Tag: snarky puppy

Dance 2016 Away in the Big Apple

New Year’s Eve and New York City go hand-in-hand. While the celebration and ball drop in Times Square receive the most attention from people around the world, there are also a ton of musical happenings in the city, with Phish’s storied Big Apple New Year’s Eve run at Madison Square Garden, December 28 to 31, 2016 being one of the big highlights. Here’s a rundown of the shows happening, some billed as Phish after-parties and some shows worth mentioning on their own accord. There’s something for Phish fans and non-fans alike in the city during the days leading up to 2017.

American Beauty, just a block from MSG, is hosting several Phish-related events. They kick off the run on Dec. 27 with a free show by Phish tribute band Jibooty and a late set from Escaper. The show starts at 7 p.m. The following four nights, they feature Phish pre-parties and after-parties. Dec. 28 sees PEAK and Gang of Thieves playing a pre-party at 4 p.m. for $5 and Particle and J. WAIL playing the after-party at 11:55 p.m. for $20. Dead Sessions plays tribute to the Grateful Dead for both the pre-party at 4 p.m. and after-party at 11:55 p.m. on Dec. 29. These shows are $20 each. Phanart presents a free pre-party on Dec. 30 with Formula 5 starting at 3 p.m. Spafford and the Magic Beans play two nights on Dec. 30 and 31 after Phish. They start at 11:55 p.m. and are $25 for each night. The pre-party on Dec. 31 features the Stella Blues Band paying tribute to the Grateful Dead at 4 p.m. with a $15 cover.

DROM in the East Village hosts two Phish after-parties on Dec. 28 and 29. Aqueous plays the 28th with Mungion. The show starts at midnight with tickets at $12.50 in advance or $17 at the door. The 29th sees lespecial with Chromatropic. The show starts at 11:30 p.m. with tickets going for $12 in advance or $15 at the door.

The Cutting Room, a handful of blocks from MSG, is also hosting several Phish parties, all presented by CEG. Elise Testone brings her “Thankful for Amy” tribute to Amy Winehouse with several special guests for an early show at 8 p.m. and a Phish after-party at midnight on Dec. 28. Tickets for both are $15 in advance or $20 at the door. Kung Fu plays an after-party on Dec. 29 at midnight with tickets at $18 in advance or $20 at the door. Holly Bowling pays tribute to Phish and the Grateful Dead through her solo piano work at pre-parties on Dec. 30 and 31. The shows start at 4 p.m. with tickets running $15 in advance or $20 at the door. The Marcus King Band plays the after-party on Dec. 30 at midnight. Tickets are $15 in advance or $20 at the door.

The Brooklyn Bowl has a series of shows leading up to the new year. Zeppelin Bowl, featuring Gene Ween, Scott Ian and John Medeski, takes place on Dec. 28 at 8 p.m. Tickets are $20 and still available. Joe Russo’s Almost Dead plays a sold out show on Dec. 29 at 8 p.m. Late night on the 29th is Talib Kweli performing a DJ set at midnight for $10. Kamasi Washington and the Budos Band are playing Dec. 30 and New Year’s Eve. Tickets are $40 for the 30th and $65 to $75 for New Year’s Eve. Both shows start at 8:30 p.m. Sleigh Bells is playing a DJ set late night at midnight on the 30th for $15 with Animal Collective doing the same on New Year’s Eve for $20 to $25.

Being New York City, there are plenty of other shows taking place that are worth checking out. See below for a rundown.

Wednesday, Dec. 28
PEAK with Gang of Thieves @ American Beauty (Midtown) – 4 p.m. – $5 *
Zeppelin Bowl feat. Gene Ween, Scott Ian, John Medeski @ Brooklyn Bowl (Brooklyn) – 8 p.m. – $20
“Thankful for Amy” with Elise Testone @ The Cutting Room (Midtown) – 8 p.m. & 12 a.m. – $20 each #
Aqueous with Mungion @ DROM (East Village) – 12 a.m. – $17 #
Particle with J. WAIL @ American Beauty (Midtown) – 11:55 p.m. – $20 #
Madaila @ Arlene’s Grocery (Lower East Side) – 11:55 p.m. – $10 #
Hayley Jane and the Primates do Bowie @ Lucille’s at B.B. King’s (Times Square) – 11:59 p.m. – $10 #

Thursday, Dec. 29
Harlem Gospel Choir @ B.B. King’s (Times Square) – 12:30 p.m. – $30
Dead Sessions @ American Beauty (Midtown) – 4 p.m. & 11:55 p.m. – $20 each * #
Joe Russo’s Almost Dead @ Brooklyn Bowl (Brooklyn) – 8 p.m. – $40
Dar Williams @ The Bell House (Brooklyn) – 8 p.m. – $25-$30
The Skints with The Far East and Rude Boy George @ Knitting Factory (Brooklyn) – 8:30 p.m. – $20
The Lone Bellow @ Bowery Ballroom (Lower East Side) – 9 p.m. – $30
Start Making Sense @ Irving Plaza (Gramercy/Flatiron) – Doors 11 p.m. – $20
lespecial with Chromatropic @ DROM (East Village) – 12 a.m. – $15 #
Kung Fu @ The Cutting Room (Midtown) – 12 a.m. – $20 #
Talib Kweli (DJ Set) @ Brooklyn Bowl (Brooklyn) – 12 a.m. – $10

Friday, Dec. 30
Formula 5 @ American Beauty (Midtown) – 3 p.m. – free *
Holly Bowling @ The Cutting Room (Midtown) – 4 p.m. – $20 *
David Wax Museum with Auld Lang Syne @ Mercury Lounge (Lower East Side) – 6:30 p.m. – $20
Tower of Power @ B.B. King’s (Times Square) – 7 p.m. & 9:30 p.m. – $45 each
Snarky Puppy @ Irving Plaza (Gramercy/Flatiron) – Doors 8 p.m. – $45
Gov’t Mule @ Beacon Theatre (Upper West Side) – 8 p.m. – $50-$60
Kamasi Washington with The Budos Band @ Brooklyn Bowl (Brooklyn) – 8:30 p.m. – $40
The Lone Bellow @ Bowery Ballroom (Lower East Side) – 9 p.m. – $30
Cymbals Eat Guitars with Haybaby @ Mercury Lounge (Lower East Side) – 10:30 p.m. – $20
Pink Talking Fish plays Animals @ Gramercy Theater (Gramercy/Flatiron) – 11 p.m. – $29.50 #
Spafford with The Magic Beans @ American Beauty (Midtown) – 11:55 p.m. – $25 #
Sprocket with Kabina @ The Bitter End (Greenwich Village) – 12 a.m. #
The Marcus King Band @ The Cutting Room (Midtown) – 12 a.m. – $20 #
Sleigh Bells (DJ Set) @ Brooklyn Bowl (Brooklyn) – 12 a.m. – $15

Saturday, Dec. 31
Stella Blues Band @ American Beauty (Midtown) – 4 p.m. – $15 *
Holly Bowling @ The Cutting Room (Midtown) – 4 p.m. – $20 *
Snarky Puppy @ Irving Plaza (Gramercy/Flatiron) – Doors 8 p.m. – $60
Rainer Maria with Snail Mail @ Saint Vitus (Brooklyn) – 8 p.m. – $25
Kamasi Washington with The Budos Band @ Brooklyn Bowl (Brooklyn) – 8:30 p.m. – $65-$75
Gov’t Mule @ Beacon Theatre (Upper West Side) – 9 p.m. – $65-$75
Guided by Voices @ Music Hall of Williamsburg (Brooklyn) – 9 p.m. – $70
The Lone Bellow @ Bowery Ballroom (Lower East Side) – 10 p.m. – $40
All-Star James Brown Dance Party @ Gramercy Theater (Gramercy/Flatiron) – 12 a.m. – $35 #
Spafford with The Magic Beans @ American Beauty (Midtown) – 11:55 p.m. – $25 #
Animal Collective (DJ Set) @ Brooklyn Bowl (Brooklyn) – 12 a.m. – $20-$25
Snarky Puppy @ Irving Plaza (Gramercy/Flatiron) – Doors 1 a.m. – $35 #
The New Deal @ B.B. King’s (Times Square) – 1:30 a.m. – $30 #

* Billed as Phish pre-party
# Billed as Phish after-party

[embedyt] http://www.youtube.com/watch?v=zJyf5NqiMNE[/embedyt]

December 26, 2016
Grammy Nominations Filled With NY State Talent

On Sunday, Feb. 12, 2017, the 59th annual Grammy awards commence. Some artists will be catapulted into stardom with their first Grammy win, while some artists will climb towards becoming music legends, and other artists will add another award or awards to their already growing legacies.

With the Grammys right around the corner, NYS Music wanted to pay homage to all the homegrown New York musical talent, and others who have sought out the state of New York to help jump-start their musical careers and call the state home.

Many recognizable, and upcoming artists born and raised in New York that have been nominated for a Grammy award include, Brooklyn native Barbara Streisand for Best Traditional Pop Vocal Album, Encore: Movie Partners Sing Broadway; Long Island natives De La Soul for Best Rap Album, And the Anonymous Nobody; New Hartford resident Joe Bonamassa for Best Traditional Blues Album, Live at the Greek Theater and from the Bronx, Fat Joe, for Best Rap Performance, for the single “All the Way Up,” which also features Remy Ma, French Montana and Infared.

New Hartford’s Joe Bonamassa performing at Red Rocks earlier this year.

Other hometown nominees include: Little Louie Vega (Bronx ), for Best Dance/Electronic Album, Louie Vega Starring…XXVIII; guitarist, composer, and arranger Chuck Loeb, (Nyack), for Best Contemporary Instrumental Album, Unspoken; Brady Rymer and the Little Band that Could (Southold), for Best Children’s Album, Press Play; Sofi Tukker (NYC) for Best Dance Recording for the track “Drinkee;” Catherine Russell (NYC) for Best Jazz Vocal Album, Harlem on My Mind; John Coltrane’s son Ravi (Long Island) for Best Improvised Jazz Solo, “In Movement;” Claire Lynch (Kingston) for Best Bluegrass Album, North by South; Bob Mintzer (New Rochelle) for Best Large Jazz Ensemble Album, All L.A. Band; Andy Gonzalez (Bronx) for Best Latin Jazz Album, Entre Colegas and Steve Gadd (Rochester) for Best Contemporary Instrumental Album Way Back Home: Live From Rochester, NY. Gadd is also James Taylor’s touring drummer.

Kingston’s Claire Lynch

Many artist have ties to New York and though not born in the state, some call it home. Some of these artists include one of the hottest duos on the EDM scene, The Chainsmokers, who are French-born, Westchester-raised Alexander Pall and Andrew Taggart, a Scottish native raised in Maine and a Syracuse University graduate. After graduation, Taggart was part of the SU Music Business program before taking DJ gigs in NYC where he would eventually meet Pall. The Chainsmokers are nominated for Best New Artist, Best Pop Duo/Group Performance for their single, “Closer,” which also features Halsey on vocals, and for Best Dance Recording for their single, “Don’t Let Me Down,” which features the singer Daya.

Bob Dylan, the 2016 Nobel Prize in Literature recipient, used to reside in New York and wrote many of his most influential music while living in Woodstock. Dylan is credited with helping to create the folk scene in Greenwich Village. His contributions stand among some of New York’s most significant musical pieces. Dylan is nominated for Best Traditional Pop Vocal Album, Fallen Angels, and for Best Historical Album, The Cutting Edge 1965-1966: The Bootleg Series, Vol.12 (Collector’s Edition).

Before his passing on Jan. 10, 2016, David Bowie had a residence for many years in Woodstock. Bowie is nominated for five Grammys including Best Rock Performance, Blackstar, Best Rock Song, “Blackstar,” Best Alternative Music Album, Blackstar, Best Recording Package, Blackstar, and Best-Engineered Album, Non-Classical, Blackstar.

Other New York transplants nominated for Grammy awards include Snarky Puppy, for Best Contemporary Instrumental Album for Culcha Vulcha. You can read NYS Music‘s review of this album here. Darcy James Argue’s Secret Society for Best Large Jazz Ensemble Album, Real Enemies, and Patti Smith for Best Spoken Word Album, M Train.

Snarky Puppy performing at Syracuse’s Landmark Theatre earlier this year.

December 14, 2016
Snarky Puppy and Sophistafunk Drop Jaws at the Landmark Theatre

A fitted crew neck sweater and scarf might evoke an air of jazzy inclination, but Snarky Puppy’s Michael League can also adeptly discuss his intricate technical knowledge of music composition like an old pro. During an intimate pre-show mentoring session at the Landmark Theatre Thursday May 5, the composer and bassist divulged snippets of his process for composing to a group of drooling fans and fellow musicians, including members from local funk group Casaroja. Cherie Yurco, editor of both Making Music Magazine and International Musician launched the session with a few questions before opening the floor to the young audience.

The clattering of equipment echoed throughout the extravagant, high ceiling theater, muffling League’s voice as he discussed the complexities of collaborating in a collective of over twenty rotating musicians. “It’s a lot of personalities,” he divulged with a thoughtful smile. But Snarky Puppy has a knack for attracting talented, down-to-earth musicians who are easy to work with, something League doesn’t take for granted. Regarding the success of Snarky Puppy, League paraphrased a Malcolm Gladwell quote suggesting, success is based not just on talent, but on circumstances, which for League breaks down to an assemblage of the right people at the right time. Despite an abundance of talent, Snarky Puppy was not an overnight success, spending nearly the first decade of its existence in the red. League explained humbly, “It’s hard to go to bed every night knowing you’re failing.” But a love of experimenting and playing with sound kept an ember glowing, which eventually ignited into the international success the band is today.

Aside from good chemistry, producing quality music is a function of truly understanding methodology of music composition. When asked about his writing process for “Flood,” League referred to himself as a “concept fiend,” offering a textbook response in the truest sense of the word. Where some musicians might disregard the cliched, blanket question with a humdrum and vague reply, League got real technical, real quick. Discussing dividing whole tones and cord progressions with no roots, he began to sound more like a mathematician than a musician. The explanation left many audience members wide eyed, mouths agape and reaching into their pockets for pen and paper to take note, an omen of things to come for Snarky Puppy’s impending performance.

Local funk group Sophistafunk opened the show, the four members aligned stage left on the vast platform, producing a heavy, heart pounding sound bigger than the sum of its parts. The recent addition of Tommy Weeks on saxophone heightened the sophistication of their grooves beyond what Jack Brown (vocals) Adam Gold (keys/bass/vocals) and Emanuel Washington (drums) have done in the past.

Gold took a moment between songs to praise the headliner, relishing in the honor of opening for the renowned group, beaming “We remember getting our faces melted right off our faces by Snarky Puppy.” Towards the end of their set, percussionist Nate Werth joined Sophistafunk with a snappy cowbell performance over Washington’s shoulder, who every so often glanced back at Werth, exchanging wide smiles.

The compelling, non-circular momentum of Snarky Puppy’s brand immediately took hold of the room as soon as the first notes were struck. Werth, relocated to the left rear, conjured his percussive effects from a vast arsenal of noise-making tools, keeping rhythm on a glistening metallic setup wobbling on stage with every beat. Joined by fellow percussionist Jason “JT” Thomas, Caleb McCampbell and Shaun Martin (keys), Justin Stanton (keys/trumpet), Jay Jennings and Michael “Maz” Maher (trumpet), Chris Bullock (sax/flute) and Bob Lanzetti (guitar), the ten-man lineup littered the room with musicianship that didn’t clutter the sound despite the hefty crew. Every instrument retained a right to be on stage, emitting purposeful sound and adding style. Even amidst the medley of notes, disciplined silences punctuated songs with a finessed restraint, demonstrating mastery of navigating crucial white space, allowing the audience short moments to catch their breath.

Leading the musical expedition, League remained hyper aware of every musician around him, maintaining eye contact with his peers, and smiling throughout the entire performance. His hearty grin exhibited not only a true pride for the talent of his band mates, but also the sheer joy of honing a craft and getting to do what he loves every single day. With two encores, both met with a standing ovation, it’s clear Snarky Puppy has made it.

May 13, 2016
Hearing Aide: Snarky Puppy ‘Culcha Vulcha’

Eight years ago, there weren’t many people who knew Snarky Puppy. Heck, the pups were in their infant stages only forming four years prior. That was the last time the band hit the studio though in the traditional sense. Fast forward to today and the band is leading a very real revival of jazz music, gathering fans along the way with recent albums performed and recorded live. After the band’s first Grammy win in 2014 with Lalah Hathaway for Best R&B Performance from Family Dinner – Volume 1, the group followed it up in 2015 with a Grammy for Best Contemporary Instrumental Album with Sylva, collaborating with the Dutch Metropole Orchestra. Both wins showcased the group’s formula of recording an album live with an audience, limiting retakes and capturing raw emotion.

That was then, this (only one year later) is now. The band has decided to throw their recent formula for success out the window and head into the studio for something one can only expect to be a tightly controlled exploration of freedom and expression. The verdict is in and the new album doesn’t disappoint. On April 29, 2016, Snarky Puppy will release Culcha Vulcha, their eleventh album and first traditional studio album in eight years. Recorded at Sonic Ranch in Tornillo, Texas, the band set their eyes within their home state, just 600 or so miles from where they formed at the University of North Texas in Denton.

Snarky Puppy is much like the ’92 Dream Team, all supremely talented individuals in their own right. And just like basketball, there’s not enough room within the bounds of a song for each to showcase those deep skills. Lucky for fans, this nine-track release strikes the perfect balance of calling the right player to shine on each track. Their understanding of timbre placement in both the forefront and background is vital in a group layered this deep and the band has always chosen wisely.

The album is blown wide open right from the start of the first track, “Tarova”, which features a sleazy riff, oozing with confidence, swagger, and a dark, cool demeanor. The opening piece features the most amount of members on any one track (17), giving you their all right up front. The rhythmically syncopated backbeat provides the protagonist to the song’s melodic antagonistic color. Michael League’s bass seems to mediate between the two, but throughout all of the interplay, the song’s identity aggressively shines.

As previous recordings have shown, Snarky Puppy has this way of bringing in worldly rhythm and feel to new audiences through their funk-laced, rhythmic jazz. As they say it’s, “music for the brain and booty”. While this influence ebbs and flows, “Semente” and “Palermo” are great examples of the worldly influence being more upfront, drawing a parallel to previous torch-carriers like The Derek Trucks Band.

The album progresses down many paths, taking on different feels yet always remaining true to the band’s unique sound. It’s the ability to draw with pencil, oil paint, acrylic, or chalk yet still have something that screams your name. Even with a mixed roster on each song, you hear this truth through the evolution. “Beep Box” is a great example of their maturation, featuring a tonally rich, almost J. Dilla, hip hop-esque feel. It’s certainly new ground, but again, inherently Snarky Puppy through and through. The slow moving, futuristic piece strips them down to their forward-moving vision. Chris Bullock’s flute work on this is delicately divine amidst the underlying pulse of the beat.

As with any other Snarky Puppy recording, it’s not about the individual tracks as it is the body of work and this is beautiful, dark, different, exploratory, and as layered as they’ve ever been. You can tell the band focused less on showing their talents and put that effort into pushing some new boundaries. What they’ve created with Culcha Vulcha is the next evolution of a dog whose getting even more bite.

Key Tracks: Tarova, Beep Box, Palermo

Culcha Vulcha will be available on April 29, 2016. You can pre-order the digital version on iTunes, the CD version on Amazon, or the CD and vinyl options through their website (vinyl ships in June).

April 17, 2016
Aura Music and Arts Festival Stacks the Collabs at Suwannee

Although festivals are scheduled all year round, if you’re from New York, you typically kick things off in May or June. But, if you’re willing to travel south to a magical place called the Spirit of Suwannee Music Park, festival season starts early – this year with The Disco Biscuits and Thievery Corporation as headliners at Aura Music and Arts Festival.

Aura drew us in on March 3-5 with its incredibly stacked lineup, sunshine and rumors of perhaps something bigger to be discovered. Everything seemed to fall in place throughout the trip, from something as small as a free burrito bowl at Tijuana Flats to a chance encounter that would lead to a dozen new best friends. This festival’s namesake is vibrant, full of light and overwhelmingly positive.

Like most festivals, the first day of Aura brings a heightened sense of excitement. Guests find the perfect spot to camp under draping live oaks, walk the more than 500 acres of festival grounds and plan their strategy for attending their favorite sets. The park feels like an enchanted forest out of a fairy tale and the guests as happy as royalty attending a special kind of ball.
We kicked off Thursday with a passionate set from Florida’s own Greenhouse Lounge at the Amphitheater Stage. The electronic trio gave it their all for their last performance as a band, while welcoming their former drummers Jason Hunnicut who now runs the 1904 Music Hall in Jacksonville and Scotty Zwang, now of Dopapod who came to Aura as an “artist at large” (AAL).

Fusik of Jacksonville delivered an upbeat and funky set in the vibe tent, covering The Talking Heads’ “Born Under Punches” and preparing the crowd for ultimate cover band Pink Talking Fish. PTF is the perfect night-one band by seamlessly blending favorites from each beloved group.

The Werks were a major draw for us, having only seen them once before, but making appearances in our earbuds on the regular. Unfortunately, the only rain of the whole weekend decided to come down mid-way through a powerful “Duck Farm,” After only three songs, the Werks were forced to call it quits as fans ran for cover.

By late morning on Friday, the Florida sun dried things out. Georgia natives Dank delivered a hard-rocking set, reminiscent of the progressive rock style of Umphrey’s McGee. Crazy Fingers provided the familiar and beloved sounds of the Grateful Dead, while welcoming guitarist Ben Sparco for the later half of the set, who was clearly still feeling the adrenaline from his own set earlier that afternoon.

Mike Dillon brings a wild stage presence during his bands set, preceding an incredible show from Animal Liberation Orchestra (ALO). They are joined by Carly Meyers and Adam Gertner of ROAR for one of the best sets of the weekend just in time to release their new album Follow the Yarn.

Particle delivered a stellar performance keeping the tempo of Escort’s “Cocaine Blues” throughout the majority of the set. At the same time, a special project called Nunchuck!, consisting of Mike Dillon, Craig Brodhead of Turkuaz and again Chuck Jones and Scotty Zwang of Dopapod, did something unique in the Vibe Tent. The “psychedelic punk rock” set was more quirky than it was tight leaving the crowd giggling, and blushing when Dillon “tea bagged” his own drum. (Yes, this happened.)

The New Deal and Thievery Corporation both had beautiful stage presence with lasers and lights for days. However it was Turkuaz that stole the show Friday night. The nine-piece funk outfit from Brooklyn, NY filled the Porch Stage with a powerful and truly fun set. Artists at large Jennifer Hartswick and trombone player Natalie Cressman of Trey Anastasio Band brought the brass to the party.

On Saturday, Broccoli Samurai of Ohio welcomed artists at large Chuck Jones and Scotty Zwang of Dopapod adding to the delight of fans. The Heavy Pets brought us back to the 80’s covering Paul Simon, David Bowie, Thomas Dolby and R.E.M. Jennifer Hartswick and Natalie Cressman sat in as well.

Tom Hamilton’s American Babies welcomed Aaron Magner of the Disco Biscuits on the keys for a rendition of “The Wheel” into their own “Joelene” and back to “The Wheel.”

Two-time Grammy-award winners Snarky Puppy was an experience in itself. The 13-member jazz/funk group is more of an orchestra than it is a band. Keeping with the guest appearances, they welcomed Dillon on percussion and again Hartswick and Cressman for an outstanding version of “Quartermaster.”

The festival culminated with two sets of jamtronica giants The Disco Biscuits. Tom Hamilton helped them kick off the first set with “Scarlet Begonias” and “I Know You Rider.” “Pimp Blue Rikki” was a surprise to many leading into the ending of “Morph Dusseldorf.” Hartswick and Cressman joined tDB for “Funky Town” before taking a set break. The second set was geared towards the masses picking up again with “Morph Dusseldorf” and weaving in and out of Caterpillar with “A Fifth of Beethoven.” The laser light show was out of this world reflecting off the woodsy amphitheater.

Throughout the weekend, both on stage and off, collaboration seemed to be a key theme. We ended our experience gathered around our own campfire we collectively built with a family who just days before were complete strangers. We came for the music, but we left so much, much more.

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March 12, 2016