schwartz, while the team of midriff showing, short-skirt sporting, hip-shaking “back-up” vocalists Geneva Williams and Sammi Garett brought that unequivocal soul sister sound loud, proud and crystal clear. The band’s trumpet player, Chris Brouwers, even chimed in with some high harmonies on a number or two.

    But back to business folks…The backbone of any funk group is of course, the bass. Floppy-hat wearing, shadow-dwelling Taylor Shell played laser-accurate, complex lines while executing with an interesting muddy-thuddy sound (reminiscent of reggae bass). This was another funk contrast, as a lot of funk hits hard on the treble end, accenting the highly percussive slapping and popping innovated by Bootsy Collins of Parliament Funkadelic. This effect brings the baseline to the forefront as a lead instrument. While Shell’s bass lines provided a rhythmic and technically interesting platform to work off of, they somewhat melted into the heartbeat of the overall sound, sometimes drowned out a bit by the bass drum, delivered by the vigorous Michelangelo Carubba.

    Turkuaz continued this trend of funk-innovation and non-traditional experimentation throughout the night, as they demonstrated their ability to improvise well enough to hang with any jammin Jerry-Lovin’ audience. Worth noting is the  screaming saxophone solo by Greg Sanderson and a tripped-out, phaser-laden trumpet interlude by Chris Brouwers. Top the night off with a classic cover of “Hold On, I’m Coming” by Sam and Dave to get the crowd singing along and this one was the bag. Turkuaz was captivating and refreshing to listen to, sexy to watch, and as all good funk typically should be, a funkin heck of a good time.

    For up to date information on the band and tour dates please visit Turkazband.com

  • Echo Music Fest Reverberates Through Downtown Albany

    Echo Music Fest, brought to you by Loyalty Entertainment, was designed to be an all day, all night outdoor EDM festival set in the beautiful, hilly region of Schenectady- home to Maple Ski Ridge, majestic Plotterkill Preserve and the Indian Lookout Country Club- made famous by Camp Creek, Gathering of the Vibes and Camp Bisco.  Instead, Echo Music Fest was downsized twice, cutting out all “minor” acts including Syracuse funk favorites, Sophistafunk, and relocated to two clubs, and finally one club, in downtown Albany.  The performances were narrowed down to the following DJ’s: Valerie Valentine, SAV and Mystereo, DVDJ Dread, and Jersey Shore celebrity and mashup hip-hop/house/electro DJ, Pauly D.  The festival started out with few attendees filtering in and out of Legends on Pearl, and ended in a packed, drunken, dancing mess of sweaty Albany clubgoers and assorted party people.  Mission Accomplished!

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    The lovely Val Valentine spun Synth-laden, bouncy electro-house tracks to start the evening off and bass-heavy mashup/house/trap/electro continued to echo down Pearl St. until close at 4am.  Each DJ brought their own style of EDM, providing listeners with a range of experiences.  Valentine’s set established an upbeat and technically interesting ambiance, with lots of cool sonic effects, knob-twisting and live mixing.  This Buenos Aires native was also quite enjoyable to watch, as she would periodically and adorably rise up to mix on tip-toe. Her set was unfortunately somewhat sparsely attended due to the early hour.  Next was SAV and Mystereo, the black and white Rorschack-masked Moombahton duo from parts unknown, who held fast to their anonymity, even down to an identity-killing, scratchy, Batman-like stage voice on Mystereo’s behalf.  Cheesy?…maybe.  Fun and weirdly cool?…Definitely.  Their set followed suit as it proved fun and danceable.  Moombahton, for those who are unfamiliar, is a blending of reggaeton and thick-baseline electro house or electro. This form of music has a tendency to get the party started due to its relatively new (c. 2010) electronic take on the ridiculously rhythmic and timeless roots of Jamaican dance hall and Dominican bachata.  The night continued to hold this energy as DVDJ Dread took the booth.  This is a DJ with technical skill.  Most memorable were the scratching breaks Dread regularly took in his hip-hop heavy set.  Fast scratching was his forte, and it was nice to see someone that still formidably wields this too oft neglected art.  Dread is also a filmographer (hence the “DVDJ”), and his videos streamed across Legends’ many large flat screens as the party grew in size and intensity.

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    It was during these primetime hours at Legends that a number of other DJ’s traded off with each other, most of them unidentified to this writer.  Pauly D soon integrated himself into this party of now hard-drinking DJs, and continued the theme of hip-hop/mashup/house.  He stuck hard to top 40 and club hits, with crowd favorites like A$AP Rocky’s “F***ing Problem” and “Ball” by TI.  Unfortunately, his spinning style appeared to be lacking in a variety of, well… creative mixing or turntablism.  I left remembering one instance, wherein Pauly D left the beat to a song thumping, cut out the treble, and mixed in a loop that simply repeated “Pauly…Pauly” for an extended break.  But…you do have to hand it to him,  he was able to keep those Albany clubgoers and a handful of festi-type partygoers dancing through the night, and repeating catchy pop-hip-hop rhymes the next day.

    Thanks to Loyalty Entertainment for a valiant effort in tough circumstances and hospitality all around.  Better luck with a larger outdoor festival next year!

  • Hollerback Productions Celebrates Ten Years of Great Acts with Club D’Elf and Marco Benevento

    Hollerback Productions celebrated ten years of presenting great music, brought about by the vision and hard work of Dan Mastronardi, with a special anniversary show on Friday, May 31st at The Westcott Theater.  The show at Hollerback Productions featured one of the first big bands booked by Dan, the highly esteemed jazz/prog/dance/world music group Club D’Elf, with special guest, indie/jazz innovator Marco Benevento.  Following a genuinely heartwarming, albeit awkwardly delivered speech by Dan Mastronardi, Syracuse music fans whooped with supportive thankfulness for the people that have helped construct the Syracuse scene.

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    Club D’elf then took the stage and fell instantly into a deep, bass-driven, psychedelic groove, laying down a warm and cosmic blanket of ambient sound and tribal rhythm, while masterful solo work was interwoven by the ‘Club’s’ highly gifted musicians.  Each artist brought their own worldly and masterful sound to Club D’Elf’s droning yet complex jam-compositions.  Besides talent, the Club boasted a diverse arsenal of cool toys.  Bass player and Club D’Elf originator Mike Rivard switched between a low profile, futuristic-looking stand-up electric bass and a standard electric bass, while world music master Brahim Fribgane traded off between hand-drums and a stringed Lutar, that poured out exotic and timeless-sounding melodies that could have come straight out of a National Geographic documentary.

    Together with Marco’s soulful, and dare I say “pretty” melodies on keys and Hammond Organ, Club D’Elf entertained, intrigued, and mesmerized listeners.  Unlike many popular improvisational groups and jam bands, Club D’Elf focused on laying down well-crafted, often danceable bass-lines and rhythms, while placing the lead guitar in a chord-dominated supportive role.  This kept the crowd moving and allowed space for lead instruments to develop melodies and themes spontaneously and collaborate on composition in the moment.  Many times throughout the night, I watched as the members of the club traded knowing and joyful glances, as they felt the music come together organically.  This, my fellow fans, is always a beautiful thing.