The Zoo Berries Bring Their Slinky, Imaginative Funk and Soul Grooves to Long Island City
Have you noticed how suspiciously much the word “lab” is trending, not just when connected with things that escape or are released from labs, but in everything from rehearsal studios, to bands, to music venues? Especially the places with free shows? What’s that all about?
One of those venues, surprise surprise, is a new one, Culture Lab in Long Island City. Even so, there have been a ton of good acts playing on the back of the flatbed trailer in the parking lot there this summer. One of them is the Zoo Berries, who are there on August 26 at 8 PM.
Back in 2018, their bandleader and bassist Ayal Tsubery – also of sizzling Balkan band Tipsy Oxcart – sent over some files. Since everybody in the band had plenty of other projects going on, this group didn’t play that many shows, so those files just sat, and sat, and sat on the hard drive here. But the band’s lone studio release is good!. If imaginative soul and funk sounds are your thing, give it a spin at Bandcamp.
The first number is Back In Time, which the band build from a spare intro, to an easygoing slow jam, then guitarist Nadav Peled (also of ferocious Ethiopiques band Anbessa Orchestra) takes a machinegunning solo, and the energy goes through the roof. Soprano saxophonist Hailey Niswanger’s solo after that is just about as incendiary.
The second track is Brother, a warmly swaying 6/8 oldschool soul groove, Niswanger harmonizing exuberantly with tenor player Arnan Raz before the two diverge and go blasting through the stratosphere as pianist Daniel Meron and drummer Peter Kronrief kick in harder. They follow the same trajectory in Final Decision, an update on a classic, slinky Booker T sound, Peled’s icepick guitar anchoring the groove to where Meron unexpectedly takes it into hard-hitting jazz.
He pulls back to a moody ripple in Shir LeShabbat, a traditional Jewish melody: finally, the bandleader takes a serpentine solo, climbing and then taking the long way down from the top of the fretboard with his nimble hammer-on riffs. The final tune is Acceptance, a real change of pace with its rainy-day intro. But then spoken-word artist Kéren Or Tayar gets on the mic, and Niswanger plays gentle, sustained lines and a few curlicues, and the sun bursts from behind the clouds.