NYS Music 20​17

Tag: The Egg

  • The Bad Plus Deliver the Goods at the Egg

    The Swyer Theater at The Egg Center for the Performing Arts is a quaint and ideal setting for laid back musical performances. When The Bad Plus, a three-piece jazz band originally from Minneapolis but now out of New York City, visited the Swyer on Sunday, it was apparent from the start that the band really enjoys playing the room.

    It was a show of minimalism, as the only lights on in the theater were three dimly lit bulbs that focused on the band. The seating area was dark, and nary a sound was made from the crowd except gentle applause at the conclusion of each number. The Bad Plus are billed as an avant-garde jazz trio, but what they delivered on Sunday was far from the righteous, self-centered nature the genre often produces.

    Ethan Iverson handles piano duties, Reid Anderson plays the stand-up bass and Dave King provides the backbeat. Out of the gate King stepped forward and led the band on a funky acoustic exploration that saw a good deal of improvisation, especially from Iverson, who displayed a master ability to use a mix of space and fills to create a very unique mix.

    Throughout the night, Anderson would address the audience and give little anecdotes about what they’re playing. He spoke about how the group got their start by taking popular music, such as Nirvana’s “Smells Like Teen Spirit.” and tearing the songs down and arranging them in their jazzy style. I didn’t notice any such songs on Sunday, which added another layer of special to the very unique show. The Bad Plus have released 14 albums, almost entirely consisting of original compositions.

    Just before the encore, Iverson and Anderson linked up for a sort of rockabilly-swing groove that caught me off guard. If the audience hadn’t set the tone early on of high focus and quiet, I would have stood up and danced a little bit. The crowd showed its appreciation by giving a standing ovation that spanned the length between set close and encore start.

    I entered the show without any expectations for the band, but I walked out a new fan of The Bad Plus.

    Setlist: Hear You (Anderson), Self Serve (Iverson), Time After Time (Lauper), Thrift Store Jewelry (King), Inevitable Western (Iverson), Gold Prisms Inc. (King), Law Years (Coleman), The Robots (Kraftwerk), County Seat (Iverson), Seven Minute Mind (Anderson)
    Encore: I Walk the Line – (Cash)

  • Greensky Bluegrass Crack Egg Jokes Amid Stellar Performance

    Anders Beck had a moment before Greensky Bluegrass’ performance at The Egg on January 31. He shared with the audience that, for dinner, he was served chicken inside an egg. And that was just one of the many egg yolks cracked by the dobro player this evening, who had high praise for the venue in saying, “It’s unique, it’s different, it’s The Egg.” An apt description.

    Fruition opened the night with a crisp and refreshing Northwest bluegrass sound that is at times mellow and folky then at times rockabilly. They emanate an energy that kicked up in unexpected spots, never spending too long in one genre for more than a song.

    greensky bluegrass eggA symphony of sound greeted a sold out audience inside The Hart Theater for Greensky Bluegrass this evening, and they opened with “A Letter to Seymour” and a dark “In Control.” The Band’s “Shape I’m In” got deep and stretched out nicely in a patient jam before a trio of new songs off Shouted, Written Down & Quoted followed — “More of Me” (with extra egg humor), “Fixin to Ruin,” and the very upbeat and extended “Living Over.”

    The second set began with crowd pleaser “Take Cover” and a hypnotic beat developed two songs later during “Lose my Way,” fitting to its name. The psychedelic light show paired perfectly with the progressive jamgrass and fell neatly into Paul Simon’s “You Can Call Me Al.” An animated Paul Hoffman took off on mandolin during “Pig in a Pen,” then swapped to guitar to jam out the final two songs, “While Waiting” and “Don’t Lie.” The latter of which was built layer upon layer and led to a deep culminating jam to close the set.

    For the encore, Greensky brought out opener Fruition and stepped in front of the mics to the front of the stage as the audience gathered near for purely acoustic versions of “Demons” and “Meet me on the Mountain.” The camaraderie the two bands exhibited as they collaborated in the finale was representative of the communal nature of their mutual bluegrass roots. That communal sense stretched to the crowd, who found themselves inspired to leap to their feet at numerous junctures throughout the show and dance with a passion aroused. As a friend said in passing prior to show time, “This is bluegrass for the rock n’ roll fan and rock n’ roll for bluegrass fans.”

    Set 1: A Letter to Seymour, In Control, Last Winter in the Copper Country, Ghost of Richard Manual > Shape I’m In, More of Me, Fixin’ To Ruin, Living Over

    Set 2: Take Cover, Burn Them, Lose My Way, You Can Call Me Al, Room Without a Roof, Pig in a Pen, While Waiting, Don’t Lie

    Encore: Demons*, Meet Me On The Mountain*

    * Acoustic, with Fruition

  • The Egg Hosts Legendary Chicano Rockers Los Lobos

    A uniting sound in a time of discord was found with Los Lobos at The Egg Performing Arts Center in Albany, on Sunday, January 29. The legendary cross-cultural rock n roll group brought out a rising tempo over the course of two sets in the Hart Theater this evening.

    The first set was highlighted by “Burn It Down,” while the second set took off with the rockabilly “Train Don’t Stop Here,” highlighted by Conrad Lozano on bass with Cesar Rojas’ vocals. The iconic “Kiko and the Lavender Moon” was soulful and smooth as always, with that haunting accordion from David Hidalgo. “Mas Y Mas,” found the band joined by a guest trombonist and Steve Berlin on trumpet.

     

    Kiko and the Lavender Moon @LosLobosBand @theeggpac #tejano #nysmusic

    A video posted by NYS Music (@nystatemusic) on


    “Last Night” brought the crowd to their feet, and featured lyrics from “Turn on Your Lovelight” and a brief horn duel, then segued seamlessly into the Buddy Holly classic “Not Fade Away.” The set ended with a rousing rendition of the Grateful Dead’s “Bertha,” and an encore of Traffic’s “Light Up or Leave Me Alone.” Once again, the timeless Los Lobos sound rocked The Egg, bringing rock n roll and Tejano together to the delight of the audience.

    Los Lobos Albany

  • Greensky Bluegrass Arrive in the Empire State

    Greensky Bluegrass is making their way north this week, heading for The Westcott Theater in Syracuse on Wednesday the 25. They then make stops at Playstation Theater in NYC on January 28 and The Egg in Albany on January 31. This marks the first time playing each of these venues for Greensky, whose progressive bluegrass style has created an impressive following across the country. Joining Greensky are the Portland, Oregon bluegrass sensation Fruition, a rootsy and eclectic troupe that will easily win over fans on the east coast.

    Since forming 17 years ago, Greensky Bluegrass has created their own version of bluegrass music, mixing the acoustic stomp of a string band with the rule-breaking spirit of rock & roll. The band, comprised of Anders Beck (dobro), Michael Arlen Bont (banjo), Dave Bruzza (guitar), Mike Devol (upright bass) and Paul Hoffman (mandolin) released Shouted, Written Down & Quoted this past fall, garnering praise in our review:

    Greensky Bluegrass has taken the core idea of the typical bluegrass style and spiced it up with a twist of tones that bridge the gap between Americana and a rock flavor to create a perfectly balanced jam grass album.

  • Pat Metheny and friends crush The Egg

    As a 30-something Phish and jam band fan, it’s easy to feel you know the ins and outs of the the most highly respected musicians in the scene – arrogance and intelligence are in a constant state of competition. However, an expansion of your delicate horizons can both impress and humble you. Such is the case of my first time seeing Pat Metheny.

    This 20-time Grammy Award winning guitar welcomed a sold out crowd of mostly Baby Boomers to The Egg in Albany on January 18. Accompanied by his pick of world-class musicians: Linda Oh on bass, pianist Gwilym Simcock and drummer Antonio Sanchez.

    Entering The Egg on a solo mission, with no entourage as I’m accustomed to, I felt alone, but soon quickly extinguished said feeling. As the show began, I quickly took on the student role, ready to learn what this devout musician could instruct me. An instrument like I’ve never seen: two guitar necks, one to the mandolin, one to the guitar, add on a set of harp stings to the belly; it created a full ensemble of sound, reminisce to ancient Japan. A geisha could surely appear on stage, with grace, mystery and peace.

    Throughout the evening, I witnessed Metheny, a man with a clearly elevated intelligence and sense of creativity, work with his chosen colleagues to create an eye-awakening performance of both classical and truly improvisational jazz rock. Rotating through five different guitars, he birthed a new sound and song by song ambiance. A guitar that could be mistaken for a wind instrument and then to something with a screeching, yet eerie sound – my eyes and ears were openly anticipating the next unique and unfamiliar sound.

    Oh controls the bass in such a way that I can only describe as both forceful and graceful – a contradiction of elegance and pure physical power. Simcock is a break-out pianist – technical and at times playful. He nearly steals the show from Metheny at times. As a novice, the wheels are turning. I want to see him everywhere. His back facing the crowd, I only wish I could see his face to see the man behind the art.

    The rest join him in a whirlwind of improv. It sounds like a dinner party, with five of the most interesting conversations happening at once. Yet, every one weaves into the other creating a blur of sound, a peaceful yet chaotic soundtrack to a solo mission.

    Standing in the back of The Egg at maximum capacity and without a chair to sit in or a friend to lean on, I take the ride through the ages. For me, it’s a learning opportunity. For others it’s nostalgia. But for everyone in that room, it’s a exhibition of the raw talent of the legendary Pat Metheny.