New York Music Daily

Global Music With a New York Edge

Tag: funk

Rev. Vince Anderson: Brooklyn’s Wildest, Most Relevant Monday Night Institution

The 2016 Presidential election really lit a fire under Rev. Vince Anderson. That was a dreaded wakeup call for just about everyone, but it really pushed the bushy-bearded, wild-haired keyboardist and jamband leader to new levels of intensity. “Get off that magic rectangle,” he admonished the crowd more than once a couple of weeks ago at his ongoing Monday night residency at Union Pool. “Just turn around, look at your neighbor and introduce yourself,” he cajoled.

That moment turned out to be infinitely less awkward that it would have been in a house of worship. A vacationing Georgia couple were wide-eyed; they admitted not having the slightest idea of what they’d just wandered into. “He’s a New York institution,” explained the tired but obviously reinvigorated black-clad man next to them.

In the years since Anderson first started playing his first weekly residency at the old Avenue B Social Club in the East Village, he’s switched out any kind of overtly Christian message for a community-centered, populist philosophy that he’s really concretized and brought to the stage since last year’s November surprise. And while gospel music is still the foundation of what he plays with his raucous, semi-rotating backing band the Love Choir, these days his sound is more funk and soul-oriented. The songs go on for ten minutes or more, with all kinds of dynamics, ferocious and stampeding, then hushed.

There was a time when he’d always open the show with Get Out of My Way, the pummeling first cut on his 2002 album The 13th Apostle: the studio version is a mashup of Gogol Bordello, Tom Waits and oldschool gospel. These days, Anderson plays the song closer to lickety-split Billy Preston funk…but he also likes to bring it down to a lusciously glimmering classical piano interlude. This guy can literally play anything.

Over the past couple of months, he’s also opened with a rapt, quiet take of the gospel standard Precious Lord, Take My Hand, and with Ready for the Light, a relatively new number that’s sort of symphonic James Brown. His best song lately, which he’s been playing at pretty much every show, is a new version of his slow but mighty gospel anthem I Don’t Think Jesus Would Have Done It That Way. Anderson wrote that one in response to the Bush/Cheney invasion of Iraq, but the new version is even more incendiary. Anderson takes potshots at Trump and the swamp cabinet and Steve Bannon in particular: it ends with everybody that Trump hates – immigrants, gays, women and, hell, pretty much all of us – having a barbecue on the White House lawn.

Watching the audience react is fascinating – and sad. Much as this is one of the rare Williamsburg events that draws both a local black and latino crowd as well as the young Republicans hell-bent on taking over the neighborhood, the former contingent here is a lot smaller than it used to be. And the song doesn’t get the enthusiastic reaction you might think it would: there’s a lot of polite silence, and a little clapping, mostly from the women – there are always a handful of Hillary supporters. Obviously, the young Republicans come here to to dance, not to be confronted by any reality that would threaten their rich parents’ dominance in the political sphere, never mind their real estate bubble profits.

But the crowd be damned – the music is fantastic. The first couple of shows in May were on the lacklustre side since the band had a sub guitarist who obviously didn’t really get the music. On the third and next-to-last Mondays in May, regular axeman Jaleel Bunton was back with his psychedelic bluesmetal/funk attack and the energy suddenly went back through the roof.

The second Monday in June, Bunton was absent again, but in his place was the brilliant Binky Griptite, the late, great Sharon Jones’ lead guitarist, who brought his elegant, virtuosic, low-key Hendrix-inspired lines to the mix and as usual elevated everybody in the band. The week after that was Moist Paula Henderson’s birthday, so Anderson gave her a feature in an old audience favorite, the nocturnal waltz New Orleans, 4 AM. His longtime baritone saxophonist, musical sparring partner and “ex-wife,” as he’s called her for the better part of two decades, responded with her usual blend of irony, humor and irrepressible fun. The group had a great drummer that night, too – it was the bartender!

They had their usual guy behind the kit, Torbitt Schwartz, back the week after, for a little extra slink alongside most of the regular band, which also comprises bassist Jeremy Willms and trombonist Dave Smith.

Rev. Vince Anderson’s Union Pool residency continues this Monday, July 31 at around 10:30 PM. And Henderson’s weekly residency with Binky Griptite continues on Wednesdays in  August at around 8 at Threes Brewing, 113 Franklin St. at Kent Ave in Greenpoint.

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Quincy Vidal Bring the Real Brooklyn to Lincoln Center

“One of my favorite bands in New York City,” Lincoln Center’s Viviana Benitez said succinctly, introducing Quincy Vidal’s rambunctious debut there last night . Then she let the Brooklyn hip-hop band’s lyrics speak for themselves.

“When we first got this gig, the first question I asked was, do they know who they booked?” co-leader and rapper Le’Asha Julius grinned. “Do they know the shit we talk about?” Obviously yes: this isn’t your grandfather’s Lincoln Center anymore and hasn’t been for awhile.

Backed by a tight, woozily funky four-piece band: Telecaster, multi-keys, bass and drums – Julius and her lyrical conspirator Caleb “CE” Eberhardt traded verses and spun rapidfire, intricately packed rhymes that ranged from unselfconsciously funny, tonguetwisting battle-of-the-sexes scenarios, to slit-eyed boudoir jams, to some dead-serious, spot-on social commentary.

The duo wrote their first album on Quincy Street in Fort Greene, and Julius grew up on Quincy Street in Washington, DC. The real Quincy Vidal – a college classmate – was in the house, and naturally he got a big shout. And  as much as the funny joints went over the best with the crowd – who rushed in just as the band took the stage – the most resonant material was the most relevant stuff. One of the night’s high points was also the night’s most complicated number, which Eberhardt opened with a thinly veiled reference to the Akai Gurley killing. From there, he went after the young Republican invasion of Brooklyn, hard, while pondering whether it’s possible to walk the line between making a living off these “suckers” and keeping it real.

Toward the end of the group’s hourlong set, the two went more deeply and exasperatedly into that same theme with Tired as Shit, which raises the question of how selling your soul to the white devil just to pay the rent can undermine your artistic career.

The rest of the night was less intense, but the craftsmanship of the lyrics didn’t let up. Eberhardt packs a whole lot of syllables into his rhymes – imagine Bone Thugs if they had something to say. Julius is more straight-ahead: one of her most defiantly funny numbers, she said, she wrote when she was twelve, and that one had a vintage Monie Love charm.

Their first  joint was a guy-meets-girl scenario “for the lovers in the room,” a lot funkier than your typical boudoir jam, the keyboardist having fun doing the Roger vocoder thing with his vocals. Eberhardt freestyled one of the verses of Feeling’ Like, a funny, innuendo-packed sex tune from their first full-length album Chi’ren. and Julius wouldn’t let him get away with the “tingle between your thighs” reference. They segued from there into a conscious shout-along, followed by a rapidfire party bounce number and then Homegrown, an amped-up stoner boudoir neosoul groove that got funky in a split-second.

The night’s funniest song was for the smokers, Zapp & Roger mashed up with the Lost Boyz  – “You’re only talking when you’re high,” was the refrain early on. “I should have stopped three drinks ago, should have left that shit alone,” Eberhardt added as the story gained momentum – or lost it, depending on your perspective. The duo don’t take themselves seriously at all, and their band is strong, reinforced by the gritty bluesmetal guitar solo that ended this one.

The next concert at the Lincoln Center atrium space on Broadway just north of 62nd Street is this Thursday, July 27 at 7:30 PM with kinetic, fearlessly populist oldtime Americana songwriter and banjoist Kaia Kater. The show is free; get there early if you’re going.

High-Voltage African and American Sounds From Central Park to the River

Seun Kuti & Egypt 80.’s first song this past evening at Central Park Summerstage was Expensive Shit. As a literal, graphic condemnation of wretched capitalist excess and status-grubbing, it has few equals. Fela Kuti’s son and principal heir to the family Afrobeat legacy probably spat the word “shit” more times during the roughly ten minutes it took for the band to bubble and rise and finally bring the relentless underlying vamp to a close, than any other act has done at this venue in many years.

Kuti has been fortunate to sidestep the kind of brutal repression his father faced, but he’s no less fearlessly political. His second song, a defiantly triumphant pro-ganja anthem with a fervent refrain of “Lemme see your lighters,” was a red herring. The younger Kuti shares his dad’s withering sarcasm. He welcomed the audience into the era of fake news – “News that’s for profit,” he explained – by reminding that Nigerians knew all about it before it became part and parcel of White House correspondence. A little later on, introducing African Dreams – a broadside against western cultural imperialism – he snidely commented that “Conscious capitalism doesn’t exist.”

Leading an endlessly undulating fourteen-piece band, he took a quick turn on piano and then showed off a bracing, bitingly metallic tone and a no-nonsense, modally tinged sensibility on alto sax. The percussion section emerged stealthily from a quiet thicket and grew toward a stampede as the brass blazed, the electric piano rippled and the two guitars – one a tenor model for extra upper-register tingle – ran jaggedly circling melodies along with a similarly purposeful bass player, throughout what would become an unexpectedly abbreviated set.

Many people in the crowd – especially those who showed up to see the advertised headliner and consequently missed the guy they came for – were surprised not to see Roy Ayers headlining. He’s certainly earned that respect. He also didn’t get much more than three quarters of an hour onstage, leading his four-piece band through expansive takes of Red, Gold and Green, Everybody Loves the Sunshine and finally, Searchin’.

While he saved his most high-voltage playing for a long solo with Kuti’s band, the iconic vibraphonist who more or less invented noir psychedelic soul put on a clinic in purist, seat-of-the-pants tunesmithing, whether with endless volleys of bluesy triplets, rapidfire chromatics or playing against the beat. His band stayed pretty much on low-key, glimmering point, although they lost the crowd when they went off into warpy keytar spacerock and a snapping, popping, faux Bootsy bass solo. They won them back again with a tight drum solo where the guy behind the kit played the whole thing one-handed, then with both sticks behind his back, finally flipping them forward over his shoulders, and kept going without missing a beat.

Hometown opening act Underground System justified the ambition of sharing a bill with two more-or-less iconic acts through the afternoon’s longest set, a mix of original Afrobeat with a more straight-up funk tune or two and also a whirling Italian womens’ rights anthem. Frontwoman/flutist Domenica Fossati really worked up a sweat with her dance moves; if she was a sheik, her last name would be Yerbouti. Guitarist Peter Matson and keyboardist Colin Brown pinged and rippled and threw off a few clouds of toxic noise, drummer Yahoteh Kokayi and percussionist Lollise Mbi held the beast to the rails while the horn section – including baritone saxophonist Maria Christina Eisen and trumpeter Jackie Coleman – smoldered and sputtered and bassist David Cutler ran simple, emphatically circling riffs that would have made Fela proud. Their high point was the brassy Rent Party, something Fossati said the band knew a little something about. From there they segued into their most ominous, dynamically shadowy number of the afternoon.

Afterward, many faces n the crowd went west to the Hudson, where Innov Gnawa – the only Moroccan drum-and-bass trance band in this hemisphere – played what amounted to the afterparty. In more than ten years of concerts at Pier One at 70th Street and the river, it’s impossible to think of another show that had so many people dancing, from toddlers to oldtimers.

And they did that to ancient animist and Muslim themes originally dating from thousands of years ago in sub-Saharan Africa, sung in Arabic to the hypnotic pulse of sintir bass lute and cast-iron qraqab castanets. This was a slightly smaller subgroup of the band, Moroccan master Hassan Ben Jaafer taking turns with his similarly agile protege Samir LanGus riffing on the low strings. Some of the songs worked a tension between octave notes, others bounced and swayed along with crescendoing call-and-response choruses. As the night went on, Ben Jaafer subtly introduced all sorts of tricky polyrhythms and suspensefully allusive chromatics hinting but never quite crossing into Egypt.

Qraqab player Amino Belyamani sauntered into the dancing melee midway through the show and taught everybody some snazzy moves, complete with a split-second squat in the middle – and by the end of the show, a lot of people had all that pretty cold. Innov Gnawa’s next gig is at Prospect Park Bandshell this Friday night, July 21 at 7:30 PM where they’re opening for wildly popular, microtonal psychedelic Malian band Amadou & Mariam. The next show at Summerstage is tomorrow night, July 17 where 90s noiserock icons and occasional cinematic soundscapers Yo La Tengo hit at around 8. Be aware that there’s an opening act; doors at 6 for those not willing to take chances.

An Awesome New Album and an East Village Release Show by Ethio-Jazz Songstress Meklit

Multi-instrumentalist singer Meklit is one of brightest lights in Ethiopian jazz  But that’s just the starting point for the ex-Brooklynite songwriter, who springboards off that  into a high-voltage mix that also draws on classic soul, funk, rock and ancient Ethiopian folk music. Her Lincoln Center show back in April was off the hook. Now she’s got a new album, When the People Move, the Music Moves Too, soon to be streaming at Bandcamp, and a release show tomorrow night, June 21 at 8 PM at the old Nublu at 62 Ave. C.. Cover is $22.

Since she absconded for the west coast, she’s assembled a killer band. Their not-so-secret weapon is tenor saxophonist Howard Wiley. The rest of the vast cast on the album also comprises but is hardly limited to drummer Colin Douglas, percussionist Marco Peris Coppola and bassist Sam Bevan. The rest of the crew spans from Ethiopian masenko fiddler Endris Hassen to the Preservation Hall Horns.

The triumphantly bouncing, swaying opening track, This Was Made Here, celebrates a DIY esthetic, but there’s also a lot of defiance in the bandleader’s “I’m not gonna wait, no more!” as Tassew Wondem’s Ethiopian wood flute leaps and bounds overhead. The brightly circlingI Want to Sing For Them All also has a defiant undercurrent – on the surface, it sends shouts out to Meklit’s influences, from Prince to a litany of Ethio-jazz stars, but it’s also a reminder that pigeonholing is a big mistake. As Hannah Arendt liked to say, stereotyping is the worst thing in the world. Andrew Bird’s violin pairs with the masenko as the dance rises to fever pitch.

Meklit breaks out her krar harp for the album’s catchiest track, Supernova. Powerful low-register brass fuels a vast, pulsingly dramatic backdrop as Wiley goes into wary Ethiopian mode. The mantra is “Where did you come from,” the point being that everything we’re made of came in with a bang: don’t we owe it to ourselves to keep that going?

Likewise, the Preservation Hall Horns supply the bluster behind Kibrome Birhane’s spare, incisive piano in the funky anthem You Are My Luck. Bird brings his violin back to the subtly polyrhythmic, mutedly moody Yerakeh Yeresal. Then the band pucks up the pace with You Got Me: hearing the New Orleans brass sink their teeth into Meklit’s gorgeously biting, emphatic Ethiopian arrangement is a trip, and a revelation.

Yesterday Is a Tizita brings back the grey-sky atmosphere, a lament that rises to the point where the sky clears and Meklit announces that “Our mistakes became the sun” –  her loping triplet melody is one of the album’s most delicious moments.

Wiley’s catchy, ominous baritone sax riffage drives Human Animal, a straight-ahead mix of hard funk and Ethio-jazz, with hints of 80s new wave. Sweet or Salty maintains that balance of 80s British pop and rustic Ethiopian themes, with acidically swirling masenko against lushly enigmatic strings and understatedly jubilant rat-at-tat percussion.

Happy Birthday starts out as a cute attempt at a replacement for an all-too-familiar ditty that could really, REALLY use a replacement, then becomes an intricate thicket of melody, winding up with a jaunty conversation between Wiley’s tenor sax and one of the trombonists. The album closes with Memories of the Future, shifting back and forth between a majestic, distantly uneasy sway and a jubilant, cantering theme fueled by the New Orleans horns. Lots going on here, plenty to sink your ears into over and over again – one of the best albums of 2017, bar none.

Moist Paula Henderson Brings Her Starry, Playful Improvisations Back to Greenpoint

Baritone sax star Moist Paula Henderson is, among other things, the not-so-secret weapon in gonzo gospel-funk pianist/showman Rev. Vince Anderson’s wild jamband. Last night at Union Pool, she was in a characteristically devious mood, having all sorts of fun in between the notes. But she’s not limited to baritone sax. Last month at Troost, she played a fascinatingly enveloping, psychedelic show with multi-instrumentalist and film composer Dorothea Tachler and inventor/guitar shredder Nick Demopoulos. She’s back there tomorrow night, April 26 at around 9 in a duo with Demopoulos, who will no doubt be improvising on the SMOMID, his own electronic invention that looks like a vintage keytar would look if such things existed back in the 50s.

Beyond her work as a hardworking sidewoman, Henderson is also a great wit as a composer. And she’s not limited to baritone sax, either: like the Sun Ra Arkestra’s Marshall Allen, she frequently employs the EWI (electronic wind instrument) for her more adventurous projects. Her most recent solo album, Moist Paula’s Electric Embouchere – streaming at Bandcamp – is a series of EWI compositions that harken back to the playfully cinematic pieces she explored with her late-zeros electroacoustic act Secretary, while also echoing her work with legendary downtown punk-dance sax-bass-drums trio Moisturizer.

The album’s opening track, I Dream of Dreams on Wheels juxtaposes wispy, fragmented, woozily tremoloing upper-register accents over a wryly shuffling, primitive, 70s style drum machine beat. We Always Fought on Thanksgiving – Henderson is unsurpassed at titles – is typical example of how she artfully she can take a very simple low-register blues-scale riff and build a loopy tune around it. 

Awake Against One’s Will is as surreal and distantly ominous as a starry dreamscape can be, awash in ambient waves and gamelanesque flickers. Old Ass Air Mattress is a jaunty electronic strut over a buzzy pedal note that threatens to implode any second: if there’s anybody alive who can translate sound into visuals, it’s Moist Paula. 

Riskily, She Named her 13th Child Friday sounds like P-Funk on bath salts, a rapidfire series of sonic phosphenes over which she layers the occasional droll, warpy accent. The album’s final cut is the mini-epic  Trick Or Treat Suite, ironically its calmest, most spacious and gamelanesque number, spiced with the occasional wry, unexpected swell amidst the twinkles and ripples. It’s like a sonic whippit except that it’s not as intense and it lasts longer. 

Insanely Eclectic Psychedelic Brass Band Intensity from the Dirty Bourbon River Show

Considering the Butcher Knives’ and Dirty Bourbon River Show’s output on record so far, you might think that their twinbill tonight at the Knitting Factory – which starts at 8:30 PM for a $12 cover – would be a bad segue. But it isn’t.  The openers’ guitar-driven, minor-key Gogol Bordello-style Romany rock makes a good setup for the New Orleans band’s more rustically raucous, canivalesque sound.

The Dirty Bourbon River Show’s latest album, The Flying Musical Circus, is aptly titled and streaming at Bandcamp. To sum things up, the brass-fueled five-piece group tackles Balkan and circus rock, reggae, Beatlesque psychedelia, soca, mariachi, oldtimey swing and gospel and pulls it off. If there’s a style of music that they can’t play, it probably hasn’t been invented yet. The opening track, Passion, is a brassy Balkan reggae tune, the bassline held down by Jimmy Williams’ sousaphone. Waltzing along with Noah Adams’ strutting electric piano and a dixieland-flavored horn chart, The Cruel and Hollow Fate of Time Travel takes an unexpected detour down a wormhole into Sergeant Pepper-era Beatles psychedelia.

“Everybody’s coming to my party, but I’m not fucking going to that party,” Adams insists in the funky All My Friends Are Dead. Matt Thomas overdubs cheery soca sax harmonies in Knockin’ on Your Headboard: it’s about watching out for “your crazy-ass dad and your crazy-ass mama,” who’d spoil the party if they could. My Name Is Soul is a scampering, surreal turn back to Balkan circus rock: “I’m in your mouth, I’m on your tongue, but you don’t know me,” you get the picture.

Hidalgo’s Lament is an unexpectedly biting, bittersweet, slowly swaying mariachi tune with a tantalizingly brief Adams accordion solo midway through. The steamboat soul tune Poor Boy, Rich Girl is as funny as you would expect: “Every leperchaun loves gold…you’re a circus, cartwheeling with no purpose.” Shark Belly, a pulsing Romany rock anthem, is even funnier: unleash your inner ten-year-old and laugh along with Adams’ litany of obscenities, echoed by the band, on the second verse.

Nick Garrison’s snaky trombone and Scott Graves’ tumbling drums anchor Roll It Around, a high-voltage stoner Balkan brass number. The album winds up with the gospel-infused title track, awash in mighty tasty horn harmonies, Adams’ accordion swirling amidst the storm. Definitely one of the ten best and most consistently fun albums to come over the transom here this year.

Ethio-Jazz Soul Singer Meklit Airs Out Her Brilliant Forthcoming Album at Lincoln Center

Last night at Lincoln Center, Meklit came to conquer. Rocking a sassy kente cloth skirt and black top, the ex-Brooklynite Ethio-jazz belter bounded and whirled across the stage, singing in both English and Amharic, leading a tight six-piece band through a passionate, fiery, subtly relevant mix of mostly new songs from her forthcoming album When the People Move, the Music Moves Too. Freed from behind her acoustic guitar – at least for most of the set – she’s found new vocal power in her low register, and commands the stage like never before. It’s hard to believe that the artist formerly known as Meklit Hadero – her full name – got her start in the cautious, sedate world of singer-songwriters.

While her work has always drawn on her Ethiopian roots, her newest material goes deeper into that nation’s joyously cantering, brassy dance music from the 60s and 70s. “Ethio-jazz in 2017!” was the mantra throughout the night’s most explosively kinetic number, I Want to Sing For Them All, a shout-out to influences ranging from the golden-age hip-hop she grew up with and found kinship in, to Coltrane and Mulatu Astatke, among many others. Drummer Colin Douglas and percussionist Marco Peris Coppola negotiated the song’s twists and turns with a steely precision as bassist Sam Bevan bubbled behind the searing, thrilling, trilling chomatic harmonies of tenor saxophonist Howard Wiley and trumpeter DeAndre Schaifer. It was a visceral validation of George Clinton’s observation about how freedom begins in the lower extremities.

In between songs, there was silence, and Meklit let it linger, choosing her thoughts like she chooses her spots as a singer. “Welcome to my living room!” she beamed as the second line-tinged groove of You Are My Luck got underway, an irrepressibly shuffling shout-out to the power of love as fuel for the struggle. She bookended her roughly hourlong set with a couple of bracing Ethio-jazz numbers, the first with a trick ending and a tantalizingly brief Wiley solo, the closing number a careening, pulsing take of the first Ethiopian number Miriam Makeba learned for her initial trip to that country in the 1960s.

They reinvented an Erykah Badu pop hit as Ethiopiques, with a still, suspenseful intro that gave way to spine-tingling microtonal horn riffage. One of the new songs, Supernova was akin to the Sometime Boys tackling Ethiopian funk, with Meklit’s most powerful, dramatic vocal of the night. “In case you’re ever feeling ordinary, remember you were born in a supernova,” she mused beforehand.

Musically speaking, the high point of the evening was an insistent minor-key anthem, part Ethiopiques, part Aretha, with a long, feral, microtonal Wiley solo that began with aching sirening effects and eventually picked up with volley after volley of chromatics and microtones. Then Meklit plugged in her krar harp for a number she hoped would be as hypnotic to the crowd as it is to her, an argument that held. Then she flipped the script with her own wryly sunny happy-birthday song, a welcome alternative to what you hear blasting from the speakers in East Village Indian restaurants.

The triumphantly crescendoing, anthemic, soukous-tinged This Was Made Here peaked out with a long, riveting, trilling trumpet solo fueled by Schaifer’s circular breathing. “I’m not going to wait, and I’m not going away,” Meklit belted. Throughout the set, Bevan – switching from standup and five-string Fender, and then back – impressed with his ability to be busy but not obtrusive, playing lots of variations on bouncy octaves. Coppola, with a big Indian dhol bass drum slung over his shoulder, handled the tricky metrics in tandem with Douglas and Bevan. At one point the drummers left their posts to bang on the bass strings for a solo: this group has as much fun onstage as their bandleader. The next stop on their current US tour is tonight, April 7 at 8 PM at World Cafe, 500 N. Market St. in Wilmington, Delaware.

The atrium space at Lincoln Center is where most of the most happening shows there take place – it’s an easy place to call home away from home. The next one is on April 20 at 7:30 PM with psychedelic Colombian champeta dance band Tribu Baharu.

Ensemble Mik Nawooj Reinvent Hip-Hop Classics in Harlem

“Rolling down the street, smoking indo!” soprano Anne Hepburn Smith sang, belting at gale force for maximum dramatic effect. A sold-out audience of white tourists exploded in laughter.

“Sipping on gin and juice!” Ensemble Mik Nawooj’s two MCs, Sandman and Do D.A.T. responded. There wasn’t a member of the chamber orchestra behind them who could resist a shit-eating grin. It was as if to say, we can’t believe we’re actually playing this song at all, let alone this way…heating up the coldest night of the year, Saturday night at the Apollo, no less.

In their first-ever New York concert, at the third-floor cafe space there, that Ensemble Mik Nawooj managed to deliver a show worth seeing at all was a major accomplishment. If they’d been able to hear each other onstage, if the sound mix had been even remotely decent, or if bandleader JooWan Kim hadn’t been forced to play the show and conduct the band from the floor, seated in front of the stage at an out-of-tune upright piano whose lid had been ripped off, there’s no telling how much more comfortable this mighty band would have sounded.

They take a well-loved hip-hop formula – moody, lush strings with eerily tinkling piano – to the next level. Hip-hop with a live band goes way back to acts like Rare Essence and Schoolly D, but this show had more in common with Yaasin Bey’s most lavish mashups of rap and classical music. Kim told the crowd that his new arrangements of popular rap hits, most of them from the 90s, would be radical reinventions, and he wasn’t kidding.

Smith didn’t come in until the death-obsessed second number, like Oya with the thunderbolt when things got really intense. The menacing twinkle from Kim’s fingers mingled with the washes of strings from violinist Clare Armenante and cellist Saul Richmond-Rakerd. Flutist Elizabeth Talbert and clarinetist James Pytko animated the set’s funkiest moments while bassist Eugene Theriault and drummer LJ Alexander gave the tunes more swing than any sample or drum machine ever could.

The two MCs nailed the rapidfire rap toward the end of the show’s epic opener syllable for tonguetwisting syllable. Kim directed brisk, catchy ELO-ish chamber pop interludes, starry macabre set pieces and baroque violin passages in between the rappers’ manic flow, bubbly woodwinds interspersed with the lyrics over the tight rhythm section. They mined the Wu-Tang Clan’s classic first album for several joints, starting with C.R.E.A.M. (which to be honest, they played way too fast), then Shame on a Brother and finally their own version of a classic track which they recast as EMN Ain’t Nothing to Fuck With.

They went to their native Cali and made a march out of J Dilla’s Last Donut, and after Gin and Juice, tackled a second Snoop Dogg number, Gz and Hustlaz, shifting from bouncy flute funk to an ominous cinematic minor-key outro. As the show hit a peak, Kim revealed that this live set reflected his response to and eventual bounceback from a series of deaths in his family: it’s not hard to see how hip-hop death fixations and grimness would resonate with him. Beyond that cover of Gin and Juice, the biggest hit with the audience was when the two rappers left the stage, went to the middle of the crowd and dueled without any help from the band. Then again, Vanilla Ice could have gotten a standing O out of this crowd. Here’s hoping that EMN get better sound here the next time around – or play the  main Apollo stage, where the sonics are reliably excellent.

Wild Brass-Fueled Indian Bhangra Band Red Baraat Release Their Most Dynamic, Epic Album

Red Baraat are New York’s best-loved and probably loudest party band. They play original brass-fueled Indian bhangra music, taking an exuberantly explosive sound to new levels of eclecticism and sheer volume. Intense, hypnotic Indian modes follow tidal waves of dynamics up and down, the band’s signature, blazing brass section anchored by the intricately stampeding beats of their three drummers. If you can’t dance to this stuff, you can’t dance to anything.

They’re bringing the party to two release shows for their most diverse and arguably best album, the brand-new Bhangra Pirates, available on vinyl and streaming at Spotify. On March 9 at they’re at the comfortable auditorium at Bric Arts in downtown Brooklyn for $15 in advance. Then on March 18 they’re at the Poisson Rouge at 10:30 PM for five bucks more. That’s the advance ticket price for standing room, it’ll set you back more if you just show up at the door or if you want a seat. Although going to see Red Baraat and not being on your feet would be pretty bizarre…

The album’s opening track, Horizon Line is a blazing mashup of new wave and bhangra, with a little New Orleans spice; John Altieri’s sousaphone plays the big hook as a bassline. Jonathan Goldberger’s ominous Middle Eastern taqsim kicks off Zindabad, a slinky, epic fanfare of sorts, the high brass – Jonathon Haffner’s soprano sax and Sonny Singh’s trumpet – against the formidable lows from Altieri and trombonist Ernest Stuart, with a wildly sailing Haffner solo midway through. Likewise, on the title track, Golderger’s guitar matches the mighty majesty of the horns; it’s an Indian take on the kind of hip-hop brass mashup that the group’s Barbes colleagues Slavic Soul Party were pioneering ten years ago.

Underneath Haffner’s soaring sax, bandleader/dhol drummer Sunny Jain teams up with twin drummers Chris Eddleton and Rohin Khemani for a scrambling and then titanically swaying groove throughout white-knuckle intense modalities of Tunak Tunak Tun. The brooding exchange of instrumental voices as Rang Barse gets underway only hint at the vast, cinematic panorama the band will build to as they reach escape velocity, stirring in elements of both peak 70s-era Burning Spear roots reggae as well as Serbian brass music.

Bhangale follows a similarly moody tangent upward, but with more punchy rhythm and melody; Goldberger leads the charge with a bluesmetal-tinged attack. With its hip hop-inspired chorus, swaying spirals of beats, biting chromatics and searing, noisy Goldberger solo, Gaadi of Truth has the feel of a big audience-participation number. Then with Se Hace Camino, the band takes a catchy minor-key salsa tune and sets it to a bhangra beat.

Imagine the Hawaii 5-0 theme set to a deliriously clattering but steady groove and you have part of Akhiyan Udeek Diyan; it gets warmer and sunnier as it goes along, with a serpentine trombone solo where Stuart hands off to Haffner, who leads everybody to a wild crescendo at the end . The album’s final cut, Layers is as surprisingly lighthearted as it is wickedly catchy. It’s amazing how many flavors the band have added to their arsenal over the years; count this as an instant contender for best release of 2017. 

First-Class Tunesmithing from Pastoral Jazz Guitar Great Cameron Mizell

Cameron Mizell is the great pastoral jazz guitarist not named Bill Frisell. Like Frisell, he has a laser sense for a catchy hook, a spacious approach to melody, a fondness for the unconventional and a flair for the lurid that occasionally bares its fangs from deep in the shadows. Mizell’s latest album Negative Space – streaming at Destiny Records – is a trio effort with multi-keyboardist Brad Whiteley and drummer Kenneth Salters. Mizell is playing the small room at the Rockwood on March 13 at 7 PM.

The album’s opening miniature sets the stage, a brief, resonant Frisell-style tone poem of sorts, just a couple of tersely exploratory guitar tracks and a little cymbal work from Salters. Big Tree takes those hints of unbridled gorgeousness and, to paraphrase Richard Thompson, really brushes those treetops, a series of soul-infused echo phrases. The slowly swaying Yesterday’s Troubles, Mizell’s distorted riffage paired with Whiteley’s echoey Rhodes piano, sounds like Beninghove’s Hangmen covering a set piece from Quincy Jones’ In the Heat of the Night soundtrack.

Likewise, Whiskey for Flowers hints that Mizell’s going to plunge into Marc Ribot  noir, but instead hits a warmly vamping pastorale shuffle that builds to an unexpectedly sweet Jerry Garcia-ish peak (it’s inspired by couple-bonding: Mizell’s wife has come to share his appreciation for the hard stuff). By contrast, Take the Humble is a crescendoing funk shuffle that owes more to Booker T than to, say, Scofield, especially when it comes to Whiteley’s organ solo.

Mizell builds a slow burn over Whiteley’s ominously circular Philip Glassine piano phrases on the album’s cinematic centerpiece, Clearing Skies, rising to David Gilmour epic grandeur, Whiteley channeling blues through the prism of REM balladry. Don’t laugh: it works. Likewise, Get It While You Can, a punchier take on the Grateful Dead version of the old folk song Going Down the Road Feeling Bad.

Barter reaches from spare and then expansive Booker T-ish verses toward Pink Floyd grandeur. A Song About a Tree would be a standout track on any Frisell album, a luscious song without words assembled from catchy electrified bluegrass hooks, drifting matter-of-factly further into space. Unfolding has such an odd rhythm – at heart, it’s a reggae anthem – that it almost seems like the drum was a last-minute overdub. The album’s title cut has an ECM feel, Whiteley’s waves of piano building and then receding way too soon: it could have gone on for twice as long and nobody would complain. The final track is part Dark Side of the Moon majesty, part cinematic Ribot menace. Beyond the tunesmithing here, the absence of bass makes this a great practice record.