Polyvamp looked to the skies when they rocked the Brooklyn waterfront for a rooftop jam session in Williamsburg back in October.
Brooklyn-based six-piece electro-funk ensemble Polyvamp took to the roof of Cafe Biba in Williamsburg, Brooklyn on October 16 for a jam session. The event was filmed by Humza Deas, New York Magazine’s top Outlaw Instagrammer of New York City, using an overhead drone with views of the East River and the Manhattan skyline.
Polyvamp is a groove-based funk, rock and electronic band formed in early 2015 initially as a trio, adding three additional musicians during their first year. They have played many of New York City’s top music venues and shared the stage with members of nationally touring acts, such as Lettuce, Kung Fu, Turkuaz and the Trey Anastasio Band. They performed at the city’s renowned CMJ Music Festival in October 2015.
Polyvamp makes their Brooklyn Bowl debut on Tuesday, Jan. 24 when they perform along side Sprocket and the Insidious Rays.
On Tuesday night in the historic Greenwich Village,Medeski Martin and Wood returned for the second night of their sold-out Le Poisson Rouge run. The room was damp from the weather outside and the lights were dimmed as The Thunderclouds welcomed the audience to the ceremony with a Native American chant. John Medeski, Chris Wood, and Billy Martin joined behind the three tribal drummers from Wisconsin, as the two trios became one on stage, igniting the crowd in an almost euphoric fashion.
The slow building jam picked up as the Thunderclouds exited the stage and morphed into an extended rendition of “Where’s Sly” off their second album It’s A Jungle In Here. Each member got their time in the spotlight as the crowd shook off the winter chill with a variety of dance moves. Up next was “Amber Gris” from Radiolarians II. The beginning of that track would serve as an excellent hip-hop beat and as much as I wanted to attempt to freestyle in front of my friends, I was able to contain myself in a room full of MMW veterans armed to give a solid “STFU” at any moment.
The first set came to a fantastic finish as the trio embraced the spirit of New Orleans with the danceable “Coconut Boogaloo” from the Combustication album. Bleecker Street in Manhattan felt a lot like Bourbon Street in Louisiana after a Mardi Gras parade as the packed room grooved to the Creole-influenced jam. While New Orleans is considered the birthplace of jazz, NYC is the birthplace of MMW and as set break began, longtime fans reminisced about seeing their baby all grown up after all these years.
Set two brought us back to the Bayou with a swampy “Seven Deadlies,” most recognized from the live album, Tonic. The mesmerizing bass solo by Wood had the crowd in a trance before handing the baton over to Medeski to work his magic. There were moments when Herbie Hancock’s Chameleon album came to life during the 15-minute plus jam and the crowd adapted to every minute of it. A loose version of “Undone” off Radiolarians III created space for the most soulful tune of the night, “Everyday People,” which is the second one played from Combustication. Medeski has spent a lot of time taking the crowd to church with his super-group, The Word, and the gospel influenced tune transformed the room into a sanctuary for a peaceful ten minutes of bliss. A haunting drum solo by the master, Billy Martin, quickly turned into “Nostalgia in Times Square/ Angel Race” where the golden oldies “On Broadway” can be heard teased throughout. Medeski went back and forth from the organ to the keys and despite no psychedelic influence, I am fairly certain he had four arms during that jam much like Goro from Mortal Kombat.
The always funky “Pappy Check” and “Partido Alto” got the blood flowing as this one-two punch ended the second set. The legendary band definitely didn’t need any introduction, but Martin announced the group anyway. When they returned for a much deserved encore, Billy remarked how right next door, the venue that was once the Village Gate was where they played their first ever show. Fans, friends and family of the band rejoiced as they launched into one of their most well known grooves, “Bubblehouse,” off the iconic Shack-man album. The trio shifted into high gear and revved the engine for an extended encore that left the crowd more than satisfied.
The 3-show January residency in their old stomping grounds came about because Chris Wood was hospitalized during the originally scheduled October dates. It was amazing to see the band sonically tight and physically healthy after the brief scare last fall. While the band does not tour as much as they once had, the spirit of experimental jazz is stronger thanks to 25 years of MMW. Cheers to another 25.
Set 1: Thunderbird Chanting>Jam, LPR Jam, Where’s Sly?, Amber Gris, Coconut Boogaloo> Jam
Set 2: Seven Deadlies, Undone, Everyday People*, Drum/ Percussion Solo, Nostalgia in Times Square/ Angel Race!, Pappy Check, Partido Alto
On Friday, Jan. 20, the 6th Annual Wintercourse will be held at the Knitting Factory in Brooklyn for an evening with some of the area’s top acts, known as The Brooklyn Jam Syndicate: Teddy Midnight, Cousin Earth, Space Bacon and Chromatropic.
The evening will kick off with Teddy Midnight taking the stage at 8:30 p.m. Teddy Midnight delivers a mix of progressive rock, drum and bass, jazz and downtempo at their shows; a self-titled genre they term as “Electro-Dance-Funk.” They’ve played sold out shows at other prominent NYC establishments like Irving Plaza, Brooklyn Bowl, Gramercy Theater and Bowery Ballroom. They’ve shared the stage with Dopapod, Consider the Source, The Werks, Twiddle and other successful touring acts.
Cousin Earth will take the stage at 9:45 p.m. Cousin Earth is a progressive ukulele rock band, and you can expect anything from bluegrass to electronica from this Brooklyn act with a wide repertoire of both original and cover songs. They have played over 170 shows throughout the Northeast United States, from Maine to Pennsylvania, and have shared the stage with other acts like Melvin Seals and the Jerry Garcia Band, Sister Sparrow and the Dirty Birds, Future Folk, Andy Frasco, Rustic Overtones, and many more. Their full-length album is set to be released sometime this year.
Space Bacon will take over at 11 p.m. to keep the evening going. This local four-piece act will bring their own version of progressive electronica & funk rock. The name “Space Bacon” emerged from the love of Kevin Bacon and Kevin Spacey. At the end of 2016, the group released a “Best of 2016” digital album of their best performances of the year.
Rounding off the evening, Chromatropic will be the last act at 12:15 a.m. Their sound is described as “live organic neo-psychedelia,” and they deliver a truly original show that you don’t want to miss.
Funk mastermind Theo Katzman of Vulfpeck has released his second LP today titled Heartbreak Hits, following the 2011 release of Romance without Finance. This latest work oozes heartache, with Katzman‘s youthful vocals lamenting the loss of a lover. The songs evoke the agony of painful breakups, and might even open old wounds for some listeners, but they’re delivered with such gripping soul, that most won’t even think to press pause.
The album kicks off in rock ballad fashion, akin to the likes of 70’s icons The Eagles. Katzman confirmed on his crowdfunding album campaign that the band did in fact lend inspiration. Wailing guitar on album opener “Hard Work” shocks the eardrums to life before Katzman’s breathy pop vocals attempt to make sense of a failed relationship. People will go the extra mile for someone they love, and with pragmatically comical lines like “I held your hair back when you had too much to drink/ I used my bare hands to unclog that bathroom sink” and “When you got depressed and your mind was on the brink/ I peeled you off the floor and drove you to a shrink” it’s easy to see how a guy thinks he’s earned his keep.
“Breakup Together” is sweet on the ears, but the melodic sing-songy quality carries Katzman’s tenderly brooding words as he laments “We used to make love together, now we break up together.” Trilling backup vocals follow this somber sentiment. The silver-tongued harmonies call to mind that flock of helpful songbirds chirping away in Snow White, but instead of helping the fair maiden do laundry, they perch on Katzman’s shoulders and chime in as he mopes (understandably) in a corner.
“Crappy Love Song” supplies some of the most gut-tickling harmonies on the album before “My Heart is Dead” goes nineties angst as Katzman pouts, “My heart is dead girl/ It doesn’t beat no more.” “Good to be Alone” presents a sobering, understated country folk charm replete with slide guitar. A more earnest tone on this number replaces Katzman’s raspy pop attitude found throughout much of the album. Lyrics seeking the silver lining of reclaimed independence in the wake of a breakup, he attempts to convince himself, “No one to scratch you down your back/ No one to cut you any slack/ You got to scratch it on your own/ It’s good to be alone.”
“Lost and Found” staccato style drums, guitar and vocals add a bouncy feel, revisiting the lively pop realm before “My 1-Bedroom” finds Katzman dreamily fantasizing about the prospect of sharing his small dwelling with a significant other, nearly whispering the lyrics with stripped down instrumental accompaniment. Already the album has led the listener on a roller coaster ride, each song undulating along the spectrum of sadness and resentment, lyrics spiced with cynicism. “As the Romans Do” injects some steam into the track list with powerhouse pop vocals and pounding drums. This song in particular demonstrates the skillful subtleties in Katzman’s singing ability, especially through the lines “I bid a fond farewell to my bestest friends/ I packed my possessions in a Uhaul then/ I sailed like a sailor to the promised land.”
“Love is a Beautiful Thing” mellows the track list again with soft jazz guitar, muted drums and light piano laced with Katzman’s delicate falsetto. The words convey a familiar scenario in breakups: the pain of seeing an ex-lover involved with someone else when you’re still hurting. He sings, “Love is a beautiful thing/ Hugging, kissing, laughing, holding hands/ Love is a beautiful thing/ Unless it’s you loving another man.” After this song the listener almost surely feels as if Katzman has beaten them over the head with such relentless harping on the same themes of loss, yet by sticking so loyally to this theme, he has created a very real portrayal of the cyclical thought patterns many experience in a breakup. “Plain Jane Heroin” rounds out the ten-track album on a somber note, ending the album on a bit of a cliche, comparing the allure of a woman to the addictive nature of heroin.
Katzman has crafted a string of songs that thoroughly display the breadth of his vocal ability. The rawness of the lyrics suggest Katzman might have actually had his heart recently ripped from his chest by whichever woman called it splitsville. While profit from fresh heartbreak is a form of sweet songwriting revenge, it doesn’t appear that a recent tragic breakup is the essence of inspiration. Katzman stated in his album campaign, “I started writing songs, and found myself exploring different angles of letdown/loss of expectation/heartbreak: My own personal experiences, as well as the extrapolation of those experiences into my imagination.” Nevertheless, nearly anyone can empathize with Heartbreak Hits’ sentiments, and dance, rage or cry to the album at their discretion.
The album was recorded by Tyler Duncan at The Barber House, mixed by Duncan and mastered by Devin Kerr. Cover photo by Claire Marie Vogel and album artwork by Robert Lester. Musicians contributing to the album include: Joe Dart (Fender bass), Woody Goss (piano, Wurlitzer electric piano on “Break Up Together”), Laura Mace and Mike G: (omni backing vocals), Lee Pardini: (Wurlitzer electric piano), Drew Howard: (pedal steel guitar) and Brett Farkas: (additional electric guitar on “As the Romans Do”).
Currently Katzman has one scheduled performance on January 26 at the Bootleg Theater in Los Angeles, California. The album is available for purchase here.
Key Tracks: Hard Work, Breakup Together, As the Romans Do
Marco Benevento is set to blastoff in 2017 with a new album and tour on tap. The multi-instrumentalist dubbed the Mad Hatter will start the year spinning forty-fives for an intimate hometown get down at the Catskill Mountain Pizza Company in Woodstock, NY on January 7. Teaming up with music journalist Brian Turk, the event is called Brian Turk and Mr. D present “I’m a DJ Too,” and will feature tasty pizza and beer from the Catskill Brewery, not to mention a set of fresh cuts straight from Marco’s head to the floor. But only 75 tickets will be available. Click here to get yours.
Later in the month, Benevento will launch a tour in support of the Feb. 17 release of The Woodstock Sessions, a new live album recorded last September at Applehead Studios. The first show will take place on Jan. 30 at Funk ‘n Waffles Downtown in Syracuse. Local Grateful Dead tribute act, Pearly Baker’s Best, will open. Tickets are $20 at the door and $15 in advance. Tickets are available through Ticketfly for the Syracuse show.
Other New York stops for the Woodstock resident include Buffalo, at The Iron Works on Jan. 31, Ithaca, at The Rongo on Feb. 1, The Brooklyn Bowl on Feb. 2, and at The Hollow in Albany on Feb. 3. See below for full tour information.
With a full schedule ahead of him, Marco Benevento has gone ahead with a Pledge Music campaign that will put fans at the forefront of his new album and musical adventures throughout his 2017 tour stops. Packages include a chance to pre-order The Woodstock Sessions, opportunities to receive show tickets, signed setlists, a bookshelf made from Marco’s grand piano, a band lesson, or even the chance to record with Marco at Fred Short Studios in Woodstock, NY; plus, Marco is making himself available to spin vinyl or play a solo piano concert at a lucky fan’s private party. More information is available here.
Tour Dates:
Jan. 30 – Syracuse, NY – Funk ‘N Waffles Jan.31 – Buffalo, NY – Iron Works ^ Feb. 1 – Ithaca, NY – The Rongo Feb. 2 – Brooklyn NY – Brooklyn Bowl * Feb. 3 – Albany NY – The Hollow ^^
Feb. 4 – Burlington VT – Higher Ground
Feb. 6 – Portland, ME – One Longfellow Square
Feb. 7 – Hamden, CT – The Ballroom at The Outer Space ***
Feb. 8 – Holyoke, MA – Gateway Arts
Feb. 9 – Boston MA – The Sinclair *
Feb. 10 – Ardmore, PA – Ardmore Music Hall *
Feb. 11 – Baltimore, MD – Ram’s Head Live **
March 25-26 – Boise, ID – Treefort Music Festival
March 31 – Denver, CO – Cervantes’ Masterpiece Ballroom
April 1 – Boulder, CO – Fox Theatre
April 2 – Avon, CO – Agave
April 4 – Salt Lake City, UT – The State Room
April 5 – Bozeman, MT – The Filling Station
April 6 – Spokane, WA – The Bartlett
April 7 – Seattle, WA – Tractor Tavern
April 8 – Portland, OR – Wonder Ballroom
April 9 – Eugene, OR – Hi Fi Music Hall
April 11 – Bend, OR – The Capitol
April 12 – Sacramento, CA – Harlow’s
April 13 – Petaluma, CA – The Mystic Theatre
April 14 – San Francisco, CA – Independent
April 15 – Los Angeles, CA – The Bootleg
* w/WOLF!
** w/Psycho Killers
*** w/Superhuman Happiness
^ w/Mayabird
^^ w/Mayabird + Band of Ghosts
The first set came to a fantastic finish as the trio embraced the spirit of New Orleans with the danceable “Coconut Boogaloo” from the Combustication album. Bleecker Street in Manhattan felt a lot like Bourbon Street in Louisiana after a Mardi Gras parade as the packed room grooved to the Creole-influenced jam. While New Orleans is considered the birthplace of jazz, NYC is the birthplace of MMW and as set break began, longtime fans reminisced about seeing their baby all grown up after all these years.
Set two brought us back to the Bayou with a swampy “Seven Deadlies,” most recognized from the live album, 
The evening will kick off with 
Funk mastermind Theo Katzman of Vulfpeck has released his second LP today titled Heartbreak Hits, following the 2011 release of Romance without Finance. This latest work oozes heartache, with