The Heard opened a night of funk at Putnam Den, bringing blazing Chicago funk along with them courtesy of a solid horn section, who would later join The New Mastersounds for a few numbers. With guitarist Eddie Roberts leading the ultratight rhythm section, the night was full of instrumental funk that dipped into various subgenres of their signature sound, including funk of the late 60’s and early 70’s, surf rock, boogie, disco and Sly and the Family Stone-level peaks when accompanied by the horns. Little is left on the stage when the Leeds quartet plays and Saratoga Springs was fortunate to have such high caliber musicians in town. Here’s hoping to a quick return to the Capital Region. Check out their new album Therapy and see them in 2015 when they likely return to the Northeast for festival dates.
Setlist: Soulshine, All I Want, MRG, Yo Moma, Each to their own, This ain’t work, Pure, MM’s, Upstairs*, Fast Man*, Surfin, Burnt Back, Freckles>Be Yourself>Knees, 33*, Nervous*
One band from Leeds, England and the other from Los Angeles.
Meeting in Buffalo last Wednesday, Orgone and The New Mastersounds packed The Tralf for a soulful throwback with a good helping of funk thrown in for good measure. With one making the far trip east across the U.S. and the other coming west across the pond, Buffalo was treated to a perfect pairing of solid musicianship all on one stage.
Frontwoman Adryon De Leon
Orgone kicked things off, and while they may have opened the show, this is FAR from your typical opening act. The band came onstage Wednesday night and laid it right out for the Queen City, jumping into a tight melody that rode along the rhythm and combined to pull at people’s feet and sway their hips. The band blends funk and soul in a very classic, yet powerful way, emitting a surplus of energy that immediately powered the crowd. The Wednesday night audience was sparse at the release of the first note, but had the floor covered by the time the song wrapped up.
Singer Adryon De Leon joined the band onstage after the start, gracefully stepping up to deliver her powerful voice. She didn’t let the crowd have it right out of the gate, opting to ease in with a soulful, yet jazzy hook. Her full capabilities were quickly realized by the city’s funky fans. The diva commanded the stage with her presence and elevated the already incredible musicians who backed her.
The band was able to walk around the venue before the show started without many noticing, but that is sure to change after the performance they put on. The sitters were soon standers and standers quickly became dancers. Their sound was the catalyst to a shift in energy in the room. Other music websites must not have caught an Orgone show yet, because this band is without a doubt worthy of a mention when talking about the Top 10 Current Funk Acts if you’ve seen them live.
The enthusiastic crowd that filled the place on Wednesday let the band know how they were feeling during any lull in the action, screaming and encouraging the band to keep it up. Orgone’s throwback sound was refreshing and deeply intoxicating. The way the instruments played off of De Leon’s voice left many with eyes closed, fully embracing the sound. In retrospect, the West Coasters damn near stole the show.
De Leon sat out for a few songs, allowing the rest of the talented group to share in some of the spotlight. All around, this is a special mix of people, from guitarist Sergio Rios to percussionist Chuck Prada who ripped a solo all his own earlier in the night. As De Leon stepped back out though, her quickly developed fan group cheered her back on. Her multifaceted approach was showcased through her ability to groove through low-end melodies and belt out highs that sent the crowd reeling.
Keyboardist Dan Hastie
Before finishing their set, guitarist Sergio Rios said, “That’s what it feels like to love.” Surely it was a setup though as the blistering solo he saved for the final song completely blindsided the crowd. He just let us have it, throwing everything he had through the six strings of his guitar. With how powerful of a set overall, and especially in closing, this band put on, it wouldn’t surprise me if Orgone packed the same room on their own next time they come back.
The New Mastersounds were up next and did not have an easy act to follow. Guitarist Eddie Roberts’ suave and dapper attitude was quickly exuded though as he setup, letting everyone know that they were up for the challenge.
Kicking the night off, the band immediately showed the crowd their stripped down and organic approach, while simultaneously filling the room and proving the old adage of “less is more” to be true. With little to no introduction, the band went from the first song into “Dusty Groove”, leaving only a rhythmic reset in-between. This may have been the first date of their U.S. tour, and also the first time they had played together in over two months, but the crowd would have been oblivious if the band hadn’t told them. The four-piece from across the pond settled in rather quickly with no visible rust.
Drummer Simon Allen and bassist Pete Shand were tightly synced from the start, becoming even more intertwined as the show wore on. Their direction provided a moving treadmill that the other two members had to jump on with their melodies. While the lengthy break might be a detriment to some bands, The New Mastersounds seemed to be actually using the reunion to their advantage with an excitement you could feel through their music.
In true testament to how rhythmically tight this band is, Eddie Roberts played a tambourine with his foot as he started the opening line of “Morning Fly” through his ’65 Gibson hollow body guitar. As Eddie ripped through jazz scales, Simon built the beat while the remaining members would join for support. The undeniable swell captivated the whole room and pushed everyone to dance harder into the night. It was as though the band just picked up their musical conversation right where they left off. And just like a renewed friendship has those exciting moments, so too did this night with the entire band sharing smiles with the crowd when they would particularly nail a segment.
As individuals and collectively as a band, their simplistic approach utilized spacing as tension that fought an incessant rhythm. By laying back, the band drew your ear in and allowed the music to breath before taking off again. As they launched into the opening track “Old Man Noises” from their latest album Therapy, the band brought an unmatched ferocity to whatever song they damn well chose. Organist Joe Tatton threw his heavy Hammond overtones out into space while Eddie took that same foot he used for the tambourine and turned it loose on his wah pedal, creating a tremelo effect on an incredible rendition of that song’s solo.
Many people were caught deeply entrenched in the music throughout the night. The positive and soul-quenching material was absorbed by everyone who happened to venture out and written across their faces even after it came to a close. It may have been a trip for both bands, but the crowd was thankful for the night of music and everything the bands put forth on stage. As for the battle of who had the better set, well, it would be a tie in this writer’s eyes, but you can decide for yourself…
Thanks to our friends at WNYmedia Network, we have audio of both band’s full sets:
Over the years, music has become more accessible than it’s ever been. With internet radio sites, 160GB iPods, satellite radio, YouTube, and every other outlet, the amount of choices out there are near limitless. Listening to music in your headphones and in the car are one thing though, while actually experiencing the collective force of a live show is far different. Even with how accessible music is, shows are still something that unfortunately can’t be everywhere, all the time. We’ve yet to figure out the whole geographical boundary thing, outside of live streaming, which is ultimately a better-than-nothing alternative. The further a band is from you, the lower the chance you will see them. It’s still just as dead simple as that. Thankfully for one band, that is all about to change. This Fall, The New Mastersounds, a band whose roots in Leeds, England has limited their Stateside exposure, are making their rounds with a first-time stop in MANY Upstate cities with three nights in Brooklyn (9/11-9/13) and closing Catskill Chill (9/7), the band will be making first time trips to Buffalo (9/3), Rochester (10/7), Saratoga Springs (11/8), and Syracuse (11/9).
The New Mastersounds are riding on the heels of their latest album Therapy, which was released back in March. While they will surely play a few off of the album, the depth of their catalog should bring out some longstanding favorites and a few surprises. The show in Buffalo will be the tour kickoff and is being held at one of Buffalo’s best venues in The Tralf. On the same stage where Lettuce played earlier in the year, the British funksters will bring their jazz-spiked flavor out for all to hear, and finally see. The anticipation around the city for fans is getting stirred into a frenzy with less than a week before the show. The band is known for their blending of old school tone and approach with pure energy. Their music’s simple mission is the passing of kinetic energy, whether through dance, foot tapping, or a neck-jarring head nod. There’s just no way to shake that.
With the Catskill Chill Music Festival looming, the Wednesday night show is the perfect setup for anyone who is looking to get a sneak peek of what they’ll be in for down in Hancock. What you won’t find at The Chill though, and coming to Buffalo for only their fourth show, is West Coast-natives Orgone. The band calls Portland, Oregon home and, again, with the geographical divide, the band has not made it over on this side of the country as much as fans would like. With the funk scene thankfully growing stronger in every city, this band can now make a worthwhile trip to help spread their word.
The combination that was put together by ECE Presents for this show is worthy of an applause. And while we’ll get the jazz side of funk from The New Mastersounds, Orgone plays on the soul side of funk’s fence. Regardless of style, both bands have been around a while and surely will not disappoint the expected packed house at The Tralf.
Grab your tickets now to these shows throughout New York State:
Just announced today, The New Mastersounds will be playing their first ever show in Buffalo, NY later this year on Wednesday, September 3rd with Orgone. Calling England home, it’s understandable why this funky four-piece hasn’t played the area, but The Tralf will welcome them with open arms as the group has always had a great following due to their unique blend of music. Their most recent album, Therapy, was released earlier this year in March to great reviews and adds to an impressive catalog of music since their inception in 1999.
Joining them is another band who’s rarely played Buffalo in Orgone. The L.A.-based band is well-known on the West Coast, but has rarely done any extensive touring on this side of the country. Like The New Mastersounds, Orgone has its roots in funk, but stretches the boundaries in many directions as they touch on soul, boogie, disco, and afrobeat.
The combination of the two bands is going to make for one incredible night of music as they compliment each other well and likely won’t be back again for quite some time. Stay tuned for ticket info this Friday, and make sure to grab them fast to take advantage of this rare opportunity.
They are no strangers to us at as we have seen them before at Equifunk this past summer as well as a Phish after-show this past December. They always put on a fantastic show, blending rock, jazz, funk, and soul together in a beautiful arrangement of notes that only they can do. Tickets are on sale now and are expected to go quickly as they do not make that many appearances in the area.
Funk may have spent its infancy here in the U.S., but at some point it must have been stowed away in a Gulf ship destined for the shores of our British neighbors. The New Mastersounds have been around for a while now, originating in Leeds, England in 1999 and putting out an album just about every year or two since their inception. Even with the loss of longtime organist Bob Birch in 2007, the band has stayed true to their original sound and continued at their feverish pace. The New Mastersounds’ latest release, Therapy, is the ninth album from the British funksters and was recorded near Red Rocks in Morrison, Colorado this past year. The album masterfully traverses everything from jazz, funk, and soul, to covering the Bruno Mars song “Treasure.” The album also features guest performances by Lettuce’s saxophonist Ryan Zoidis and The Motet’s singer Kim Dawson.
The first track is titled “Old Man Noises” and opens with a snare roll before diving right in to one of the most rhythmically driven songs on the album. The intensity of this deeply funky song hits you right away and draws you in for the rest of the album. In the fleeting moments of the three-minute track, drummer Simon Allen goes off on a short-lived solo that gives you one last rush before slowing things down on the second track, “Morning Fly.” The back-to-back combo of the two is complimentary, yet polarizing. In “Morning Fly” the band takes their time and develops the slow-rolling jazzy vamp. Around the two-minute mark, a blues-inspired piano solo runs the ivory gamut and elegantly holds your attention throughout. It’s tastefulness and simple beauty add to the song’s well-crafted atmosphere.
“I Want You to Stay” is the first track on the album that features a guest in The Motet’s Kim Dawson. Her voice is rich in feeling and emotion and her soulful tone pairs well with the band’s delivery. The song is yet another example of how the band can take an easygoing melody and really push it to something that truly grabs your attention. Similarly, Dawson holds her voice back just enough to make you lean in and listen. There is nothing fancy on this track, yet you’ll find yourself closing your eyes and getting lost in the hypnotic chant of the title every time.
The hidden theme through each of the twelve tracks is how expressive the band can be while still staying off of the radar. The group rarely tips their hand and always leaves you wanting more throughout the album’s entirety. The song “Stop This Game” is another that you could glance over on your first pass through. Its laid back style is undermined from the get-go by a propelling beat that never lets up. The drums don’t command attention though, just calmly push along like a duck whose feet never stop under the water. The musicianship extends in all directions on this one as well. Following the first and second chorus, the band pulls back to support a solo from pianist Joe Tatton and guitarist Eddie Roberts respectively. These two add just the right amount of flavor before dropping back out and showcase their overall control by not overindulging. Two-thirds of the way through the song, the band switches gears into a reggae-inspired groove that is somehow blended flawlessly. Starting this song, you’d never expect it to go that way, but at this point it shouldn’t be surprising what these guys are capable of.
The album as a whole covers a lot of ground, but never fails to deliver. As their popularity grows, we can only hope that their stateside touring grows with it. The band was gracious enough to share with some shots from the studio in the gallery below. The shots were taken by drummer Simon Allen and do an excellent job of making you feel as if you were right there with them. After glancing through some of the pictures, you’ll notice the notes will begin to resonate deeper knowing what it was like to be there as this beautiful piece of work was captured.
Key Tracks: I Want You To Stay, Stop This Game, WWIII (And How to Avoid It)
After leaving Phish at Madison Square Garden, there were multiple after-shows to go to each night. Many made their way to The Cutting Room to take in the funk and soul that oozes out of The Main Squeeze. The band was unable to take the stage until 1:30 A.M. and the sold-out crowd was getting restless, but once the lights went down it felt like the beginning of the evening again. Corey Frye’s vocals continuously soared over the combination of Max Newman’s guitar work and Ben “Smiley” Silverstein’s beautiful work on the keys. Jeremiah Hunt and Reuben Gingrich held down the rhythm section on bass and drums respectively. A range of covers and originals kept the crowd grooving until 3:30 in the morning.
A night later many made their way to Stage 48 to take in English band The New Mastersounds. The group started a little after 12:30 in the morning, much to the crowd’s delight. Pete Shand and Simon Allen immediately dropped into a James Brown-esque rhythm on bass and drums. Eddie Roberts’s guitar and Joe Tatton’s organ battled back and forth making everyone smile and dance throughout the set. Several songs into the set, Eddie welcomed out Bobby Paltauf, the 13 year old guitar wiz who had made the rounds at festivals and shows in New England throughout the summer. Bobby stood toe to toe with Eddie for a few songs, showing why many bands invite him to play, knowing that he will come out and wail on his guitar. The rest of the set saw the band continue their funk onslaught into the wee hours of the morning.
Both of these shows showed why Equifunk was one of the best festivals last summer and is sure to be a great one again this year. Both The Main Squeeze and The New Mastersounds are bands not to be missed if they come around to your area of the country. If you like to dance to funk, soul, and rock, look no further than these two bands and three days of music next August.
