There’s just something about seeing a band that’s playing their very 1st show. The nervous energy. The uncertainty. The sheer newness (is that even a word?) of the whole thing. Now, normally, this moment is at a neighborhood bar, coffee shop, or at some house party. Not often does it include music’s mad scientist and a direct descendant of rock royalty in front of a packed Beacham Theatre in the middle of downtown Orlando. This notion was not at all lost on the highly engaged crowd on a steamy Saturday night in Central Florida. Continue reading
Muddy Waters. Chuck Berry. Buddy Guy. BB King. Eric Clapton. Jimi Hendrix. Stevie Ray Vaughan…Gary Clark Jr.
Since the beginning of the 20th Century, every music generation has had their blues heroes, innovators and saviors. For the current generation of musicians that have been searching and starving for that next true bluesman, Gary Clark Jr. has staked his claim to this lofty perch. Now, this isn’t exactly breaking news at this point of his continually blossoming career. Some version of this statement has been said, written, and celebrated countless times before. So, why say it again? Well, one cannot fully grasp the absolute truth of that lofty statement until they’ve seen this man live and in person, and on a perfect Saturday evening in Central Florida, the proof was in the pudding…or rather, his viciously raw and dirty, yet smooth and crystalline texture of a guitar tone that knows no bounds. Continue reading
Lost another legend today. A true original. A man of many faces and musical genres, yet no matter what, he was always David Bowie.
As Tuesday morning rolled around, I hadn’t made up my mind whether or not I was going to attend this show. I’d heard of Snarky Puppy, but had barely even listened to a note of their music. The one thing I did know, however, was that nearly every single one of my favorite musicians showered this band with praise when they won their Grammy in 2014 for “Best R&B Performance.” This alone made me think twice about even entertaining the idea of missing this band’s first ever Orlando appearance. So I paid the $43 for a day-of ticket, watched a few of their videos online and joined up with my group of music-obsessed friends to see a band I really knew nothing about.
I will say, there’s something very liberating about going into a show with zero expectations and a certain level of ignorance. I know within the jam band community we can all get hung up on chasing certain songs and critiquing a set list far past the realm of normalcy. So just being there for the sole reason to experience the superhuman level of musicianship this band possesses felt a touch foreign…but very freeing. Oh, and when I say superhuman…this is not hyperbole. Holy hell, this band can play!
The 1st set (which admittedly, I missed most of), Banda Magda took the stage with Snarky Puppy for what I can only describe as a set of highly hypnotic acid jazz grooves, mixed with Latin American rhythms, set to the otherworldly French vocal stylings (and accordion playing) of Magda Giannikou. Ya. A mind bending musical excursion that was only about to get turned up a notch.
The 2nd set saw Snarky Puppy put on a display of pure instrumental insanity. With the genius-level talent of bassist and band leader, Michael League, Snarky Puppy played a set that defied and refused to conform to any single musical convention. At certain moments, it kinda broke my brain.
The seamless melding of so many different styles of music, all while keeping a cohesive distinct “sound”, is just miraculous. The way I hear it, the main foundation of Snarky Puppy’s music sits solidly within smoky, back room, acid jazz stylings, twinged with Spanish, Middle Eastern and other “world” rhythms. Within this framework, they manage to somehow find their way into moments of slow, slinky, soul, pure pocket funk, super catchy pop melodies and the occasional Moog induced giddiness courtesy of the mad scientist of keyboard rhythms and atmospheres, Cory Henry.
For a group of musicians to have such complete control over music this complicated, the rhythm section comprised of the aforementioned League, along with Nate Werth (Percussion) and Larnell Lewis (Drums), is crucial to making Snarky Puppy the ultimate groove machine that they are. Playing in time signatures I can only aspire to understand, all 9 musicians on stage (constantly taking direction from League) will stop on a dime, change tempo, switch the groove, and go from nothing but a whisper to a joyous scream without 1 musician missing a cue. I swear there were moments where even the band couldn’t believe what they just played. This is music from the future, yet somehow rooted in grooves and styles that have been around for hundreds of years.
In an evening full of highlights, there was none better than the set closing “Shofukan” (thank you for the song title, setlist.fm). What starts in a very eerie, almost Arabic space of jazz-fusion, devolves into what feels like an almost spaghetti-western style standoff soundtrack, where a lone trumpet (Justin Stanton) muses away as a very minimal soundscape rhythm holds everything in place. As the intensity and urgency of the atmosphere builds, they throw the whole thing upside down and launch into an all-out, get down, hands-in-the-air rager with the entire crowd singing along to the instantly memorable horn section melody. The crowd/band interaction during this moment may have even caught the band by surprise as they stopped playing just to hear (and take video on their phones) of the “singalong” before slamming into a reprise.
Not too shabby for a Tuesday.
So yeah, most Christmas music is pretty dated and lame. I’m aware. But, here’s a little something to get y’all in the holiday spirit that is very far from lame. In fact, it’s fun and lighthearted and beautiful.
Granted, I may be a little biased (it’s performed by my very good friends and bandmates, Mary Alexander, Todd Schenck and Ryan Wolfgang), but I guarantee that this will bring a smile to your face, a little tear to your eye (in a good way, of course) and fill you with holiday cheer.
Enjoy, and Merry Christmas!!!
A late December, cool, breezy Thursday night in Central Florida. A perfect setting for a free show, right?
Ok, so technically, this wasn’t a free show, but I know our entire crew (which is somewhere in the 20 range) were offered free tickets via The Plaza Live in the week leading up to it. I mean…we’re pretty awesome, but by all accounts, we weren’t the only ones to score legit freebies. Therein lies what makes being a jam music fan in Orlando so great…yet so difficult. The fan base just doesn’t have the concentration of most major cities of similar size, so we get skipped. A lot. But when we do get a show, we get it in a smaller venue than most others and you’re usually not fighting for dance space. We also have a really great underground jam scene rooted heavily in rock, funk, jazz and improv (just to name a few: Shak Nasti, Thomas Wynn & The Believers, The Groove Orient, Leisure Chief) so even though our numbers are small, I feel like our scene is very appreciative and knowledgable. Ok. Stepping off the soapbox. Let’s get to the show! Continue reading
This. Right here.
Lately, well…really for the last couple years, I’ve been borderline obsessed not necessarily with funk music, but any style of music that has that funky, everything is in its own pocket, kinda feel. Case in point, this could very well be classified as “afro beat” rather than “funk”, but this is undoubtedly funky. I mean, the pocket here is so deep, you could lose your car keys it it. Even if you can’t classify this as “funk”, it’s about as funky as any piece of music could ever lay claim to. Not all music is funk, but all music can be funky and this right here is about as funky as any band could ever hope to be.
This piece of their 1980 concert in Rome, while touring the Remain In Light album, boasts, in my opinion, the single handed best touring band the Talking Heads ever assembled. With P-Funk’s Bernie Worrell on (2nd!) bass and a young Adrian Belew on guitar (this is pre King Crimson, mind you), it’s just an amazing collaboration of musicians playing some of the most unique music that’s ever been written. This is a band that just doesn’t (couldn’t) exist in music today. If you have an hour to spare, I highly recommend you watch the entire concert. Even if you’re not a huge Talking Heads fan, the precision this gigantic band plays with at this point of the tour is just staggering. But, if you only have 10 min, this version of “Crosseyed and Painless” exhibits everything great about the performance of this truly one of a kind band.
I fully fell in love with this song like most people my age who grew up in New England listening to, and going to, Phish shows. Debuting this as part of their Remain In Light “musical costume” for Halloween ’96, this textured style of playing completely transformed the way Phish played music and had a profoundly lasting effect on the band even to this day. Thru listening to Phish’s extended takes on this song (namely being there in Big Cypress when they unleashed this monster), it quickly became my favorite Talking Heads song and remains so to this day.