NYS Music 20​13

Tag: funk

  • Kung Fu lights up Red Square for a knock out

    DSC07304 (1) copy

    Albany got a high dose of funk on October 3rd at Red Square thanks to the funk professionals in Kung Fu. The quintet packs a supergroup punch with talented musicians from various bands – Tim Palmieri (The Breakfast, guitar), Todd Stoops (RAQ, keyboards), Rob Somerville (Deep Banana Blackout, sax), David Livolsi (Jazz Is Dead, bass) and Adrian Tramontano (The Breakfast, drums). Needless to say, these guys have plenty of experience on how to start a killer party, even on a weekday night. Often booked for the late night slots on festival schedules, it was refreshing to watch Kung Fu perform at an earlier time (10pm), giving concertgoers a stirring chance to soak up the lethal levels of musical fusion.

    With no opening act, the fans went wild as Kung Fu took the stage, eager to feel the funk. The sound came blaring out of the speakers and the groove hit via highlights including “God Made Me Funky”, with its simple chorus which the grateful crowd sang back to the band. Somerville blasted his horn with great enthusiasm that almost chipped the paint off the walls. It was a unique treat for the Red Square venue to have the Kung Fu lighting rigs that heightened the musical experience with the nonstop waves of bright neon. Guests were given the warning from the band, “Just because we stop playing, doesn’t mean we want to stop partying.” One of the best things about playing in the Upstate New York area for Kung Fu is the late night cut off time, usually much earlier in Connecticut.

    The second set brought the crowd to the dark side of the funk, as the band displayed a captivating chemistry of Sly & the Family Stone meets The Funky Meters, turned upside down and mixed with harder electronic rock. Kung Fu created a heavier rock vibe mixed with a slow groove, resulting in a hair-raising boogie. Stoops surrendered to the keyboards as he played with his eyes closed, feeling the music that he was feeding to the crowd. Livolsi hit deep notes on his bass in a steady rhythm of sinister delight.

    Kung Fu has a jammed packed fall tour with stops at the New York Harvest Fest in Monticello, a Post Phish show at The Palladium in Worcester, MA, a Halloween show at The Gramercy Theater in NYC and the Bear Creek Festival in Live Oak, Florida.

  • Album Review: Trombone Shorty & Orleans Avenue’s “Say That to Say This”

    Say That to Say This, the newest studio offering by Troy “Trombone Shorty” Andrews & Orleans Avenue and co-produced with Raphael Saadiq, takes the New Orleans brass band’s jazz foundations, layers their sound with funk grooves and old school hip hop vocals and vibes, and then fuses it all together with smooth soulful R&B tones. Though a clear departure from Trombone Shorty & Orleans Avenue’s previous releases, it simply works.  While different musical styles are highlighted on each track on Say That to Say This, Saadiq’s R&B influence is readily apparent throughout and makes for a cohesive flow.  Say That to Say This is an album that feels as though it is meant to be played from start to finish in one sitting and then looped several times over without a second thought.

    trombone shorty Say That to Say ThisThe first and title track is a microcosm of the album as a whole. “Say That to Say This” opens with tight beats, punching horns and rocking guitar rhythms and then switches off into smoother R&B laced jazz tones before picking up the tempo again. The high energy R&B-meets-rock centric theme carries over to “You and I (Outta This Place)”, which features Andrews’ old school vocals and catchy hooks that motivate the mind, body and soul. “Fire and Brimstone”, the lead single blends Andrews’ and Saadiq’s vocals with heavier grooves and horn accentuations. Lenny Kravitz’s influence on Andrews from their prior work together is evident on this track and it rocks accordingly. “Get the Picture” takes a darker, funkier tone, while still keeping a well-paced beat.

    Interspersed with the higher energy tracks are lower key and jazzier offerings.  Most notably, “Be My Lady” is a remake of The Meters’ 1977 soulful hit featuring the band’s original members with Andrews on vocals and horns. The track marks the first time The Meters have reunited in their original lineup since 1977. “Long Weekend” is a take on classic R&B and serious ‘get down’ music on an otherwise ‘get up and go’ album. “Sunrise” is aptly named:  a slow jazz tune that would perfectly complement the first cup of coffee on Sunday morning. “Shortyville” closes the album with its only all-instrumental offering showcasing Trombone Shorty & Orleans Avenue’s prowess as a brass band.

    Key Tracks: Fire and Brimstone, You and I (Outta This Place), Long Weekend

    Pick up the album on Trombone Shorty’s website

  • Flashback: Talking Heads at SPAC, August 5, 1983

    On August 5th, 1983, Talking Heads initiated the arena tour that would eventually take their popularity to new and unknown levels. We flashback to the group’s visit to Saratoga Performing Arts Center (SPAC) that particular summer 30 years ago. 1983 was a definitive and peak era for the band and this show documents the time with a crisp pre-FM line recording that exhibits professional release sound quality.

    The group featured founding members David Byrne (vocals, guitar), Chris Franz (Drums), Tina Weymouth (Bass), and Jerry Harrison (Keyboards) in addition to a number of added musicians who come and go when needed to supplement the bands theatrical performance. One of these musicians just happens to be magic keyboard man Bernie Worrell of ‘P-Funk’ fame. For those fans who love the 1984 concert film ‘Stop Making Sense’, this live recording makes a fitting addendum to that document, which also chronicles the 83 tour in support of the LP Speaking In Tongues.

    Talking Heads SPAC

    The evening’s concert begins quietly with the differently arranged sparse acoustic chunk of ‘Psycho Killer’. Containing a pulsating drum machine beat and acoustic guitar, the tune meanders from its original incarnation with a drifting and patient groove. One hallmark of this concert is the way it expands, gaining energy, along with increasing instrumentation along the way. Each song climbs another step, reaching another level of intensity, adding another piece to the creation of the setlist story. Following the refurbished ‘Psycho Killer’ begins an emotionally dry but poignant version of ‘Heaven’ that contains only acoustic guitar and Weymouth’s tempo setting bass. A beautiful flower of a melody gently handled and preserved. Byrne plays master of emotion by following ‘Heaven’ with a galloping ‘Thank You for Sending Me An Angel’ that skips along on a Tennessee Three tempo. This early segment of the performance drifts coasting weightlessly through thoughtful melodies and intelligent, but always far out lyrics.

    The concert now becomes invigorated as electric guitar drops into the mix and the core band plays an emphatic version of their debut 1977 single ‘Love Goes to Building on Fire’ in which the crowd responds in positive fashion. Reaching cruising altitude the show now settles into a danceable summer evening groove. As ‘The Book I Read’ begins, the blend of summer evening segueing into dusk permeates the feel of the recording, eliciting the aroma of fresh cut grass, mossy earth, and the bouquet of live music in late summer New York State.

    ‘Book I Read’ opens on a very nervous Paul Simon like guitar riff, eventually settling into tempo setting vocals by Byrne that work in a tug of war against the shifting drums. Working in conjunction with breezy synth whistles and Weymouth’s hypnotic bass this one really swings, setting the stage for the first dynamic peak of the performance with a funky ‘Slippery People’. Based around a Morse code keyboard riff and some thick James Brown dance guitar licks, ‘Slippery People’ becomes a celebratory revival with joyous backing vocals that reach with arms raised to the deep navy sky.  ‘Slippery People’ hits a delicious groove with Byrne taking a tribal climb up a greased pole by free forming diverse mouth jams that rebound around the dynamic tune, increasing the intensity.

    Talking Heads SPAC

    Following ‘Slippery People’, the concert begins a segment of quick hitting, danceable and dizzying tunes. ‘Cities’ off of the 1979 LP Fear of Music, begins this middle segment of the concert that also encompasses ‘Eyes Wide Open’, the current and well known hit ‘Burning Down the House’, and the hot to the touch ‘Life During Wartime’. There is no let up here as Byrne steps on the gas harder than a truck driver on the Route 90 with ‘White Line Fever’. ‘Eyes Wide Open’ ricochets around the venue on jumpy percussion punctuated by Byrne’s falsetto interjections, eventually culminating in a stimulating journey brought on through celebratory vocals and airy instrumentation.

    ‘Burning Down the House’ receives a big response from the assembled crowd, quickly moving into the jumpy ‘Life During Wartime’ which is drizzled with ice cream keyboards that color between the lines with their colorful melt. The humid dancing bodies filling SPAC this evening translate to the recording due to the energy that emanates from my speakers as ‘Life During Wartime’ cooks like bacon in an iron skillet. What a performance and a perfect close to the end of the first set which Byrne announces at the songs conclusion.

    The second set begins in earnest and does let up as far as tempo and all out funkiness goes. ‘Making Flippy Floppy’ starts the second half of music, and regardless of its ‘light’ title, reaches deep with its intuitive commentary on living and this artists view of reality. This song is a fine example of Byrne’s musical and lyrical ability to comment on bigger issues in a clandestine fashion.  ‘Swamp’ follows quickly and falls into a quasi-Reggae groove which never strays to far from a straight rock beat interestingly enough.  Dancing on sponges, the squishy vibe of ‘Swamp’ contrasts its dark lyrical content. The collaborative ‘Hi Hi Hi Hi’ vocals elicit the image of a line of cheerful people being led to slaughter, singing their way to their eventual demise.

    Talking Heads SPAC

    A breathless sprint through ‘What a Day It Was’, leads to the pixilated ‘Naive Melody’ that rattles like change in a jar, soothed by the sweet harmonized vocals that spread across the jumpy instrumentation like butter on warm bread.  ‘Naïve Melody’ brings the vibe down slightly, hitting a hypnotizing, eyes closed tight groove, initiating dreamy sways. ‘Once In a Lifetime’ blows in on a wash of cymbals and spectral keyboard manipulation reaching its destination of a unique ethnic groove to which its instrumentation balances. Another one of the bands most well-known and popular songs; ‘Once in a Lifetime’ is also special due to its combination of Fela Kuti influence, Brian Eno production, and Byrne’s eclectic literary talents.

    One of my personal favorite segments of the performance comes next with the version of ‘Big Business/I Zimbra’. Brimming with synth manipulation that causes a disorientating storm of sound the song rides on Chris Franz’s popping kick drum and hi hat strikes. The middle segment of the track becomes a percussion workout, swirling, folding into itself, encasing the spacey guitar/synth interjections that segue into the earthy shouts of “I Zimbra”.  The song becomes a whirling dervish of fevered musical energy that culminates in a Shamanistic and blissful conclusion.

    The second half of the concert becomes decidedly more sensual, both rhythmically and in its melodic sensibilities.  ‘Houses in Motion’ slithers in slowly, eventually becoming all angles, shifting and extending through lush bass carpeted rooms decorated with drippy guitar chorused wall hangings.  Another top notch reading by the group as this one takes on numerous moods during the journey through its changes.

    A quick interlude is taken prior to a performance of ‘Genius of Love’ by ‘Tom Tom Club’, another name for the band shared by the husband and wife team of Tina Weymouth and Chris Franz. A fun and freaky performance and an opportunity for Byrne to step off stage and prepare for the closing blow out. Keen-eared music fans will recognize many of the songs components as being sampled by many hip hop and rock musicians through the years.  Byrne then returns to the stage for the final songs that make up the conclusion of the performance. ‘Girlfriend Is Better’, ‘Take Me To the River’, and ‘Crosseyed and Painless’ all contain fiery and concentrated readings.

    ‘Girlfriend Is Better’ is cutting edge, and compelling, the bass line a blend of shadings that pillow the after images of flashing keyboard squeaks and screams.  Byrne, a wellspring of unique diction and vocal expressions, soaks the crowd in his lyrical gospel. Beautiful. The crowd’s excitement bleeds loudly into the soundboard recording as the group stops briefly before slinking into a bubbly ‘Take Me to the River’. Involvement from the crowd in the form of hand claps and shouts can be picked up intermittently throughout the recording; a matrix of the show if available would be an amazing experience. ‘Take Me to the River’ extends long enough for Byrne to introduce the band and then builds to a party conclusion, bringing the performance to an end.

    The band returns for a schizophrenic encore of ‘Crosseyed and Painless’ that looks from the stage with shifty, busy eyes. The band moves quickly, wound tight, hallmark call and response vocals reverberate between the singers on stage, keyboards and guitars intertwine in a soulful embrace. The song is a break neck race toward the finish line that finally crashes through the ribbon and raises its hand in glory. A quick ‘Thank you’ and the show and recording conclude.

    This crisp board recording of the Talking Heads in our very own Upstate New York venue, the Saratoga Performing Arts Center, finds the group peaking artistically, yet precariously close to their demise as a touring group.  The performance featured, never lets up, yet exhibits a musical control that balances the needs of the crowd with the wants of the band. For fans of Stop Making Sense, this recording offers a full and uncut performance from that very era. My recording exhibits very few recording flaws, but I do know that versions of this document circulate with some digital issues, so look out. Throw this one on, and remember a summer day dance party from thirty years ago that echoes through the famous venue to this very day, and is preserved for all to enjoy.

    Set 1: Psycho Killer, Heaven – Thank You for Sending Me an Angel, Love -> Buildings on Fire, The Book I Read, Slippery People, Cities, Eyes Wide Open, Burning Down the House, Life During Wartime

    Set 2: Making Flippy Floppy, Swamp, What a Day That Was, Naive Melody (This Must Be the Place), Once in a Lifetime, Big Business -> I Zimbra, Houses in Motion, Genius of Love (The Tom Tom Club), Girlfriend is Better, Take Me to the River

    Encore: Crosseyed & Painless

  • 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.

    IMG_7430

    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.

  • Jahman Brahman at Fontana’s, August 15th

    The hustle and bustle of Chinatown subdues itself into the night as Cantonese-speaking shopkeepers wind up their little theaters along the street. If you didn’t notice the group of people flocking onto the corner of Grand and Eldridge, you’d think that this Manhattan borough was done for the day. Outside Fontana’s, people are taking their IDs out, waiting in line to get in. Past the pool people, they follow the shredding and flowing music to its source in the room below and find themselves in the presence of jam band Jahman Brahman.

    The place is dark and the only light comes from a bunch of girls’ light-up hula-hoops from across the room. A seemingly lost woman stumbles her way to the dance floor in her salmon colored dress and before you know it, the place is packed. There are couples holding hands, people sporting bizarre animal costumes…the works. And judging by the passionate crowd that has mustered, you would think that the band has played on this stage a hundred times before even though it’s their first time in the city.

    The Asheville-based band fuels the crowd with a burst of energy as they open and it isn’t long before guitarist Casey Chanatry shreds his Paul Reed Smith guitar with Santana swag. As Brown sings the words “So much bigger than you”, the whole crowd starts singing along. Between rim shots in the dark scene and the delirious expressions on drummer Keelor’s face, the crowd cheers in excitement. Josh Loffer programs spacey animal sounds into his keystrokes, creating an elusive special atmosphere with his histrionics.

    The groovy bass line pumps up the crowd as they close with “Cannonball”. Bearing traits from electronica to classic rock and jazz, the band’s unique style offers something for everyone. Whether it was the man in the suit trying to relax with his beer or the couple on a date, there is no doubt that everyone had a good time and left the venue content with what they heard.

  • 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

  • George Porter, Jr. & The Runnin’ Pardners and The McLovins ‘Funkify’ Red Square

    Red Square in Albany got a lesson in funk when George Porter, Jr and the Runnin’ Pardners performed on Saturday, June 21st with special guests The McLovins. The Connecticut kids of The McLovins are known for their improvisational tunes and four part harmonies. George Porter, Jr. is recognized as the bassist for The Meters, a funky New Orleans band that has recently nominated for induction into the Rock and Roll Hall of Fame.

    The McLovins opened the night with light hearted songs that were easy for the crowd to groove to. The boys have great chemistry together; there is very little verbal communication on stage because they don’t really need it. There is a constant beautiful flow through the set, great build ups and come downs, one song straight into the next making for one serious jam session. The crowd was delighted to hear teases from The Doors and The Beatles, and with the tempo getting kicked up, everyone could lose a little control.  It was interesting to watch Atticus Kelly switch from guitar to keyboard throughout the night, sometimes during the same song. Jake Huffman had a soothing voice for vocals despite rocking hard on the drums. Towards the end of the set, they played the Tom Marshall-penned “Cohesive”, resulting in a climax of guitar riffs glory. Be on the lookout for The McLovins new album Beautiful Lights, set to drop this August.

    George Porter, Jr. took the stage with his four piece band the Runnin’ Pardners, comprised of Brint Anderson on guitar, Michael Lemmler on keyboards and Terrence Houston on drums. George Porter, Jr. opened the night by saying how he was going play some of his favorite Meters songs, much to the excitement of the crowd. The band wasted no time laying out the funk with an extreme melody which came at the crowd with full force. Porter, Jr. is a wizard on the bass, playing with quick fingers and delivering a wide array of smooth sounds. In between songs during the first set, Porter, Jr. was quite the story teller, talking about different shows from “back in the day” and the adventures his music brought him to, plus giving credit to The McLovins for “playing real music”. Michael Lemmler erupted out and over the key boards during “Same Old Thing” trying to keep up with Porter, Jr.’s slick bass playing.

    There’s always some perks to see a big name act in a small venue in your hometown. Red Square gave the audience an opportunity to get close and personal with the jazzy blues of George Porter, Jr. and company. The musicians were causal and comfortable in the space, which made for a relaxed environment where they were constantly joking with the crowd. Another perk was being able to get a good look at George Porter, Jr. lose control of himself but never his instrument. One of the funniest things throughout the night was every time that Porter, Jr. started to dip into another bass solo, everyone around me could be heard saying, “Oh sh*t.” Terrence Houston stole the show during the second set when he lifted his shirt over his head, resulting in a blinded epic drum solo session lasting for a solid five minutes. This music brings out the best in people, with the first few rows of dancers totally lost to the band and mesmerized by Porter, Jr.’s fingers. I was personally stoked to hear their rendition of “Iko Iko” by Dr. John, leading to a big group sing-along.

    The McLovins and George Porter Jr hung around after the show for pictures with fans and autographs. It was great to experience so much talented music with such a small crowd in a small venue. Both acts will appear this year at The Gathering of the Vibes and The Catskill Chill. 

  • Get Ready to Get Funky This Friday with George Porter Jr. at Red Square

    georgeporterjr

    Legendary bassist, George Porter Jr will be getting down and funky this Friday June 21st at Red Square in Albany with his band, the Runnin’ Pardners, presented by Guthrie Bell Productions . The New Orleans band is admired for their fusion of funk, rock and R&B with the members consisting of Porter on bass, Brint Anderson on guitar, Michael Lemmler playing keyboards, Khris Royal on saxophone and Terrence Houston on drums. George Porter Jr. is best known for being a founding member of The Meters with Art Neville, Leo Nocentelli and Joseph Zigaboo Modeliste.

    The Meters formed in 1965 only to break up in 1977 but reunited in 1989 and recently have been nominated for the Rock and Roll Hall of Fame. The Meters music has been celebrated as one of the hardest grooving bands in the business, delivering a high energy performance with heart and funky soul. Their music has been covered by such bands as The Red Hot Chili Peppers and The Grateful Dead, plus sampled by hip hop artists like The Beastie Boys and Run-D.M.C. When the Meters are not touring together, George Porter Jr. and Art Neville tour with their side project band known as the Funky Meters. George Porter Jr.’s music career has spanned over four decades and has worked with renowned artists such as Paul McCartney, Jimmy Buffett, David Byrne, Patti LaBelle, Warren Haynes, John Scofield, and Steve Kimock.

    mclovins

    The McLovins, Connecticut’s top Jam Band, made famous from a YouTube cover of Phish’s “Youn Enjoy Myself”, are set to open the show. Their improvisational rock has led them all over the Northeast, making every concert goer a lifelong fan. Both the McLovins and George Porter Jr. are set to play this year’s Gathering of the Vibes as well as the Catskill Chill, making Red Square an ideal spot for a more intimate performance.

    Doors open at 8 with tickets available online for an early purchase of only $17 but will be $20 day of the show.

  • Funkin’ for your Feets: Turkuaz Storms Water Street

    “Turr-kwaz” is how you say Turkuaz, and you should remember that pronunciation, as this Brooklyn based band isn’t going anywhere. The word as defined is the Turkish translation of  turquoise, but unlike the gemstone there is nothing blue about this band. Their style is pure funk, which is deliciously refreshing in the modern landscape of never-ending jambands with musical Attention Deficit Disorder.  Don’t mistake this musical singularity for boredom though, as only moss-covered rocks and Nickelback fans could possibly not feel the urge to dance their posteriors off while Turkuaz rages their funktasticness, and Thursday, May 16th at Rochester’s Club at Water Street would be no exception. Blessed with a large crowd, at least partially in part due to the earlier Rusted Root show at the annual Lilac Festival, the band took full advantage of the packed house and played their asses off for two sets.

    The first set from Turkuaz featured tons of original material showcasing the band’s deep influences from old school masters such as George Clinton and James Brown to 90’s funk machines like Galactic and Lettuce. Sexy people playing sexy music laden with delicious horn sections: this always works. Some highlights of the first set included exploratory jamming within original compositions with names like “Bubba Slide” and “Electric Habitat” as well as a nicely chosen array of covers including “Slippery People” by the Talking Heads and Traffic’s “Feelin’ Alright”. Towards the end of the first set, Dopapod’s Rob Compa joined the band on guitar for the original tune “Physical Challenge” and a cover of The Band’s “The Shape I’m In”. Rob can often be found sitting in or attending Rochester shows when Dopapod is on break and he always brings the heat on his 6 string.

    Despite being a weeknight, the venue only seemed to get busier during set-break and the second set featured perhaps the most energetic crowd this writer has EVER seen at Club-side Water Street during the week. The segues were heavy and it almost seemed as if the music never stopped; fine by me! The ladies ruled the roost for much of this set, with top notch vocals by Sammi Garret and Geneva Williams. Really, beyond the excellent  music, this band has some of the finest vocals out there, with all four singers laying it down with heaping spoonfuls of soul goodness. Set highlights included all the segues, the twosome of original “Chatte Lunatique” into Hot Chocolate’s “Everyone’s a Winner” and a spot on funky-blast-off version of Led Zeppelin’s “Trampled Under Foot”.

    Beyond the music, the crowd, the sit-in and everything else; it was inherently apparent that this band is a group of people who have deep kinship. Throughout the night they were endlessly smiling at each other, putting their arms around each others shoulders and cheering each other on. Any group of fine musicians can put together an excellent itinerary of rage, but when one can sense an internal warmth; a group that is truly acts as one soul; it brings the entire experience over the top.

    Check out Turkuaz’s next stop in Upstate NY on June 29th at The Westcott Theater in Syracuse. You will not regret it.

    Setlist

    Set 1: Jb intro, 20 dollar bill, Smarter than the speaker>Coast to coast, Bubba slide, Future 86, Electric habitat, Slippery people, Nightswimming, It’s hard>Feelin’ alright, Back to normal, Physical challenge, The shape I’m in

    Set 2: Lookin’ tough, Feelin’ good, Chatte lunatique>Everyone’s a winner, M’lady, XYZ, Trampled under foot, Bijou drains, The bird dog>Sledgehammer, Pickin’ up>Hold on, I’m coming

    Encore: Space Captain

  • Another Fantastic snoe.down with moe., Strangefolk, Eastbound Jesus, Tauk and more, March 21st-24th, Rutland, VT

    Upstate New York favorite ‘local’ band, moe., hosted their 5th annual snoe.down Music Festival over March 21st-24th in Rutland, Vermont at both Killington Resort and Spartan Arena. The weekend was full of moe., who gave an outdoor performance at Bear Mountain on Saturday to fans and winter sports enthusiasts, while performing Friday and Saturday evening in Rutland, as well as a special acoustic Sunday show for the VIP crowd at the Wobbly Barn at Killington. Throughout the weekend, guests had a wide array of musical acts to enjoy such as Marco Benevento, Ivan Neville’s Dumpstaphunk and Strangefolk.

    DSC_7932

    There was no better way to kick off the first weekend of Spring and the start of festival season than with a weekend dedicated to winter sports and talented musicians. The weekend started for me on Friday at the K1 lodge at Killington. The lodge was packed with tons of skiers and boarders, loading up on food and checking out the first act of the day, Tauk. The electronic rockin’ sound soon filled up the room and brought in plenty of people off the slopes. Matt Jalbert was on fire with funky guitar riffs and Charlie Dolan was unstoppable providing steady, groovy bass lines. Alric “A.C.” Carter went wild on his keys during “I Want You (She’s so Heavy)”, causing the audience to cheer while Isaac Teel kept the pop and jazzy rhythm going strong on drums. Throughout the entire set, the four-piece band was smiling and grooving just as much as the crowd was. My favorite part was how each song escalated into the next song, with great transitions. When asked about the show and weekend, Charlie Dolan reported, “We thought the set went very well! It was our first time playing a show since we finished up our CD, always refreshing to play in front of a good crowd. It was definitely our first time playing in a ski lodge, hopefully not the last. The rest of the weekend was great! Obviously, since we got to see moe. play.”

    Before their music even started, I was excited to see what would come out of The Primate Fiasco, just from the array of instruments they had. The band took the stage with a banjo, clarinet, sousaphone, saxophone and the classic drum set, all of which I have never seen together at one time on one stage. Best described as a psychedelic Dixieland jam band, The Primate Fiasco quickly drew a dance crowd just with their soundcheck alone. Their vast musical arrangements flowed from original works to covers such as Ween’s “Roses are Free”, John Williams’ great score from Star Wars and various genres of tunes that anyone can enjoy dancing to. The energy was at a constant high with each band member being a driving force of talent and sound. The lodge was turned into a Mardi Gras party from the bellowing of the brass section, the fast finger pickings of the banjo and jazzy beats. It was my favorite act of the entire snoe.down weekend.

    The scenic drive from Killington to Rutland wove around the mountain side and river’s edge, leading to the main drag in Rutland where there was plenty of food options as well as hotels, all a quick walk to the Spartan Arena. Inside the venue were multiple stands set up that you could find at any parking lot scene, offering shirts, stickers and various other merchandise. The ice-hockey-rink-turned-concert-hall provided great sound throughout the venue. Dumpstaphunk hit the stage and unleashed the groove as everybody started to get down. The New Orleans band plays with the great soul of classic funk and mixes it with modern twist. Ivan Neville, the master of the keys, wears a permanent smile while he pours his heart all over the organ. The wide range of vocals that the musicians sing propelled all to shout out in unison. The newest member of Dumpstaphunk, Nikki Glaspie, is a no joke and a true female drumming machine. I couldn’t get enough of the bass bombs being dropped by Nick Daniels and Tony Hall and the intense guitar jamming from Ian Neville

    Following the funk filled set, moe. started their set with “Captain America” creating an explosive response from the fans. The Upstate New York band eased into a flawless “Recreational Chemistry” and shared the stage with Ivan Neville for “Happy Hour Hero” and a cover of The Meters’ “Cissy Strut”. Said Al, “I can’t stop smiling. It’s fantastic” sharing his feelings during Al.nouncements at the conclusion of the set. The night ended with “St. Augustine”, a groovy, light-hearted song that left the crowd in anticipation for the rest of the weekend.

    moe. setlist:

    Set 1: Captain America > Recreational Chemistry, Bring It Back Home, Happy Hour Hero*, Cissy Strut*, Bullet >Kyle’s Song  (* w/ Ivan Neville on keys)

    Set 2: Billy Goat > Tailspin, Opium, Faker > Tubing The River Styx > The Pit > Wind It Up

    Encore: Augustine

    Saturday’s festival goers were greeted with sunshine and snow showers as they geared up for the outdoor shows at Bear Mountain in Killington. The stage was set up at the bottom of the slopes and right next to the lodge, whose massive outdoor deck was full of people lined up to watch the show.  The wooden deck was surrounded by snowboards and skis of all sizes and colors. Fans also had the option of standing in the beer tent area, located closer to the right of the stage. Bear Mountain was ablaze with all the brightly colored jackets, not to mention all the hats, scarfs, helmets and sunglasses. It was true sensory overload at its best.

    I was most excited to see Eastbound Jesus, one of my favorite local bands from Albany. Despite the chill in the air, EBJ easily heated up the crowd with their high energy, bluegrass rock songs that echoed off the ski slopes. Loaded with steady drum beats and fast guitar, as well as banjo strumming all fed the foot stomping fans, which made the entire mountain shake. It was so much fun to dance in the snow and sing along with everyone to “Here’s to You” and “Holy Smokes.” Eastbound Jesus was happy to play requests from the audience, who couldn’t get enough of the fast buildups that erupted into a pure hillbilly bash. Carl Anderson the drummer had this to say, “It was cool to play outside, especially with the snow coming down. The heaters worked well on the stage though and we’re pretty used to playing while cold. It was cool to open for moe.; it was a fun weekend.”

    moe. took the stage and wasted no time getting the party going by starting with “Stranger Than Fiction” straight into “Spaz Medicine.” The snow started to fall, and when mixed with the music, it created a whirlwind of sound that got stuck on my coat and melted into my beer.  “Waiting For The Punchline” provided serious drum banging with relentless guitar riffs.  As the snow fell harder and harder, the band joked at how ironic it was to have indoor shows cancelled from weather like this, yet we are all outside having a good time.  They ended the set with one of my favorite moe. songs, “Spine Of A Dog” known for its absurd lyrics and light hearted jamming.

    Setlist: Stranger Than Fiction >Spaz Medicine, Blue Jeans Pizza > Waiting For The Punchline, Jazz Wank > Akimbo, Okayalright

    Encore: Spine Of A Dog

    After fans drove back from the mountain, got some rest and food in them, the music continued at Spartan Arena with Strangefolk, formed in Burlington in the early 1990s and reunited as their original lineup only last year. Having only played 10 shows since last March, the quartet sounded like they had never stopped performing, moving through a set of classic tunes and rarities. Opening with “Elixer”, off Weightless in Water, the vibe became one that swayed hips and moved lips as fans sang along to the catchy tune, a common occurrence when you listen to Strangefolk’s combination of dual guitars and well written lyrics. “Dance” started out quiet and subdued, but slowly built up into a frenzy, compelling the crowd with lyrics such as “When you’re dancin’, dancin’, move your feet and lose your mind”, to which the arena obliged. A heavier “Chasing Away” had an edge to it, plus sandwiched inside of the song the rare “Pooh Bear’s Mistress”. Crowd favorite “Reuben’s Place” was supposed to close the set, but a misreading of time led Reid to conclude there were 25, then 10, minutes left in their set, leading to an onstage encore of “Stout Hearted Man”. Once again, Strangefolk were given a rousing ovation by a Vermont crowd, something the quartet were quite familiar with throughout the 1990s.

    moe.s sets this evening led to a great deal of potential, because aside from the acoustic VIP set on Sunday, this was going to be the last set most would see until the band’s next shows in May. Opening with a scorching  “32 things”, Chuck shredde guitar sections with Al, who was sporting one of the finest beards in the state (there are a lot of beards in Vermont). “Haze”, a relatively new song for moe. was a huge highlight of the night, with Al and Rob giving intense emotion to the refrain “Hey, Let’s go. I don’t care as long as you are there; Hey, Let’s go, Doesn’t really matter when or where”. Jon Trafton and Reid Genauer from Strangefolk joined the band for two extensive versions of The Band’s “Up on Cripple Creek” and moe.’s “Mexico”; Jon stood near Chuck smiling ear to ear as they tore up the song while Reid stood centerstage, grinning and playing intensely on his acoustic. After the setbreak, moe. opeend with crowd favorite “Buster” and segued quickly into “Runaway Overlude”. After a 16 minute “Puebla”, the band moved into an extended sandwich: Brent Black > Mar-DeMa > Brent Black > Meat > Brent Black, an incredible combination of song after song that wrapped up more than the last 30 minutes of their set. “That Country Tune” and “Godzilla” wrapped up the encore and a huge Saturday of music.

    This weekend in Vermont with moe. and company was an incredible experience. Add in the skiing, beautiful scenery, late night revelry and sore muscles from dancing all weekend, and you know its the start of music festival season in the Northeast!

    moe. Setlist:

    Set 1: 32 Things, Shoot First, Haze, Y.O.Y., Up On Cripple Creek*^, Mexico* (* with Reid Genauer and Jon Trafton on guitar, ^Reid and Jon on vocals)

    Set 2: Buster > Runaway Overlude, Where Does The Time Go?, Puebla > Brent Black > Mar-DeMa > Brent Black > meat > Brent Black

    Encore: That Country Tune, Godzilla^ (^ Immigrant Song (Led Zeppelin) teases)