New York Music Daily

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Tag: funk

A Passionate Lincoln Center Debut By Charismatic Detroit Singer Thornetta Davis

What better place than Lincoln Center for Thornetta Davis, “Detroit’s Queen of the Blues,” to unveil her new horn section? “I just learned about her a year ago and had the great fortune to see her at B.B. King’s,” explained Lincoln Center’s Viviana Benitez, who programmed Davis’ impassioned, sweaty, unselfconsciously workmanlike performance this past evening.

Since the 80s, Davis’ career has taken a slow, steady upward tangent, to the point where she’s just as popular in Europe as she is in her hometown. Not bad for a woman who, as a single mom back in the 80s, considered herself lucky to be pulling in a couple hundred bucks a week singing with Motor City group the Chisel Brothers. Fronting her eight-piece band –  guitar, five-string bass, keys, drums, congas, tenor sax and trumpet – she put a fresh spin on a popular old sound. 

In just the first two minutes of the opening instrumental, the group swung their way from gritty Fender Rhodes funk into sunnier, trumpet-spiced soul ballad territory. Regal in a sparkly all-black outfit and a serious mane of an afro, brandishing a witchy peacock-feather fan, Davis took the stage with a cool but insistent take of I Gotta Sing the Blues, a pulsing vintage Tina Turner-style anthem. Guitarist Carlton Washington took a jaggedly tasty, clanking early-70s style solo before Davis drove the music upward, cutting loose with her vibrato.

Washington’s lingering chords against the steady thump of the congas lent some noir latin flavor to A Pretty Good Love, Davis reaching to the bottom of her formidable low register at the end. The band hit a no-nonsense vintage Chicago-style blues shuffle in That Don’t Appease Me, Washington’s purist riffage again matching Davis’ defiant delivery. Then his spare Smokey Robinson-like lines mingled with keyboardist Phil Hale’s spare gospel lines in the gorgeous vintage 60s-style soul ballad Am I Just a Shadow.

Hale’s scampering Rhodes added extra funk to When I’m Kissing My Love. “I wrote this song because this brother kept calling me, messing with my head,” Davis explained as the band launched into the slow, simmering blues ballad I’d Rather Be Alone. “That key in your hand don’t unlock my door,” she cautioned, building to a slow, impassioned peak along with the horns, Hale’s slinky, purist electric piano. and Washington’s shivery vibrato-toned lines. She brought it down at the end with a sly series of disses for a guy who’s too full of himself for his own good.

They got funky again with I Need a Whole Lotta Lovin to Satisfy Me – by this point, the dancefloor in front of the stage had filled up, kids on the Broadway side of the room, oldsters closer to the doors on Columbus Avenue. The the group ripped through the blues classic Further On Up the Road, Washington bobbing and weaving between the horns. 

Washington saved the night’s most intense pyrotechnics for a long solo in the lush ballad after that. “We need prayer every time we can get it in, especially these days,” Davis mused, introducing an elegantly fervent version of the B.B. King classic Please Send Me Someone to Love. She shimmied and took a couple of leaps to kick off the swinging shuffle Get Up and Dance Away Your Blues. After a Memphis-tinged take of Honest Woman, the optimistically swaying title track from her latest album, she closed with I Believe, a simmering, slide guitar-driven roadhouse blues.

In an era where the blues has become a legacy style, like bluegrass and roots reggae – and a lot of bands play it like it’s an artifact in a museum – Davis and her band are a blast of fresh air.

One particularly enticing, upcoming free concert at Lincoln Center’s atrium space just north of 62nd St. on Broadway is on May 31 at 7:30 PM with charismatic crooner Zeshan B “doing Memphis blues with a little Pakistani feel,” as Benitez put it. Get there early if you’re going.

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Edgy, Danceable B3 Grooves From the Delvon Lamarr Organ Trio

Seattle band the Delvon Lamarr Organ Trio are akin to Booker T & the MG’s with more of a guitar-oriented, often darkly cinematic focus. These irrepressible, constantly touring groovemeisters are bringing their party to the big room at the Rockwood this April 18 at 10:30 PM; cover is $15.

Their latest album Close But No Cigar – streaming at Spotify – bubbles and simmers with influences from a half-century of soul, funk and groove: these three guys live for throwing riffs back and forth, whether original ones, or hooks from obscure 1960s singles. The record opens with the title track, a catchy strut that’s like a mashup of the Meters and early James Brown, the bandleader’s subtly tremoloing organ contrasting with guitarist Jimmy James’  sharp funk lines over drummer David McGraw’s edgy snare hits and snowstorm cymbals. James’ wry, warpy, tone-bending guitar solo midway through is irresistibly fun.

Little Booker T is a self-effacing title for a slow but purposefully swaying soul groove driven by snarling guitar that shifts between distorted, staccato rhythm and big expansive chords, in contrast to Lamarr’s suammery fills and pulses. Ain’t It Funky Now is truth in advertising, a vintage JB’s-style slink. As with a lot these tracks, the organ and guitar switch up roles, between melody and rhythm, a trick most B3 bands use too infrequently. James indulges in some twangy blues over Lamarr’s leadfoot stomp midway through.

James vamps on an edgy 70s soul-jazz riff and variations in Close But No Cigar. Memphis – a Lamarr tune, not a cover – is another vampy number, Lamarr and James casually trading licks, with a couple of bluesy organ solos punctuating the interplay. Al Greenery – these guys are good with titles – is closer to the gritty noir cinematics of the City Champs than Rev. Green, bristling with wide-angle minor-key guitar over Lamarr’s slithery lines. Likewise, James’ serpentine, sparkly Marv Tarplin-ish lines propel Can I Change My Mind.

The no-nonsense strut Between the Mayo and the Mustard falls somewhere between Jimmy Smith, Booker T and the Meters, with a big powerful chorus packed with tense echo phrases – you can almost hear the horns. Raymond Brings the Greens bursts and pulses with oldschool soul-funk flavor; it’s the album’s funniest track. The trio wind it up with their only cover, a slow, simmering, heavily camouflaged take of the Burt Bacharach classic Walk On By

Oh yeah – you can dance to all this.

Single of the Day 4/9/18

The snarling psychedelic guitar solo that kicks off Les Sympathics de Porto Novo’s  A Min We Vo Nou We (via Soundcloud) offers more than just a smoky hint that it’s going to be proto stoner metal.

Nope.

Instead, it warps into absolutely feral pre-Fela Afrobeat. That the band managed to make it under brutally repressive conditions in Benin in the early 70s is even more impressive. When the organ kicks in, there’s no way you’re clicking through to anything else. It’ll be on the forthcoming African Scream Contest 2 compilation this June.

Powerful Singer Nicole Zuraitis’ New Album Explores the Dark Side of the Psyche

Nicole Zuraitis is one of the most powerfully eclectic singers in New York. She can literally sing anything: jazz, Americana, rock, you name it. Maybe because of that, her songwriting isn’t easily categorized. A similarly diverse pianist, she’s had a monthly 55 Bar residency since what seems forever. She’s playing there tomorrow night, Jan 12 at 10 PM with her husband, drummer Dan Pugach’s mighty nonet.

Zuraitis’ 2013 debut album Pariah Anthem was ambitious but not particularly translucent. Her new one, Hive Mind – streaming at Spotify – goes completely in the opposite direction. Yet while the music is often brightly attractive, Zuraitis’ subject matter drifts toward the dark side. The album’s title  is a reflection on madness, a theme that recurs occasionally in the ten tracks here. Carmen Staaf’s tersely echoey Wurlitzer adds subtle hints of reggae in the opening number, Move On, a hypnotic late 80s Sade-style jazz-pop ballad. Guitarist Idan Morim winds it up with a gritty, jagged solo, flying out of a big Zuraitis vocal crescendo.

Pugach’s jaunty shuffle and bassist Alex Busby Smith’s staccato pulse propel The Inscription: imagine peak-era Earth Wind & Fire stripped to the guitar and rhythm section, with a woman out front playing bubbly Rhodes lines. Guest singer Nandini Srika opens Idle, an angst-ridden Indian-influenced art-rock tone poem of sorts with rapturously enigmatic vocalese, in contrast to Zuraitis’ plaintive intensity over Morim’s David Gilmour-esque slide guitar. It packs a wallop, and it’s the album’s strongest cut.

Covering a song as iconic as Jolene is a disaster waiting to happen, but Zuraitis pulls it off, reinventing it as brooding, dymamically shifting, gospel-infused soul: Roberta Flack might have done it this way. Then the band pick up the energy with the slinky, catchy, crescendoing Sunny Side: this time it’s Morim who’s adding the neat little reggae touches.

Episodes, a twinkling, sweeping Hollywood Hills boudoir soul instrumental, seems serene enough on the surface. but the disembodied voices in the background hint at something more sinister. Zuraitis’ reinvention of a tune from the Willy Wonka movie keeps the Rhodes lullaby ambience going. The album closes with Shirley’s Waltz, a tribute to Zuraitis’ late grandmother: you could call it Lynchian ragtime. While the album is obviously meant as a showcase for the many subtleties in Zuraitis’ voice, what she doesn’t do too often here is really cut loose with that fearsome wail of hers. Then again, you can always see her do that live.

Some Great December Shows Reprised This Month

Who says December is a slow month for live music in New York? The first three weeks were a nonstop barrage of good shows. And a lot of those artists will be out there this month for you to see.

Last summer, Innov Gnawa played a couple of pretty radical Barbes gigs. With bandleader Hassan Ben Jaafer’s hypnotically slinky sintir bass lute and the chorus of cast-iron qraqab players behind him, they went even further beyond the undulating, shapeshifting, ancient call-and-response of their usual traditional Moroccan repertoire. Those June and July shows both plunged more deeply into the edgy, chromatically-charged Middle Eastern sounds of hammadcha music, with even more jamming and turn-on-a-dime shifts in the rhythm. Innov – get it?

So their most recent show at Nublu 151 last month seemed like a crystallization of everything they’d been working on. The usual opening benediction of sorts when everybody comes to the stage, Ben Jaafer leading the parade with his big bass drum slung over his shoulder; a serpentine chant sending a shout out to ancient sub-Saharan spirits; and wave after wave of mesmerizing metallic mist fueled by Ben Jaafer’s catchy riffage and impassioned vocals.

Ben Jaafer’s protege and bandmate Samir LanGus opened the night with an even trippier show, playing sintir and leading a band including Innov’s  Nawfal Atiq and Amino Belyamani on qraqabs and vocals, along with Big Lazy’s Yuval Lion on drums, Dave Harrington on guitar, plus alto sax. Elements of dub, and funk, and acidic postrock filtered through the mix as the rhythms changed. Innov Gnawa are back at Nublu 151 on Jan 12 at around 6:30 with trumpeter Itamar Borochov for ten bucks; then the following night, Jan 13 they’re at Joe’s Pub at 7:45 PM for twice that, presumably for people who don’t want to dance.

The rest of last month’s shows that haven’t been mentioned here already were as eclectically fun as you would expect in this melting pot of ours. Slinky Middle Eastern band Sharq Attack played a mix of songs that could have been bellydance classics from Egypt or Lebanon, or originals – it was hard to tell. Oudist Brian Prunka had written one of the catchiest of the originals as a piece for beginners. “But as it turned out, it’s really hard,” violinist Marandi Hostetter laughed. The subtle shifts in the tune and the groove didn’t phase the all-star Brooklyn ensemble.

Another allstar Brooklyn group, Seyyah played an even more lavish set earlier in the month at the monthly Balkan night at Sisters Brooklyn in Fort Greene. With the reliably intense, often pyrotechnic Kane Mathis on oud behind Jenny Luna’s soaring, poignant microtonal vocals, you wouldn’t have expected the bass player to be the star of the show any more than you’d expect Adam Good to be playing bass. But there he was, not just pedaling root notes like most American bassists do with this kind of music, his slithery slides and hammer-ons intertwining with oud and violin. The eight-piece band offer a rare opportunity to see a group this size playing classic and original Turkish music at Cornelia St. Cafe at Jan 15, with sets at 8 and 9:30 PM. Cover is $10 plus a $10 minimum.

When Locobeach’s bassist hit an ominous minor-key cumbia riff and then the band edged its way into Sonido Amazonico midway through their midmonth set at Barbes, the crowd went nuts. The national anthem of cumbia was the title track to Chicha Libre’s classic debut album; as a founding member of that legendary Brooklyn psychedelic group, Locobeach keyboardist Josh Camp was crucial to their sound. This version rocked a little harder and went on for longer than Chicha Libre’s typically did – and Camp didn’t have his trebly, keening Electrovox accordion synth with him for it. This crew are more rock and dub-oriented than Chicha Libre, although they’re just as trippy – and funny. They’re back at Barbes on Jan 15 at 10. 

There were four other Barbes shows last month worth mentioning. “Stoner,” one individual in the know said succinctly as Dilemastronauta Y Los Sabrosos Cosmicos bounced their way through a pulsing set blending elements of psychedelic salsa, cumbia, Afrobeat and dub reggae. Their rhythm section is killer: the bass and drums really have a handle on classic Lee Scratch Perry style dub and roots, and the horns pull the sound out of the hydroponic murk. They’re back at Barbes on Jan 10 at around 10.

Also midmonth, resonator guitarist Zeke Healy and violist Karen Waltuch took an expansive excursion through a couple of sets of Appalachian classics and a dadrock tune or two, reinventing them as bucolic, psychedelic jams. For the third year in a row, the all-female Accord Treble Choir sang an alternately majestic and celestial mix of new choral works and others from decades and centuries past, with lively solos and tight counterpoint. And the Erik Satie Quartet treated an early Saturday evening crowd to stately new brass arrangements of pieces by obscure 1920s French composers, as well as some similar new material.

At the American Folk Art Museum on the first of the month, singer/guitarist Miriam Elhajli kept the crowd silent with her eclecticism, her soaring voice and mix of songs that spanned from Venezuela to the Appalachians, including one rapturous a-capella number. And at the Jalopy the following week, another singer, Queen Esther played a set of sharply lyrical, sardonic jazz songs by New York underground legend Lenny Molotov, her sometime bandmate in one of the city’s funnest swing bands, the Fascinators. She’s at the Yamaha Piano Salon at 689 5h Ave (enter on 54th St) on Jan 14, time tba.

A Rare Appearance From the Darkly Slinky Ghost Funk Orchestra

Over the past couple of years, multi-instrumentalist Seth Applebaum has been building a catchy, slinky, darkly cinematic catalog of organic dance music, mostly by himself. He calls the project Ghost Funk Orchestra. And since he’s a one-man band, more or less, he has to pull a group together if he wants to play live. Which is rare. That’s why the Ghost Funk Orchestra’s upcoming gig on Jan 5 at 8 PM at Baby’s All Right is a pretty big deal – and it’s free.

Back in 2016, Applebaum sent over the tracks to his first album, Night Walker, streaming at Bandcamp. They’ve been sitting here on one hard drive or another ever since. Let’s say they’ve aged well – hypnotic, ominous grooves never go out of style.

After a trippy, atmospheric intro, the first cut is Brownout, which is basically a clattering one-chord latin funk jam with distantly enigmatic vocals from Adrii Muniz. Applebaum laces Dark Passage with flickers of reverb surf guitar over multitracks that spiral and linger over catchy, undulating bass and drums – again, a one-chord jam.

The album’s title track takes a turn into Chicano Batman-style psychedelic latin soul: this time, it’s Laura Gwynn as the femme fatale on the mic. Demon Demon is a funny, Halloweenish vamp: Applebaum’s faux-beatnik spoken-word voiceover builds a creepy after-dark tableau over a percolating backdrop reminiscent of a Herbie Hancock early 70s blaxploitation film score.

Blood Moon makes a return to latin soul: with Muniz’s cheery vocals and Applebaum’s gritty guitars, it’s the album’s hardest-rocking track. After the briskly shuffling latin funk Interlude fades up and out, Applebaum builds an uneasily summery scenario in Franklin Avenue – a dreaded deep-Brooklyn destination lowlit by Gabriela Tessitore’s vocals and Rich Siebert’s trumpet in tandem with Applebaum’s guitars and Ally Jenkins’ shivery violin.

The album’s final cut is the slowly swaying, lingering nocturne A Moment of Clarity. Fans of ominously picturesque grooves by bands from Big Lazy, to the Royal Arctic Institute, will love this stuff. And it’s impossible to sit still while you’re listening. Bounce to this on the south side of Williamsburg next year – or on the train on the way there.

And there’s more! In the months since Applebaum put out this album, he hasn’t exactly been idle. Ghost Funk Orchestra’s latest album, Something Evil – also streaming at Bandcamp – takes a turn into both funkier and more sinister territory.

 

Drummer-Chef Sunny Jain Brings Treats for the Ears and the Taste Buds to Lincoln Center

Last night Lincoln Center’s Jordana Leigh enthusiastically introduced Sunny Jain as “Our original – an artist who’s had a long history with Lincoln Center…the first artist to play the atrium.” The Red Baraat mastermind and dhol bass drum player is also an accomplished cook. His gameplan was to do a food-themed show, complete with samples of his own all-natural, sugar-free homemade pear chutney, introduced by his ExtravagaJAMza band with a strutting, New Orleans-infused take of a wry 50s-style lounge theme. And the chutney was tasty  – although he admitted it lacked the hot pepper burn of his first batch. Bring THAT stuff next time, dude!

Taking a relatively rare turn behind a full drum kit, Jain mixed up his band members. Flamboyant singer Jonathan Hoard fronted the unit that opened the show – with Marc Cary on electric piano, Gary Wang on bass, Delicate Steve on guitar, Lee Hogans on trumpet and Mike Bomwell on soprano sax – for a coy boudoir funk intro that morphed into a psych-funk vamp, the guitar suddenly switching from emphatic rainy-day chords to sunbaked blues. Red Baraat are no strangers to the jamband circuit; this band could sell a lot of tickets there too.

Jain explained that he’d written Mango Festival back in the early zeros after attending a real mango festival in New Delhi, India, watching his family flex their chops in a mango eating contest. As Wang held down a low drone, the intensity of singer Ganavya Doraiswamy’s wordless melismas rose, then Jain took over with a qawwali groove, sax and keys shifting the music from dusky Hindustani ambience to gritty Harlem summer psych-funk and back.

The lightheartedly energetic Jack & Jill, inspired by Jain’s three-year-old twins, opened with a Vikram Seth poem, followed by a dancing upper-register Cary solo and a dip to more stately, poignant vocalese from Doraiswamy that she again took into the stratosphere. Jain’s quintet got ambitious, jazzing up a Bollywood number, Bomwell switching back to baritone – it didn’t take long to get a clapalong with those who recognized it. But even a pulsing, insistent Ray Mason trombone solo and a slinkier one from Wang didn’t get the crowd dancing – maybe it was just too cold outside.

Jain cracked everybody up with his sardonic account of visiting Global Village in Dubai – that country’s equivalent of Disneyworld’s Epcot Center – to discover that the only country in the exhibit represented by a person rather than architecture was the United States. That individual was a cowboy. Jain couldn’t resist noticing that the Roy Moores of the world all seem to wear the same symbol of subjugation – a cowboy hat. And then the full band – which also included Alison Shearer on alto sax and John Altieri on sousaphone – followed with the colorful, cinematic Indian Cowgirl, mashing up Morricone with a Bollywood take on a western film theme. Shearer’s high-voltage solo was the high point.

Cary switched to drums and Jain strapped on his dhol, closing with the Red Baraat tune Shruggy Ji, which made an improbably successful connection between bhangra and the DC go-go music Cary grew up with, fueled by Hogans’ relentless, edgy trumpet. Who knew that Cary was such an accomplished guy behind the kit?

These Lincoln Center atrium shows at the Broadway space north of 62nd Street are an awful lot of fun. The next one is a Dominican dance party on Dec 21 at 7:30 with newschool merengue band Tipico Urbano. There’s no cover; get there early.

Trippy, Eclectic Sounds in Deep Bushwick This Sunday Night

This December 3 there’s an excellent multi-band lineup put together by boutique Brooklyn label Very Special Recordings at Secret Project Robot, 1186 Broadway between Lafayette and Van Buren in Bushwick. The show starts at 8; the lineup, in reverse order, is psychedelic Afrobeat headliners the People’s Champs; female-fronted trip-hop/postrock band Green and Glass; brilliant bassist Ezra Gale’s funky, dub-inspired psychedelic project the Eargoggle; psychedelic pastoral jazz guitarist Dustin Carlson; similarly eclectic guitarist Ryan Dugre; and cinematic guitar-and-EFX dude Xander Naylor, who can be a lot louder and more fearsome than his latest, more low-key album. Cover is ten bucks; take the J to Kosciusko St.

It’s an album release show for the label’s new Brooklyn Mixtape, streaming at Bandcamp. The playlist is a cheat sheet for their signature, eclectic mix of hypnotic, globally-influenced grooves as well as some more jazz, postrock and indie classical-oriented sounds, which are a new direction from the stoner organic dance music they’re probably best known for.

The A-side begins with Swipe Viral, by Sheen Marina, a skittish, math-y, no wave-ish number awash in all kinds of reverb: “I gotta go to the edge of a digital world where I can find my soul,” the singer says snottily. Green and Glass’ Night Runner brings to mind Madder Rose with its slow trip-hop sway, uneasy low tremolo-picked harp anchoring frontwoman Lucia Stavros’ clear, cheery vocals.

Ryan Dugre’s Mute Swan makes postrock out of what sounds like a balmy Nigerian balafon theme. He’s also represented by another track, the pretty, spare, baroque-tinged pastorale Elliott, on side B.

There are three Eargoggle tracks here. Picking My Bones opens with a tasty chromatic bass solo: deep beneath this sparse lament, there’s a bolero lurking. The second number is You’re Feeling Like, a blippy oldschool disco tune with dub tinges. A muted uke-pop song, Hero, closes the mix

Shakes, by Carlson, is a gorgeously lustrous brass piece with countryish vocals thrown on top. Trombonist Rick Parker and acoustic pipa player Li Diaguo team up for the album’s best and most menacing track, the eerily cinematic, slowly crescendoing Make Way For the Mane of Spit and Nails. Then Middle Eastern-influenced noir surf band Beninghove’s Hangmen put on their Zep costumes to wind up the A-side with the coyly boisterous Zohove, from their hilarious Beninghove’s Hangmen Play Led Zeppelin album.

The.People’s Champs open the B-side with a throwaway. Twin-trombone roots reggae band Super Hi-Fi – whose lineup also includes Parker and Gale – toss in an echoey Victor Rice dub. Xander Naylor kicks in Appearances, a shifting, loopy resonator guitar piece with innumerable trippy overdubs.And Council of Eyeforms’ slowly coalescing, oscillating tableau Planet Earth – with guitarist Jon Lipscomb of Super Hi-Fi – is the most hypnotically psychedelic cut.

All of these artists have albums or singles out with the label, who deserve a look if sounds that can be equally pensive and danceable are your thing.

Wild Turkish Psychedelic Rock Rescued From Obscurity

One of the most amazing albums released this year is Uzelli Psychedelic Anadolu, a compilation streaming at Spotify that pays homage to the Turkish cassette label that released some of the wildest, most surreal sounds to emerge from that part of the world. Spanning from 1975 to 1984, this trippy ten-track playlist collects hard funk, symphonic rock, disco, electrified Turkish traditional ballads and anthems…and what sounds like a long radio commercial.

String synth, organ, wry wah synth and soaring, otherworldly, microtonal zurna oboe mingle in Zor Beyler’s suspenseful, lushly anthemic Gozumdeki Yaslar. The second track, by guitarslinger Erkin Koray, is a one-chord heavy funk jam, fuzztone acid lead guitar over loping bass and drums, with an emphatic spoken-word lyric: Turkish rap from forty years ago!

Powerful baritone crooner Kerem Guney’s Sicak Bir Sevda is a slashing, richly catchy Middle Eastern rock gem, sparkling electric baglama trading off with spare yet searing electric guitar. Asik Emrah’s Bu Ellerden Gocup is one of the trippiest cuts here, a mashup of psychedelic latin funk and spiky, oscillating Turkish classical sounds – is that an electric saz lute that’s taking that twistedly oscillating solo?

Longing and hazy angst pervade Yar Senin Icin, by chanteuse Elvan Sevil, a trickily syncopated, broodingly catchy anthem blending austere guitar with more of that delicious electric saz. Seker Oglan’s epic dancefloor jam Akbaba Ikilisi has a straightforwardly slinky, disco-tinged groove and similarly tasty, microtonal fretboard melismatics. Deniz Ustu Kopurur nicks a classic Stooges riff for Unal Buyukgonenc, a similarly vast, shapeshifting web of enigmatic reverb guitar and similarly reverb-drenched zurna: it’s the most psychedelic number here.

Nese Alkan gives her vocals a suspenseful, dramatic allure in Kacma Guzel, which comes across as sort of proto Balkan reggae. The compilation’s final track, by Ali Ayhan, mashes up wah funk and majestically sweeping, starkly string-driven Turkish balladry. All this begs the question of how many other treasures are lurking in the Uzelli vaults. In the meantime, New Yorkers can catch a tantalizing show coming up on Nov 24 at 8 PM at Drom with a current Turkish psychedelic band, the ominously majestic Philadelphia-based Barakka. Cover is $10.

Catchy, Raw, Soulful, Original Funk and Dance Music From Eliza and the Organix

There’s no band in New York who sound anything like Eliza and the Organix. You can dance to them, but they also have flashes of psychedelia and a vintage punk fearlessness. They’re funky, but their sound is uncluttered and gritty – is it legal to call them organic? In other words, they’re nothing like the slick, cheesy Berklee clones noodling ad nauseum into the wee hours at Rockwood Music Hall. Over the past few years, Eliza and the Organix have been gigging constantly all over town. Their new album Present Fuure Dreams is streaming at Bandcamp; their next show is Nov 16 at 11 PM at the Way Station in Bed-Stuy.

Frontwoman/guitarist Eliza Waldman gets the funk going on the album’s catchy opening track, My Way (no relation to the Sex Pistols classic), but she also hits some burning Keith Richards riffage. Alto saxophonist Kristen Tivey – an ambitious songwriter and multi-instrumentalist in her own right-  adds vocal harmonies over John Gergely’s subtly crescendoing drums. On the album, Stephen Cleary and Will Carbery share bass duties. The song has a recurrent reference to “doing coke out on the driveway,” which could be sarcastic – or not.

When I Call You is a snide slap upside the head of a “nihilist, masturbator, man-hater,” Waldman’s smoldering distorted chords rising to an unexpectedly swirly break midway through, with more of the band’s signature, tasty guitar/sax harmonies.

Blameless has a slinky latin soul groove under Waldman’s sarcastic vocals and wah guitar: “Aimless, shameless, am I blameless?” she wants to know. Waldman’s organ and Matt Soares’ vibes linger over sharp, staccato guitar in Trouble, an individualist’s anthem and another latin-flavored number: “I’ve been in trouble so long that I hardly remember the other side,” Waldman confides.

The album winds up with the moody nocturne Tapestry in Blue, which is an organ tune until Waldman’s guitar kicks in hard at the end. Everything here sounds like it could go on for twice as long and it would still be interesting – and you could give your lower parts a decent workout. Fans of Sharon Jones,classic soul and funk, and obscure punk-funk cult heroes like the Maul Girls should check them out.