NYS Music 20​13

Tag: jazz

  • Kollectiv and Groovestick: Funky and Lucky on Friday the 13th

    The last Friday the 13th of 2013 brought together lucky music lovers to The Hollow in Albany for two of Upstate New York’s homegrown talent. With the holidays around the corner, it’s understandable for fans and musicians to want to soak up each other’s cheerful energy with live music. The Kollectiv, a rap rock funk band, was having their first reunion show in months, kicking off their short tour in Albany. The Capital District’s own Groovestick was first to take the stage and were eager to test out their new stage setup.

    Drummer Franz Celestin and keyboard master Chris Carballeira now face each other with bassist Dan Gerken standing strong in the eye of the storm, taking inspiration from one of their favorite bands, The New Deal. Now with more eye contact and exposed body language, the musicians can read each other better and have strengthened their already impressive fluidity. Regardless of the layout, Groovestick still gave out goosebumps with their jazz and funky flow. Carballeira glides over the keys of the Hammond 33 organ, providing an intense blues and psychedelic sound, causing new appreciation for vintage instruments everywhere. Gerken plays slow and ripplely chords until causing a commotion with the tease of the infamous bass line from Phish’s “Stash” while Celestin fires away on the cymbals at every speed level.

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    Originally from Oneonta, musicians from The Kollectiv have been traveling different paths experimenting with various projects around the country but lucky for Upstate New York, they came home for the holidays. What makes The Kollectiv stand out above the other bands is their usage of turntables. They have a soulful and funky vibe from their instruments but with the combination of the turntables, it adds attitude and flavor. Their groove is undeniable especially with the steady bass of Chris Duffy and firm beats of Frantz Celestin, who is still a powerhouse after rocking with Groovestick beforehand. Lars Viola yells out, “We haven’t been in the same room together for months. It feels so good to be home” as long awaiting fans couldn’t agree more. Their sound is almost similar to a softer version of Eminem’s The Marshall Mathers LP 2 –  no offensive language, but creative word spitting with a fantastic blend of rap and rock music. Each song is so different in that one is a “no worries street smarts” and the next moment Taylor Frederick is shredding on guitar before the music slowly grooves into a reggae dance party. It’s a shame that The Kollectiv shows are rare but they are always worth the experience and we can only hope for more in the new year ahead.

  • John Medeski Treats The Massry Center to a Stunning Solo Performance

    There are musicians that people see clearly pour their heart and soul into a performance. John Medeski did just that on December 7th at The Massry Center at The College of Saint Rose. His just over two hour set was mesmerizing and made you forget you were in a recital hall; it seemed far more like a small jazz club instead. Medeski solo could barely be contained in his playing, frequently standing up and tapping both his feet along with what he was playing. Seeing a musician have that much fun playing for an audience is intoxicating.

    john medeski soloThe music itself is not your typical, run of the mill jazz either. Instead, his early training in the classics bleeds through as he moves through classically swung eights and transitions cleanly into a haunting straight melody. Ever the modernist, the sweetness of the melodies never lasted long; it usually fell into discordant breaks while he plucked from within the Steinway to add to his, and its, already stunning sound. The evening opened with ‘Where’s Sly?’ blended with ‘Otis’ and had plenty of improvisation for all. With those two songs alone, Medeski played for nearly 45 minutes straight with only a handful of breaks through the entire two hours.

    It was an amazing, intimate evening with a skilled musician and performer. Those who were there received a real treat.

    Review by Lauren Byrnes

  • Hearing Aide: John Medeski’s ‘A Different Time’

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    As a member of the avant-garde jazz trio, Medeski Martin & Wood, John Medeski’s experience as a musician is largely defined by his groove-based keyboard work. Originating in New York City, MMW has stood out as one of jazz’s most talented, innovative acts over the past twenty years. The group’s discography represents a range in style and genre achieved by incredible musicianship, and John Medeski’s influence as a keyboardist has made MMW’s work so consistently creative.

    A Different Time marks Medeski’s debut appearance as a solo recording artist. Released by Okeh Records, a recently revived jazz imprint on Sony Masterworks, the album features the unequivocal combination of Medeski and a 1924 Gaveau piano. A Different Time is the product of a season spent in Upstate New York’s Hudson Valley, where Medeski recorded the album in a 19th-century church-turned recording studio known as Waterfront Studios. Throughout the album’s nine tracks, Medeski explores a style of music characteristic of an earlier, more modestly ambitious time period.

    Medeski has described the album as “meditative” and “contemplative.” In its opening, self-titled track, sparse melodies and alluring structures induce a sense of calm while provoking a level of insight generally brought about by weighty lyricism. Medeski’s work communicates sentiments in its composition; A Different Time is a compilation of poetic music. Concluding with two improvised tracks, “Lacrima” and “Otis,” the album is a clear illustration of Medeski’s talent, a progression in his career as a musician.

    Key Tracks: A Different Time, I’m Falling In Love Again, Lacrima

  • An Interview with John Medeski

    John Medeski, mostly known for his work in Medeski Martin & Wood, will be playing an intimate solo piano show on Saturday, December 7 at the Massry Center for the Arts on The College of Saint Rose campus.  Having played shows this past summer with Phil Lesh and Friends, The M&M’s, John Scofield, John Zorn, as well as other sit-ins and solo shows, he has had a lot on his plate in the past year. John sat down for an interview with us ahead of the show.

    Medeski has been playing more solo shows as of late, but he still does not perform solo often, so the Capital Region is very happy to have the chance to witness this master of the keys in such a cozy setting.  His beautiful work on piano, keyboards and the like brings smiles to people’s faces no matter the group he is with.  The concert is scheduled to start at 7:30 P.M. so make sure to get there on time as you don’t want to miss a second of it.

    john medeski interviewPete Mason: With your upcoming solo show at the MassryCenter on December 7th, what can fans expect from seeing you perform without Billy Martin, Chris Wood, or any other collaborators? Perhaps songs from your new solo piano album A Different Time?

    John Medeski: Generally my solo shows are getting the picture, the unadulterated picture, of just me. (laughs) I can go wherever I want at any time – jazz, tunes of mine, the new record, it goes all over the place; there’s a lot of improvisation, dealing with what’s happening in the moment and feeding off of that and one thing leads to another.

    PM: The Word (Medeski, Robert Randolph, Luther and Cody Dickinson) has been a treat when they play at Bonnaroo and select venues. How do you treat the venture into gospel music?

    JM: The Word came about because of my long term love of gospel music. Luther and I had talked for years about doing an instrumental gospel album, without the words. The Hammond organ is just a natural part of playing gospel music so it’s a great opportunity to do something fun that I love. It’s another side of me, we all have many sides. It’s a way to get deeper into the music I love.  By playing the music and being ourselves, we put our own stamp on it. It’s a great band.

    PM: How did the occasional supergroup, The M&M’s, a lineup that includes (in different forms) yourself, Marco Benevento, Maceo Parker, Stanton Moore, Mike Dillon, Papa Mali and Rob Mercurio, first come together?

    JM: It all started as a promoter’s idea and we did a show in New York City with Stanton, Papa Mali and Mike Mercurio. It was easy and felt great, so we ended up doing another gig with Marco and Maceo, and we are now starting to work on a record. A lot of the time these groups don’t work, and I’ve done a lot of them. They’re always interesting, but this one has a life of its own and taken off on its own and you can’t go against that. We have a single out, “Melts in Your Mind”, and we plan to finish up the record sometime in the next few months and it should come out next summer.

    PM: What brand of pianos/organs/keyboards do you play and do you have a preferred model to use in performance?

    JM: I’m endorsed by Steinway, I like Bs or Ds or Greats. I seem to always go for Hamburgs, but every piano is different – Yamaha, Bechstein … a lot of factors work into the pianos. There are a lot of great pianos. There could be one with the same model number but sound completely different. For keyboards I use Hammond B3 or A100 organ,  I have a Wurlitzer 140 that I love. I use an electric piano, a Minimoog is important for me. I usually have an organ, clavinet and electric piano around me, plus an auxiliary keyboard as well.

    PM: Shortly after your show at The Massry Center, Marco Benevento performs just down the street at Red Square in Albany. If you’re not headed out of town right away, any potential stop in for a sit in with Marco?

    JM: Well, you never know. It’s very possible.

    A presentation of Premiere Performances, tickets are $25 ($12.50 for students) and may be purchased online at www.massrycenter.org

  • An Interview with Marco Benevento, Coming to Red Square in Albany on December 7th

    Keyboardist Marco Benevento has been a creative force for quite some time.  From playing with Joe Russo in “The Duo” to playing with Mike Gordon, Trey Anastasio, and Russo in GRAB, and sitting in with many legends over the years, Marco is no stranger to impressing audiences with his signature sound.  Playing his Hammond B3 and Wurlitzer electric piano, he has made a name for himself as one of the best keyboardists around today.  This tour he is changing it up though and using a 63 key acoustic piano and a Synth to make endless loops that are sure to wow the crowd. His latest release Tigerface has been getting rave reviews throughout the year as he has been touring non-stop behind it.  I had a chance to Interview with Marco Benevento about the upcoming Albany show as well as other topics:

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    Bryan Lasky: Looking back on the year as a whole,  it seems like you have played everywhere under the sun. Do you have a favorite moment from a festival or a show?

    Marco Benevento: Pickathon was a great festival out in Oregon just outside of Portland.  There was a wide varitey of music. In the same weekend I saw Feist, Andrew Bird, some band that led a huge square dance and a great band that played some old 70’s soul music. And our band wound up in the new Pixies video because the film maker loved our set!

    BL: What has it meant to your music to be able to play with Dave Dreiwitz and Andy Borger for a long time now?  Has it changed your writing process? Is it more collaborative?

    MB: We really just have a band vibe now. The live show is unstoppable right now too.  I feel like we can throw curve balls left and right at each other and wind up with some nice surprises in our show.  I’ve been doing the all of the songwriting, but everyone chimes in with there own unique taste and approach to the songs.

    BL: You also played with many other artists and groups, such as The M & M’s at Equifunk, Joe Russo’s Almost Dead (JRAD), Bustle in your Hedgerow a number of time celebrating the 10th anniversary of playing together, and various other projects.  How does working with all of these other musicians shape your current work?

    MB: It’s just nice to have variety.  It’s also nice to dive into specific bands and learn a lot of their music.  Because of JRAD I now know about 20 or more Dead tunes and because of Bustle I know about 40 Zep tunes and with all of the Levon tributes I know about 40 Band tunes too!  It’s important to learn those timeless tunes and to find out what the formula is that makes it timeless!

    BL:  Lately it seems you’ve been incorporating more lyrics into your songs.  What made you go into that direction?

    MB:  Good question….I have no idea!  Although, I can say that it feels like a very natural progression for me. It started with syllable singing to some of the melodies that I wrote.  “This Is How It Goes” from TigerFace was a tune that really brought it out I think.  At first my wife, myself and some friends sang and recorded the melody to “This Is How It Goes,” then months later I thought I should have one person sing it and Kal (Traver, of Rubblebucket) came to mind because I’ve always loved the sound of her voice. After actually hearing my tune with a vocalist singing the melody instead of the piano playing the melody I feel like a new door opened.

    BL: Have you, Andy, and Dave been recording as a band? Can we expect a release in the coming year?

    MB: We are recording in March with an incredible engineer and musician named Richard Swift.  He’s now the keyboardist in The Shins and has recorded and collaborated with some incredible musicians that have been inspiring me lately such as Dan Auerbach and Foxygen.  Hopefully we’ll have a new record out in the Fall of 2014.

    BL:  At Red Square in Albany this past June, you said you love the room and would like to do a month residency there at some point. Any news on that front?

    MB: Yes!!! The news is that we’re going to do it!!!!!!!!  We’re going to take a vote at our gig (on Dec. 7th) and see which month wins!!!

    BL:  Scott Metzger is opening for you with WOLF! on December 7. What can you tell the fans about them

    MB: Incredibly tasteful!!!!!!!!!!  I love touring with those guys I feel like it’s a great musical pairing for the night.

    This Saturday night is sure to be a great show.  Get there in time to see Scott Metzger with WOLF! and then be ready to dance early into the morning with Marco.  Tickets available now at Redsquare.

  • Hot Reggae and Jazz at Red Square Thanks to Spiritual Rez and Groovestick

    On November 14th, Red Square in Albany hosted two talented bands that offered up a wide range of musical stylings for any kind of music lover. A trio from members of some of Albany’s favorite bands joined forces to unite in a progressive jazz funk experience to make Groovestick. Reggae group and Boston’s own Spiritual Rez ended their extensive tour in Upstate New York after traveling all over this summer to festivals such as Catskill Chill and Backwoods Pondfest.

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    The newest band on the music scene is the jazz funk trio, Groovestick a dynamite collaboration with Dan Gerken on guitar/bass (Timbre Coup/Mirk), Chris Carballeira on organ/keys (Dirty Paris/Funk Evolution) and Frantz on drums (The Kollectiv/Dirty Paris). A slow and steady start to the night with smooth jazz made way for a funk powerhouse set closer. Carballeira brings an upbeat soul shaking performance as he shines on the organ while Gerken provides the right amount of attitude on the guitar. Their sound is catchy, unique and continues to turn audiences into funky jazz lovers across Upstate New York. Be sure to see them for their return to Monopole in Plattsburgh December 6th and with The Kollectiv at The Hollow in Albany December 13th.

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    Spiritual Rez brought a taste of summer to Red Square with their undeniably fun reggae melodies. They have a raw energy that can’t be matched or stopped as their music flows on wave upon wave. Jesse Shaternick laid down some heavy bass bombs as the horn section brought a twist of ska to the mix of reggae bliss. The only drawback of the show was the small stage space of Red Square, limiting Toft Willingham to his usual outrageous dance moves. The six-piece band was a tight squeeze on the stage but it forced the sound forward, hitting dancers hard in the face with dubtastic rock. Spiritual Rez brings out the animal in everyone with their primal screams, carefree attitude and explosive grooves. Spiritual Rez will be making stops throughout the east coast in December and will celebrate New Year’s Eve at The Spot in Providence, RI.

  • Chicago Plays the Hits and More for Fans at Proctors

    The legendary rock and roll band with horns, Chicago, paid a visit to the Capital Region at Proctors in Schenectady on Wednesday, November 6th. Chicago has toured every year since they started back in the late ’60s and don’t show any signs of slowing down. They have achieved record breaking album sales, countless awards, their own star on the Hollywood Walk of Fame and have been voted one of the top 100 artists of all time.

    Proctors Main Stage Theater holds 2,700 seats and almost each one filled with new and old fans alike ranging in age, but predominantly middle aged. There was a giant, easily recognized Chicago logo on the backdrop of the stage upon stage setup, in front of the majestic marble columns and rich vintage colors. The crowd was surprised with opening act, acoustic guitar duo Austin Charles and Tim Stop who swooned with their soft melodies and charming harmony. One of the highlights was their rendition of Michael Jackson’s “The Way You Make Me Feel” a delightful and rebellious serenade.

    Chicago wasted no time jumping right into the music with a high energetic blast of new songs and their classic hits. The wide open and double leveled stage gave the musicians plenty of room to stretch the sound. Trumpeter Lee Loughnane expressed how excited they were to be back in Upstate New York and touched base on how they were going to have a whole spread of genres to cover tonight as well as new music. He screamed, “Don’t be afraid to like it! We’re gonna rock!” Chicago has a hard hitting rock sound with their electric guitars and steady percussion plus a heavy touch of jazz that they city of Chicago is known for itself. Jason Scheff laid down a heavy disco bass groove mixing with the boogie of the bongo drums from Wally Reyes. James Pankow was very spunky with his trombone and at one point, dove into a wailing session on the snare drums.

    chicago1. The evening indeed was filled with a wide genre as Chicago played everything from the upbeat rockin’ funk of “Saturday In The Park” to smooth jazzy ballads ala “You’re the Inspiration” and “If You Leave Me Now”. One of the highlights of the night was the sequence of “Make Me Smile” right into “Colour My World” and then very surprisingly back into “Make Me Smile.” This arrangement ended the set and energized the crowd for another hour still to come of Chicago. After the 20 minute intermission, Chicago started with their newest single “America”, a groovy song with political lyrics in great harmony. New music can be unsettling for long time fans of any band but Chicago fans greeted the new music with a respectful applause and relieved that the guys still have more music to share with them for years to come. The band took a moment at the end of the show to celebrate the fact that it was their next to last show of the year and already excited to tour next year. It was unanimous for musicians and patrons that Proctors was a beautiful venue, meant for music.

  • Album Review: The Chronicles ‘Spanning the Gap’

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    The Chronicles, a progressive jazz band from Albany have released their second studio album this month, Spanning the Gap. Their newest album was produced and mixed by musician Alan Evans of Soulive, who even makes a guest appearance on a few tracks. The seven-piece band combines the flavors of funk, soul, jazz and hip hop to create a dynamite album that is not easy to put down. The album is available for free listening and immediate digital purchase on their website, where you can also order vinyl copies.

    The album kicks off with “Village Living”, a groovy attention grabbing guitar melody from Justin Henricks that soon meets up with the eruption of the full band sound. The horns get dirty as they jazz up the song with a wide range of notes with the organ blasting in full effect. “Interzone” switches into a smooth and chill retro groove with a slow tempo that increasingly picks up pace into a jumping back and forth dance party. “Way Back Home” brings in Tara Merritt for vocals for a sensitive yet tough twist, suitable for The Chronicles diverse sound. This song features a more sophisticated feel with the strong string presences of Iris Mulhern on harp, Phil Ducreay on Violin and Dylan Perrillo on String Bass. “Vibe” features strong cymbal playing and percussion for a relaxed funky feeling with a little help from Alan Evans.

    “Just Knew”, an upbeat song with a great blend coming from every musician making for a unstoppable funk machine. Philippe Chow brings his trumpet to the table for an extra and always appreciated boom. “Spanning the Gap” gets a dose of hip hop from Jeff Nania, spitting out lyrics in sync with the modern chill jazz with a light piano solo from Tyrone Hartzog to finish off the song, proving that The Chronicles have no problem bridging multiple genres. “Quartal” is where Nicholas Lue shines with heavenly piano peaks and a consistent locomotive vibe. “Bad,Bad,Bad” features vocals recorded by Tyrone Hartzog, organ player of the band, with funky guitar riffs giving off the bad boy charm. “Reprise” ends the album with robust, soulful keys and steady bass notes from Daniel Lawson, to fade out with echoes of the haunting harmonies.

    Key Tracks: Way Back Home, Just Knew, Spanning the Gap

  • 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

  • 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.