NYS Music 20​17

Tag: jam

  • In Their Own Words: JP Biondo of Cabinet

    On Friday September 29, folk powerhouse Cabinet landed in Ithaca, NY, and played two long sets at The Haunt. Since their birth in 2006, Cabinet has built a committed grassroots following by providing an eclectic roots sound. They have earned unconditional respect with their commitment to quality songwriting, and impressive ability to cross between genres of bluegrass, country, jam, and psychedelic. Before Cabinet’s foot-stomping performance, NYS Music had the  opportunity to sit down with Cabinet co-founder, singer, songwriter, and mandolin player JP Biondo. NYS Music is ecstatic to present you this edition of “In Their Own Words.” Here we have a collection of bite size nuggets of knowledge, quoted directly from J.P Biondo of Cabinet:

    On a Musical Childhood:

    My first instrument ever was a Tuba. I joined the band as a young teenager in around 1998. As a child, I always loved music. I always loved singing a bunch. I came from a very musical family. Growing up, I was surrounded by music all the time. For example, my dad would teach me how to sing harmonies on car rides.

    I come from a very large musical family. My dad has eight brothers and sisters, and so, I have like a whole slew of 1st cousins. There is a total of 35 of us or something like that. The family has at least one family reunion every year at grandma’s house. She lives on a big farm near Scranton, PA. At last year’s family reunion, there was like 180 us. Every year, the sun goes down and everybody knows  it’s time to get around the campfire and sing. We sing, play harmonies, and just hang out and have fun. This is how I first learned to sing. At our family reunions, I would pick an elder out for the night and stand by their side and listen to everything they were singing. I would be like, “ohh thats how you do that. Ok cool.”  So a lot of my teaching came organically that way.

    Later on, I started to take playing very seriously.  I started playing guitar when I was about 14 or 15. I learned every Dave Matthews song in the book–like any young kid does. I just loved it. I always loved music. Until this very day, music pulls me like nothing else in life. When it came to playing music, I didn’t really have a choice in the matter.

    On Songwriting:

    I don’t have a specific goal. Every song is different for everybody. I like to write about life experiences, For example, I wrote a song called “The Tower,” about this place where I grew up, we called it the “Dry Dam.” It’s a dam that was supposed to provide drinking water for the town of Scranton, but, for whatever reason or another, it didn’t end up working. The lake stayed there, and above this dam there was a big tower.  It was like 30 or 40 feet high. As kids we would climb up the tower and jump off into the lake. We also would just hang out, drink under age or whatever, all the stuff kids do. It was a big time hang out spot for me and friends. I had a lot of fun experiences there. I like writing about my personal experiences and hopefully, someone can relate to them in some sort of way.

    Advice For a Kid or Young Adult With A Passion For Music:

    Follow your heart…Decide if music is something you’d like to make money at or if it’s something you just enjoy doing. Try to decide that as soon as you can, and either way is fine, but, just make that decision at some point and know where you’re at with it.

  • Vulfpeck Rocks Brooklyn Steel With Sold Out Show

    The Ann Arbor, Michigan born quartet Vulfpeck took the Brooklyn Steel stage Friday, September 8, as well as the following weekend, before departing for their upcoming tour in Europe. The venue holds a max capacity of 1800, as well as multiple bar areas and a mezzanine. The Brooklyn Steel is a popular new theatre in Brooklyn, and was the perfect setting for Vulfpeck to perform a great show. The show was entirely sold out, but the crowd was very laid back before the show started, something not common in a crowded setting like this.

    Multi-instrumentalist Joey Dosik was the opening act for the night, but he was not alone, accompanied by Vulfpeck’s Theo Katzman. Katzman played both bass and drums for this portion of the evening. Dosik elicited large amounts of excitement from the crowd, who seemed to be starstruck by his acapella rendition of “Stories” by Bill Withers. His tone and dynamic control were something to behold, and he seemed to be humbled by the praise he received. When his set ended, he then joined Vulfpeck on the stage and played along side them for the rest of the night, this time equipped with a saxophone. The vibe of the show was incredible.

    While Vulfpeck performed, everyone in the venue became a unit. There was a magnetic pull that draped over the crowd like a blanket, and it seemed that not one person was standing still. With high energy, dancing, and lots of hollering, the people of the crowd could be seen having the time of their lives, living in the moment and through the songs the band banged out with expertise. Vulfpeck’s setlist for the evening contained some of their most iconic songs, such as “Daddy’s Got A Tesla,” “Game Winner,” and “Back Pocket.” However, not one song was played live in the same style as the studio version. Improvisation was a driving force at this show in the best way possible. They fed off of each other musically, trading ideas and including the crowd whenever possible.

    vulfpeck brooklyn steelThe crowd harmonized as a group a number of times, the harmonies led by Theo Katzman. Not only that, but Vulfpeck spoke to the crowd like they would to a friend. The atmosphere was comfortable, and Vulfpeck made it easy to relax and enjoy a quality night of music. The acoustics of the venue were crisp, making each sound travel smooth and clear. Vulfpeck is a force to be reckoned with, being arguably one of the most diverse and unique music groups in the scene as of right now.

  • When Deep Banana Blackout and The Breakfast Converge: Deep Banana Breakfast

    After three decades Deep Banana Blackout still has their charm. On Friday, June 16, DBB  played alongside The Breakfast, who both now have another excellent performance to put under their belts. Their performance Deep Banana Breakfast, although typical, was well received by the wide demographic of people that attended. 

    Typically, the Fairfield Theater Company gains the attention of people who seemingly aren’t so interested in the band that’s playing, but are more attracted to the idea of seeing live music on Friday night. They come to almost every show the FTC has to offer but always seem so uninterested, sometimes leaving halfway through a show. But not this time. The men and women were flabbergasted by the momentum and energy that DBB brought. Their well-rounded and classic sound combined with a contemporary layout made for an absolutely epic night that was enjoyed by patrons of all ages. 

    The Breakfast played for an hour and fifteen minutes with their efforts not going unappreciated. The only gripe some people might have had with their performance was that they came out swinging hard – they peaked early and as the room filled out it was easy to see the crowd had lost interest come the end of their set. They consist of: Tim Palmieri on guitar and vocals, Adrian Tramontano of Kung Fu on drums and vocals, Chris DeAngelis on bass and vocals and Jordan Giangreco on keyboards  and vocals. They’re very technical and multi-directional with enough talent to last for years. Listeners can sense influences of rock, jam, funk and hints of jazz throughout their pieces. They too have been playing for almost three decades and still performed with unrelenting energy.

    DBB, who’s show wasn’t the most incredible one they’ve ever done by any means, was much appreciated for their consistency. There are some member changes compared to their performances 10 years ago, but the feel of their show is still alive and well and that is something to appreciate. There were a few teases and a wide variety of tastes and styles that fluctuated throughout the show. Their selections ranged from a crowd favorite, “Bump and Sway,” to Peter Gabriel’s, “Sledgehammer,” to a lively version of James Brown’s, “Turn Me Loose, I’m Dr. Feel Good.” They played about fifteen total songs before moving to the highlight of the night when The Breakfast combined with DBB to play The Allman Brothers ”Stand Back” and “Southbound” as tribute to the late Greg Allman. As stated before, the show didn’t blow people away – patrons were drinking and talking the majority of the time and kept the smoking section of the patio full the entire time. What was most astounding was the consistency of the group over all of these years. 

    It’s a shame to see these two groups don’t have plans to work together again anytime soon because they compliment each other beautifully and have a plethora of talent and experience under their belts. DBB’s next show is in Westport, CT at the Blues, Views and BBQ Fest @ Levitt Pavilion and The Breakfast has no plans at the moment. Hopefully this performance is well received enough to have them do a similar show like this one.

  • Woodhenge Music, Art and Sustainability Festival 2017 Announced

    Off the grid sustainable community, Woodhenge, has announced its first Woodhenge Music, Art, and Sustainability Festival, located in Adams Center near the Adirondacks, the community will host the festival on June 23-25, 2017.

    The three day event features a diverse mix of music genres including rock, jam, jazz, reggae, bluegrass, electronic, and funk, and features over 20 artist including Formula 5, Space Carnival, Root Shock, Intrepid Travelers, Lord Electro, Jiggawaltz and Drumadics.

    Fans will have the privilege to explore each morning the 60+ acres of nature and trails the area has to offer, along with yoga and workshops focused on how to live mortgage free, creating a sustainable lifestyle, optimal nutrition, and how to build with recycled materials. The event itself will be held in a field, between the village’s garden and orchard.

    In 1997, James and Krista Juczak, created the eco/self reliance village known as Woodhenge. The mortgage free community is set in the foothills of the Adirondack Mountains along the outskirts of a large forest, complete with a stream and waterfall set between a pond and an orchard. The off the grid solar and wind powered sustainable community practices upcycling, using environmentally friendly materials along with alternative building techniques.

    The village grows and cans most of their own fruits, berries, nuts and vegetables in their community garden and raises their own ducks and honey bees for honey and eggs. The community also hosts several workshops throughout the year on building a tiny house, living off the grid, and renewable energy.

    Known as the “King of Scrounge,” Juczak took 5 years to build his 3000 square foot home, set on 50 acres, out of recycled material including beams salvaged from an old bowling alley, and a two-story concrete column made out of scrapped manholes. Windows, doors, sinks, tubs, and other items were bought cheap, or salvaged for free from renovated buildings. The mortar holding the walls is made from 80% paper sludge waste from a nearby mill. The other 20% is made of masonry cement. Juczak has also buried a 10,000 gallon fuel tank used as a guest home buried into the side of a hill.

    Woodhenge has also hosted other music festivals in the past including Summer Solstice Campout in 2016, and the Halloween Costume Fiesta.

    Fans who purchase full weekend passes to the festival online will save some cash. The online pass costs $50 for all three days, and $60 at the gate on Friday, June 23. Other passes range between $20-$40. Camping is available in the field, and in the forest close by.

  • Photo Gallery: Sunsquabi Rolls Through Boston

    Late Night Radio and Maddy O’Neal opened a long night of music at Wonder Bar in Allston, MA on Sunday, April 30 for Sunsquabi. Saxophone extraordinaire, Tommy Weeks (Sophistafunk, Funky Dawgs) came up and belted out a few rounds during Maddy O’Neal, and even impressed Sunsquabi enough that he was asked to come back up for a tasty jam with them towards the end of the night. The Squab-Train drove straight through til the wee hours of the morning, delivering that funky Colorado sound we’ve been waiting so long for.

  • Dopapod and Aqueous at The Fairfield Theater Company

    It was unexpected turnout on Sunday, April 9, with a sea of die-hard fanatics coating the lower level of The Warehouse – so much so that even front man Rob Compa was surprised by their numbers. Fairfield isn’t necessarily the hub of all things jam band related, so it was fantastic to see the fairly seasoned venue collectively pull in a wide variety of artists and crowds. Aqueous warmed up the Fairfield Theater Company stage prior to Dopapod’s performance which consisted of two full sets and and encore. Everyone was thrilled, engaged and once again, due to the location, the venue pulled in a vast age demographic. The more mature and less familiar audience was perched around the ledge of the top floor, thoroughly enjoying the performance. Both groups were tight, virtually flawless and a perfect fit for a laid-back Sunday night party.

    Several months ago, Aqueous underwent a key member change with drummer Rob Houk filling the seat and making himself very comfortable. He was admitted in early June of 2016 and seamlessly fits the groups numerous style variations. He delivered a smooth performance all the way through, working through the inevitable drop of a stick a during a tastefully flamboyant drum fill and quickly grabbing another one from his bag without hesitation. All other members worked the stage well, but unfortunately came off a bit lifeless aside from the enormous voices coming from the instruments. Although they were limited to a small space due to being surrounded by Dopapod’s equipment, it would have been more visually engaging to see some enthusiasm from McPhaden and Loss. It may not have been the time nor the place considering the venue type and turn out, but it’s a new area that draws a different crowd and being as engaging as possible would have helped gain more respect and attention from those not used to seeing this type of performance.

    Aside from  some of their lackluster body language, Aqueous walked out with one hell of an entrance as the Chariots of Fire theme song played over the PA system. They lead a powerful performance which was unfortunately only appreciated by the 30-40 people that arrived before Dopapod’s time on stage. It started with  a funky favorite, “Second Sights,” which literally turned some heads. The early birds had their noses in their drinks, backs to the stage and were deep in conversation until the first first hit of that iconic “Shaft”-like funk theme song filled the room. They then flaunted their wide range of styles and tones and broke out into “Strange Times,” a classic rock sound which blended into a genre classic, “Peg” by Steely Dan. They dove into a classic Aqueous sound with “Staring Into the Sun” and, again, most of the limelight was drawn to a very animated Gantzer who was bobbing and weaving like a boxer around his small section of stage. They capped off the set with the heavy and funky track “Numbers and Facts” and left on a very positive note.

    Setlist: Second Sight > Strange Times, Peg > Staring Into the Sun > Numbers and Facts

    Aqueous left over a large round of applause for the valiant effort and immaculate performance while fans were still rolling in. Dopapod set up in a semi circle, making this an even more intimate experience aside from the time of the week and the amount of attendees. Although this was not a night that would be defined as the most memorable yet, it did not stop them from giving it their all.

    Aqueous wasn’t the only group that underwent a percussive change – original Dopapod drummer Neal “Fro” Evan is back on the throne, placed stage left. Although this is old news to fanatics, a naive eye would not have known he took a hiatus. Speaking of percussion, a special guest sat in on accessory drums, Adrian Tramontano of Kung Fu. Although he laid low behind “Fro”,  his stylings and flavors came through subtly and tastefully  under a very energetic Dopapod. It is unknown whether he will follow Dopapod all the way to Disc Jam.

    About 15 minutes of chatter and socializing went by until Dopapod opened up with “Give It a Name.” It’s a hard hitting track perfect for establishing their dominance in an venue that may not be so familiar with their style. Fans were excited, but were undoubtedly less enthusiastic compared to prior performances. Everyone could be heard chatting away during the breaks in their tracks and were even caught spacing out at times, but the presence of the group brought together new and old fans which made this performance nothing short of a good time. They moved on to “Super Bowl” and over to “Brain Dead,” both of which were obvious fan favorites.

    They moved forward with their fairly sarcastic song “Nerds” and threw a reggae twist on it prior to performing a well orchestrated mash-up of The Donkey Kong Country theme, a new song “Trickery” from their latest album and “Dracula’s Munk,” all of which are incredible funky and very well blended together. Before the end of the first set, sentimentality kicked in when a comedic birthday song and cake was given to Jake Berkowitz.

    Set two was a little short lived and contained “Picture in Picture” with teases of Snarky Puppy followed by “PLSS,” “Bahbi,” “I Am” and “Cure.” Knowing it would be an early night for most, they kept the encore tight but interesting by playing “We’re Not Alone” and “Freight Train Filled with Dynamite,”  during which, members switched instruments and had Gantzer join in for some solo time.

    Everyone was content by the end of the night, even though it wasn’t the most incredible and mind-blowing performance the two groups have put together. But one would hope that this isn’t the last time Dopapod or Aqeuous are invited back to The Fairfield Company.

    Setlist: Set 1 – Give it a Name, Braindead Pt. 2, Nerds, Donkey Kong Theme > Trickery > Dracula’s Monk > Trickery > Donkey Kong Theme > Trickery

    Set 2 – Picture in Picture, PLSS, Bahbi, I Am (Whale Song), Cure

    Encore – We Are Not Alone, Freight Train Filled With Dynamite

  • Hearing Aide: Grand Gesture ‘King of Cups’

    All in all, it’s a wholesome, laid back and refreshingly straightforward collection. The album holds a  psychedelic feel without bombarding listeners with abstract and unnatural sounds that tend to come with the genre, and not doing so takes a considerable amount of talent. It’s well produced, diverse and catchy – something the group harps on in their biographies.

    Grand Gesture hails from Brooklyn and are best described as a combination of Talking Heads, Lou Reed, The Pixies, the Grateful Dead. They don’t copy the sound of these historical groups, but there are hints of their inspirations found throughout all of their tracks. They range from a fairly heavy rock drive to a plain and simple folk jam, and listeners might hope that they take a more aggressive route with their tone in any forthcoming album because tracks based off that formula leave more of an impact that their lighthearted tracks, if they were to ever drop another album.  Examples of this style are found predominantly in “King of Cups.” One of the highlights is a dueling guitar breakdown that’s very Allman Brothers-like along with a funky and heavy guitar solo played through a fuzzy and distorted amps.

    “Straw In My Sock” is another key track that had a more forceful tone which keeps listeners engaged. Their songs don’t rise and fall as much as other psychedelic rock songs do, so songs like “Wildflower” seem to drone on a bit. With the more intense tone, listeners feel more immersed into the music. This feeling could also only be only true when listening to the recording. They claim, “The band aims to write songs with pop song precision, yet they have a deep respect for improvisation so it’s not uncommon for the material to take on new directions in the live setting.”

    “Hey Okay” has a cool ‘skipping’ feel to it with more of those dueling guitars everyone loved from the Allman Brothers. It’s funky and technically with great direction and precision. It’s a song that would be an absolutely blast to see live as there’s so many fantastic opportunities to vamp and mess around.

    It is undoubtedly feel good music and would make a perfect fit for a live setting in an intimate bar or concert hall. The album is available on their website and Spotify and show no sign of any live performances this year, but will post upcoming events on their Facebook page.

    Key tracks: King of Cups, Straw in My Sock, Hey Okay

  • The Tribe Returns: MMW at Le Poisson Rouge

    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.

    MMW Le Poisson RougeThe 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.

    MMW Le Poisson RougeSet 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

    Encore: Bubblehouse

    *w/ Amazing Grace tease

    ! w/ “On Broadway” & “Lively Up Yourself” teases

  • Hearing Aide: Creamery Station ‘Creamery Station EP’

    Connecticut isn’t known to pump out world renowned musicians like New York, Seattle and California do, so it’s refreshing to see a group of guys emerge from the backwoods of the state with some true talent and passion for the art. Over the past three years, Creamery Station has been cooking up a collection that’s surprisingly good.

    Creamery says they’re a combination of the Grateful Dead, Allman Brothers, The Band, Little Feat, Railroad Earth, David Grisman, Doc Watson, Jimi Hendrix, Stevie Ray Vaughan and their first album is a fantastic representation of all these legendary groups. They manage to sound unique while giving glimpses of the defining characteristics of their inspiration rather than a copy of them. Some songs sound more familiar than others, but this is their  first compilation and it’s thoroughly impressive.

    They started from humble beginnings as a small band playing for a few house parties and slowly grew to a full seven-man group that brings a classic and a universally enjoyable country/ jam sound to the stage. They are based in CT but are making their way to New York City for the very first time and are definitely worth checking out.

    A lot of the inspiration came from the adventures some members endured, as well as a love for playing and performing music. All of the tracks were written and contributed to by every member of the band, which makes the connection between the musicians something truly exceptional, says singer and mandolin player Dylan Kader. “The energy between us when we play is something special and the crowd can feel that and they respond to it,” said Kader.

    This album is a bit all over the place, and that’s meant in the best way possible. Every song has a tie to country music with most of the tracks being based in that genre. But then some can, arguably, even have a reggae feel to it which is a combination that works surprisingly well.

    Things start off with “Ramblers Delight” and it’s about as country as it gets. It has a pretty straightforward chord progression with spices of mandolin a violin/ fiddle and relatable lyrical content. The feel of the song changes a bit when a very bluesy and fairly distorted guitar solo rings over the group that reminds listeners that a lot more is in store for the rest of the album. Country sounds are the basis of their musical content but that’s just the ground floor, and it’s a sturdy and simple one to build upon, giving Creamery free range to experiment with all sorts of genres.

    “Kansas City Blues” is appropriately named and placed at a  slower pace and even more like the typical melancholy country song. It’s the same sound as “Ramblers Delight” in terms of country sounding instruments, but the pace and chord progressions and lyrics make it a little more somber with just a few hints of uplifting major chords.

    “Walking for miles just to get a drink, then resting when we could find the shade, it’s hard to find the time for this poor boy to think, when he only eats if he sings and plays.” It’s still a well done song but this isn’t something that changes the minds of people who don’t like country.

    “Railroad Blues” is another very well-performed and professional sounding track. It’s comparably more upbeat and will definitely hit home with anyone willing to give Creamery Station a shot. There are light hints of country style instruments and it is based on a 12 bar blues chord progression which makes this one feel more rock and roll than anything else.

    Now “Sam the Clam” is where things get interesting. Harmonica player Don DeStefano dreamt up this song years ago in a separate band of his own while rehearsing backstage of a blues club called “Sam the Clam’s.” John Coltrane and Miles Davis were a big part of the inspiration behind this track as well as renowned harmonica virtuosos like Toots Thielmans and Little Walter. The combination makes for a jazzy, bluesy and damned smooth recording. It’s all instrumental to give keyboardist Jon Truelson, guitarist Jim Kader and DeStefano a chance to strut their stuff. The guitar is set to a perfectly smooth and warm tone, Truelson nails his time in the limelight and DeStefano absolutely kills his solo. It’s definitely the most fascinating song on the album and should be the go-to for first time listeners and those not soon keen on getting into the country scene.

    And just like that, “You Did Me Wrong” jumps on and the listener is thrown back into the world of country. Unfortunately, like the first three songs, it blends into the rest of the old-school country scene, but they still absolutely nail the style.

    “Out of Reach” is one of the most interesting songs on the album being that a country group created a pretty in-depth reggae sounding song. Everything about it is quintessentially reggae; a down beat, loads of percussion and funky guitar but a little hint of blues with a flavor of harmonica that sets this track apart from other songs of the same style. The best part of this song has to be the guitar solo. It’s a little dissonant and very similar to the styling of Carlos Santana. It’s a phenomenal track considering the roots of the band

    The album ends on a bit of a bittersweet note with “Sleep Late,” a very lazy country sound that leaves a little bit of an odd taste in the mouth of the listener, but again, as far as EP’s go, this one was really, really well done.

    Again, Creamery Station is coming to New York for the very first time and is going to blow the socks off of anyone that attends. This is a band that will be appreciated most in a live  setting, so see them on Friday, January 20th at American Beauty in Manhattan, find their free first album online, and keep an eye out for their soon to be released full length album, Pastures of Plenty.

    Key Tracks: Sam the Clam, Out of My Reach, Railroad Blues, Rambler’s Delight

  • Hearing Aide: Moon Hooch ‘Joshua Tree’

    Joshua Tree will be the fourth album from Moon Hooch, the jazz-fusion-dance group born out of the subway systems of New York City. Their sound is unique but it’s been heard before, especially to anyone that has lived in or spent time in a city.

    Unfortunately, their newest album won’t be something listeners will be fighting to get their hands on. On their website, Moon Hooch  themselves admitted that they could not think of what they wanted the album to sound like, so they just improvised and “somehow the process created 8 songs.” Their original intent was to seclude themselves for a few days in the Mojave Desert, just outside of the Joshua Tree National Park. They rented a house and turned it into a studio but no inspiration came to them, so they played whatever came to their minds. The idea sounds like a lot of fun for any musician and his or her friends, but as a third party it’s a bit hard to find enjoyment in it.

    Although it is good to see such talented street musicians make their way to the studio, their voice isn’t necessarily studio appropriate and sounds better in the echoing subway system of the big apple. They sound much more epic in a vast open area while in the studio, their sound is too empty and spacious. There is the opportunity to fill in those gaps, though. Granted, the three of them are astounding musicians that have a near mastery of their instruments, but there just isn’t enough of them to make a big enough sound. The drummer can be heard trying to compensate for that lack of power which can be overbearing in itself, never mind the fairly frequent squeals coming from the saxophones as well as other sounds that no one ever expected to come out of a reed instrument.

    Hearing this collection is shocking considering their prior studio works are pretty well done and  well known, such as “Number Nine,” a track off the Billboard Jazz Album Chart that allegedly peaked at the number nine spot, according to Wikipedia. The musicians are highly trained but they’re starting to get a little avant-garde and highly improvised. But when a group is limited to only three instruments, players will tend to stretch that voice out as much as possible, and the voices of the baritone, alto sax and drums have been maxed out and it’s time to move onto bigger things.

    The attractive part of a street band was that literally almost anyone could enjoy it. New York City, obviously, has one of the most diverse populations in the world and that means street performers need to appeal to a larger, more general crowd. Right now they’re only appealing to a small majority of the entire U.S. population. But bands need to experiment before they become widely recognized and this album will undoubtedly yield some interesting results, both positive and negative.

    Now, most people can enjoy a decent amount of wild improvisation, even though it gets a little unintelligible, but this is a new level. The track titled “Improv” really opens a door into what was on their mind when creating this. Before the song starts, there is an intro with one of the members describing how he wanted the rest of the band to go about creating the song “Improv.” He says, “Hit it as hard as possible…everything we do is intentional…literally no mistakes…mean every f*****g thing we do… zero hesitation.”

    It seems this technique is applied to almost every song and can be a little overbearing at times. It’s usually evened out by melodic tones and organized songwriting, but all of that can be very easily overpowered by improvisation and a very odd sounding baritone sax.

    If listeners can look past the odd parts of the album they will find some enjoyment in it. “Sandstorm” comes first and it starts out on a promising tone, but is quickly overshadowed by the baritone sax. “Jiggle” is pretty refreshing- still a little out there, but it’s comparably more upbeat and tight. It’s definitely a fun a get-up-and-go groove with loads of technical percussion and catchy sax licks. It’s one of the less complex tracks but definitely one of the most fun, which is the goal of street music.

    But just as quickly as it came, it’s gone when “Criminals” comes on and one begins to wonder if they’re just screwing around behind those microphones. They’re trying to accomplish this incredibly heavy tone that just doesn’t work. “Mountain Lion” is a more successful attempt at creating a heavy sound. It’s more organized but still has a sense of improvisation.

    It would be great to see these guys expand into a group with more people. They have the confidence and talent to be great band leaders and create something spectacular, they need to move past what they were raised to do but keep some of the attributes that make street bands so great. They’ve reached the limits of what they can do with the three of them and it most likely explains why they drew a blank out in the desert. The have put out an album almost every year so hopefully next year will bring something truly amazing from these very talented New York natives.

    The album is up for free download on their website.

    Key Tracks: Sandstorm, Jiggle, Mountain Lion, Outer Urge