NYS Music 20​14

Tag: Nietzsche’s

  • Primate Fiasco – An Inside View

    Primate Fiasco is set to bring their energetic funk back to the area with shows in Ithaca, Rochester and Buffalo this month.

    One of the unique bands currently tearing up the Jam Band circuit is The Primate Fiasco. The best way to describe is to recite the description on their website. “To a deaf person, they look like a New Orleans Dixieland street band. To a blind person, they sound like a rave DJ mashing-up house beats with ’60s folk lyrics. To the police, it’s a busy day on the sidewalk.

    primate fiascoTheir instruments are loud without electricity, allowing them the play at any moment, in any location, with or without permission.    Trust me people, let it peak your curiosity. Believe me when I say these gentlemen can take their chosen instrument very far from its traditional sound into something that is musically amazing. With several albums under their belt along with a Grammy nomination, The Primate Fiasco has been touring up and down the East coast relentlessly for the last several years. They have been treating acoustic music like it’s a new thing. They take it back to its roots, playing music anywhere that people will listen.

    They have been launching an attack on the jam band scene and as of late have placed their attention on Upstate New York because they enjoy the vibe of the area and our appreciation of music. I recently had a chance to sit down and chat about all things Fiasco with Dave Russo, singer and founder of Primate Fiasco. I found them infiltrating the dance floor of a Kung Fu funk show in Syracuse. They were playing acoustic, in the middle of the crowd, keeping faces smiling Fiasco style.

    Kim Richer – NYS Music: You guys are from Massachusetts. You have several albums out, one of which scored you a Grammy nomination. Tell me about the Fiasco.

    Dave Russo – Primate Fiasco: Loaded question. I feel that it is sort of “back to the drawing board” approach to music. It’s where these instruments could have gone 100 years ago if they’d been influenced by the following 100 years of jazz, rock, electronica, etc. We started as a Dixieland street band playing on street corners and it evolved from there. That Grammy nom was for our kids album, which is not our usual format but was a lot of fun.

    KR: One of your most popular songs, “Sidekick” tells the story of an epic Superhero adventure. This lead to a comic book and then a movie, all created by you. What is the story behind that and what can we expect next in the saga?

    DR: To be honest, that was a creative spasm. The band was in a lull and I’m originally a visual artist who hasn’t drawn since the band got busy. I had to get some creativity out somehow and so I dove into this alter-ego idea. It’s a metaphorical autobiography if you will, not just about me but about the inner workings of today’s bands (presented as superheroes). The only movie that has been made thus far is EPISODE 2 – QUESTIVAL which deals with festivals or “superhero conventions”. Episode 3 will be more about touring and the drastic differences that a multi-genre band travels through. Episode 1 is the prequel that I can’t wait for. It will dive into the back story of myself, the arch-enemy THEYCO, and a few other characters. While most of this is comedy based, I think Episode 1 is going to be kinda deep and a bit more complex than any of the fans are expecting.

    KR: Who are your biggest musical influences?

    DR: Mine personally are the great songwriters like Bob Dylan, Paul Simon, Neil Young and some of the late 90’s festival mainstays like Phish, Medeski, Pfunk, etc. As for the whole band, I know there’s Jazz of all periods, pop, classical, and electronica. But as of late, and I think I can say this for the whole band, we are huge fans and heavily influenced by some of the artists that we are blessed to call our colleagues. Just of the top of my head, Ryan Montbleau, Dopapod, Kung Fu, Turkuaz, Sister Sparrow, Soulive, Dirty Dozen, Aphids, and Rusty Belle are all bands who have affected our sound as much as any classic legends.

    KR: Your band is all over the musical map and placing you in a category is nearly impossible. What genre do you consider The Primate Fiasco to be?

    DR: These days, we get considered a jam band because of the improvisation and the festivals we tend to play. But that’s not a musical style. I feel like it could have tipped toward other genres too but I do like the Jam scene. We also go over well at jazz, EDM and folk fests. We’ve even shared the stage with hard-core bands and that was fine. But that’s just a business answer about where we play. Musically, the obvious influences that you can hear from space are Traditional Jazz, Electronic Dance Music, and (lyrically) 60’s Folk. But if you listen more closely, you might hear Reggae, Balkan Brass, Bluegrass, and Inuit Polka. I like the word BRASSTRONICA. Personally, I think one of the biggest problems with music, especially in this age of pull down menus, is the obsession with categorization. In my opinion, music should be categorized by its purpose; Music to dance to, music to relax to, music that illustrates lyrics, etc. Instead, our culture obsesses over which specific camp of nerd-core a band falls under and we tend to use the band’s wardrobe to decipher that. We identify as “genre-fluid with acoustic pronouns”.

    KR: With your mobile instruments, it is not uncommon for an impromptu performance to pop up when and where you least expect. This could be on a street, or a parade through a festival campground. What are some of your more memorable impromptu sets?

    DR: Gathering of the Vibes stands out. We’ve done 4 years but the first year was rather special for me. I had the idea for this band years ago when I attended Vibes as a fan. It was back when I was playing Banjo in the Dixieland band at Six Flags New England. It was my first substantial fest and the idea to bring a street band to it was born. 10 years later, my band was on the poster and on the vending strip. Other memorable moments: Our set getting overrun with nitrous tanks at Superball9. Leading a parade through several stores, banks, and restaurants in Northampton MA. Gathering a large crowd outside of a venue who kinda screwed us over and then parading them into the bar across the street.

    KR: One of your most recent impromptu sets occurred on the dance floor of a Kung Fu show in Syracuse. What’s the story behind that?

    DR: We happened to be passing through Syracuse and didn’t have anything booked that night. There was a really cozy place for us to crash with our good friends and so it made sense to stay in town instead of driving all the way home. We had Kung Fu add us to the bill and played on the dance floor whenever there was a set break. Simple as that. The Westcott is a good venue for that.

    KR: In a live recording of the Fiasco, I heard you play a mash-up medley where you literally interwoven the classic “It Don’t Mean a Thing” with Michael Jackson, Pink Floyd, Green Day, Grateful Dead, Nirvana, George Clinton, AND a Star Wars Theme, ALL IN ONE SONG! Where does this creative madness come from?

    DR: In the days of early jazz, a New Orleans street band would medley through any song that came into their mind. For them, it would be marching tunes or even classical pieces that they “swung”. We’re doing the same thing, just later.

    KR: Your exposure to New York thus far has been minimal, mostly at festivals. Looking at your tour schedule, you are certainly showing New York the Primate love. A good portion of your upcoming shows are in Upstate NY, all leading up to your big New Year’s Ball Drop gala with Turkuaz. What draws your focus to the area?

    DR: Upstate NY has a great vibe. The people are warm and energetic. The cities are just far enough apart that a band our size can play 2 or 3 of them in the same weekend and we live only 5 hours from Syracuse in MA. The energy that we’ve seen thus far from our fans in Upstate has caught our attention and the attention of our booking agency. We experienced a similar dynamic in North Carolina where we will drive all the way down there and tour around the state before driving all the way home. The fans make it a home away from home. Upstate is in our crosshairs.

    KR: Where exactly can we find the Fiasco leading their parade around our fine state and where can your fans find the most up to date news and tour information?

    DR: At the moment, Buffalo, Rochester, Syracuse, Lake Placid, Ithaca, and Saratoga are all places we intend to frequent. Plus Sterling Stage and Catskill Chill are festivals we don’t ever want to miss. Currently, there are shows booked in Rochester, Buffalo, and Kerhonkson. I would direct fans to our website for details, especially regarding New Year’s Eve with Turkuaz and several other bands at Rock n Roll Resort. Ticket and room deals can be scored there.   It’s also a good idea to get on the mailing list.

    In addition to the band’s website, I would also like to direct fans to like their Facebook page as the best way to keep up on spontaneous developments. During the Gathering of the Vibes this year, the Primate Fiasco was announcing festival street set locations an hour before they occurred. As for scheduled shows, be sure to seek them out this December around Upstate New York. They can be found Dec. 18 at The Dock in Ithaca, Dec. 19 at The Lovin’ Cup in Rochester, and Dec. 20 at Nietzsche’s in Buffalo. All leading up to the big Ball Drop New Year’s gala with Turkuaz at the Rock and Roll Resort in Kerhonkson, NY. Consider yourself warned – The Primate Fiasco will be all over Upstate this December and these guys are so spontaneous, I advise everyone to open their cupboards and microwaves slowly and stand back just in case. No place is off-limits! I urge you to catch them somewhere along the way. You will smile!

    Check out their website for all their upcoming shows.

  • Tropidelic and Funktional Flow with Special Guest Mike Gantzer

    The biggest party night of the year turned out to be a special night at Nietzche’s on Wednesday, November 26. Opening the show was Tropidelic from Cleveland, Ohio. The group brought a big sound and packed every inch of the stage with some very solid musicians. The night however, belonged to local Funk Jammers Funktional Flow.

    The night was supposed to be a farewell to former guitarist Michael Szczepanik; Unfortunately, Szczepanik failed to show, but you wouldn’t have known it as the group didn’t miss a beat. Matthew Lester joined on stage, playing keyboard and really making up where a void may have been felt. The highlight of the night had to be when Aqueous‘ Mike Gantzer joined the threesome to close out the night. It was one of the finer moments in Flow history and the band looked to have been hitting their stride with great enthusiasm and vigor. It’s Setting up to be one New Year’s Eve that people will be talking about as Funktional Flow and Aqueous will be ringing in the New Year together in their next collaboration at Buffalo Iron Works.

    Tropidelic

    Funktional Flow w/ Matthew Lester and Mike Gantzer

  • Booty Band Shows the Queen City How to Shake It

    Last week, on the eve of my birthday, I decided to stay up late on a weekday, knowing that I’d have to wake up by 6am the next day to go to work. Yo Mama’s Big Fat Booty Band was in town though for their first show ever in Buffalo and I wasn’t going to miss it. Even with the exhaustive circumstances, what transpired that night invigorated me in a way not every concert does. Waking up the following morning, I felt alive, beaming with excitement, and still humming the notes from the night prior. I can only speak for myself, but throughout life, I am constantly chasing that kind of high from music, but was certainly not expecting it to this degree when I walked in to Nietzsche’s the night before.

    As I approached the building, I still wasn’t sure what to expect. There is no adjacent parking lot, so you can’t tell if the venue is packed or empty for any show. Crossing the threshold, it was as though the doors had just opened even though I was unfortunately late to arrive. My disappointment in Buffalo for not showing up on a night like tonight – where a band was making their first appearance here – started the night off on the wrong note. Regardless of the crowd situation, on this particular Thursday, Nietzsche’s was the place to be as Yo Mama’s Big Fat Booty Band was ready to share their gritty funk with whoever showed up.

    Changing their opening song on the fly, the band kicked things off with a new song in “Wake Yo’self”. This song will be featured on their upcoming album, so the only way to catch this one at the moment is live. The bass line throughout the song had a relentless determination to it that gave the crowd a reason to move right from its opening notes. As it propelled forward through thick and heavy waters, trombonist Derrick Lee Johnson and keyboardist Mary Frances, aka Mama Funk, highlighted his spaces with peaks of cutting tone. There might not have been the greatest turnout for their first show, but the band was determined to have a good time and make sure everyone else did too. Talking with the band after the show, I brought up how bassist Al Al Ingram’s tone is similar to the bass tone on Cake’s “The Distance”, but in a heavier and funky way. The band collectively laughed in agreement and shared how they actually had talked about covering that song on numerous occasions. The show was off to a great start and with a lot of people in attendance unfamiliar with the bands songs, this was the perfect choice as it immediately grabbed everyone’s attention.

    Mama Funk Leading the Booty Band
    Mama Funk Leading the Booty Band

    The band continued to light up the crowd with one heavy-hitting song after another. I’ve always felt that a smaller crowd can affect how a band plays in a negative way, but not these guys. On several occasions throughout the show, various members stepped off the stage and came right out into the crowd to dance. Mama Funk, Derrick Lee Johnson, and Al Al Ingram all took turns playing their instruments amongst the dancers in attendance and it really helped elevate the crowd’s overall response. Mama Funk specifically blew me away as her sweet and unassuming look was only a disguise. Throughout the night, she displayed her prowess on the keyboards as she supported the band through her various tones, ripped through solos, and constantly exuded a fun and free spirit that came out through her playful approach. It was all about a good time with her and the band as a whole and there was no shortage of those moments on this particular Thursday night.

    The Booty Band played a variety of music from their catalog, but two covers stood out as I had never heard a band cover a hip hop song before in person. The band chose two Dr. Dre songs in “Let Me Ride” and “Nuttin’ Butt a G-Strang” – the latter being an obvious play on the famous “Nuthin’ but a ‘G’ Thang”. Both of these songs were instantly recognized by the crowd and hit me about as hard as the originals did when I first heard them. The songs had such a beautiful, funky flow to them, similar to the original, but felt right being instrumentalized. Adding layers of live and spacey keyboard runs made two already fine choices that much better. The funky rides down memory lane were complete with rap battles between Johnson and Ingram and choruses colored by Mama Funk. By sharing the vocal responsibilities on these two and others over the course of the night, the self-proclaimed “Mountain Gangstas from North Carolina” were able to flex to the style they were playing and showcase the voice that made the most sense.

    John Paul Miller on guitar with Al Al Ingram and Derrick Johnson in the background
    John Paul Miller on guitar with Al Al Ingram and Derrick Johnson in the background

    The Booty Band’s spirit was just contagious. As they wrapped up their set, the crowd was simply not ready to let them go. After some clamouring, the band returned with grins all over their faces, ready to keep the night going a little longer for the outpouring of appreciation. One person from the crowd yelled, “hey, we all have to work tomorrow, just play one more song.” It was clear that those in attendance didn’t care that it was already past 1am at this point and I couldn’t have agreed more; we all just wanted a little more before they packed up and left. The band obliged with two songs to close the night that featured some heavy grooves and some deep funky ruts. Drummer Lee Allen was blatantly abusive towards his drum kit during the finale, making sure that his talented band mates wouldn’t completely overshadow his own impressive skills; everyone in the crowd already knew this though as Allen drove the rhythm the entire night. This band is loaded with talent from the front of the stage to the back, and if you haven’t taken the time to listen to them or catch them live, you need to drop what you’re doing now and make some time.

    On a final note, I have to take a second to outline the band’s genuine appreciation for their fans and that they get to wake up and play music everyday. I talked to both Derrick Lee Johnson and Mary Frances after the show, separately, and I thought it was interesting how they echoed similar sentiments when I asked them for their thoughts on the turnout. Mary Frances said, “”It doesn’t matter if there’s 20 people or a packed house, everyone deserves a good show”. While Derrick Lee Johnson said, “I get to do my passion every single night. Whether it’s 10 people or 10,000 people, I get to pick up my trombone every night and play.” Hearing this from two different members in an off-the-cuff conversation was a breath of fresh air. There’s so many acts nowadays that play for the money and fame and those are the same bands you hear have broken up because money and fame don’t happen overnight. After hearing this, I thanked both of them for having that love and passion for their craft and that definitely translated as they genuinely had fun on stage and you could tell that they enjoyed the night just as much as everyone that was in attendance. The money and fame will come to them in time, so long as they keep doing what they’re doing, people are bound to catch on. I know that next time they come around, everyone in Buffalo will be bringing a friend as they easily won over those who came to dance on a late Thursday night/early Friday morning. As for work the next day, I got by and I am indebted to these guys for kicking off my birthday in the best way possible – with an incredible, booty shaking display of live music!

    Setlist: Wake Yo’self, @$$, Quick E, Funk Life, Let Me Ride*, Cancion de Fuego, Mama Feel Good, Sunday Afternoon, Sanchez, Shadows -n- Sunshine, Nuttin’ Butt a G-Strang (Nuthin’ but a ‘G’ Thang)*, 24/7, Naw Brah, Flea Bite, Trunk, Livin’ the Dream

    * Dr. Dre cover

    Photos by Cathy Bechle.

  • Yo Mama’s Big Fat Booty Band’s First Time in Buffalo

    Yo Mama’s Big Fat Booty Band is a little lengthy of a band name in my opinion, but lucky for everyone, they’re also known, simply, as “Booty Band.”  As much a mouthful the name is, their sound is a lot for your ears to take in as well.   Their self-proclaimed raucous live show is a humble statement and their mix of deep funk with rock, soul, and rap makes for an interesting combination. Make no mistake, you might not take them seriously at first, but after hearing their spin on funk, you will begin to understand why they can put the fun in funky and showcase some serious chops at the same time. So, hearing all of this, are you ready for a last-minute Booty call?

    Yo Mama's Big Fat Booty Band

    Just announced today, the band is slated to hit the stage at Nietzsche’s next Thursday.  The first-ever show for them in Buffalo is a great way to kick off the weekend a little early, and with a $7 ticket price, how can you argue?  With the release of the latest album this past October and a heavy tour schedule, they are making their name known, regardless of length or variation.  The show was put together by ECE Presents who have been doing a outstanding job in the Western New York area as of late, bringing quality talent and growing the scene organically, one show at a time.  Joining Booty Band and opening the night will be The Wakos who were hand-chosen for the show as they are the perfect fit for Booty’s Band’s bodacious sound.  

    Check out a sample of Yo Mama’s Big Fat Booty here and get a taste of what’s in store for next week:

    [bandcamp width=350 height=470 album=3594562248 size=large bgcol=ffffff linkcol=0687f5 tracklist=false]

  • Buffalo Packed Nietzsche’s to Catch the Genius that is Marco Benevento

    10376338_10152453143923829_6832205283426323405_nAs the weather breaks and nicer temperatures start to become the norm, the residents of Buffalo begin to come out of their winter slumber and explore the city again.  This past Friday night, Marco Benevento was in town and, with mother nature’s cooperation, Buffalo’s music community came out in droves and ascended upon Nietzsche’s for a night of great music.  As 10pm came and went, the venue began filling up with all walks of life to catch the jazz experimentalist  himself.  Benevento has played Buffalo pretty consistently as of late and it seems as though the scene here is not only appreciative of his visits, but the crowd continues to grow every time he comes back.

    The night started off with local favorites, Lazlo Hollyfeld.  With a beer in hand, it was actually difficult to try to maneuver to the front of the venue as it was that densely packed for Lazlo.  The group, in my eyes, was a perfect fit to open the night as their instrumental experimentation goes hand in hand with the type of crowd Benevento brings out.  With over ten years under their belts, Lazlo knew exactly how to draw a crowd in and keep them entranced with their choice of songs for the set.  Without any effort, your ears immediately gravitated towards Matt Felski who has the unique role of Vibraphonist in the band.  For those unfamiliar, the instrument is similar to a xylophone and, as you can imagine, stuck out like a sore thumb.  That might sound like a slight, but the way Felski utilized staccato and legato couldn’t have been more perfect.  I can’t say I’ve ever heard this instrument outside of jazz, let alone in a small band, but these guys made it work and have a truly unique sound because of it.  While I would’ve enjoyed seeing some more of them that night, their set was stellar and got the crowd in the perfect mindset for what was to come.  Their jamming was dark and exploratory, having almost a heavy metal feel in terms of both tempo and tone.  Guitarist Sonny Baker was the visual focal piece for the band as his energy swelled with peaks in the music and forced him to frantically pluck away in certain segments and attack his solos with a fierce tenacity.  As they wrapped up their set, the crowd let out an exuberant cheer, letting the band know of their appreciation and enjoyment.

    Marco Benevento took the stage around midnight, which was appropriate for Buffalo as the city is known for its late nights and 4am last call.  Midnight is when things start to get interesting here and that would hold true on this night as well.  Benevento started off the night sprinting out of the gate and showing everyone right away why he’s so talented.  On one song, he held the strings inside of his piano, creating a similar effect to a muted guitar and adding a layer of texture to his deep overall tone.  As he stated in our interview, he doesn’t go on stage with a setlist in mind; he completely plays to the crowd and feels out what they’re hoping to hear from him.  Friday night was no different.  Benevento was locked in from the get-go as every change in tempo and every blistering solo only electrified the crowd even more.  A few songs in, he turned and looked out across the crowd, grinning, to let both the band and audience know he was having a good time.

    As we got deeper into the set, you began to question how much his weathered piano could take.  Even though it looked like it could’ve been lying around in the back of Nietzsche’s, the tone that was culled from its depths was beautiful.  It was definitely an odd juxtaposition of visual ugliness, yet tonal beauty.  The use of effect pedals with his historic rig only make his sound that much more unique.  His tone and approach is literally out of this world.  The_Persistence_of_MemoryIf you closed your eyes, it was almost as if you were strolling through Dalí’s “The Persistence of Memory” and he was playing the soundtrack.

    While only a year has passed since I last saw these guys, they have grown tighter as an overall entity.  Dave Dreiwitz (bass) and Andy Borger (drums) have learned how to compliment what Benevento does and now play much larger roles within the group.  When they would collectively stop, it felt as though the pressure had finally let up.  The three were so good at keeping an incessant pace that you felt the need to gasp for air on the short break in between songs.

    Benevento himself is a madman behind the keys.  You could see it in his face at various points throughout the show that he was really trying to push his musical boundaries.  In and of itself, you can respect him for that, but he balances that seriousness with a jovial side that enjoys the dynamic between the band and crowd. As a clear example of his playful side, a large wolf mask somehow made its was to the stage and Marco was the first to embrace it, playing through the second half of a song while it was on his head.  It was difficult to discern whether the whole thing was planned, but Marco’s eagerness and energized playing said otherwise.

    The show went on until about 2am with Marco covering songs off of every album, including some new tunes off of his upcoming Fall release.  It was an incredible night of music to say the least.  As the crowd filed out, I overheard what I presumed to be a new fan talking about how they couldn’t wait for the next time he’s in town.  Not surprised, I now understand why Marco is always smiling.

  • An Interview with Marco Benevento Before Friday’s Stop at Nietzsche’s

    Marco Benevento is coming to Buffalo this Friday for an intimate night of music at Nietzsche’s and sat down for an interview with Jeremiah Shea.  The experimental pianist, who’s known for his engaging live show, will be joined by his band which features Dave Dreiwitz on bass and Andy Borger on drums.  The three were last in the area when they headlined the Night Lights Fall Music Festival this past September and fans of Marco have been eagerly awaiting his return.  Opening up the night will be WeazilDust (Packy Lunn from Jimkata doing a DJ set) and Lazlo Hollyfeld who play regularly in the area and will add to a night of great music.

    https://www.youtube.com/watch?v=ABW_fIufv9g

    I got the chance to sit down with Marco and discuss a few things from his upcoming album to his approach to the stage.  Marco is exactly how you’d expect him to be when we talked: personable, genuine, and appreciative of all of the support he’s had throughout his career.  Our talk only lasted a half hour, but the insight into his music and life went pretty deep as his candid answers were anything but rehearsed.

    IMG_4160Jeremiah Shea: It’s been a little while, but what was the experience like having Holly Bowling sit in with you on more than one occasion?

    Marco Benevento: It was awesome!  The first time it happened, we were playing in San Francisco and the audience was really close to the stage.  The point of the gig was a fundraiser for Bread and Roses and every cent that came into the door went right to that organization.  Nobody got paid for the gig, it was just volunteered time.  Because we were setup so close to the audience, people could actually reach the piano from the audience and press a key down.  I was jokingly saying, “It’s $2 if you want to reach up here and play a couple of keys.”  People just got out singles and were holding money in the air to reach up and play.  Holly just jumped up on stage and I was like, “Oh shit,” but she sat down next to me and said, “Don’t worry, I’m not a crazy fan and I’m friends with Dan.”  Dan is our sound guy, so I knew it was ok and she jumped right into “Atari.”  We totally rocked out and she knew the changes, and then we recreated that same experience at the Highline Ballroom in NY.

    JS: I know you guys are experienced in improvisation, but how was it being the one who was surprised?

    MB: Oh it totally made the night, especially in San Francisco.  There were a lot of people who thought it was planned, so it was a cool experience.  I was totally taken back by her knowledge and how she just knew all of the chords and didn’t flinch.

    JS: You’re a guy who is always testing new ideas and mixing things up musically speaking.  What new projects have you been working on?

    MB: Yeah, my band, which includes Dave Dreiwitz on bass and Andy Borger on drums, went out to Oregon and we recorded with this incredible engineer/songwriter, Richard Swift, who is my age and plays with The Shins and The Black Keys.  He’s just this genius engineer with a studio outside of Portland and we made the record with him that is primarily a vocal record.  It’s all new music I wrote and instead of being instrumental, I put words to my melodies.  We’ve been testing it out a lot lately, but the new record is the biggest project we’ve been working on.

    JS: Is the plan to still have the album out this Fall?

    MB: Yep!

    JS: Now the vocal approach is a little different from what you normally do.  Was that Richard’s idea or yours?

    MB: That was my idea going into it and prior to going into it, we had made demos at my place before we went in.  I knew I wanted to do it and I thought I should do it with a guy who has done a lot of that stuff.  It was all something that I had planned out, but I wanted him to be the guy to capture it all.  We did it in three days and it was just a very natural evolution of sound for me.

    JS: Have you been tinkering with any new gadgets lately for your rig?

    MB: One of my favorite gadgets is my Boss DR-3 delay pedal which was made back in the 70’s or 80’s and is just rockin’. I also have this Casiotone RC-1 which is predominantly featured on the new record.  I sampled a lot of it from the Casio that’s here in my studio and it’s one of the best drum machines I’ve ever heard in my life.  I want to do a whole album with it because it’s that amazing.  The RC-1 has been rockin’ it for me and I never see it for sale or find anyone that knows about it.  It’s just a hidden gem that is so badass.

    DSC07262 (1) copy

    JS: How was your experience at Bowlive this year?

    MB: I’ve been doing that with them for about the last five years and it was great.  They asked me to do it this year, and I said yes, but only if we covered “Soulful Strut” by Young Hault and “The In Crowd” by Randy Lewis. Those are both old school, funky piano jams from the 70’s and were instrumental hits at the time.  It was a lot of fun and they have a great thing going over there.

    JS: You had a pretty packed schedule at this years New Orleans Jazz and Heritage Festival.  How was that experience as a whole and what was your favorite gig?

    MB: I played about 1-4 gigs a day over the course of ten days, so it was busy.  I got the chance to play with George Porter, my old band, and a bunch of other gigs.  It’s always fun to play Jazz Fest.  My favorite gig was probably playing at the Fairgrounds right before Phish with Anders Osborne.  Playing for that many people at the Fairgrounds is a real treat.

    JS: You are very personable on stage and it seems as though you like the interaction with the crowd.  How do they shape the show and what does it do for you to have that back and forth?

    MB: You get so much energy from the audience.  If there’s 50, 200, or 2000 looking at you, dancing with you, and listening to you, you feel that when you’re on stage.  It’s hard to describe, but you feel that.  You can sense that maybe a lot of them are on acid and it’ll be a weird night or they’re drunk and belligerent, and we play to that.  We never write a set list down, so when we go on stage, nobody knows what’s going to happen.  I try to feel out what the crowd wants to hear next.  You can ignore that feeling from the crowd as a musician and play what you’ve already decided on playing, but I don’t like to do things like that.  I like to go out there and think, “what do these guys want to hear?”  You really get a sense of what the audience wants while you’re out there being focused on.

    JS: You’ve said this past year that you wanted to do a residency at the Red Square in Albany this upcoming Fall.  Do you have any details on that?

    MB: The last time I played a gig there, I was egging the crowd on and announced on the mic, “Tell the Red Square we want to play here every Saturday in October,” and the crowd went nuts.  What I said leaked online and we had planned to do it, but the promoter had his hesitations.  We were talking about doing it this October, but I don’t think it’s going to happen unfortunately.

    JS: What upcoming festival gigs are you most looking forward to and why?

    MB: We’re doing this really great one in Oregon, just outside of Portland, called Pickathon.  It’s incredible!  It has such a wide variety of music there and I just really like it.  It’s not every jam band you’ve ever heard of playing there, it’s more a big variety and I just love that!

  • Blindsided in Buffalo: Turkuaz and Playonbrother Pack a Heavy One-Two Punch

    Being blindsided usually means you’ve been attacked or hit when you’re vulnerable or uninformed. In the case of sports, it’s used in football when a quarterback is hit from behind when he can’t see the guy coming. Just like the quarterback, sometimes you have a feeling or inclination that said hit is coming, and yet you still can’t avoid it. That was the case this past weekend when Turkuaz and Playonbrother rolled into Buffalo for a show at Nietzsche’s. The combination of the two packed a heavy enough punch Friday night that nobody in the crowd, including myself, was sure what hit them when all was said and done.

    turkuaz playonbrotherIn typical fashion, Nietzsche’s began to get cozy as the start of the show approached and everyone was laughing and having a beer, unaware of what was about to go down. Playonbrother took to the stage around 10:30pm to kick things off. Now the band was just recently in town for a show on Black Friday, but there was still a lot of people who hadn’t seen them judging by the casual conversations throughout the crowd that night. As Alan Evans, Danny Mayer, and Beau Sasser walked up the steps in the front of the stage, it was time, and they planned to get things going right away with the late start.

    The band kicked off their set with “They Call Me Velvet,” blasting into the heavy beat and forcing everyone who wasn’t already near the stage to pack in and pay attention. Back in November, Sasser had an issue with his amp, but that was obviously fixed as the bass from his Hammond was the fattest sound I’ve ever heard coming from him. Adding to the infectious sound coming from the stage was Mayer’s syncopated riffs playing off of Evans’ hard-hitting beats. We wouldn’t know it until after the show, but these three guys somehow managed to make just as much noise as the nine that would succeed them. Throughout the entire night, I had my funk face on, scrunched up from how well these guys played.

    After the first song wrapped up, Alan Evans graciously played host to his hometown and introduced his bandmates before letting everyone know who he was. One of the early highlights was a Frank Zappa cover the guys did in “Easy Meat.” Beau Sasser plays in a Zappa cover band known as The Z3, so it’s obvious where this one came from. What wouldn’t be obvious just seeing this in writing was how dirty and heavy these guys played this song. They might be generally classified as funk, but the commanding beat by Evans mixed with the heavy riffing of Mayer and Sasser took everyone by surprise; this was the first blindsided moment of the night. The song was darker and heavier than just about anything I’ve ever heard from them.

    Evans played at times like he had something against his drums, hitting harder and harder as the song progressed. One of their new songs, “Nothing to Say,” was also an easy favorite from their set. During this one, Sasser took the lead, showcasing his abilities on the Hammond organ. His Leslie speaker was spinning out the hottest licks all night, but on this song in particular, he took us on the funkiest of space odysseys with the throttle broken from being pushed too far forward. The band closed their set with “Cosmic Hazel Dust,” a personal favorite and song that sums up their sound and direction. After ripping into the first parts of the song, the band segued into a trance-like section where Sasser’s droney bass added the perfect texture to the funk-laden beat of Evans.

    n front of it all was Mayer’s searing wah tone coming from his guitar as he used his instrument as a vehicle for expression. With eyes closed, Mayer took one of the more memorable solos of the night and left the crowd begging for more. While it was Evans first time opening in his hometown in quite sometime, the band took the slot and proceeded to hit the crowd early and hard, setting up Turkuaz who would take the stage next.

    Set List: They Call Me Velvet, Charlie Brown, Easy Meat, Ain’t No, Nothing to Say, Only One, Buffalo, Sunshine of Your Love, Cosmic Hazel Dust

    Once Playonbrother’s gear was cleared, there was finally room for Turkuaz to take the stage. The nine-piece band from Brooklyn is usually tight no matter where they play, but with the smaller stage of Nietzsche’s, the only thing more cramped was the dance floor. The horns that set off the opening of their set were a clear indicator of how the night was going to go – intensely fast and tightly synched. The first song, “Chatte Lunatique,” went blasting forward while guitarist Craig Brodhead tried to keep pace on his first solo. The thump of Taylor Shell’s bass was the front car of this race, setting the pace alongside drummer Michael Angelo Carubba. The ladies of Turkuaz, Geneva Williams and Sammi Garett, took to the stage with tambourines in hand to close out the opening song. The look on everyone’s face at the first stop in the action said it all – “what the hell just hit me?”

    To say these guys (and gals) are talented would be selling them short. As you can imagine, a nine-piece band has an enormous sound, but it’s not just nine instruments/voices, as most of the members pull double duty. Craig Brodhead plays guitar and synths, Joshua Schwartz plays saxophone, sings, and adds percussion, Chris Brouwers plays the trumpet and keyboards, and both of the Turkuaz girls add vocals and the tambourine. It doesn’t even stop there as the entire band has coordinated several dance moves, in complete synchronization, during a few of their songs which only adds to their outpouring of energy. The nine add so much that, unless you listen intently on one person, it’s tough to even distinguish where a particular sound is coming from. Drummer Michael Angelo Carubba was visually buried behind everyone, but still managed to stick out with his excellent percussion work, keeping the other eight in line. The self-proclaimed funk army is truly just that!

    Throughout their entire set, the band would simply not let up. If the band was in the driver seat, then they were stomping on the gas and taking everyone in attendance for a mandatory ride; the band was musically relentless. It’s amazing how tight the band remained given the tenacity and tempo of their music. Regardless, you could tell they were doing something right as the crowd was packed from front to back and everyone was getting down.

    One highlight of their set, and proving how closely knit these two bands had become over the course of this tour, was when Beau Sasser hopped the railing and jumped on stage for an impromptu sit in. He took over Craig Brodhead’s keyboard and his synthy slithering mixed well with Turkuaz’s deep funk. I’m not sure how Beau fit with everyone up there, but you could clearly see the camaraderie and friendship that was forged as everyone was having a great time.

    The band closed with “Shape,” and you could literally feel the ground shaking below your feet. With the entire band jumping in unison, the crowd followed suit for the peak of the performance. The final bass and guitar showdown brought a funky blues solo to close out an incredible night of music. As they filed off the stage, one by one, the crowd beckoned for more. Lucky for us, the band appeased with an unscripted, off-the-cuff encore of “Monkey Fingers” to keep the Friday night party going. As the night officially wrapped up, there was a collective gasp for air as it had literally been knocked out of the crowd. I had never seen Turkuaz up until this point and I can say that they came out of nowhere and blew me away. Thankfully for Western New York, the band is slated to come back this Fall for the Night Lights Fall Music Festival.

    Set List: JB Intro, Chatte Lunatique, Coast to Coast, Bubba Slide, Murder Face, Night Swimming, M’Lady, Tiptoe, Snap Your Fingers, It’s Hard, Honky Tonk Women, I’ve Got a Feeling, Back to Normal, 20 Dollar Bill, The Shape I’m In

    Encore: Monkey Fingers

    Photos by Thomas Sgroi

  • Turkuaz and Playonbrother Coming to Funk Up WNY on Back to Back Nights

    Turkuaz and Playonbrother kicked off their co-headlining tour together just a few weeks back with an atypical album release party for both bands in Saratoga Springs.  Turkuaz released Future 86, while Playonbrother, fresh off of a name change, released their Woodstock Sessions album.  Fast forward to today, and this funk train is barreling down the I-90 for stops at Rochester’s Montage Music Hall on April 17th and Buffalo’s Nietzsche’s on April 18th.

    Turkuaz has been blazing a path for themselves via combination of feel-good funk and constant touring.  The band is just coming off of their two-set performance at Rock ‘n Roll Resort with raving reviews from those that were there.  Similar to Lettuce, this funk “army” calls New York City home and has a deep roster that’s completely stacked with talent.  With as much as we could go on about these guys (and gals), that’s just half of the show.

    Playonbrother isn’t a band you want to sleep on.  You may not recognize the name quite yet, but I promise you, you will know it walking out.  The band’s last show in Buffalo was when they were still known as Alan Evans Trio, but their sound and sheer funk-ferocity haven’t changed.  Despite their size, the trio packs a huge punch live and offers up an opposing approach to their tour mates, who easily outnumber them.

    Besides how well the two fit on paper, they seem to have great chemistry off the stage as well.  For Beau Sasser’s birthday, the two bands combined to form Jaguar at Beau’s home base of Bishop’s Lounge in Northampton, MA.  The special evening featured Beau on hammond organ (POB), Michael Angelo Carubba on drums (Turkuaz), Danny Mayer on guitar (POB), and Craig Brodhead on guitar as well (Turkuaz).  For our shows in Buffalo and Rochester, there’s been rumors of some more intermingling of band members with the Turkuaz horn section prepping to join in on Playonbrother’s set.  It’s not too far-fetched either as we all know that Alan Evans has always loved to add horns to his other band, Soulive.

    Regardless of what happens, one thing is for sure: your feet won’t stop moving from the drop of the first beat to final crash of the cymbal.  These two bands have been having a great time on the road together and that will only permeate throughout the crowd and Western NY region following these two dates.

  • Buffalo and Aqueous…A Love Affair

    It has been unbearably cold in Buffalo this winter. Last Wednesday, Aqueous and The Mantras brought setlists that centered around the theme of “Love” and things were more Kate Upton inside of Nietzsche’s than the Roseanne Barr we have been experiencing outside of it.  After an excellent first residency, could Aqueous build upon the great foundation they laid down the first week?  The Mantras gave them a running start by pumping up a much larger crowd and Aqueous was certainly up to the task.
    Buffalo and Aqueous

    The Mantras are an excellent six-piece band from Greensboro, North Carolina that had the place rocking from the moment they hit the stage.  The Mantras’ set featured excellent originals as well as welcome renditions of Umphreys McGee’s “Hurt Bird Bath” and Michael Jackson’s “Beat It”.  With their progressive rock sound that somehow doesn’t deny their southern roots, The Mantras connected with the Buffalo crowd.  It is safe to say that when The Mantras finished their set, Nietzsche’s was buzzing with excitement.

    The theme of the second  Aqueous residency show was the broad theme of “Love.”  Aqueous chose a gutsy opener of Haddaway’s “What is Love” that quickly segued in and out of the hard-hitting Aqueous original, “Eon Don”.  The “Eon Don” segments of this back and forth sandwich provided some new territory for the usual straightforward rocker.  After it finished, the crowd was primed for the fan favorite “Origami.”

    “Origami” would show the crowd that it was business time during “love night.”  From the dream-like intro, this “Origami” was one for the books.  Taking their time and exploring new paths in the intro allowed the drop into the composed section of “Origami” to take flight.  When it hit, the place exploded and many heads were sent banging.  The jam would come firing out with high energy before almost grinding to a halt.  Changing pace and varying the intensity of sound are two weapons that Aqueous has solidified into their jamming arsenal.  Following the halt, Nick Sonricker (drums) would provide an upbeat rhythm that the band slowly built on.  Not rushing into a peak allowed the band to find a gorgeous soaring groove.  The second jam would center around a minimalist playing of the “Origami” theme before it became Godzilla eating every piece of origami ever created.

    The second nod to the night’s theme would be The Beach Boys’ “Wouldn’t It Be Nice” that brought the lightheartedness back after the hard-hitting “Origami”.

    After the short cover, Aqueous would be right back on the heavy improv, crafting a 24-minute version of “All-In”, which has done the exact of opposite of what I have done after hitting 5’9”… grow.  “All-In” has come from humble beginnings to become a jam monster.  The last couple of performances seem to have set the bar higher and higher each time out.  When Aqueous dove into another minimalist jam, they began infusing hints of reggae and funk.  Had Darth Vader been in attendance, he would have said, “The groove is strong with this one.”  The patience that the band displayed set up the final annihilation.  The slow groove transformed into a Mike Gantzer (guitar, vocals) and David Loss (guitar, vocals, keyboards) shred fest, that reached peaking heights that few jams fail to find.  After a short return to the “All-In” theme, Evan McPhaden (bass) lead the band back down into the groove.  Loss moved to the keyboards and the dance party continued.   This “All-In” was the clear highlight through the halfway mark of the Aqueous Nietzsche’s residency.

    After 24 minutes of “All-In” fire, Aqueous smartly decided to take things down a notch, and revert back to the Love theme.  With Keith Allen (guitar) and Julian Sizemore (keyboards) from The Mantras joining Aqueous on stage, Marvin Gaye’s “Let’s Get It On” would be the centerpiece of this love affair.  Loss would have the task of the legendary Gaye vocals.  While he sounded nothing like Marvin Gaye, Loss sang with everything he had and owned the stage, making it a fun rendition.  The real star was Allen, playing a gorgeous-sounding slide guitar that perfectly rang out through the bass groove.

    Aqueous chose to place its newest song “20/20” after “Let’s Get It On”.  Reaching the 12-minute mark in only its second performance, “20/20” continues the trend of Aqueous songs that have big open-ended sections for jamming.

    The set would conclude with “Marty”, an instrumental take on “I Will Always Love You” by Whitney Houston, and “The Median”.  The band had placed a net full of red balloons on the ceiling prior to the beginning of the show.  During the line in “Marty”, “red balloons are falling from the sky” they were released and served as party favors during the closing trifecta.

    After a set that thrilled the crowd, the encore would not disappoint.  James Taylor’s “How Sweet It Is” would be the last Love cover before seguing into “Pictures” and a reprise of “What is Love”, which segued back and forth multiple times.  It felt as if the two had became one song and finished the night on yet another highlight.

    Mixing smart and unpredictable covers, Aqueous engaged the roughly 200 people in attendance for two and a half hours.  This Aqueous set gave everyone a chance to sing along and have some fun, yet provided some serious improvisational music.  Missing either of the next two Nietzsches show would be a big mistake.

    Of note, the band was dressed in shirts and ties, except for Evan who was shirtless except for a bowtie.  That is all I have to say about that but I am told that the ladies loved it.

    Setlist: What is Love>Eon Don>What is Love>Eon Don>Origami>Wouldn’t it be Nice>All In>Let’s Get it On>20/20>Marty>I Will Always Love You>The Median>Marty

    Encore: How Sweet it Is>Pictures>What is Love

    Remaining Aqueous at Nietzsche’s Show Dates:

    2/19 with The Broccoli Samurai (Willy Wonka Theme)
    2/26 with Big Something (Mystery Guest Theme)

  • Decades Night Becomes Dancing Night: Aqueous at Nietzsche’s, February 5th

    In over 30 years of live music at Nietzsche’s Buffalo, no band has ever been granted a residency, until Wednesday February 5th, 2014 when Aqueous secured a month long gig at Nietzsche’s where they will play themed shows every single Wednesday night with various opening bands. Wednesday was “Decades Night,” so both Aqueous and Baltimore based Pigeons Playing Ping Pong (PPPP) brought some celebratory cover songs to the party.

    Aqueous decades nightPigeons started the night off strong with their excellent brand of funk/improv. Coming out hot with the perfectly named “Upfunk”, PPPP got the crowd grooving from the first note. Both “Decades Night” covers of Steppenwolf’s “Magic Carpet Ride,” and Michael Jackson’s “Don’t Stop Till You Get Enough” were well adjusted to the band’s style and fit perfectly in their set. Pigeons did a great job injecting the crowd with energy and setting the stage wonderfully for Aqueous.

    Aqueous decades nightSelling out Nietzsche’s has become old hat for Aqueous. Tonight was a difficult night for people to make it out to Nietzsche’s. With a storm that dropped 10 inches of snow and a late Wednesday night gig, Aqueous was still able to bring in a crowd of around 150. Those brave 150 would leave the two hour set happy, appreciative, and tired from dancing.

    Aqueous opened the run with the newly penned “Complex ii” that has seen some growth already during its short life. The first Decades Night themed cover would appear after just one song. Aqueous closed “Complex ii” and immediately released The Doors “Break on Through” (60’s); the energy in the building would never slow from that point. Two more Aqueous originals with some exploratory jamming would set things up for the 70’s decade cover. The Bee Gees “Stayin’ Alive” gave the Nietzsche’s crowd a chance to show off their disco moves that they have watched their parents do at weddings.

    Once again two more Aqueous originals followed, including an excellent “Aldehyde.” Next it was time for the 80’s decade cover. Covering a-ha’s “Take On Me” was an excellent choice and the clear highlight up until this point of the show. However, this was no laughing matter. The crowd was in a frenzy grabbing each other, singing the cheesy lyrics and basking in the fun.

    Aqueous followed next with their original tune “Skyway” before seguing into the last cover of the night. The 90’s cover of Britney Spears “Baby One More Time” came out of nowhere. If you had that as your office pool choice for the 90’s decade, please provide visual evidence. Unfortunately, Britney was not around to shake it for us, but guitarist Dave Loss handled things like a pro. Luckily for us, Dave decided not go the sexy teenage schoolgirl route, instead he helped turn the cover into a funky take on the teeny-bopper classic. The crowd ate it up, everything was weird and perfect at the same time. An outstanding jam concluded “Baby One More Time” before the band returned to “Skyway” which finished up the set.

    The encore choice of the rarely played “Dig It Good” capped the night while staying true to the jamming spirit of Aqueous’ core. Smiles, laughter, and happiness were certainly the dominant emotions of the crowd as the exited Nietzsche’s. Just a reminder, this was only the first of the four residency shows. See you next Wednesday for the “Love” themed set and opening band from North Carolina, The Mantras.

    Aqueous Residency Remaining Dates at Nietzsche’s:
    Wednesday, February 12 with The Mantras
    Wednesday, February 19 with Broccoli Samurai
    Wednesday, February 26 with Big Something

    Setlist: Complex ii>Break On Through (Doors), Dave’s Song>Gordon’s Mule, Stayin Alive (Bee Gees)>Kitty Chaser, Aldehyde>Take On Me (a-ha), Skyway>One More Time (Britney Spears)>Skyway

    Encore: Dig It Good