New York Music Daily

Love's the Only Engine of Survival

Tag: funk

Slinky, Sophisticated Organ Jazz That Might Have Slipped Under the Radar

Dr. Pam Popper, who has emerged as one of the brightest lights  since the 2020 lockdown, has made a big deal of the fact that no matter how disturbing the current situation becomes, we can’t afford to let our joie de vivre be stolen from us. And what’s better to lift our spirits than funky organ jazz? Jared Gold, one of the most sophisticated organists in that demimonde, is leading a trio tomorrow night, June 22 at Smalls, with sets at 7:30 and a little after 9; cover is $25 cash at the door.

Gold has put out plenty of good albums of his own: his 2012 release Golden Child is the most distinctive and in its own defiantly thorny way, maybe the best of the bunch. A record that’s probably closer to what he’s likely to deliver in a venue like Smalls is guitarist Dave Stryker‘s slinky but urbane Baker’s Circle, streaming at Bandcamp (Gold has been Stryker’s main man on organ for quite awhile). Like a lot of albums that came out during the dead zone of the winter of 2021, it’s flown under the radar, which is too bad because it’s a great party record.

The first of Stryker’s originals here is the opening track, Tough – a briskly shuffling, catchy, soul-infused Styker original full of precise, warmly bending guitar lines, bright tenor sax from Walter Smith III and subtle flashes from across drummer McClenty Hunter’s kit. Gold stays on track with the band in his solo, with his steady blues riffage.

There’s lithely tumbling latin flair in the second track, El Camino, matched by Smith’s precise, chromatic downward cascades, Stryker’s drive toward a spiraling attack and a tantalizingly brief Gold solo.

Smith and Gold harmonize tersely over the tricky syncopation of Dreamsong, the bandleader channeling a late 50s soul-jazz vibe over lurking, resonant organ. They make tightly strutting swing out of Cole Porter’s Everything I Love, with carefree yet judicious lines from both the bandleader and then Gold. The lone Gold tune here is the aptly titled, scampering Rush Hour, with rambunctious solos from Smith and then Stryker.

The quartet rescue Leon Russell’s early 70s tune Superstar from the circle of hell occupied by groups like the Carpenters, then launch into the title track, the last of the Stryker originals. No spoilers about what jazz classic that one nicks: percussionist Mayra Casales adds subtle boom to the low end.

Likewise, they play Marvin Gaye’s Inner City Blues as a tightly straight-up clave tune with Stryker’s spikiest work here, Gold’s edge in contrast with Smith’s balmy approach. Stryker finally goes for Wes Montgomery homage in Love Dance, by Ivan Lins. They close the record with Trouble (No. 2), a reworking of the old Lloyd Price hit that while short of feverish, owes a lot to Peggy Lee.

If you’re wondering what the album title refers to, it’s a shout-out to Stryker’s mentor and guitar teacher David Baker.

Summery Sounds From Guitarist Yuval Amihai and Pianist David Kikoski

Go to pianist David Kikoski’s discography page, and as you would expect there are plenty of albums where he’s the bandleader. Scroll down to his sideman projects and you’ll find that the very first album listed is the Mingus Big Band’s sizzling Live at the Jazz Standard album from 2010. Big surprise: Kikoski is a big reason why that album is one of the most exhilarating of the past dozen years. He’s lyrical, he has an edge and he gets a ton of gigs, which is why he doesn’t often get a chance to lead his own projects here. He’s doing that this June 11 with a trio at 10:30 PM at Mezzrow. Cover is $25 cash at the door; he’s back in that intimate space on June 25.

Kikoski is also very versatile. One new album that gives him a chance to go in a direction he hasn’t gone in much lately is Israeli guitarist Yuval Amihai‘s My 90s Summer, streaming at Soundcloud. Kikoski plays Rhodes electric piano on this one, which in general is closer to soul and downtempo music than it is jazz.

Amihai opens with the title track, a swaying, summery soul theme with a balmy horn chart: Julieta Eugenio on tenor sax, Wayne Tucker and Itai Kriss on flute giving way to carefree solos by Amihai and Kikorski and a big cheery crescendo. It sets the stage for much of the rest of the record.

The band prowl like a lynx, sleek on its feet but lethal in MEDB (Middle Eastern Desert Blues), with deliciously simmering harmonies from the bandleader and Kikoski’s Rhodes. It doesn’t sound the least bit Malian and it doesn’t sound particularly Middle Eastern either. as Kikoski winds his way through a twinkling, nocturnal solo.

Gwen’s Groove is a vampy trip-hop launching pad for bright, matter-of-fact solos from guitar and Rhodes. The band reach for a balmy, summery lullaby soul sound in Song For Sasha. They follow that with the aptly titled Smiles, Kikoski switching to acoustic piano for a typically glistening, rather impetuous interlude over the tiptoeing syncopation of bassist Eric Wheeler and drummer Jeremy Dutton. It’s the best and most traditional jazz number on the record.

Amihai revisits the furtive nocturnal slink of the album’s second number, if less ominously, in Yitgaber. The album’s big epic is Coming Through, which sounds like a late 70s/early 80s Steely Dan song without words, Kikoski back on piano for an emphatically strolling, blues-infused solo. Amihai gives the record a warmly swaying coda with Saturday Afternoon.

Most of this is not heavy music, but Amihai really knows how to create a mood and keep it going. Clearly, the 90s were a happy time for him. How little those of us who were there knew how much we would eventually miss those days.

Drummer Kresten Osgood Airs Out His Funky Chops on Hammond Organ

Here in the west we emphasize musical specialization to the point of absurdity. In the Middle East and Africa, pretty much everybody is expected to be a competent drummer: after that. you find your own axe or axes. In that context, it’s less surprising that Kresten Osgood, the popular Danish drummer, would also turn out to be a very inspired organist. His new album, Kresten Osgood Plays the Organ for You is due to hit his Bandcamp page on June 3.

After playing behind the kit for organists including Dr. Lonnie Smith and Billy Preston, Osgood decided to take matters into his own hands and leave the organ envy behind. The result is a purposeful, thoughtful party record.

The opening number. Play it Back features Osgood’s steady, catchy, vampy riffage over a loose-limbed groove with Fridolin Nordsø on chicken-scratch wah-wah guitar, Ludomir Dietl on drums and Arto Eriksen on percussion. Exactly what you would expect from a drummer: everybody is in on the beats!

Osgood really chooses his spots from there, spacing his clusters, spirals and a logical, playful counterpoint in the second track, Poinciana. The group make their way through the slowly swaying thicket of percussion in Wildfire, a catchy Booker T-style theme with an incisive, psychedelic wah solo from Nordsø

Når lyset Bryder Frem – “when the lights go on,” roughly translated – is a warmly major-key retro 60s soul-funk tune. Osgood wraps his hands around some big chords in his longest, most undulating tune here, Baby Let Me Take You in My Arms, Nordsø taking off into space and spinning back down to earth before the jungle of beats takes centerstage.

The band pick up with a harder edge in Onsaya Joy, then Osgood launches into the catchiest, but also most complex number on the album, Dansevise, with its shifts between major and minor, jazz and 60s psychedelic soul.

The quartet wind up the record with a bouncy midtempo funk cover of By The Time I Get to Phoenix Osgood artfully edging his way into the melody. His next New York gig is behind the kit on May 28 at 6:30 PM at Downtown Music Gallery, in an interesting improvisational trio with trumpeter Herb Robertson and tuba player Marcus Rojas.

Pianist Rachel Z Brings a Great Lineup to Smalls Tonight

We are in the most bizarre time for live music in New York history. At this point, a small handful of jazz clubs are leading the way back to normalcy, catering to all New Yorkers without apartheid restrictions. Among the herd of elephants in the room is the brain drain out of town, where all but the most obstinate or destitute among us got the hell out within weeks of the March 2020 totalitarian takeover. So there are all kinds of unexpected faces popping up where they might not have before the lockdown.

One intriguing show that might not have taken place at Smalls in 2019 is happening there tonight, April 2, where pianist Rachel Z and her band Orbits 4 wrap up their two-night stand with sets at 7:30 and around 9 PM. It’s a great lineup, with Steve Wilson on alto sax, Jonathan Toscano on bass and Ben Perowsky on drums; cover is $25 cash at the door

The last time anybody from this blog was in the house at a Rachel Z show was eons ago, at a Winter Jazzfest afternoon in the Carnegie Hill area, where despite the early hour she and her Trio of Oz treated the crowd to a thoughtfully energetic set whose high point was a biting instrumental cover of the Police’s King of Pain.

If you’re thinking of checking out the Smalls gig, one album that might offer a hint of what they’ll be up to is bassist Scott Petito’s 2018 release Rainbow Gravity – streaming at Bandcamp – which features Rachel Z along with a rotating cast of talent, mostly from the jazz world.

Petito tends to favor a a dry, blippy, slightly oscillating tone, plays with a lot of guitar voicings and has a flair for the cinematic. A lot of this material looks straight to about forty years ago. Case in point: the album’s opening track, Sly-Fi. which has an easygoing, period-perfect early 80s Crusaders soul/funk vibe. David Spinozza’s guitar flares in sync with Bob Mintzer’s tenor sax over David Sancious’ alternately light-fingered and atmospheric keys, with a cheery sax solo at the center.

That template sets the stage for much of the rest of the record. On The Sequence of Events, Rachel Z adds welcome gravitas with her spare, thoughtfully incisive piano, as the bandleader takes a snappy solo way up the fretboard. Balsamic Reduction is an echoey Fender Rhodes soul song without words set to a straight-up clave beat, livened with• Mike Mainieri’s vibraphone and Spinozza’s chipper flamenco/blues solo. The group revisit a similar vibe – pun intended – a little later, in the album’s title track

The Sanguine Penguin is a brisk postbop swing jazz tune, Petito doubling the bright riffage from Mintzer and trumpeter Chris Pasin over Peter Erskine’s subtle drum accents, a cleverly leapfrogging piano solo at the center. Masika is both poignant and funny, Petito playing guitar lines through a flange and a sitar pedal over an otherwise unexpectedly brooding, west African tinged theme.

He and drummer Jack DeJohnette team up to build suspense in Dark Pools, an ominous soundscape. The group go back to a rather dark take on Hollywood Hills boudoir funk with Helicon, then work a pleasantly sleepy, twinkling groove in Lawns. Petito winds up the record with a gamelanesque duo with DeJohnette.

Fun fact: the album title is a concept from quantum physics which posits that the universe is more the result of a big drift rather than a big bang. The corollary is that its ever-increasing expanse may be more hospitable to life than we previously thought.

Individualistic Soul Band Brandi & the Alexanders Make a Welcome Return to the New York Stage

For the last few years prior to the lockdown, Brandi & the Alexanders were one of the most musically interesting retro soul bands playing around New York. Frontwoman Brandi Thompson is more about subtlety than wounded wail and the group behind her – guitarist Nick Fokas, bassist Eric Wendell, keyboardist Ethan Simon and drummer Eric Gottlieb – punch in with a drive that’s closer to classic 70s sounds and four-on-the-floor rock than hip-hop. In the studio, they keep their songs on the short side and have a great sense of humor. The tunesmitbing is strong: the songs are catchy without falling back on cliches. And Thompson doesn’t autotune her voice either!

They’ve put out a couple of records: the most recent one is How Do You Like It, which came out in 2018 and is streaming at youtube. The band are making a return to a familiar stage, the big room at the Rockwood – which has recently reopened without restrictions – on March 25 at 8:30 PM. Cover is $10.

The album opens with the title cut, a kiss-off anthem that’s a mixture of slinky psychedelic soul and hard funk, Thompson picking up with a gritty vindictiveness at the end. The second track, Higher is a catchy, tightly pulsing, harder-rocking take on late 60s Motown.

I’m in Love is funkier, with blippy electric piano and a little gospel bridge. The band slow things down with Jealousy, a simmering piano ballad in 6/8 time built around an icy chorus-box guitar riff and swirly organ. After that there’s a surprise, a slow, swaying 90s G-funk inspired cover of Black Sabbath’s Paranoid that’s just plain hilarious

They pick up the pace with Running Around, an brisk update on a familiar minor-key soul-blues theme from the 60s. “I’m so sick of these goddamn love songs,” Thompson scowls in the next number, a trip-hop strut with growling guitars and some amusing voiceovers.

The album’s hardest-rocking song is Drama Queen: just when you think the band are going to expand on the guitar multitracks, or launch into a long solo, they end it cold. Likewise, they wrap up Pulling Me Down, a catchy mix of airy keys and wah-wah guitar grit, in under three minutes.

“Luck ain’t got nothing to do with it,” Thompson asserts cynically in Lucky as the band rise from a slow wah-wah groove to a surreal, squalling sax break and a big coda. She reaches for extra venom in Shapeshifter, a vindictive, imaginatively orchestrated blues tune about a real femme fatale. The band wind up the album with Bad Love, a slow, gospel-tinged 6/8 ballad, Thompson working the dynamics for all they’re worth and finally kicking out the jams. Good to see these guys still together and playing at a time when so many others have been scattered across the country – or across town.

Eclectic Soul, Jazz and Funk Tunesmithing From Saxophonist Alison Shearer

Alto saxophonist Alison Shearer comes out of a jazz background but also writes genre-busting songs that bridge the worlds of soul, psychedelia and funk. Her debut album View From Above is streaming at Bandcamp. Her attack is nimble, purposeful, and her songs tend to be on the bright side. Shearer’s not-so-secret weapon here is keyboardist Kevin Bernstein, who fleshes out the material with layers of organ, Bernie Worrell-ish synth patches, electric and acoustic piano.

The first track is On Awakening, a cheery, kinetically loopy interweave of Shearer’s dancing sax and Marty Kenney’s blippy bass over Bernstein’s woozy P-Funk-ish keyboard layers, drummer Horace Phillips providing a solid footing. Shearer builds her mistily propulsive solo to a triumphantly emphatic series of closing riffs

Celestial has brightly circling sax hooks over a well-worn singer-songwriter progression that Bernstein quickly expands with his pointillistic piano, shreddy guitar voicings on the synth kicking off a cheery, singalong Shearer solo. The next tune, Cycles is a lithely dancing Hollywood Hills boudoir soul tune balanced with some neat triangulations between electric piano, sax and Wayne Tucker’s trumpet

Miranda Joan sings Breathe Again, a crescendoing, occasionally gospel-tinged soul-jazz ballad reflecting a hope to emerge into renewed freedom and optimism.

Shearer uses the vampy. swaying Toni’s Tune as a launching pad for catchy, misty soloing, bookeneded around a doublespeed bridge. “Art is dangerous,” a voiceover reminds, “Because dictators, and people in office, and people who want to control and deceive know exactly the people who will disturb their planning.” Take that, Klaus Schwab!

Tucker returns for tightly syncopated. bittersweet harmonies in Three Flights Up, anchored by Bernstein’s twinkling, resonant Rhodes. Jonathan Hoard, Vuyo Sotashe and Chauncey Matthews interchange on vocals in Big Kids; Bernstein plays somber neoromantic piano and Susan Mandel provides shivery cello behind a sobering sample of Martin Luther King commenting on police brutality.

Hattie Simon’s cut-and-pasted vocals float over a gentle, wistful, spare soul backdrop in Purple Flowers. The best song on the album is Dawn to Dusk, Shearer shifting from a stark, loopy Ethiopiques theme to swirly psych-funk and back. She winds up the album with Gentle Traveler, a warmly catchy song without words: the contrast between carefree sax and pensive cello is a neat touch.

Shearer doesn’t have any unrestricted gigs coming up, but Tucker is leading a quintet at Smalls tonight, March 17 at 7:30 PM. The trumpeter has a fiery side but is just as much at home in balmy Afrobeat-flavored sounds, and he likes to croon. The club is open again with no restrictions; cover is $25 at the door.

Some of the Most Outside-the-Box Sounds in Heavy Rock from the Neptune Power Federation

Australian band the Neptune Power Federation are one of the most original bands around. Just the idea of AC/DC with a woman out front is pretty cool (John Sharples’ New York AC/DC cover project Big Balls, with Anna Copa Cabanna on vocals is an obvious reference point). But as much as the Neptune Power Federation raise their lighters at the altar of Angus Young, they have all kinds of other influences. Their new album Le Demon De L’Amour is streaming at Bandcamp. The concept, heavy metal songs about love, is nothing new – except that these aren’t cheesy hair metal ballads. And they’re more acidic than saccharine.

The first one is Weeping on the Moon, with an intro that reminds of Pink Floyd’s Run Like Hell into a brisk stomp straight out of classic-era Highway to Hell AC/DC. Frontwoman Screaming Loz Sutch brings a little 60s girl-group-via-new-wave to the vocals. Bassist Jaytanic Ritual gets to cut loose on the long outro along with guitarists Search and DesTroy and Inverted CruciFox. Behind the kit – drum roll – is River Sticks, #bestdrummernameever.

Musically, the AC/DC is front and center in My Precious One, with a little Sabbath Paranoid edge, but it’s the lead singer’s unselfconscious angst that hits you upside the head: no cliches in that woman’s voice.

Baby You’re Mine is an unexpected detour into heavy wah-wah funk, with blippy clavinova and an organ swirling in the background. Loz reaches to the top of her wail in Loving You Is Killing Me, a strange, psychedelic mashup of AC/DC, early Santana and 80s metal with a shockingly delicate acoustic interlude before the earth-shaking charge out

The band go back to improbably successful new wave/metal cross-pollination in Stay With Thee. They follow that with Emmaline, a snarling riff-rock tune in an Electric Citizen vein with lush layers of backing vocals and a surreal outer-space interlude.

From the sarcastic intro, to the demolition right afterward, the heavy soul tune Madly in Love is the funniest track on the album. They close with We Beasts of the Night, a wistful acoustic twelve-string intro ceding to a straight-up powerpop anthem straight out of CBGB, 1979. It takes big balls to make music as defiantly individualistic as this – let alone in Australia at any time since March of 2020.

The Delvon Lamarr Organ Trio Return With a Funky New Record

It was the dead of summer, 2018, the sunset blasting the lawn at Wagner Park just north of the Battery. On a makeshift stage under a canopy in the middle of the park, the Delvon Lamarr Organ Trio fired off plenty of solar flares on their own. The organist bandleader edged out from catchy riffs to roaring rivers of sound and some smoky funk. It was good to see guitarist Jimmy James getting the chance to take off and air out his bottomless bag of riffs more than he does on record, with a purist, 1960s blues intensity. If New Yorkers stay strong and continue to defy New Abnormal restrictions, maybe someday we can look forward to seeing this beast of a band play here again.

They’re one of the most purposeful, adrenalizing and hardworking groups on the jamband circuit. It’s heartwarming to see that they emerged intact after the crippling lockdowns of 2020, with a new album Cold As Weiss streaming at Bandcamp. The album title refers to their new drummer Dan Weiss, also of psychedelic soul band the Sextones

The new album opens with Pull Your Pants Up, a not-so-subtle reminder to James to quit half-mooning the rest of the band during shows. It’s a catchy, more amped-up take on the classic Booker T sound, Lamarr scrambling and cutting loose with washes of chords,

Track two, Don’t Worry ‘Bout What I Do is slower and slinkier, with James running an edgy, Freddie King-flavored hook, expanding upward to a big wailing peak and a savage collapse from there.

I Wanna Be Where You Are is an irresistibly catchy late 60s soul groove, Lamarr playing a part that most groups of that era would have given to a horn section. They slow down for Big TT’s Blues, a ba-bump roadhouse theme, Lamarr choosing his spots and then spiraling over James’ smackdown staccato reverb chords. James bends his way through a wry solo afterward.

Get Da Steppin’ has a bright, upbeat Meters feel, then the band slow down for Uncertainty, James spotting Lamarr’s big chords with spare staccato licks. The guitarist takes over the rhythm as Lamarr lubricates the melody in Keep On Keeping On, the album’s funkiest tune.

The best track is Slip N Slide, James’ tasty web of vintage soul chords mingling with Lamarr’s reggae-tinged organ. James breaks out his wah pedal for This Is Who I Is, the album’s most psychedelic jam.

The trio’s next show is March 10 at 8ish at Proud Larry‘s, 211 S Lamar Blvd. in Oxford, Mississippi. Cover is tba: shows there with national touring acts run in the $15-20 range.

Saluting a Brilliant, Individualistic Chicago Blues Guitar Legend

Today’s installment in the ongoing monthlong celebration of all things epic is a mammoth thirty-track career retrospective by one of the giants of Chicago blues guitar. Dave Specter is not as well known outside the Windy City as he deserves to be, but the mammoth double album Six String Soul: 30 Years on Delmark – streaming at Spotify – should go a long way to bring this eclectic, purist player to an audience beyond the diehard blues crowd.

This is a feel-good story: career sideman, revered by his peers, finally decides to front a band rather than just being the guy that everybody in town seems to turn to when they need a sizzling solo. But the side of Specter we most often get to see here is the erudite, purposeful player who’s more interested in telling a story and keeping the crowd at the edge of their seats. Beginning with his work in the early 90s, it’s fascinating to watch him expand his sound, from a terse, Larry Burton-esque mutability, through more intricate, jazz-inspired style and then a fiery return to his 80s roots. Specter is fluent in more styles than you can count, but he’s not a riffbag guy stealing other peoples’ licks: when there are multiple guitarists on a track, there’s no mistaking which one is Specter.

The album opens with an unexpectedly careening, briskly swinging 1991 tune with Specter and Ronnie Earl backing Barkin’ Bill Smith. The final cut is Specter’s simmering, gut-wrenching protest anthem The Ballad of George Floyd, which might be the single most powerful blues song released in the past year.

In between, we get a capsule history of a style of music which on one hand was concretized a long, long time ago, but which Chicago musicians keep reinventing in all kinds of interesting ways. There are plenty of live tracks here, which is where Specter is most in his element (and to his credit, his studio work here is a cut above so many of the great artists of the 90s whose albums were rush jobs helmed by hack engineers and producers).

There’s Sweet Serenity, a swinging soul-gospel number from 1995 with Tad Robinson on vocals. There’s This Time I’m Gone For Good, a slow-burning, anguished soul song with Otis Clay out front, Specter channeling a little Wes Montgomery and some ferocious Otis Rush chord-torturing. There’s Seventy-Four, a slow ballad with Specter swooping and diving around, taking two long solos and building to a fiery, circling coda behind singer Willie Kent.

Specter excels at instrumentals, and there are plenty here. The Stinger is one of the best, a latin funk mashup of Chris Thomas King and Otis Rush, if you can imagine all that. Wind Chill, with Dez Desormeaux on tenor sax, Ken Saydak on organ and Ronnie Earl on guitar is a minor-key gem, part late 60s South Side soul, part Wes Montgomery and part state-of-the-art for the 90s. Specter’s Walk is a brisk, bittersweet stroll; Riverside Ride offers a nod back at summery Steve Cropper Muscle Shoals soul, but with Chicago grit. There’s also a caffeinated, burning take of Magic Sam’s Riding High.

Taken from a live set with Floyd McDaniel, the version of St. Louis Blues here veers from a suspenseful mashup of Wes Montgomery and klezmer, veering back and forth to straight-up ba-bump drive. Specter throws a hilarious quote from Thelonious Monk in toward the end. There are more references to Otis Rush and also Elmore James in Specter’s chordal attack in Get Back Home.

Unleavened Soul ,with Brother Jack McDuff on organ, is a light-fingered bossa blues, again with hints of klezmer plus a low key soulful John Brumbach tenor sax. McDuff chooses his spots; trumpeter Rob Mazurek displays unusual restraint and modal intensity.

The tradeoff between solos from Lurrie Bell to Specter in Bell’s You’re Gonna Be Sorry is a clinic in tasteful playing. Backing Sharon Lewis’ vengeful vocals, Specter finds the least expected stepping-off point to drive In Too Deep to a bellicose peak.

By the time the story reaches the second disc, it’s 1998 and Specter is filling out the space behind crooner Larry Lynn with an unhurried upward trajectory toward a similarly smart Rob Waters organ solo. Right after that we’re treated to Texas Top, a casually paced, expertly assembled update on Booker T instrumental soul, Waters again reaffirming the high level of company Specter typically hangs with.

The most inspiring number on the second disc is March Through the Darkness. a heartwarming, Memphis-style soul anthem written in 2019 in protest of Trump-era divide-and-conquer, although it has even more relevance at at time when we’re we shaking off genuine totalitarianism. Considering how Specter has stepped out as a frontman, as he celebrates in The Blues Ain’t Nothing with Jorma Kaukonen. this is a great gateway to the rest of Specter’s discography and reason to look forward to whatever he comes up with next.

Rare Unreleased Psychedelic Funk and Jamband Sounds From a New York Gone Forever

It’s a sweltering night on New York’s Lower East Side in June of 1987: summer has gotten off to a scorching start. Inside CBGB, there’s a good crowd, and they’re in a dancing mood. High on the stage, drummer Bobby Previte lays down a colorful clave. Elliott Sharp and Dave Tronzo play skronky, smoky guitar funk. Bassist Dave Hofstra is too low in the mix, and bandleader Wayne Horvitz adds layers of woozy keyboard textures. It’s the missing link between Defunkt’s jagged dancefloor attack and sprawling mid-70s Can. About four and a half minutes in, the song ends cold.

That’s the opening number, This New Generation, on Horvitz’s fifteen-track initial release in a series of archival recordings, Live Forever Volume 1, The President NY Live in the 80s, streaming at Bandcamp. It’s a party in a box. From the perspective of the Orwellian nightmare that 2022 has been so far in this city, what an incredible time and place that was. The door guy at CB’s never bothered to ask customers to show ID, never mind a vaxxport or a muzzle. And if vaxxports had existed in 1987, the crowd would have laughed him off and bumrushed the stage. For the young people of the Reagan era, everybody’s bullshit detector for authoritarianism was set to stun. How far we’ve fallen since then.

The rest of the album is a period piece. In his extensive liner notes, Horvitz avers to how messy and uneven some of it is, but there’s no question this band could jam their asses off. There are also a handful of rare studio recordings as well as a quartet of songs from the earliest incarnation of this snarkily named ensemble, The President of the United States of America, from a CB’s show five years earlier.

The next song is Bring Yr Camera. Tronzo slips and dives and tenor saxoponist Doug Wieselman soars over a gritty groove that could be a 1960s incarnation of the Crusaders. After that, These Hard Times foreshadows what Susie Ibarra would do with Filipino kulintang music, albeit with a harder edge.

There are two versions of Andre’s Mood here. The first is from that 1987 set, a tumbling, blippy, downtown New York take on what the Talking Heads were doing with Burning Down the House. The second is a more skittish, Afrobeat-flavored studio recording with Horvitz’s organ further to the front.

Likewise, there are two takes of Three Crows, a swaying, midtempo funk tune. The live version has a reggae bassline from Hofstra and a snazzy handoff from Wieselman to a jagged Sharp solo; the studio take is a little faster. The final song from the live set is Ride the Wide Streets, which veers further toward frantic punk-funk.

The rest of the studio material here is on the techy side, focusing on Horvitz’s incisively layered, punchy keyboard riffs. There’s Serious, which prefigures that expansive Afrobeat jams of bands like the Brighton Beat, and Science Diet (a reference to cat food), which is short and snarling.

The 1982 CBGB tracks are the most expansive and jam-oriented here. Despite a completely different lineup – Stew Cutler on guitar, Joe Gallant on bass and Dave Sewelson on alto sax – they’re testament to the consistency of Horvitz’s vision. The appropriately titled On and On is basically a reggae tune with a couple of big screaming peaks. Horvitz dedicates the more Booker T-flavored Flat on Yr Back to the sound guy – hmmmm!

Kevin Cosgrove is the guitarist on the two earliest live numbers. Of Thee I Sing is the most haphazard one here – hearing Sewelson’s sax through the board with all that reverb on it is a trip, as are Horvitz’s synth settings. The final number, Boy, is a surreal mashup of New Orleans second-line groove and abrasive no wave. All this is reason to look forward to what else Horvitz has lying around for the next installment.