New York Music Daily

Global Music With a New York Edge

Tag: funk

Fearless Populist Lyrical Insight From Hip-Hop Artist Decora at Lincoln Center

In his Lincoln Center debut last night, rapper Decora tackled one controversial issue after another with eloquence, and mind-expanding flow, and crushingly spot-on insight. He takes the everyday issues that we all struggle with and makes them poetic – if you need validation, Decora’s there for you. Honestly and succinctly, he tackled topics as far-reaching as the sociological roots of police brutality, the challenges of being one of five black or latino guys in a redneck white upstate town, the trials of raising a multicultural kid under Donald Trump white supremacy, and the toll racism takes on a relationship. He’s something akin to a young Nas without the gangbanger backdrop, or Guru without the brag, or a more New York State-centric Immortal Technique.

Those guys are all icons – that Decora deserves mention alongside them speaks to his fearlessness and political relevance, never mind the verbal pyrotechnics. In terms of pure lyrical skill, this guy’s technique reaches for the immortal: his genius is that he writes to keep the party going, but to keep you thinking nonstop. Lyrical insight aside, what was coolest about the show was Decora’s eight-piece live band: musical director and multi-keyboardist Neil Alexander; guitarist Dylan Doyle; six-string bassist Sam Smith; drummer Lee Falco; turntablists DJH20 and DJ Trumastr and a couple of backing vocalists.

Together they played Decora’s new album Beyond Belief all the way through, opening with an epic grey-sky ambience evoking classic 90s RZA productions, then switched to backdrops ranging from psychedelic Laurel Canyon boudoir soul, to grittily metallic funk lit up by Doyle’s tersely bluesy guitar, to New Orleans-flavored grooves carried by a tight two-piece horn section. Overhead, Decora’s rhymes ranged from rapidfire to sniper shots.

The opening number, Perfect Division, was a withering portrait of inequality, followed by the epic, disarmingly revealing Beyond My Doorstep, tracing the story of a guy facing the daily struggles of any minority in this country. Decora’s persona seems to be pretty much what he is, an unselfconsciously down-to-earth 99-percenter, eschewing gangsta cliches or prefab made-for-American-Idol shtick dumbed down for the element who would buy what they could download if they actually used their brains.

Decora riffed on fairweather friends in the cynical Changed Lanes and the perils of being a wannabe star in White Vans, but the best joint in this relentless set was What’s Up, a coldly logical assessment of the psychology that makes a white cop kill an innocent black victiim, tracing its historical roots back to Jim Crow and slavery. He followed that with another cynical, torrentially lyrical number, Confirmation.

They closed with an original hip-hop reimagining of the iconic Pete Seeger folk hit Where Have All the Flowers Gone and encored with a more urban anthem. After an hour onstage, the crowd – from the audience response, half deep Brooklyn, half upstate, many of them making the trip all the way down here on the bus – screamed for a second encore. The new album hasn’t made it to Decora’s Genius page yet, but you can bookmark it if lyrics are your thing: there’s plenty of inspiration there. Decora plays BSP Lounge, 323 Wall St. in Kingston on March 2 at 9 PM.

Dave Fiuczynski Lifts Off to a Better Planet Than This 

Last night at Drom Dave Fiuczynski’s Kif played one of the most exhilarating and sophisticated shows of the past several months in this city. Fiuczynski might be the best guitarist in the world: he is without the doubt the most individualistic. His musical language is completely his own. If it had words instead of notes, it would be part Hindi, part French, part Arabic and part Korean, with some Chinese and plenty of English too. His double-necked, microtonally fretted guitar enables him to play in microtonal scales without bending notes, as well as in the standard western scale. His 2012 album Planet Microjam is one of this century’s half-dozen most innovative and arguably best releases. His latest microtonal project, Flam! Blam! Pan-Asian MicroJam may not have the subtlest title, but the music continues Fiuczynski’s epic quest to find the most magical places in between the notes, drawing from just about every musical tradition around the globe.

This was a trio show. Fiuczynski opened with the Simpson’s Theme, which he proceeded to spin through a trippy prism of scales that exist only on Planet Microjam, along the way firing off energetic Indian sitar riffage, some wildly bent phrases typical of Korean gaegeum music,  and even a flurry or two of rapidfire postbop American jazz. Fiuczynski’s songs are slinkier than they are funky, and his low-key rhythm section kept a serpentine groove going throughout the set with the occasional rise to a four-on-the-floor pulse when the bandleader would hit a peak with a burning series of distorted rock chords. Throughout the set, the drummer stayed pretty chill while the bass player occasionally flavored a song with woozy textures via a wah and an octave pedal, in a subdued P-Funk vein. He also contributed one of the night’s most straight-up numbers, which the bandleader took further out toward Indian raga territory and then spiced with Asian phrasing, into territory that only Fiuczynski knows well.

After opening with the twisted tv theme, they sliced and diced a Russian klezmer melody into offcenter tonalities, with the occasional unexpected leap back toward the original minor key. Opening act Jonathan Scales joined the band during one of the later numbers and played vividly ringing Asian licks against Fiuczynski’s austere, uneasy microtonal chords and otherworldly, Messiaenic ambience. Throughout these epic themes, with their innumerable dynamic shifts, the atmosphere shifted artfully from austere and starlit to raw, stomping triumph. The best song of the night might have been Mood Ring Bacchanal, with its leap from resonant, allusively bent Asian phrasing to a tongue-in-cheek, emphatic oldschool disco interlude. The night’s last song blended wah-wah sitar licks, Orientalisms and slow spacerock with echoes of roots reggae.

Fiuczynski is a legend on the jamband circuit and will no doubt be making the rounds of summer festivals this year. Watch this space for future NYC dates. 

Slashing, Fearlessly Populist Classic Detroit-Style Rock from Sulfur City

Sulfur City evoke the hard-charging, uncompromising Murder City garage-punk intensity of Radio Birdman and Sonic’s Rendezvous Band, with elements of retro soul, psychedelia, a little funk and a fearlessly populist political sensibility. But they’re not from Detroit or Australia: they hail from Sudbury, in northeast Ontario. Their album Talking Loud is streaming at Soundcloud. And it’s one of the best four-on-the-floor rock records of the year.

The opening track, Whispers, is anything but. It’s basically a frenetic one-chord minor-key jam over a stomping hardcore punk pulse. The way frontwoman Lori Paradis bends her notes with just a hint of plaintive angst, she sounds a lot like the Passengers’ Angie Pepper with a slightly lower voice. Keith Breit’s organ interlude midway through is unexpected, and wouldn’t be out of place in the Radio Birdman songbook either.

The defiant War Going On, with its funky, organ-fueled sway, connects the dots between the grotesqueness of consumer capitalism and combat – is the reference to “plastic-wrapped people” a dis, or a grisly image of battlefield casualties?

Pockets is a sort of mashup of Bo Diddley, Rare Earth and the MC5 at their most populist and confrontational, with a snide gospel interlude. With its smoky organ, Ride With Me has a Sticky Fingers latin soul groove. It ‘s hard to figure out whether Paradis’ vengeful wail in Don’t Lie to Me is channeling the wrath of an abused woman, or if this is an S&M anthem. Jesse Lagace’s eerie slide guitar bends and warps through the gritty boogie backdrop of Sold, revisiting an ages-old, devilishly bluesy theme.

Highways, a ghoulabilly shuffle, keeps the lurid intensity going up to a tumbling, bluesy piano solo straight out of the Pip Hoyle playbook. With its intertwining minor-key guitar leads, the ominously elegaic murder ballad Johnny could be an outtake from Radios Appear with a woman out in front of the band. The album’s most epic track, One Day in June is a brisk noir blues in 6/8, fueled by Lagace’s slide guitar and Paradis’ grim, Patti Smith-ish vocals. It’s an apt post-election anthem: “We tell ourselves it’ll be ok, this too shall pass, everything must change,” Paradis intones. “The end of November and the leaves have all gone, and the air is cold and the snow’s about to fall, standing with my palms raised up to the sky.”

By contrast, Raise Hammer is a sarcastic Celtic punk number with layers of gritty open-tuned guitars and a carnivalesque organ solo. The album winds up with You Don’t Know Me, a gutter blues shuffle in an early 80s Gun Club vein. Lots of flavors and plenty of tunefulness from a group with great influences that seems to be on the verge of similar greatness.

Jackie Venson Brings Her Searing Guitar Chops and Smart Tunesmithing to Harlem

Jackie Venson is one of the most world’s most awe-inspiring Texas blues guitarists. She also happens to be a strong, eclectic songwriter and an excellent singer with a soaring top end to her vast range, similar to how she plays guitar. Her latest album, Live at Strange Brew – streaming at Bandcamp – captures her blazing fretwork, soulful vocals and a tight rhythm section at the top of their game in the intimate confines of an Austin coffeeshop. Now, you might wonder where this amazing musician might be playing when she swings through New York this weekend. Hmmm…Bowery Ballroom? The Beacon? Or, considering that she’s a blues player, you might expect her to be at Terra Blues, or Lucille’s, or maybe Paris Blues Bar uptown.

Nope. She’s playing Silvana – the younger, yuppier, yappier Columbia-area sister to the wonderfully scruffy Shrine further north- on Dec 4 at 10 PM. If great guitar is your thing, the trip on the D train will be worth it. And if you can’t make it, you can livestream the show here

The album’s opening track, Show My Light, comes across as a mashup of 70s Stevie Wonder and another Stevie, a guy from Venson’s home state, who used to play a Strat and left us way too early. The funky Real Love pulses along with an uneasy, spare vibe until Venson hits her volume pedal and delivers a long volley of counterintuitive triplets that really get the crowd going. Then she opens the moody Lost in Time with a trippy, echoey, dub reggae edge and has all kinds of fun with her pedals before spiraling off into deep-space blues.

Venson veers between a slow, gritty boogie and shuffling Hendrix funk throughout See What You Want. One Step Forward, a brisk, straight-up blues, is a cautionary tale to Venson’s fellow guitarslingers:

We lose our freedom when we’re too scared to fight…
When we make music and fall for the dollar sign
One step forward, two steps farther behind

The allusive, death-obsessed Back to Earth is the most overtly Hendrix-inspired (i.e. Third Stone from the Sun) track here. What I Need careens between 70s stoner riff-rock and reggae, rising to some pretty unhinged tremolo-picking. Then Venson pulses through the set’s poppiest number, Instinct, echoing both All Along the Watchtower and Foxy Lady.

The slow blues Rollin’ On gives Venson a launching pad for her most dynamic, thoughtful guitar work here, finally rising to a screaming, icy, reverbtoned peak: it’s the album’s best song. “Are you awake now?” she taunts the audience as she slinks into the final number, Always Free, with its understatedly poetic, broodingly relevant urban imagery and a sizzling solo midway through.

More artists should do live albums. Do it right and you can catch magic in a bottle like Venson did here (but you have to know your material and you can’t slack off and let the producer play your instruments for you like all the indie rock boys do). And live albums are truth in advertising: your audience, and your potential audience, know exactly what they’re getting in advance. It’s hard to think of better advertising for Venson than this. 

A Wild Ethiopian Dance Party with Debo Band at Lincoln Center

Debo Band are Lincoln Center favorites. They’ve put on some pretty volcanic shows at Lincoln Center Out of Doors, and their performance at the atrium space there last night was as fun to watch and take in as a listener as it must have been for the dancers who packed the center of the space in front of the stage. Ethiopian dance music as a rule tends to have a hypnotic quality, and the ten-piece group’s lavish arrangements went pretty deep into psychedelia, to the point where it was sometimes hard to tell who was playing what. Was that otherworldly, oscillating lead coming from Endris Hassen’s massenqo fiddle? Nope. That was Brendon Wood’s guitar. Was that snaky, almost subsonic pulse coming from bassist PJ Goodwin, who was celebrating his birthday? No. That turned out be sousaphone player Arik Grier.

They opened with a couple of undulating triplet grooves ablaze with horns, drummer Adam Clark edging toward a classic 70s disco shuffle groove on the second number. Suave frontman frontman Bruck Tesfaye wasted no time getting rid of the mic stand in front of him to encourage the dancers to congregate closer to the stage, and they followed his lead. From there the band rose from a digeridoo-like drone as the rhythm slowly coalesced, the fiddle circling like a vulture overhead; then they lept into a briskly funky, New Orleans-tinged stomp.

To western ears, one of the most ominous-sounding, chromatically-charged numbers was fueled by cumulo-nimbus low brass, Tesfaye’s shivery, melismatic vocals and capped off by a feral Gabriel Birnbaum tenor sax solo. The song’s title? Amharic for “laughter” Like their brothers in Russia and the Balkans, Ethiopians equate minor modes with energy and excitement rather than sadness.

The first of the night’s three covers featured a wickedly catchy chromatic horn riff over a steady, driving backbeat from Clark; the band took it out with a misterioso ambience as the rhythm echoed and then disappeared.Sax player Danny Mekonnen, who’d switched from baritone to tenor, explained that the next number, based on an Okinawan folk song, was inspired by the Ethiopian soldiers sent to aid the Allies in the Korean War, who returned home with a new fondness for Asian sounds. Which make sense, considering that both Ethiopian and much of Asian music employ similar pentatonic scales.

After that, the band romped through Blue Awaze, their reinvention of Duke Elington’s Blue Pepper from the 1966 Far East Suite, the kind of mashup that the Ellington Orchestra and popular Addis Abbaba group the Police Orchestra could have jammed out the night that the American jazz icon played the city on a State Department-sponsored tour.

The crowd was full of New York music cognoscenti. Brooklyn Lutherie fiddle maven Chloe Swantner was in the house, as were at least half of blissful Morrocan trance-dance group Innov Gnawa. Tesfaye got everybody to do the Rock Lobster, up and down, B-52’s style, a couple of times. Throughout the show, there were plenty of edgy solos and some knifes-edge jousting between group members. Hassen built a swirling, upper-register tornado with his massenqo; later, accordionist Marie Abe took centerstage with her acidically shifting sheets of sound. The group wound up the roughly ninety-minute party with a couple of  fiery dancefloor numbers, each with a deliriously circling, leaping groove much in the same vein as qawwali music.

Debo Band continue on their current US tour; dates are here. The next bigtime dance party at the Lincoln Center Atrium is on Nov 17 at 7:30 PM with Brooklyn funksters Igbo opening for charismatic, EWF-influenced retro 70s soul/funk personality Boulevards. Since these events are popular, getting to the space early is always a good idea.

Ifrikya Spirit Debuts with a Wild Dance Party at Lincoln Center

Why is it that the music that gets the most people dancing at a concert is invariably the most rustic-sounding? You can crank a drum machine to concrete-crushing levels, but what people who like to cut a rug really want to hear is acoustic sounds. In their Lincoln Center debut last night, Algerian band Ifrikya Spirit ignited a raucous dance party. What was it that sent a posse of a couple dozen middle-school kids spinning in a line amid the rest of the dancers gathered in the center of the atrium space? A slinky, hypnotically circling gnawa number, frontman Chakib Bouzidi playing gimbri – the three-string North African bass lute – and intertwining riffs with his bandmate Rafik Kettani, who’d switched from percussion to sousanne, a slightly more trebly two-string model.

Ifrikya Spirit are hybridizers rather than stylistic chameleons. Instead of switching from one African genre to the next, they blend elements of them into a distinctive Algerian psychedelic funk. Although the band’s percussively hypnotic sound definitely has a trance element, their rhythms are more dynamic and diverse than a straight-up, funky 4/4 beat. There was a little bit of that in their roughly 90-minute set, which keyboardist Reda Mourah used as a launching pad for his expansive blues and jazz-inflected riffage. Drummer Hafid Abdelaziz and terse bassist Samy Guebouba also propelled the band through some spot-on, shuffling 70s disco interludes and a couple of dizzyingly circling, Afrobeat-influenced jams.

Singer Meziane Amiche took centerstage on a mashup of Egyptian habibi pop and North African rai. As the energy reached fever pitch, guitarist Nazim Bakour got to more opportunities to flex, particularly during a long, loping, seemingly qawwali-influenced number that brought to mind the Brent Mydland-era Grateful Dead (one suspects that Mourah knows who that was). And the whole band built to a sprint on what sounded like Malian duskcore icons Tinariwen on steroids. They rocked the gnawa hard at the end. Seemingly sensing that on a night where air conditioning might be overkill but ventilation would be a good idea, the Lincoln Center staff threw open the doors on the Broadway side of the stage, and in seconds there was a refreshing breeze wafting in. Genius.

Ifrikys Spirit are the 21st band from outside the country brought in by global music advocates  Center Stage. They’re currently on US tour; their next stop is the Cedar Cultural Center in Minneapolis on Oct 11 and 12. And for any dancers who might regret missing this show, jazz pianist Marc Cary does his funky Fender Rhodes thing here at the atrium space tonight at 7; early arrival is always a good idea. Enter on Broadway between 62nd and 63rd.

Mighty, Explosive, Carnivalesque Brass Band Funk from MarchFourth

How do you fit a forty-piece brass band on a boat? Better be a big boat, right? Truthfully, the version of Portland, Oregon’s mighty MarchFourth currently on tour will probably number closer to half that. Still, if energy is your thing, it’s hard to imagine anything more adrenalizing than the group’s show tomorrow night, Sept 14 onboard the Jewel for a crazy cruise of New York harbor. The ship boards at 7, sails at 8, goes out and around the Statue of Liberty and then back leisurely while the band blazes and burns. While the band’s usual onstage spectacle – they’ve been known to play with a massive troupe of street performers including cheerleaders, dancers, jugglers and pretty much any act you would expect to see at a circus or sideshow – might be a tad less radical, this will be a chance to get down with the music itself. The cruise departs from out back of the heliport at 23rd St. and the East River; $20 advance tix are available at the office next door, or at the Highline Ballroom box office for a couple of bucks extra. It’s more expensive on the day of the show.

MarchFourth made a name for themselves with their wild, stomping original Balkan, circus rock and New Orleans tunesmithing. Their forthcoming album Magic Number, recorded in a marathon ten-day session in the Crescent City, takes a hard detour into funk, although vestiges of the band’s earlier, darker incarnation remain. As you would expect from a group this size, they;’re more or less a collective: everybody literally has something to contribute. Four core members add their songs to the upcoming album. Trombonist Anthony Meade is represented by the percussive, rapidfire newschool Serbian-tinged opening track Call to Action, although he’s also responsible for Drunk Bears, a hard-hitting, surreal Balkan brass cumbia of sorts; Science (Free Your Mind), which looks back to early Earth Wind & Fire; and It’s a Trap, with its exuberant, Slavic Soul Party-style blend of Balkan minor-key intensity and devious hip-hop flavor.

Baritone sax player Taylor Aglipay, whose gruff pulse and smoky swirls percolate deep in the mix, takes credit for the album’s the best and slinkiest number, the moody Jan Jar, Bassist John Averill contributes the title cut, the album’s catchiest, with its surf guitar and echoes of cumbia. Chandler’s tunes include the guitar-fueled hard funk of Push It Back, with Stanton Moore (one of several popular New Orleans funk/jamband road warriors guesting here) on drums; The Quarter, with live hip-hop touches, like a larger-scale Hypnotic Brass Ensemble; the wry Hotstepper, a woozy blend of P-Funk, Zapp and Roger and second-line riffage; Inventing the Wheel, with Trombone Shorty and Galactic’s Ben Ellman (who also produced) making guest spots; and the gentle, classically-inflected miniature of a fanfare that winds up the album on an unexpectedly pensive note.

It’s a good bet that the band will be airing out a lot of this stuff on the boat as well as throughout their current tour. You really have to admire a group like this: with so many members, if they can break even on the road, that’s a triumph. They’re strictly in it for the music, and the party. And it’s pretty amazing how tight such a sprawling conglomerate as this can sound. Musicians on this album also include Katie Presley on trumpet, Daniel Lamb on trombone, Jon VanCura on guitar, alto saxophonist Michelle Christiansen, tenor sax players Cameron DePalma and Andy Shapiro, and Jon VanCura on baritone, and bass sax, as well as drummer/percussionists Jenny DiDonato, Cheo Larcombe, Will McKinney and Jake Wood.

A Rare Brooklyn Show by One of New York’s Funnest, Most Esoteric, Psychedelic Bands

As far as esoteric jambands go, Tribecastan have few if any rivals. The group’s ringleaders, multi-instrumentalists John Kruth and Jeff Greene have led a rotating cast of characters since this wild, psychedelic beast first made its appearance on the streets of lower Manhattan about a half-dozen years ago. To try to pigeonhole or categorize them would be useless. Like their closest comparison, Hazmat Modine, jazz is a frequent reference point, but where that group uses horns, this crew employs a vast arsenal of central Asian, Middle Eastern and African stringed and percussion instruments along with a rock rhythm section. And they’re funny – if Spike Jones and Juan Esquivel aren’t direct influences, they’re distant relatives. The group’s latest album, Goddess Polka Dottess – streaming at Bandcamp – is their most straightforward and psychedelic rock-oriented release. They’ve got a rare Brooklyn show coming up this Friday, Sept 9 at 8 PM at Shapeshifter Lab; cover is $12.

Tribecastan also distinguish themselves as one of New York’s most prolific bands. The latest album is a bit of a change from their previous output in that most of the songs are by Kruth. The opening number, Repo Rodeo follows a droll, cartoonish, cajun-flavored sprint fueled by Kruth’s mandolin, Greene’s vibraphone, the horns of baritone saxophonist Claire Daly, trumpeter John Turner, alto saxophonist Premik Russell Tubbs and trombonist Chris Morrow until keyboardist Kenny Margolis leads them down a Middle Eastern rabbit hole. From there the group keeps the Middle Eastern noir psychedelia going with Konjo – the first of two songs by Greene here – driven by Kruth’s watery electric mando and Eric Halvorson’s tumbling drums.

Bassist Ray Peterson’s snappy riff opens Bangalorious, a wry mashup of latin soul and Bollywood – a sitar, played by Kruth, finally makes a cameo. Vagabundo is an unlikely successful hybrid of creepy klezmer and dub ska – imagine a Belorussian James Bond theme. The even more macabre Charnel Waltz brings to mind Kruth’s other, more stripped-down group, Villa Delirium.

Majestic Ganesh, one of the band’s few vocal numbers, pokes playful, Beatlesque fun at the Indian pantheon. The band takes a turn into brassy psych-funk with Trouble in a Fur Coat and follow that with the silly calyspo flute tune Myrtle & Mable. Then they march through the somewhat subtler Zoli’s Strut, with its microtonal banks of Asian reed instruments.

The Mahakala Stomp, Greene’s second track here, is a catchy hi-de-ho swing number with boisterous solos all around. (you’ll have to supply the band intros yourself). The Surfing Swami makes a return to Beatlesque Indian psychedelia, followed by Kilopatra, the album’s best and most Middle Eastern track, awash in uneasy, icy mando, snakecharmer flute and biting banjo. The next track, Borislav, a slinky Balkan brass tune with a hilariously over-the-top break that’s too funny to give away here, is another real winner. Constantly shifting from one instrument to another, Tribecastan are very entertaining to watch onstage, with Kruth affecting a mad pied-piper-on-acid persona.

Marc Ribot’s Young Philadelphians Bring Their Twisted Take on Philly Soul and Disco to Bowery Ballroom

To say that guitarist Marc Ribot doesn’t let the grass grow under his feet is a something of an understatement; where this guy treads turns into Carthage. To take that to its logical extreme; whatever he touches, he destroys – in the best possible sense of the word. The irrepressible downtown polymath’s career high point may be his shadowy, noir 2010 Silent Movies album, but his latest release, Live in Tokyo, with his group the Young Philadelphians – guitarist Mary Halvorson, bassist Jamaladeen Tacuma and drummer G. Calvin Weston – might be the best album of 2016. It’s a volcanic punk-funk record – most of it streaming at the band’s music page -with the same noisy, clenched-teeth exhilaration as Ribot’s 2014 Live at the Village Vanguard set. The premise of this one is typically ambitious: to connect the dots between Ornette Coleman’s 70s/80s Prime Time band and the plush Philly soul which served as a backdrop if not an immediate touchstone. AND to do it with two guitars instead of a horn band. Wild stuff. They’re bringing their careening intensity to a gig this Thursday, July 28 at 11 PM at Bowery Ballroom, a rare appearance by a jazz band at Manhattan’s best-sounding midsize venue. Advance tix are $20, half of what you’d spend if you saw Ribot in any number of jazz clubs. Chris Cochrane subs for Halvorson on the band’s current US tour.

The intro to the album’s opening track, Love Epidemic, is worth the price of admission alone: Ribot blazes through a classic funk riff, then Halvorson comes in with an artery-slashing pickslide, a pickup Japanese string section swirling animatedly overhead. Tacuma anchors all this with his bubbly, purposeful vintage disco lines in tandem with Weston’s straight-up dancefloor pulse. Both guitarists switch on a dime between hard funk and irresistibly jubilant blasts of distorted punk rock. It’s fun to just think about this, let alone hear it or try to play it.

By contrast, the two guitarists’ droll wide-angle tremolo approach on the ballad Love TKO brings to mind Isaac Hayes at his most soulfully hot and buttered. Tacuma and Weston draw on their time with both Coleman and James Blood Ulmer, the bassist strutting and slipsliding, drums moving effortlessly from chill to crush. Ribot builds with fiery deliberation from shivery acid blues to skronk to cap it off.

The group twists Fly, Robin, Fly – a cheesy 1975 hit by German one-hit wonders Silver Convention – into a sick mashup of Bush Tetras and late-period ELO – and then takes it toward saturnine Sun Ra territory. TSOP (The Sound of Philadelphia) is just plain hilarious, Weston and the strings opening it as a bombastic Olympic theme over the guitars’ jagged, sandpapery attack, then they hit the groove with a snarky thump. They get a lot looser on an even more sardonic, wah-infused take of the Ohio Players’ Love Rollercoaster, Halvorson having a ball anchoring Ribot and Tacuma’s stoner funk with her cumulo-nimbus ambience and woozy textures.

Do Anything You Want is closer to classic P-Funk than anything else here, and a launching pad for both Halvorson’s and Tacuma’s most incendiary playing. The group winds up the set logically with the funniest number of all, The Hustle. Ribot’s incessant quoting from an iconic anthem from a completely different idiom is as cruel as it is hilarious, finally getting his revenge for having to play the song on a wedding gig decades ago.

On the vocal numbers, it sounds like everybody sings, or at least vocalizes – not that there’s a lot in the way of lyrics, but it adds an extra dimension of fun. Since releasing the album, Ribot explains that the band is now stretching this material out even further, slicing and dicing the big hooks as springboards for even crazier improvisation. That’s an auspicious move since Halvorson’s own legendary ferocity is held in check somewhat here (she plays in the left channel, Ribot in the right).

And in case you haven’t already guessed, the Bowery gig may have something to do with the material on the bill, in addition to the artists. Can’t you see it: two dudes texting back and forth on Okcupid, “Let’s go to this, it’ll be so ironic.” To pronounce that final word correctly you have to hold your nose and say it in as flat and loud a voice as you can while trying to photobomb the selfie being taken by the gentrifier next to you. Steve Wynn put out a couple of dozen brilliant albums before he realized that he needed to write songs about baseball in order to reach a mass audience. Maybe Ribot has to be the leader of the world’s funnest and funniest disco cover band to do the same.

Funk Pterodactyl Air Out Their Trippy, Danceable New Album at One of Brooklyn’s Best Outdoor Concert Series

There’s an awesome free monthly concert series this summer at the People’s Garden at the corner of Broadway and Greene in Bushwick, run by the folks behind deliciously slinky psychedelic cumbia band Consumata Sonidera. This month’s installment kicks off at around 3 or so this Saturday afternoon, July 23 and features both salsa dura band Grupo Descarrilao and the psychedelically cinematic Funk Pterodactyl. It’s not clear who’s playing first, but both bands are good.The closest train is the J to Kosciusko St., there’ll be food trucks and delicious vegetarian tamales available, and all-you-can-drink keg beer for $10. What a party, right?

Funk Pterodactyl have a brand-new album, Heights, streaming at Bandcamp and available as a name-your-price download. The opening cut, Starlit, kicks off a distantly uneasy, airconditioned Mulholland Drive noir nocturne, the theme moving to the background with Wesley Maples’ sax airy and calm behind frontman/lyricist Yahzeed Divine’s positivity-charged rap. When the lyrics drop out, Maples keeps the enigmatic, misty ambience going. By contrast, Super Funky is true to its title, with a tightly wound, pouncing oldschool groove from Alejandro Chapa’s bass and Ian Barnet’s drums, Eitan Akman’s chicken-scratch guitar contrasting with Cale Hawkins’ bubbly keys.

Without Dreaming is a psychedelic blend of the first two tracks’ styles, with pillowy vocals from Sarah Mount – listen real close to the bassline and you’ll hear a classic Ian Dury party anthem. Yahzeed Divine’s rapidfire Raekwon-ish wordplay adds a devious element to Glowing Eyes, a mashup of twinkling boudoir soul and straight-up, no-nonsense funk. As far as the final cut, Icarus, you know what that one’s about, right? The band builds it artfully, slowly shifting out of a simple, atmospheric, trickily rhythmic theme and then back, a soft landing for a high flyer. There will be plenty of highs like that at Saturday’s show in the park.