Michael Formanek’s Very Practical Trio with Tim Berne and Mary Halvorson at Le Poisson Rouge. 

Makaya McCraven at Bowery Ballroom 

Winter Jazz Fest: Various Venues in New York 1/11/19

The 15th annual Winter Jazz Fest came to New York City last week with dozens of concerts in 12 spaces spread across downtown. The sprawling festival spanned over the course of two weekends, which other shows occurring during the week. I attended the second of three marathon nights on Friday, January 11th. All of the shows were well attended, with some being crowded, requiring savvy festival-goers to prioritize. I started at Le Poisson Rouge with a show by Michael Formanek’s Very Practical Trio with Tim Berne and Mary Halvorson. Formanek has been a bass stalwart and composer for many years and frequent collaborator with alto saxophonist Tim Berne. The wild card of the set was the relative new-comer Mary Halvorson on guitar, who proved to be a delight to hear and watch. The drummer-less trio freely chased one another (musically) for the set, each offering their own melodic interpretations and inspirations from Formanek’s compositions. Halvorson had a lot to offer and when the focus was on her. She would frequently begin by playing a pattern, running it through and looping pedal, and then playing on top of that, creating her own reality in the context of the trio. 

After brief stops at Subculture to see The Matthew Steven’s Trio and The Sheen Center to hear The Alexis Cuadrado Group, I settled in at the Bowery Ballroom for Ezra Collective, a London-based quintet that has enjoyed great success in England with little exposure in the United States. I became aware of them from the much-heralded 2018 compilation album “We Out Here,” which featured 9 tracks from recent figures in London’s jazz scene. The six-year-old group’s first live New York date did not disappoint. Their extensive live experience showed as they confidently weaved between 70’s styled jazzy funk with hints of reggae and Afro-pop. The full house at the Bowery Ballroom grooved along and got a taste of the newer, danceable and energetic vibe of London jazz. 

I remained at the Bowery for the much-anticipated set by Makaya McCraven. The 35th-year-old drummer received a lot of press attention and positive reviews for his recent live shows and 2018 release “Universal Beings.” The album - a frequent entry on various best of 2018 lists - is a unique exploration of jazz, funk, and hip-hop. It was recorded live in Chicago, New York, London, and Los Angeles, featuring local players from those cities. After the initial recordings, McCraven spent time “sampling” the live recordings and adding extra parts. The result, which McCraven terms “organic beat music,” is an expansive jazz statement that flows being contemplative grooves and kinetic wailing. The live show seemed a little more contained and rehearsed than the album, but the Friday night festival crowd did not care. Given the four locations and the many musicians on the album, it would have been hard to re-create. Instead, Makaya lead his working band from the drum kit and delighted the crowd with danceable grooves supplemented with engaging melodic passages. They touched on compositions from “Universal Beings” as well as other McCraven compositions (like “Three Fifths a Man”) and covers like “There Comes a Time” by Tony Williams.  Vibraphonist Joel Ross added supple textures and some crushing solos on an instrument we don’t hear much of these days.

The only downside of a festival like this is that you can only be one place at a time. I’m looking forward to next year and hopefully will attend more than one night.

Gary Clark Jr.: Live at Celebrate Brooklyn 8/9/19

Gary Clark Jr. brought his brand of Texas blues to a convivial crowd in Prospect Park on Thursday. Back 2011, Rolling Stone declared Clark “Best Young Gun,” while the next year saw the release of his first album Blak and Blu. It’s hard to believe that he has only been on the national scene for less than a decade.  Evidently, the last several years of touring have solidified his act - the 34-year-old Texan showed he owns both the fretboard and the stage. 

To the casual listener, blues can seem simple and straight-ahead: the repertoire often relies on similar chord changes, song structures, keys, and melodies. When done correctly by a pro like Gary Clark Jr., the devil is in the details and the guitarist put together a dynamic set that led the audience through peaks and valleys throughout the 15 song 90-minute program. It wasn’t just one song after another, it flowed from the initial simmering intensity of the set-opening “Catfish Blues,” into the up-tempo 60’s style R&B of “Ain’t Messin’ Around.” Next was a trio of songs from Clark’s noteworthy 2014 live album: the shuffling “Travis Country, the heavy Delta-tinged “Next Door Neighbor Blues,” and the funky Chicago-style minor blues “When My Train Pulls In,” which ended with a devastating solo coming out of Clark’s Gibson SG (see video below.) This first 3rd of the set elevated the already hyped crowd and showed-off Clark’s command of all kinds of blues music while showcasing his rock-solid backing trio. The set continued with numbers from his most recent studio album (The Story of Sonny Boy Slim), some new unreleased songs, and some well-placed covers like B.B. Kings “My Baby’s Gone” (which showcased Clark’s slide work) and Albert Kings “Oh Pretty Woman,” which saw Clark pick up a Flying V (Albert’s favorite.)

Clark finished the set with his most well-known number, a cover of the Beatles’ “Come Together.” The song, from the Justice League soundtrack, was a departure from Clark’s blues-based style mainly because of the contributions of producer Junkie XL, who added a chunky synth bass riff to the mix. In Brooklyn, the tune was brought back to rock roots with Clark’s band being supplemented with the show’s opener Fiona Silver. The result was a perfect encore for a full house of blues fans on a summer night.

Photo by Bill Murphy

“When My Train Pulls In” Video: 

https://www.facebook.com/sullivanrich/videos/10156402739203820/

Reggae on the Boardwalk: Live at Coney Island, Brooklyn 8/5/18

On Sunday, August 5th reggae returned to Coney Island with the third edition this summer of Reggae on The Boardwalk. Produced by Carter Van Pelt - a veteran reggae DJ - the boardwalk was filled with Jamaican music lovers grooving to the tunes on a warm afternoon. 

The event first began by Van Pelt back in 2010. At the time, Pelt was one of the DJs on WKCR’s long-running program Eastern Standard Time. He got a sound system, a stack of records, a few DJ friends, and Reggae on the Boardwalk was born. Since then, the event has become regular with 4 editions each summer (the final one this year will be on Sunday, September 9th.) What began as a completely crowd-funded event now has the support of The Brooklyn Arts Council and VP Records to supplement individual donations. The result is a reggae sound system party modeled on the legendary outdoor dances held across Jamaica. Given that the selectors use all vinyl records, the result is a reggae lovers dream: original 45s and album cuts pulsing through a fully realized sound system with two massive speaker banks blasting down up the boardwalk and down to the beach. The spirited crowd is made up of folks that planned their day around the event and others lucky to pass by.

The afternoon was filled with several DJs selecting and spinning including Gaby Locs, Carter Van Pelt, Natural Vibes, Jah Wise, and Chanter International. It was a deep dive into classic reggae and rocksteady mostly played on 45s. We were treated to work by artists like Glen Adams, Little Roy, Burning Spear, Ray Darwin, Jennifer Lara, Delroy Wilson, Barrington Levy and many more. You are not going to hear Bob Marley’s greatest hits at something like this, but astute listeners heard Marley’s voice cutting through on the 1970 Wailers’ tune “Soul Captives.” 

Tarrus Riley: Live at Celebrate Brooklyn 8/4/18

The Celebrate Brooklyn series is marking their 40th year of bringing free shows to the park. The good news for Jamaican music fans is that there has always been one night a summer featuring a well-known reggae artist: Steel Pulse, Gregory Issacs, Barrington Levy, Third World, and various Marleys have all graced the stage. Last weekend, it was Tarrus Riley’s turn, and he filled the venue with his infectious melodies and enthused performance. The son of roots reggae star Jimmy Riley, Tarrus has been making his own mark on the genre for the past 14 years. And Riley’s music is not just reggae, much of it is in the dancehall tradition complete with a few beeps of the traditional air-horn. Riley became well-known early in his career with his hit “She’s Royal,” and entertained the crowd with that many other tracks from his career, including more recent numbers like “Graveyard” and “Just The Way You Are.” The Bronx native talked a lot to the crowd, keeping the energy up throughout the night. His local knowledge was appreciated, as he gave shout-outs to various neighborhoods throughout the boroughs. Riley also got the crowd singing along with several covers including “The First Cut is the Deepest,” “Night Nurse,” “By The Rivers of Babylon,” and a grooving version of “Human Nature.” He included a few words about his late father and performed a sweet version of Jimmy Riley’s hit “Love and Devotion.”

Riley was not the only star on the stage - the British vocalist Estelle joined for a few tunes including their duet “Love Like Ours.” Another reggae star on board was the saxophonist Dean Fraser. Much more than a sideman, Fraser - who has been recording, producing and touring since the 70’s - has served as a mentor to Riley, and has toured and recorded with him extensively. Riley announced it was Fraser’s birthday (his 61st), and the band and crowd performed a rousing version of “Happy Birthday.” Fraser, like everyone else in the venue, seemed happy indeed. And that happiness is not by accident - Riley showed that in addition to being a strong writer and vocalist, he’s a master showman and entertainer. 

BADBADNOTGOOD: Live at Celebrate Brooklyn 8/2/18

BADBADNOTGOOD brought their brand of jazzy jams to Celebrate Brooklyn on Thursday evening. A packed house greeted the quartet featuring keyboardist Matthew Tavares, bassist Chester Hanson, drummer Alexander Sowinski and saxophonist Leland Whitty. Best known for their collaborations with hip-hop MCs like Ghostface Killah, Earl Sweatshirt and Tyler, The Creator, this instrumental gig showcased their diverse musical tastes and improvisational freedom. 

Aside from their collaborations with hip-hop artists, I hadn’t heard much of BBNG work, I was surprised by the size of their crowd, and the fact that many in it seemed very familiar with their tracks. This created an unusual dynamic in witnessing hundreds of 20 somethings bopping along to music that sometimes sounded like the the smoother side of early 80’s jazz-rock fusion like Spyro Gyra and David Sanborn. But perhaps everything old is new again for this young jazz ensemble that has only been around since the beginning of this decade. They carved out their own path by rebelling against the jazz curriculum at Humber College in Toronto. Legend has it that they presented a piece to their instructors based on Odd Future’s music which lead to a thumbs-down by the faculty. They then uploaded the piece to YouTube and got the attention of Tyler, The Creator who helped the piece go viral. Since then it’s been a whirlwind for the group as they have jumped between collaborations with hip-hop artists and their own instrumental releases. The result on Thursday night was a show that found the band moving around through different kinds of grooves with plenty of free-floating interplay between the members. They are considered by many to be part of the worlds of jazz and hip-hop, but Sowinski’s drumming frequently brings them into the rock zone as he avoids the lighter, more swinging style of many jazz drummers. The same can be said for the other members of BBNG as well - they all seem to have one foot in jazz while simultaneously having the other in varied and alternating worlds or rock, dance music, hip-hop, and neo-classical. And that - at least for this new listener - seems to be their secret sauce of their success. They kept things moving on Thursday, never staying with one groove or one mode for too long, keeping the audience literally and figuratively on their feet. 

Mala Rodriguez

Mala Rodriguez and Ana Tijoux: Live at Celebrate Brooklyn 7/13/18

On Friday night, Celebrate Brooklyn featured its annual concert presented in association with The Latin Alternative Music Conference. The evening featured strong feminist rappers at the top of the bill: The Chilean Ana Tijoux followed by Spain’s Mala Rodriguez.

Tijoux - who came up with the Chilean hip-hop group Makiza in 1997 - offered a new take on her usual blend of hip-hop and pop by unveiling her new project: Roja y Negro. This new venture featured a septet performing a blend of Latin American folk music and hip-hop. Tijoux, a veteran MC, managed to make this effort work flawlessly, as one never felt that this was just hip-hop pasted over folk music: it always seemed equally of both worlds. Tijoux spoke to the audience a lot, jumping back and forth between English and Spanish. Her comments energized the crowd as she delved into topics of immigration, the recent separations of immigrant families at the border, and feminist power. It was a fiery performance that showed off Tijoux’s many talents as a vocalist, MC, bandleader, and raconteur.

The mood changed dramatically when the Spanish hip-hop star Mala Rodriguez took the stage next. The instruments were cleared away in favor of a more traditional rap setup: DJ and MC with a couple of backup dancers. Rodriguez - sometimes referred to as La Mala or the bad one - wasted no time in getting into her brand of hardcore (“jacor”) rap. She burst on the Spanish hip-hop scene in the 1990s and has since and gained many fans in Europe, Latin America, and apparently Brooklyn (many in the enthusiastic audience knew her lyrics.) Her performance often featured driving drum beats with layers of electronics and flamenco guitars. Upon this instrumental base, she layered her kinetic vocals and tireless stage presence. Late in her set, she invited several women from the audience to dance with her on stage, a hip-hop trope for sure. This went well until the number ended and most of the participants wanted to get selfies with Rodriguez. One woman seemed to want to remain on stage for longer and briefly flashed the audience before being hustled off. Mala Rodriguez surely inspired her fans on Friday night while gaining some new ones in the process.

Antibalas

Combo Chimbita

Antibalas and Combo Chimbita: Live at Celebrate Brooklyn 7/12/18

From their beginings in 1998 until 2008, Antibalas was ubitiqitous in clubs and concerts in New York City. They were especially familiar to audiences attending outdoor summer concerts, where their funky afro-pop presentation was always a must see (and must dance.) Thursday night in Brooklyn was a return to form as the mutli-instrumental, vocal and dance ensemble took the stage at Celebrate Brooklyn. Frontman Duke Amayo led the ensemble through a selections from their catalog that mainly focused on danceable afro-beat, with occasional forays into latin and afro-carribean style (like their cover of Willie Colon’s Che Che Cole.) Their grooves were greeted warmly by the hometown crowd and for 90 minutes they kept people grooving. Looking at their history and recent touring schedules revealed they have indeed been busy. In 2008, Antibalas took time away from their own music to play the music of Fela Kuti in the off-broad prouduction of Fela! In 2009 they continued with the show on Broadway and subsquently toured with the production, keeping them tied up through 2011. In 2012, they began a period of heavy touring in Europe, Latin America, Australia and the United States. I realized that although I had not seen them in awhile, many people from all over the world have been able to connect with their driving, danceable repitroire.

Before Antibalas hit the stage, we were treated to the eclectic sounds of newcomers Combo Chimbita. Fronted by the vocalist Carolina Oliveros, these new yorkers of Columbian descent delivered an energetic set of driving Latin grooves mixed with an inventive, at times psychedelic soundscape. On tour to support their first album Abya Yala, their enthusiastic set quickly had the audience out of their seats. They call their music “Tropical Futurism,” an apt term in describing their blend of Latin and Carribean rhytms with abstracted and funky arrangements. I think most in the audience had been unfamiliar with Combo Chimbita at the start of the set, but this didn’t last long. By their conclusion, they had surely gained many new fans.

Kabaka Pyramid

Third World

Barrington Levy

Kabaka Pyramid, Third World and Barrington Levy: Live at Summerstage at The Ford Amphitheater, Brooklyn 7/8/18

Once or twice a summer, Brooklyn becomes a kind of reggae nirvana. Sunday night was one such night. A free show sponsored by Summerstage at The Ford Amphitheater at Coney Island featuring Kabaka Pyramid, Third World, and Barrington Levy put reggae fans in a blissful state. Jamaican music enthusiasts showed up en masse on a relatively cool summer night just steps away from the beach. Near the front, where I was standing, fans danced and sang along to the delight of the performers.

The evening started with the new kid on the block - Kabaka Pyramid -playing his first Brooklyn show. Kabaka, who has been hailed as part of the “reggae revival” movement in Jamaica, focused his energy on 1970’s style conscious roots reggae. He mostly drew from his recent release “Kontraband,” with the title track and the single “Can’t Breathe” being highlights. Sometimes Kabaka plays only with a DJ, but a full band backed him up on Sunday helping establish the rootsy vibe.

The evening continued with well-selected DJ sets by Federation Sound and DJ Gravy. The intra-set music always seems to be important in this multiple-bill reggae shows, because it keeps the audience firmly in the groove. Third World came up next and played a set of their particular brand of reggae fused with R&B (there 1978 hit “Now that We’ve Found Love” was a crowd favorite.) The tempo slowed midway through their set when the guitarist Stephen “Cat” Coore switched to cello and performed “Redemption Song.” This mood continued as vocalist AJ Brown sang “Con Te Partiro,” an Italian aria. Brown replaced the long-time vocalist Bunny Rugs who passed away in 2014 and has settled into the role of frontman of the group now 45 years into their career.

The show wrapped up with a rousing set by another long-time reggae stalwart, Barrington Levy. Levy’s well-known reggae and dancehall hits whipped the crowd into a frenzy as he performed numbers like “Under Me Sensi,” “Murderer,” and “Here I Come.” Levy, ever the showman, seemed to enjoy himself and savored the enthusiasm by the crowd.

Fortunately, Brooklynites can generally see a good free outdoor reggae show once a summer. This particular one - with three solid headliners - will be surely be remembered in the depths of winter by the fortunate attendees.

Delgres: Live at The BAM R&B Festival, Brooklyn 7/5/18

Delgres brought their bluesy vibes to Brooklyn on Thursday afternoon at the BAM R&B Festival at Metrotech. The Paris-based trio is fronted by singer/guitarist Pascal Danae. Danae has built his reputation largely as a studio musician and sideman with artists like Peter Gabriel, Youssou N���Dour, and Gilberto Gil, among others. Delgres is Danae’s chance to be a frontman, and he delighted the audience with this unique spin on blues, Afro-Caribbean, and New Orlean’s music. The group is relatively new and has released only a few songs thus far. Their debut album will be out in August, and they will be back in the states for more dates this fall.

Danae was raised in Paris by his parents who were immigrants from the Caribbean island nation of Guadeloupe. He eventually learned to speak Creole and sings in French, Creole, and English. The band is named after Louis Delgres, a key figure in Guadeloupe's history who lead a movement resisting reoccupation and slavery by France in 1802. Danae is taking this opportunity to explore his Carribean roots while engaging in a kind of musicological exploration by linking a variety of music from the greater African diaspora.

Delgres’ website describes the group as a Caribbean blues trio, and their relatively simple format allows all three to carve out their own spaces within the music. Baptiste Brondy, who previously played with Danae in a Brazilian flavored Paris-based band Riviere Noire, provided solid grooves on the drums and background vocals. The low-end was uniquely managed by Sousaphonist Rafgee, which brought a New Orlean’s street parade vibe to the set.

The lunchtime crowd was enthusiastic throughout the show and highlights included “Can’t Let You Go,” “Mr. President,” and a unique, groovy take on Led Zeppelin’s “Whole Lotta Love.” One left with the feeling (and hope) that we will be hearing more from Delgres soon.

U2: Live at Madison Square Garden, New York 6/26/18

Back in 1985, I was watching U2 at the Worcester Centrum. This was their first arena tour of the states, as they had previously been playing theaters and auditoriums. Bono and company seemed comfortable playing to the sold-out crowd of 15,000. After ending “The Wire,” Bono asked the crowd to sit down and to listen. He asked us to remain calm as a lighting grid that hanging over the stage and some of the floor seats had become slightly dislodged. Bono very calmly instructed the audience members under the grid to slowly file out of their seats. He assured us all that after the problem was fixed, they would play some extra numbers and continue the show. After a half hour, everyone was back in their seats and it was all systems go for the young Irish rockers. I remember thinking that Bono had some leadership qualities - this was a guy that people would listen too. The moment forced him to put the rock star hat aside and to serve as chief safety inspector, and he handled it nicely.

30 odd years later, people are still listening to him. On Tuesday night at Madison Square Garden, Bono spent a lot of time speaking to the audience. He talked about America, Immigration, his mother, his childhood home, and New York among other topics. Some of it seemed a little superfluous, but it didn’t matter, as he got to where he wanted to go -  communication, even communion with his audience. Although his banter may be nearly repeated every night of the tour, he does his best to make it not seem that way. He convinces you that there is no place he and his bandmates would rather be at the moment, and thus convinces you that you wouldn’t want to be anywhere else either.

But it’s not all talk, there’s rock too. And it’s of the hearty, stick-to-your-ribs variety. I don’t think many U2 fans would argue that there last couple of albums are their best, but don’t tell the band that. Last summer there toured playing the entire “Joshua Tree” and one might have thought they were moving into their legacy years, parading out their biggest hits to an aging audience a la The Rolling Stones. But that was last summer, and this year they’ve packed away the Joshua Tree skipping fan favorites like “With or Without You’ and “Still Haven’t Found What I’m Looking For.” They are touring in full support of their most recent release: 2017’s Songs of Experience. A third of the songs performed came from this record while the rest came from all over the catalog including some deep cuts (“The Ocean” from Boy  and “Staring at the Sun” from Pop) and, of course, many of the hits (“I Will Follow,” “Sunday Bloody Sunday” and “One” among others.) The setlist was seemingly put together to reflect the darker times we are living in. The “Blackout,” the second song of the night, captures their thinking these days: “When the lights go out, throw yourself about. In the darkness where we learn to see.” There was a heaviness to the performance - Bono spent a few songs in his previously devised “MacPhisto” character, with digital effects making Bono look the devil on the big screens. But even though there were serious moments throughout the evening, it was a still party, with plenty of singing and dancing in the audience. By using multiple stages, and the band spent time in different parts of the Garden. I hadn’t been to a U2 show in 26 years and was sold on their architectural approach to their stagecraft, using the entire space in service of their vision, creating an environment that is as visually appealing as it is musically.

As much as the band’s playing was well executed and impressive, the focus remains Bono. At 58 he continues to have one of the biggest voices in rock and manages to fill the arena with it. As the evening ended, the set closed not with one of their old anthems, but with two new ones: “Love is Bigger Than Anything in Its Way” and “13 (There is a Light.)” Why roll out an old warhorse from the 80s when you can write new ones?

Watching U2 and watching the fans engage made me recall a review I read in the early 80s describing one of U2’s first shows in Boston. The reviewer’s theory was that the band was not really named after the American spy plane of the same name, but rather named for their audience (as in you too.) The idea is that rock is not just about the band, but rather it’s critical engagement with the audience. I bought the theory and on Tuesday night I saw it put into to practice.

The Feelies: Live at The 9:30 Club Washington, D.C. 6/22/18

On a blistering night in July of 2011, I rode my bike to Prospect Park to catch the legendary rockers from Haledon, New Jersey: The Feelies. Despite the heat and subsequent unwillingness of any of my family or friends to join me, I wanted to see this seminal band that I had loved in the 80s but had since disappeared for many years. I arrived to see a smaller crowd than usual at the bandshell and noticed that a large percentage of the audience were unaccompanied middle-aged white guys, many with beards and glasses. The heat would not stop these Feelies fans, and we were all rewarded by an energetic show.

The illusive Feelies brought their brand of post-punk rock and roll to the 9:30 Club in Washington D.C. on Friday night. Since reuniting in 2008 after a 16-year hiatus, they have been hard to catch. Lately, they average less than 10 shows a year and stick mostly to the east coast. The near-capacity crowd witnessed the quintet deliver a generous helping of their catalog divided across two sets. There were notable songs from their seven albums and three EPs, with many of the crowd pleasers coming from their earlier records. Despite their light touring schedule, this band remains rock solid. The rhythm section of Stan Demeski (drums) Dave Weckerman (drums and percussion) and Brenda Sauter (bass) created a rich wall of sound behind the guitars and vocals the two original members: Glenn Mercer and Bill Million. Mercer and Million have been at this since 1976 and the experience showed. They have taken a rock tributary from The Velvet Underground and formed it into their own river; a river filled with vigorous vocals and heavy-duty guitar hooks.

After they ended with their most well-known tune “Crazy Rhythms,” the band stepped backstage. They didn’t spend much time there and emerged for a total of four encores. They delighted the audience with a few more originals as well some excellent covers including The Velvet Underground’s “Rock and Roll” and “I Can’t Stand It,” Television’s “See No Evil” and Neil Young’s “Rockin’ in the Free World.” The experience was reminiscent of leaving a good New Jersey diner: everyone left full and satisfied.

Spoon/Grizzly Bear: Live at Celebrate Brooklyn 6/20/18

Grizzly Bear and Spoon brought their current 8-date tour to Celebrate Brooklyn on Wednesday. Their third show in their dual headlining tour was a success by all accounts. Spoon took the opening spot giving local favorites Grizzly Bear the later set. Led by singer Britt Daniel, Spoon's crafted songwriting gleamed on this summer evening. Their grooving pop rock kept everyone engaged as they touched on 16 numbers from their 20-year catalog. It’s easy to forget how many good songs Spoon have since their first record was released in 1996. Never a household name, the quartet has earned its stripes the old fashioned way by steadily releasing records and touring extensively. They got things going early in their set with their recent hit “Inside Out,” and kept the set up-tempo numbers like “I Turn My Camera On,” “Do You,” “Hot Thoughts,” and “Can I Sit Next to You.”

After an intermission Grizzly Bear returned to their stage with more fleshed out set and lighting designs. The crowd swelled for the hometown band, although lead singer Edward Droste was quick to point out that he now resides in Los Angeles and none live in Brooklyn. This detail didn’t matter to the fans and Grizzly Band settled in for a 14-song set favoring material from their most recent release - 2017’s “Painted Ruins.” “Losing All Sense” came early on and was an effective example to newcomers in the crowd of their brand of artisanal pop. “Yet Again” featured sinuous melodies and beautifully executed vocal harmonies. As evening turned to night, the crowd settled in for some of their more introspective numbers like “Ready, Able” and “Four Cypresses.” The more pop-orientated “Mourning Sound” followed and got people moving more. As the set pressed on, we were reminded that 16 years into their career, Grizzly Bear has managed to carve out a unique space in pop that wavers from the experimental to the sing-along.  

An informal survey by people in the audience revealed that most people were mainly there to see one of the bands but we're open to seeing the other one.  Putting these two unique bands on a dual headliner tour seemingly worked well for the bands and audience alike.

Los Lobos: Live at Celebrate Brooklyn 6/10/18

The veteran party band Los Lobos rolled into Brooklyn on Sunday aiming to deliver their well-honed show to concertgoers at Celebrate Brooklyn in Prospect Park. Not surprisingly, the sextet with over 40 years experience delivered the goods to an enthusiastic crowd. The band began with a cover of the Grateful Dead’s “Bertha” and trucked along for the next 90 minutes with their unique blend of blues, latin, tex-mex, country and rock n’ roll. With 20 albums to their credit filled with original numbers, they're not shy about rattling off covers: they also ventured into “Crossroads,” “C’mon Let’s Go,” and “Papa Was a Roling Stone” at various points. The four original members (David Hidalgo, Louie Perez, Cesar Rosas and Conrad Lozano) along with Steve Berlin (since 1984) and Enrique Gonzalez (since 2012) are a well-oiled machine; oiled by relentless touring in the 80s and 90s. The work has paid off, as the singing-along by the audience revealed their many fans in NYC (and they surely made more.)

The band-members - most in their mid-60s - approached the gig with a working-class vibe: jeans and t-shirts are good enough and drinking beers on stage totally acceptable. There is nothing fancy about their presentation, as they remain close to their roots in Los Angeles, where they played hundreds of bar gigs and Mexican-American weddings in their early days. But looks can be deceiving. They can make it look easy, but their compositions and arrangements have multiple dimensions. Midway through their set, Hidalgo swapped out his electric guitar for an accordion, while Perez picked up his jaranita, and the band lurched into several of their acoustically driven nuevo Mexican material, touching on cumbia, bolero and nortenos rhythms. Ambitious and fully realized, the audience loved it and, despite a little rain, the dancing continued.

The afternoon concert was billed as a family concert and I was curious to see if their set was going to be specifically geared to kids. It wasn’t, but not a soul in the audience seemed to care. They filled the bandshell with smiling faces and these road veterans visibly enjoyed their time on stage. They wrapped up their set with the first Spanish language number one hit in the U.S.: their cover of Richie Valens’ “La Bamba.” The song was released in 1987 but seemed freshly minted coming off the stage at the bandshell on a warm summer Sunday.  

Purple People Party 3: Restoration Plaza, Bed Stuy, Brooklyn 6/9/18

It was the perfect day for a block party in Brooklyn and Spike Lee threw a memorable one. The 3rd annual Purple People Party on Saturday at Restoration Plaza in Bed Stuy was filled with Prince fans dressed in purple, his music presented by DJ Spina, and a local feel with plenty of sing-alongs and energetic dancing. The origins of this party go back to the untimely death of Prince, and Spike Lee’s impromptu memorial outside his production company in Fort Greene. This is the third birthday celebration for Prince, with many people were wearing Prince t-shirts from the events of the last two years. The plaza was filled with various fashion variations, favoring the funky and purple.

The day featured DJ Spinna playing Prince tunes and remixes, punctuated occasionally by special guests like Doug E. Fresh, Sway, DJ Hollywood, and, of course, Spike Lee. Forty Acres and A Mule (Spike’s production company) had the set dressed the plaza with plenty of purple signage and had multiple camera people on hand to document the event for a new episode of Lee’s Netflix series “She’s Gotta Have It.”

Doug E. Fresh brought the party up a notch when he emerged on-stage and began to talk about his touring memories with Prince. He recounted a story where he was struggling on stage with bad sound only to hear things get better, and then spotting Prince behind the mixing board, making it happen for him. Doug solidified the crowd and united the energy around the grooves of Prince’s “Pop Life.”

At one point, Spike offered a toast to Prince and people raised their nutcrackers. Prince may not have approved, but, by all accounts, he would have loved seeing hundreds of people dance to his music on a summer day.

Bernard Purdie’s All-Star Shuffle: Live at The BAM R&B Festival, Brooklyn 6/7/18

Summer has arrived in Brooklyn. And that means that every Thursday at noon The Brooklyn Academy of Music presents their annual R&B Festival. For the past 23 years, Producer Danny Kapilian and his team have brought live music to the lunchtime crowd at Metrotech. The festivities began on Thursday with a band lead by the most-recorded drummer in history: Bernard “Pretty” Purdie. Purdie’s All-Star Shuffle mainly focused on repertoire that Purdie has recorded at various times throughout his lengthy career (he has appeared on over 4,000 albums.) Many know him for his work with James Brown, and certainly hip-hop fans will know some of his rhythms which have been widely sampled. Purdie and the band grooved nicely on Brown’s “Sex Machine” and “Cold Sweat.” His work on records by Nina Simone (“Since I Fell for You”), Gil Scott Heron (“The Revolution Will Not Be Televised”) and Aretha Franklin (“Until I Come Back to You”) was well represented. In addition to his band, Purdie was joined by several guests including Rob Paparozzi on vocals and harmonica, Roy Bennet on bass and vocals, Quiana Lynell on vocals and the always entertaining Bobbi Humphrey on vocals and flute.

No discussion of Pretty Purdie would be complete without mentioning the Purdie Shuffle: Purdie’s signature halftime blues shuffle. This clip explains more about this rhythm and its use on Steely Dan’s “Home at Last.” Purdie and his group performed a breezy version of the tune, with Purdie tastefully laying down the familiar groove while Lynell delivering a charming vocal rendition mixed in with Paparozzi harmonica. It was a sweet way to start the summer series and the audience delighted in hearing the 78-year old’s swinging beats filling the air in downtown Brooklyn.

Michael Arnone’s Crawfish Festival, June 1st and 2nd 2018 Augusta, NJ.

What began decades ago as a small crawfish boil for Louisiana natives living in New Jersey, has blossomed into a 3-day music and food festival featuring some great bands from New Orleans, as well as other acts that fit in with the rootsy/bluesy atmosphere. At Michael Arnone's 29th Annual Crawfish Festival in Augusta, New Jersey last weekend the food was hot, the beer cold, and the sounds funky. We arrived Friday afternoon, set up our tent, and then ventured into The Sussex County Fairgrounds for the opening sets. The evening began with a newcomer Katie Henry, who played a rousing set of bluesy numbers backed a forceful quartet. The vibe quickly changed to a Cajun dance party when The Pine Leaf Boys took the stage next. Friday's festivities ended with a lengthy set by Jon Cleary in a rare trio appearance. As a longtime Cleary fan, I was curious to hear numbers from his forthcoming album and was delighted at the result. He weaved in new songs into a setlist filled with some memorable numbers from earlier albums (like "When You Get Back" and "Mo Hippa) and danceable covers (Cleary's unique groove on "Tipitina" is legendary.) A performer known for his bluesy vocals and inspired keyboard playing surprised the audience by playing three songs on guitar, changing the colors of a trio with his electric riffs. It was a solid performance that had the entire venue dancing with Cleary looking happy to be a the center of the party.

The humidity Saturday brought a New Orleans’ feel to the festival and the day was filled with 12 sets on 3 different stages. Marcia Ball was a highlight, as she captivated audiences with her unique blend of Texas blues and Louisiana piano boogie. She mined her deep catalog for a variety of originals and covers backed by a veteran band. As the sun was setting, the hundreds of festival attendees with day passes made for the exits, while those who were there to camp were treated to an evening of music. The main event Saturday night was the return of Big Sam's Funky Nation to the festival. Big Sam - a veteran singer and trombonist who came up with The Dirty Dozen Brass Band - brought in the heavy funk with his quintet. Sam has mastered the art of presenting Nola brass band music with a contemporary R&B feel, and a rhythm section that rivals back-in-the-day P-Funk. Big Sam led a set of danceable tunes focusing on songs from his electrifying new album "Songs in the Key of Funk, Vol. One." The night wrapped up early Sunday morning with a groovy set by The Stanton Moore Trio, who generally fill the stage on Tuesday nights at Snug Harbor in the Cresent City. Moore, a founding member of Galactic, is frequently cited as a NOLA's most in-demand drummer. The trio's laid-back, swinging repertoire was perfect for a late-night set as the audience grooved along to Moore's rhythm, the expressive bass playing of James Singleton and the inventive keyboard melodies of David Torkanowsky.

The festival continued on Sunday without our group, but surely Taj Mahal, Samantha Fish, George Porter Jr. and others entertained the audiences into the evening in Western New Jersey. Let the good times roll indeed!

Abdullah Ibrahim: Live at Brooklyn Academy of Music 4/18/18

Abdullah Ibrahim appeared from behind the curtain on Wednesday evening at The Brooklyn Academy of Music to the sound of cheers and applause. The 83-year-old pianist and composer settled in behind the keyboard and began to draw the audience in with a gentle and intimate piece for solo piano. The South African native had begun the second night of his two-night presentation of the music of The Jazz Epistles - a band Ibrahim, known then as Dollar Brand -  joined in 1959 along with the late and legendary trumpeter Hugh Masekela. The Jazz Epistles were a short-lived bebop group that recorded one album and played jam sessions and concerts in Sophiatown. They were well known in the Johannesburg area but soon problems arose for them and many other artists. After the Sharpeville Massacre in 1960, the apartheid government cracked down on many activities by black South Africans, including jazz musicians. The band broke up. Shortly thereafter, Ibrahim left his native country for Europe and, after being heard by Duke Ellington, began recording for Reprise Records. The rest is history and Ibrahim became known throughout the world for his energetic, swinging piano style and compositions that blended American jazz with South African melodies, spawning a new genre known as Cape Jazz.

After a lengthy piano piece, Ibrahim was joined on stage by his six-piece band Ekaya, along with a guest trumpeter, filling out an octet for the evening. The group launched into the contemplative "Sotho Blue" from the 2011 album of the same name. The performance continued with a mixture of music from Ibrahim's recent albums and the older material from The Jazz Epistles. For fans of Ibrahim's piano playing, the newer material was more entertaining. The older bebop of the Epistles leaned heavily on the horn section, as Ibrahim nodded along but barely played. When delving into numbers like "Dream Time" from 2014's Mukashi, Ibrahim's stark chords blended with the horns, creating a wistful, contemplative environment. The tone of the evening was one of restrained chamber jazz, leaving aside the more rollicking numbers from Ibrahim's catalog. This nearly classical feel was heightened by a bassist, who doubled on cello and an alto saxophonist who also played flute and piccolo.

The ninety-minute set was followed by two encores and, unfortunately, did not include Ibrahim's most well-known composition "Manenberg." "Manenberg" was Ibrahim's biggest hit and transcended him personally by becoming an unofficial theme of black liberation in South Africa (it was played frequently at rallies against the apartheid government.) Perhaps Ibrahim has played the song too much in his long life. The smiling Ibrahim took his bows and appeared satisfied with entertaining the audience with his blend of repertoire, all performed with well-crafted arrangements and sense of serene communion.