Portland-based quintet Fruition has come a long way since busking on the streets of Portland, and as they take the country by storm, they’re not afraid to dive into new ideas in their latest album release Wild As the Night.
Perhaps the greatest talent of this group is their ability to weave in and out of different genres with ease, and their versatility can qualify them to perform at all types of festivals, from Telluride Bluegrass to Bonnoroo (both of which they’ve played).
The album is a true testament to this group’s musicianship and experience. The opening track “Forget About You” is riveting, with piano-arpeggiated runs to fill the spaces between the thunderous drum beat that carries the song. As the commotion builds, we’re introduced to tight three part harmonies and rhythmic mandolin strums. The title track of the album has a rich balance that warms the mix, and just as you get past the tenderness of the ballad, you’re suddenly thrown into the trip-hop trance of “Sweet Hereafter.” It’s here where the beat thickens, the heads bob and the mandolin is given a bit more bite so as to mimic an electric guitar.
Wild As the Night is unique glimpse into the band’s history, which has lasted more than several years. While they can all play multiple instruments, there is no fight for attention on this album. This group has their own language, and they leave space to breathe and allow each other to contribute. They even describe themselves as pieces of a bigger part when it comes to their music, and it’s evident in the album as well as their live shows. A band this creative and daring can generate a buzz quickly, so do yourself a favor and catch one of their shows while they’re still on the rise.
Fruition will be stopping by the Hollow in Albany on February 1, and if you’re in NYC, you can catch them at the Brooklyn Bowl on February 5. For info and tickets, check out their website and Facebook page.
Top Tracks: Forget About You, Wild As the Night, Sweet Hereafter
Electronic wizard and free music advocate Gramatik made people dance into the early morning hours with his digital weave of urban and funky beats at the premiere EDM venue in Brooklyn, Avant Gardner. He was supported by incredibly talented colleagues Opiou and Balkan Bump for a night of organic, hip-hop-infused electronica.
Balkan Bump is an electronic artist who mixes live instruments, world music and digital production. Trumpeter, producer and enthomusicoligist Will Magid is the brain child behind this band. A tapestry of funky beats, stellar trumpeting and dance hall vibes was cleverly woven throughout the set. At one point, Magid announced that he was playing a one word song, and everyone should sing along. That song was “Tequilla” by The Champs, and it was a huge hit with the crowd.
Opiou, a producer and artist from New Zealand, was up next, and brought his Kiwi electronic heat. Also known as Oscar Davey-Wraight, this DJ is known for funky beats and deep bass grooves, as well as a penchant for keeping the dance floor alive well into the late night. Will Magid joined Opiou during the middle of his set on trumpet, creating a refreshing organic synergy. His signature buildups and drops continued throughout the set, framed with an engaging LED light display and plenty of fog.
Gramatik took the stage to a packed crowd that was ready to dance. And dance they did. Denis Jašarević is Gramatik, hailing from Slovenia, and is known for his mind numbing hip-hop beats and fresh remixes. He played with guitarist Adam Stehr, adding an organic feel to his live performance. His stage setup included several LED panels that displayed colorful graphics, a healthy dose of fog, and a stacked lighting rig that fostered an elevated visual experience.
This evening’s stellar performance included samplings of “No Sleep Til Brooklyn” by NYC’s own Beastie Boys and “Can’t Get Enough” by Gramatik’s frequent cohort Griz. Will Magid joined the party on trumpet for a tune, and the crowd was loving every second of this vibrant collaboration. Gramatik noted that this was his last show of 2019 and he sure went out with a bang.
UK-based modern jazz artist Kamaal Williams brought his band to Brooklyn this past Saturday for a headlining show at Bushwick’s Elsewhere. Also known as Henry Wu, Williams has been putting out hip-hop-infused jazz music since 2012. With a musical foundation as a drummer, Williams has brought a percussionist mentality to his music, developing deep layers and rhythms on the keys.
In 2018, Williams founded his own record label, Black Focus Records, and released his debut as Kamaal Williams, The Return. The album is a true representation of the modern jazz scene, with influences from hip-hop, UK garage and funk melding with the jazz foundation in a unique way. All of these influences feature heavily on William’s NTS Radio residency as Henry Wu.
The show relied heavily on The Return, but throughout the night the band ventured in and out of unidentifiable musical passages and jams. The connection between Williams and the drummer was obvious as they cued off each other constantly, all while keeping in sync. Along with Williams’ large keyboard setup, the band consisted of drums, bass and tenor saxophone, but the depth of their sound made them seem much larger.
Shifting back to his roots as Henry Wu, Williams also released the 70th edition of the legendary series DJ Kicks this earlier this month. Still with jazz influences throughout, this release focuses more on the eclectic history of UK beat and garage music with Williams’ jazz style layered in. After the show at Elsewhere, Williams moved up to the second floor loft to DJ a late night party celebrating this release.
The Disco Biscuits returned to Syracuse for two nights, their first run in the Salt City since Halloween 2015. The masters of live electronica and improvisation performed four flawless sets to enthusiastic crowds at SI Hall at the New York State Fairgrounds in Syracuse on November 22 and 23.
On Friday, following an energetic “M.E.M.P.H.I.S.” opener, guitarist Jon “The Barber” Gutwillig stretched the intro to “Run Like Hell” out for an extended period before a triumphant burst into the Pink Floyd cover, then took the long route into an inverted “Aquatic Ape.” A full “Hot Air Balloon” closed the five song set, one of the few this tour to feature no new material that the band has been breaking out.
Set 2 opened with a pair of ‘global’ tunes, “Jigsaw Earth” and “Story of the World,” the latter of which sandwiched the remained of the set. “Anthem” and “Rocket Science,” two new originals debuted this tour, filled the sandwich, with an “Orch Theme” meshed in between. With the clock ticking, Men Without Hats’ “Safety Dance” served as an encore, with the show ending right at 11pm. A sweaty and smiling crowd rejoiced at one of the finest nights of the tour thus far.
Disco Biscuits, Syracuse, NY – Friday, November 22 setlist via PhantasyTour:
Set 1: M.E.M.P.H.I.S. > Run Like Hell1 > Aquatic Ape2 > Svenghali3, Hot Air Balloon Set 2: Jigsaw Earth, Story Of The World > Anthem > Orch Theme > Rocket Science > Story Of The World Encore: The Safety Dance
unfinished
inverted version
ending only
The Biscuits’ Saturday performance featured a pair of new songs, a Tractorbeam jam, and one of the best sets from the eight fall shows thus far. Two songs, “Mulberry’s Dream” and “Crickets,” were each interpolated with “Catalyst” and recent debut “4th of July,” respectively. In between these two combos found another new tune, “Electric Slinky,” part of a potential series of ‘Slinky’ songs, including “Freebis Slinky.”
Set 2 was filled with pure heat from start to finish. The four song set featured three roughly-15 minute jams, and one monster jam that went past the half hour mark. Opening with “Clocks,” a debut from earlier this year, the band ventured into “Gangster” which was met with cheers and fist pumps from the audience. What came next was one of the longest jams of the tour (thus far) and the highlight of the weekend. A 30+ minute “Spacebirdmatingcall” featured a Tractorbeam jam on Crackazat’s “Fly Away,” which draws on Earth Wind & Fire’s “I’ve Had Enough” and seemed to never let up as the band dove deep and kept exploring what the jam had to offer. “Little Shimmy in a Conga Line” wrapped up the set nicely, and a pairing of “Frog Legs” and the ending section of “Run Like Hell” from the previous night’s version cemented the night as one of the best of the tour. Setbreak is indeed over.
The Disco Biscuits head south to Florida for four shows in mid-December, then return to New York City where they will close out the year in Times Square at the Playstation Theater, which will close on December 31st following their performance.
Disco Biscuits, Syracuse, NY – Saturday, November 23 setlist via PhantasyTour:
Set 1: Mulberry’s Dream > Catalyst > Mulberry’s Dream, Electric Slinky, Crickets > 4th of July > Crickets Set 2: Clocks > Gangster > Spacebirdmatingcall > Tractorbeam Jam1 > Spacebirdmatingcall, Little Shimmy In A Conga Line Encore: Frog Legs > Run Like Hell2
The energy level at Cohoes Music Hall was infectious on Thursday, November 21. Wax Future set the tone from their first note, that this was sure to be an epic school night. The main event that followed was nothing short of stellar. Lotus curated two sets that flowed seamlessly and had everyone at Cohoes Music Hall sharing the groove. Check out the full setlist and photo gallery below.
Set One: Eats The Light, Livingston Storm, One Last Hurrah, Philly hit>Spiritualize>Contagion>Spiritualize, 72 hrs Awake
Set Two: Move Too Fast>Fortune Favors, Kalea, 128>Comptroller>Echoes, Plant Your Root>128
Chicago’s Mungion, a funk/rock jam band, and the Magic Beans, another impressive jam band from Boulder, Co, delivered funky fall tour heat at the Knitting Factory in Brooklyn, NY. Both bands wrapped up an exciting fall tour on the East Coast together, alternating closing duties nightly. Mungion did the honors at the Knitting Factory. The Bushicks, a local Brooklyn band, opened the evening for these talented bands.
John Adamski of the Busicks
The Brooklyn native Bushicks are a power trio hailing around the tri-state region. The band consists of Jonny Patrizio (Vocals/Guitar), Jessica Bogwicz (Bass) and John Adamski (Drums/Vocals). The trio was joined by a saxophonist this evening for most of the set. They delivered their signature rock, including a sweet cover of “Axilla” by Phish.
Casey Russell, Scott Hachey and Chris Duffy from the Magic Beans are feeling it.
The Magic Beans wove their tasty funk/soul/rock sounds next. The Bean band members include Scott Hachey (guitar/vocals), Casey Russell (keyboards/vocals), Chris Duffy (bass/vocals), and Cody Wales (drums/vocals). The band began by immediately dropping into a deep jam, showcasing their exceptional improvisational skills, and never looked back. This band specializes in space jam funk, and did not disappoint.
Mungion
Mungion picked up the jam vehicle where the Magic Beans left off, and dove into a rocking jam of intricate riffs. This band is made up of Justin Reckamp (guitar), Joe Re (keys), Sean Carolan (bass), and Matt Kellen (drums). The exciting directions, stellar compositions and expressive improvisation were apparent from the first note.
Scott Hachey of the Magic Beans
Both the Magic Beans and Mungion are firing on all cylinders after their 2019 fall tour through the East Coast. Mungion is closing out 2019 by playing December 29-31 at Martyr’s in Chicago, Ill. The Magic Beans are playing one night at the Goat in Keystone, Co on December 28. They resume touring with Snowstalk, their own winter festival in Frisco, Co on January 24-25, 2020. The Colorado based lineup includes Kyle Hollingsworth from String Cheese Incident, as well as skiing at Copper Mountain, and is certain to be a special event.
In a collaboration that could’ve only been dreamed up in New Orleans, Emerald Quintet, featuring saxophonist Skerik (Garage a Trois), drummer Stanton Moore (Galactic), keyboardist Robert Walter (Greyboy Allstars/Mike Gordon), bassist Andy Hess (Government Mule, Black Crowes), and guitarist Scott Metzger (Joe Russo’s Almost Dead) took the stage last night as the Brooklyn Bowl channeled its inner Jazz Fest. The group garnered its name as a tribute to the 55th Emerald Anniversary of Jazz Fest earlier this year, where they were formed to commemorate the 20th anniversary of Skerik and Moore’s first time playing the renowned festival together, and on the heels of Skerik’s 1998 debut solo album All Kooked Out. The supergroup treated Brooklyn to a rare and energetic performance on a very limited tour that included a stop in Anchorage, AK in September, and a pair of shows in Ardmore, PA and Denver, CO sandwiching last night’s Brooklyn offering.
And they came out swinging! Appropriately opening with “Mardi Gras in New Orleans,” the quintet got right to the funk, passing solos like a baton. Each musician announced his presence in a collective far greater than the sum of its parts.
“Sprung Monkey” followed, a familiar song that already had the crowd deep into a groove that would never let up. Walter’s solos tickled the crowd while his fingers tickled the black and whites, held down all the while by the best rhythm section in recent memory with Hess’s bass lines and Moore’s funky driving beats. Then Metzger’s turn with the baton, straight ahead guitar solos, no pedals, no effects, purity at the nexus of rock and funk, a touch of his signature blues, taboot.
How do you follow that? By passing the baton to Skerik of course, a powerhouse saxophonist with not only the chops to pick up where Metzger left off, but probably a large part of the reason why each member of this band pushes each other’s boundaries in all the right ways.
While most of the two-plus hour set was just straight ahead ass-shaking funk, there were moments of delicacy and patience mingled throughout. These intensely brief intervals of darkness, always pulled back by a signature Stanton beat, only served to make the light that much brighter – a true testament to the familiarity and trust shared amongst these musicians. The band was intently listening and reacting to one another, improvising while simultaneously appearing extremely well practiced. Even Peter Shapiro, owner of the Brooklyn Bowl, was on hand, an eager fan like the rest of us, but with an aura of proud papa as he, too, wore a grin from ear to ear.
“Humdinger” was an early highlight from Metzger’s Wolf! Catalog. James Casey, saxophonist (Trey Anastasio Band) joined the stage for a duelling sax number with Skerik that visibly melted the crowd, wrapped up with a spontaneous long note competition that had Skerik checking his watch while he showed off his impressive lung capacity. “Don’t Chin the Dog” highlighted both Robert Walter’s songbook and Metzger’s unbelievable talent. A cover of The Band’s “Ophelia” gave the crowd it’s only chance for a singalong before the set closing “Funky Mule.” “Who Took the Happiness,” also played by Galactic in the New Orleans tradition, was the first of a two-song encore kept the crowd grooving past the two-hour mark.
For those smart enough to be there, this was a truly special night in Brooklyn. Top shelf musicians pushing and validating each other, listening and reacting, smiling and having fun, appreciating the rarity of the occasion and the delight of the crowd in equal measure, for what may very well be one of the year’s best sets.
Setlist (via Robert Walter): Mardi Gras in New Orleans, Sprung Monkey, Aquafresh, Humdinger, Chalk Giant, Calm Down Cologne, Ironic Twist, Don’t Chin the Dog, Ophelia, Funky Mule, Who Took the Happiness, Kickin Up Dust.
When you think of a band still touring and releasing new music nearly 30 years since their debut, you might think there is a lengthy discography behind them. That is not the case for Tool, who have just released their fifth studio and first new album in 13 years, Fear Inoculum and performed at Barclays Center. When asked by BBC Radio 1 why it took so long for Tool to follow-up 10,000 Days, Maynard James Keenan cited “crippling self-doubt” about living up to the expectations placed on the band and “paranoia” that the album would not be as good as it could be. After all, their four preceding albums make up one of the most highly regarded discographies in metal.
On Tuesday night, the Fear Inoculum tour hit Barclays Center in Prospect Heights, Brooklyn for a sold out and much anticipated show. Tool have been touring steadily the past five years (this was the first stop in NYC since their headlining Governor’s Ball set back in 2017), but for the first time in more than a decade, the band was directly supporting a new LP.
UK post-punk band Killing Joke provided the support, playing to less than a half-filled room when the took the stage, but by the time the opening set finished, the arena was packed and the buzz in the room had hit a fever pitch.
Fans were made well aware of the band’s strict “No Camera” policy via notices taped to seats and security guards carrying signs echoing the rules. The intention was to prevent fans from distracting from the live experience and forcing us to live in the moment; a sentiment that should be more commonplace at modern shows. The policy was heavily enforced by security as a steady stream of fans were ejected throughout the night and flashlights constantly scanning rows of seats for phones. The enforcement in some sections turned out to be more of a nuisance than its intention, and was ultimately undermined during the last song of the night, “Stinkfist” as Maynard told security to “stand down” to allow fans take some photos.
As far as shows at Barclays Center, the sound tends to be an issue. Much like the NY Islanders had great trouble adapting the arena to a hockey stadium, sound engineers frequently struggle with the mix, especially in the upper bowls. This was not the case whatsoever for Tool on Tuesday. The engineers came up with a perfect mix that was crisp and had a lot of depth, even in the upper bowl. Every element of Dan Carey’s massive drum set was as clear as it could be, and the deep, boomy bass filled the air. I have never experienced better sound in that arena, and with Tool’s detailed and complex music, it was certainly necessary to achieve perfection.
Drummer Dan Carey is one of the more influential drummers in modern music. His vast drum set is the centerpiece of the stage and he plays with an ease and style that is mesmerizing. Tool are known for odd and complex time signatures, all of which are glued together by the percussionist. The encore began with Carey commanding the stage all by himself. A long gong solo served as a prelude, followed by Carey layering the frenetic and dystopian electronic loops of “Chocolate Chip Trip” before sitting back at the drum kit and ripping off a tight solo. This small part of the show by itself was an intense prog journey that reflects the complex history of Tool.
It was also abundantly clear that the band was very happy to be touring and playing new music again. During “Jambi,” guitarist Adam Jones crossed the stage to give bassist Justin Chancellor a big hug and a quick laugh and during new song “Invincible” the two leaned against each other as they jammed away. Maynard, who is known to dress in concealing costume and hide in the shadows behind the drum kit, was now on well-lit and elevated platforms; still keeping towards the back but in plain view the whole time. At one point, he went over to Adam Jones’ set-up, unplugged one of the Marshall amps, and carried it across the stage and up the stairs to his platform to be used as a stool.
Tool delivered a career spanning set, playing songs from all of their releases except Undertow (which was represented at other stops nearby). Before playing “Part of Me” off the 1992 EP Opiate, Maynard told the crowd that the song was written before anyone 30 years old and younger “were even sperm yet.” The new songs off Fear Inocolum seamlessly mixed with their classics and it cannot be understated how full and crisp everything sounded. The light show was also impressive, with massive LED screens showing imagery from their groundbreaking music videos, and well timed lasers to amplify the experience. A curtain made of long individual threads was at times in front of the band while a secondary light show was projected onto it. This added another layer of depth to the staging, but also cast interesting shadows onto the band members.
Before playing “Stinkfist” to end the night, Maynard welcomed longtime collaborator and artist Alex Grey onto the stage to received a warm ovation from the crowd. Alex designed Tool’s iconic album covers and his art is a fundamental part of the live stage show.
The Fear Inoculumtour continues through the New Year, with west coast dates in January and Australia/New Zealand dates in February. This show should not be missed. A band that many thought would not release another album have proven again that they are still one of the most formidable bands in the world.
Setlist: Fear Inoculum, Ãnema, The Pot, Parabol, Parabola, Pneuma, Schism, Jambi, Vicarious, Part of Me, 46 & 2.
Goose finished the first leg of their fall tour with a sold out show at Nietzsche’s in Buffalo on Saturday, November 16 after moe.’s hometown show. Coming off an opening set for the Disco Biscuits at the Roxian Theatre in Pittsburgh, and a sold out show at The Summit in Columbus, Ohio, the Connecticut based quartet rolled into Buffalo for a late-night moe. after party. The two-set show ran past 2:30 a.m. and highlighted the band’s ability to dig deep into their funk and folk inspired jams.
photo by Zach Todtenhagen
Guitarist and vocalist Rick Mitarotonda guided the band into the first song of the night, a cover of The Wood Brothers’ “Atlas,” before they segued to “Arcadia.” From their 2016 release Moon Cabin, the extensive jam emphasized many of Goose’s best qualities – ever-danceable rhythms, layered melodies, and a dramatic apex. Following a “Let’s Go Buffalo” chant led by Pete Anspach (guitar/keys/vocals), they launched into the reggae-inspired “Indian River.” A slow building rhythm section illuminated a vocal improv component and carried the band to the set closer.
“Drive,” the fourth and final song of the first set was snappy and funk infused and took on a life of its own, clocking-in at well over 15 minutes. An anchored pocket was dominated by bassist Trevor Bass and Ben Atkind behind the kit, while Pete’s rhythm guitar supported Rick’s soaring leads.
Set two picked up where set one left off, with chants of “goose” blanketing the room. The crowd was immediately captivated by the trancey “Creatures.” Dark, echoing, and reverberating, “Creatures” produced a visceral movement within the crowd. A segue to “Shama Lama Ding Dong,” an elevating cover from 1978’s National Lampoon’s Animal House, clashed artistically with the darkness of “Creatures” and preceded “Slow Ready” – a slower synth-laden version of “So Ready.”
photo by Zach Todtenhagen
The segues continued with a rendition of A-ha’s “Take On Me,” before they closed their second set out with “Hot Tea.” Unable to leave the stage for an encore break, Pete took a moment to show his appreciation and gratitude for the fans. The encore started with a cover of “Short People,” off Randy Newman’s 1977 release Little Criminals, that came before their first ever Hot Tea Reprise – dubbed “Teaprise.”
Goose will continue their fall tour on December 5 when they embark on a four-night Colorado run starting with the Aggie Theater in Fort Collins, followed by an already sold out show at Cervantes Other Side in Denver, and finally two nights in Steamboat at the Old Town Pub on December 7 and 8. They will then make their way through St. Louis, Chicago, Covington, and Indianapolis, before their sixth annual Goosemas show at the Wall Street Theater in Norwalk, Connecticut. For more information on tour dates and to purchase tickets, head here.
And just announced this week, Goose will head to Tennessee in March when they tape an episode of Bluegrass Underground for PBS on March 27. The filming will take place at The Caverns of Pelham, TN. A very limited amount of single day and 3-Day Packages go on sale Friday, 11/22 at 11AM CST
Setlist – November 16, 2019
Set 1: Atlas {1} > Arcadia {2}, Indian River, Drive
Set 2: Creatures > Shama Lama Ding Dong {3} > Slow Ready > Take On Me {4}, Hot Tea
Encore: Short People {5} > Teaprise {6}
Notes:{1} The Wood Brothers. | {2} “Lets Go Buffalo” chant. |{3} Otis Day & The Knights. |{4} A-ha. |{5} Randy Newman. |{6} Hot Tea reprise, First time played
Armed with a new album and a stellar bluegrass catalog to pull from, the all-star Dawg Trio made beautiful music at the storied Iridium Jazz Club in midtown Manhattan. The evening included plenty of intricate songs, a special guest on the “mouth trumpet,” and a cover last played with Jerry Garcia.
The Dawg Trio
The band was led by legendary musician, composer, archivist and frequent Jerry Garcia collaborator, David Grisman on mandolin and vocals. Mr. Grisman was joined by a Steve Martin Prize for Excellence in Banjo and Bluegrass Award-winner Danny Barnes on banjo, guitar and vocals. Grisman’s son, Sam Grisman, completed the trifecta on the upright bass and vocals.
David and Sam Grisman
Grisman began the evening with light hearted humor, asking the crowd, “Does anyone own CD’s anymore?” The band released a new album in October, appropriately titled Dawg Trio. He mentioned that they had CDs to sell, but wasn’t sure where they were.
Smiles were frequent at the Dawg Trio
Grammy-nominated Robert Gurland joined the party during the set, playing one song with his “mouth trumpet.” This impressive skill requires no instruments and sounds very similar to an actual trumpet. His skill and adeptness are reminiscent of Keller Williams, who uses this technique in his solo shows. The entire band was all smiles while Gurland was on stage, and throughout the show.
Robert Gurland on the mouth trumpet
Sam Grisman took the helm during “Zadeh’s Waltz” from Dawg Trio. He also filled big shoes by singing Jerry Garcia’s part in “When First Unto This Country.” Prior to the song, Grisman announced that the last time he played this song was with Jerry Garcia. Sam’s vocals were a great tribute to the late Garcia, and showed that he looks forward to a promising musical career.
Sam Grisman on the upright bass
Danny Barnes showed his wild talent throughout the evening, but particularly shined during “Super Grits,” from Dawg Trio. His unconventional and wild approach was refreshing and made for deliciously detailed jams. The show wrapped up with the intricate bluegrass standard “Things In Life,” proving that mandolin juggernaut Grisman still has still “got it” after all these years.
Sam Grisman and Danny Barnes sing their hearts out
