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Tag: stephanie layton

A Rare Reunion from New York’s Best Underground Swing Jazz Supergroup

The Tickled Pinks almost played Club Cumming. Ostensibly, lack of a liquor license derailed one of the few events that could have transcended any issue concerning tourist hordes in the East Village on a Saturday night. But the irrepressible underground swing jazz supergroup did get to play two iconic Brooklyn venues, Hank’s and Pete’s last month, in one of the funnest reunions of any New York band in recent years.

Among other harmony vocal acts, only John Zorn’s Mycale chorale have the kind of individualistic power and interplay that the Pinks showed off during what was a pretty good run. They made it as far as Joe’s Pub – and got the key to the city of Olympia, Washington on their most recent tour. Whether the key works or not is unknown.

It would be overly reductionistic to say that with her spectacular range, Karla Rose Moheno handles the highs, the more misty Stephanie Layton handles the mids and Kate Sland handles the lows – all three women can span the octaves enough to take their original inspiration, the Andrews Sisters, to the next level. Although that basic formula seemed to be the strategy for night one of a reunion weekend stand that began with an Elvis cover night at Hank’s.

The idea of three women harmonizing Elvis tunes is a typical Pinks move, although one they never did before. And they weren’t the only ones who sang. Guitarist Dylan Charles took a break in between elegant expanses of jazz chords, snazzy rockabilly and some machete tremolo-picking to narrate a tongue-in-cheek version of Are You Lonesome Tonight. There were also a handful of cameos from friends of the band invited up to do their versions of the hits.

Moheno switched out her trusty Telecaster for an acoustic guitar; Sland played snappy bass and Layton held down the groove behind the drumkit. John Rogers’ ornate electric piano and organ lit up several of the songs; trumpeter Mike Maher gave a mariachi flair to several numbers as well.

The set wasn’t just familiar favorites, either. As much fun as it was hearing what this crew could do with Hound Dog and Jailhouse Rock and Suspicious Minds, the best song of the night was an obscure, ominous noir number, Black Star. On one hand, it’s hard to imagine that Elvis knew what kind of an end he’d come to when he sang this in the mid-60s…but this group’s stalking, low-key version left that question hanging. From this point of view, it would have been even more fun to be able to catch the whole set, but it was impossible to walk out of Moroccan saxophonist Yacine Boulares’ absolutely haunting Lincoln Center set earlier that night.

The Pinks wound up their weekend with a serpentine set of swing at Pete’s. Since they started in the late zeros, they’ve expanded their songbook far beyond 30s girl-group material to jump blues and beyond. Case in point: an absolutely accusatory version of Straighten Out and Fly Right. They went deep inside to find the bittersweetness in the Kinks’ Sunny Afternoon, then pulled out all the smoke and sultriness in Is You Is or Is You Ain’t My Baby. And the old 20s hot swing standard Why Don’t You Do Right outdid both the Moonlighters and Rasputina’s versions in terms of both energy and righteous rage.

The Pinks are back on hiatus now while everybody in the group is busy with their own projects. Layton and Charles continue with their torch jazz band Eden Lane, with a gig on June 3 at 7 PM at Caffe Vivaldi, one of the Pinks’ old haunts. Sland continues to do unselfconsciously heroic work in hospice medicine in California. And Moheno continues with recording her next noir rock album, under the name Karla Rose – if the track listing remains as originally planned, that record would top the list of best albums of 2018 if she released it now.

Eden Lane Bring Their Misty, Haunting, Lynchian Jazz Songs Back to the West Village

Stephanie Layton stood tall and resolute, a tinge of mist in her voice, in front of her jazz combo Eden Lane at Caffe Vivaldi late last month. “If it was up to me, I’d only sing sad songs,” she told the crowd, concise and to the point – and half of them roared their approval. If there ever was a market for depressed music, New York in 2016 is it.

“But that wouldn’t be well-rounded,” she explained gently. As you would expect from a vocalist who’s in demand as much as she is, Layton is actually very well-rounded. And one suspects that her similarly well-rounded bandmates in the Tickled Pinks – arguably New York’s most irrepressibly fun swing harmony trio, who will be on West Coast tour this August – share her preference for dark material. Karla Moheno leads one of this city’s most mysteriously cinematic, haunting bands, Karla Rose & the Thorns, while Kate Sland sings and plays bass in uneasily swirling rock group Merit Badge. Layton’s other gig is playing piano alongside her singer sister Susanne in honkytonk power trio Dylan Charles & the Layton Sisters. And in a stroke of serendipity, Layton is bringing Eden Lane back to Caffe Vivaldi on July 29 at 9:30 PM.

Last time out at that venue, Layton was in her element. In her auburn bangs, retro red-framed glasses, black top and smart vintage print skirt, she had the David Lynch ingenue persona down cold, a perfect match for her blue velvet vocals. Her purist, inspired backing unit also included Charles on guitar along with bassist Larry Cook, tenor saxophonist Janelle Reichman and pianist.Yan Falmagne. They slowly made their way into My Baby Just Cares For Me, Layton giving it an understated nuance with a nod back to Nina Simone, Reichman’s sax matching Layton’s understatedly pillowy delivery. Then she completely flipped the script with the first of two state-specific songs, a coyly shuffling, wordy rarity from the Blossom Dearie catalog,  Rhode Island Is Famous for You, Charles plinking wryly through a verse when Layton threw one his way.

Then she went back to disarmingly direct, bittersweet mode for Happiness Is a Thing Called Joe, less Peggy Lee ballad than angst-ridden wish song lowlit by wee-hours piano underneath Reichman’s long, moodily spiraling solo. Layton duetted with Charles on a briskly swinging, almost defiantly contented take of Mississippi Mud, then went back to geographical jazz with a rare Erik Frandsen tune, the vividly affecting Unique New York. Eight million hearts just can’t be wrong, and she gave voice to every one, hoping they won’t lose their apartments to speculators looking to make a quick flip before the market crashes.

The band kept the wistful, grey-sky mood going, with a knowingly wounded, mentholated tropical tinge, Falmagne leaping in to keep the volume up when Charles added an aptly stark solo. Layton’s resigned interpretation of Rodgers and Hart’s Little Girl Blue was just plain shattering: her “Just sit here and count your fingers,” was enough to get tears from a stone. Likewise, their bittersweetly swaying take of When Sunny Gets Blue echoed the classic Jeanne Lee version, emotionally if not rhythmically. From there they picked up the pace, bouncing their way through No Soap, No Hope on the wings of Reichman’s rapidfire riffage.

Layton matched an anxious, brittle vibrato to her opaquely enveloping low register in an enigmatic take of When the Sun Comes Out, Charles’ rain-off-the-roof solo capping it off. Julie London’s Nice Girls Don’t Stay for Breakfast was next, keeping the heartbroken mood front and center over Falmagne’s judicious phrasing. They closed with a tongue-in-cheek, hungover Sunday pancake afternoon version of Give Me the Simple Life. Some laughs, plenty of goosebumps and enough empathy to pull just about anybody out of the abyss. Dare you to go to Caffe Vivaldi on the 29th and find out for yourself.

The Best New York Concerts of 2015

On one hand, pulling this page together is always a lot of fun – and there could be a late addition or two, since the year’s not over yet. Of all the year-end lists here, including the Best Songs of 2015 and Best Albums of 2015, this is the most individualistic – everybody’s got their own – and reflective of the various scenes in this blog’s endangered but still vital hometown.

On the other hand, whittling this page down to a manageable number always hurts a little. With apologies to everyone who didn’t make the cut, for reasons of space or otherwise – seriously, nobody’s got the time to sift through the hundred or so concerts that realistically deserve to be on this page – this list feels bare-bones, even with a grand total of 28 shows.

In terms of epic sweep, intensity and gravitas, the year’s best concert was by Iran’s Dastan Ensemble in September at Roulette. This performance marked the New York debut of intense young singer Mahdieh Mohammadkhani, who aired out her powerful voice in a series of original suites on themes of gender equality by members of the ensemble, along with some dusky, austere traditional songs.

Since trying to rank the rest of these shows would be impossible, they’re listed as they happened:

Karla Rose and Mark Sinnis & 825 at the Treehouse at 2A, 2/15/15
The frontwoman of noir rockers Karla Rose & the Thorns in a chillingly intimate duo performance with her Tickled Pinks bandmate Stephanie Layton, followed by the Nashville gothic crooner and his massive oldschool honkytonk band.

Molly Ruth and Lorraine Leckie at the Mercury, 3/12/15
A savage, careening set by the angst-fueled punk-blues siren and her new band, followed by the Canadian gothic songstress and her volcanic group with newly elected Blues Hall of Fame guitarist Hugh Pool.

Lazy Lions and Regular Einstein at Rock Shop, 3/20/15
A feast of lyrical double entendres, edgy new wave and punk-inspired tunesmithing. Jim Allen’s band were playing their first gig since 2008 and picked up like they never stopped; Paula Carino’s recently resurrected original band from the 90s were just as unstoppable.

The Shootout Band and a nameless if good pickup band led by John Sharples at the Mercury, 3/22/15
Cover bands get very little space here for reasons that should be obvious, but the Shootout Band devote themselves to doing a scary-good replication of Richard & Linda Thompson’s Shoot Out the Lights, Erica Smith shattering in her role as Linda Thompson and Bubble’s Dave Foster doing a spot-on-Richard. Afterward, multi-instrumentalist John Sharples led a similarly talented bunch song by song through Graham Parker’s cult favorite Squeezing Out Sparks album

Ensemble Hilka, Black Sea Hotel and the Ukrainian Village Voices at the Ukrainian Museum, 4/25/15
In their first performance in over three years (see Lazy Lions above), the Ukrainian choral group ran through a rustic, otherworldly performance of ancient songs from the area around the Chernobyl nuclear disaster site. Innovative Bulgarian/Balkan trio Black Sea Hotel and then the esteemed East Village community singers were no less otherworldly.

Mamie Minch and Laura Cantrell at Union Hall, 5/5/15
Resonator guitar badass and pan-Americana songstress Minch, and then Cantrell – the reigning queen of retro country sounds – each took their elegant rusticity to new places. Cantrell’s final stand of a monthlong residency here, a mighty electric show, was also awfully good.

Emel Mathlouthi and Niyaz at the World Financial Center, 5/8/15
Menacingly triumphant, politically-fueled Arabic art-rock from Mathlouthi and then mystically hypnotic, propulsive Iranian dancefloor grooves from Niyaz.

Rachelle Garniez and Carol Lipnik at Joe’s Pub, 5/14/15
Noir cabaret, stark Americana, soul/gospel and deviously funny between song repartee from multi-instrumentalist Garniez, followed by the magically surreal art-rock of Lipnik and her spine-tingling four-octave voice in a duo show with pianist Matt Kanelos.

Amy Rigby at Hifi Bar, 5/28/15
The final show of her monthlong residency was a trio set with her husband Wreckless Eric and bassist daughter Hazel, a richly lyrical, puristically tuneful, characteristically hilarious career retrospective

Erica Smith, Mary Spencer Knapp, Pete Cenedella, Monica Passin and the Tickled Pinks at the Treehouse at 2A, 5/31/15
Guitarist and purist tunesmith Passin, a.k.a L’il Mo, put this bill together as one of her frequent “Field of Stars” songwriters-in-the-round nights here. Smith was part of a lot of good shows this year because she’s so in demand; this was a rare chance to hear her dark Americana in a solo acoustic setting, joined by eclectic accordionist Knapp (of Toot Sweet), irrepressible American Ambulance frontman Cenedella, and a surprise appearance by coyly edgy swing harmony trio the Tickled Pinks (Karla Rose, Stephanie Layton and Kate Sland).

Jim Allen, Kendall Meade and Ward White at Hifi Bar, 6/15/15
Songsmith Allen doesn’t get around as much as a lot of the other acts here, but he really makes his gigs count: this was a glimpse of his aphoristic, lyrical Americana side. Meade, frontwoman of the late, great, catchy Mascott, held the crowd rapt with her voice and her hooks, then White went for deep literary menace with a little glamrock edge.

Glass House Ensemble and Muzsikas at NYU’s Skirball Center, 6/17/15
Trumpeter Frank London’s collaboration with an all-star Hungarian group, recreating rare pre-Holocaust Jewish sounds, followed by the more stripped-down, rustic but high-voltage Hungarian folk trio.

The Claudettes and Big Lazy at Barbes, 7/11/15
Fiery, sometimes hilariously theatrical barrelhouse piano soul followed by New York’s most menacing, state-of-the-art noir soundtrack band. Big Lazy have an ongoing monthly Barbes residency; their two sets this past May were particularly scary.

The Bright Smoke at the Mercury, 7/25/15
This was the show where intense frontwoman Mia Wilson’s blues-inspired psychedelic art-rock band made the quantum leap and earned comparisons to Joy Division.

Robin Aigner & Parlour Game at Barbes, 8/8/15
The torchy, wickedly lyrical oldtimey/Americana songstress at the top of her captivating game with a trio including poignant, powerful violinist/pianist Rima Fand.

Ember Schrag, Alec K Redfearn & the Eyesores and Escape by Ostrich at Trans-Pecos, 8/23/15
The fearsomely talented Schrag did double duty at this show, first playing her own murderously lyrical, Shakespeare-influenced art-rock with her own band, then switching from guitar to organ in Redfearn’s equally murderous Balkan psychedelic group. Jangly no wave jamband Escape by Ostrich took the evening into the wee hours.

Sweet Soubrette and Kotorino at Joe’s Pub, 9/2/15
This time it was menacing chanteuse Ellia Bisker who did double duty, first fronting her richly horn-driven noir soul band, then adding her voice to the noir latin art-rock of Kotorino.

The Shannon Baker/Erica Seguine Jazz Orchestra at Shrine, 9/7/15
Lots of good jazz shows this past year, none more unpredictably fascinating and lushly gorgeous than the epic performance by this unique, shapeshifting large ensemble uptown.

Kelley Swindall at LIC Bar, 9/16/15
The noir Americana songwriter and murder ballad purveyor usually leads a band; this solo gig was a rare chance to get up close and personal with her creepily philosophical southern gothic narratives

Charming Disaster at Pete’s Candy Store, 9/30/15
Speaking of twisted narratives, this multi-instrumentalist murder ballad/noir song project by Bisker and Morris (look up three notches) never sounded more menacing – and epically inspired – than they did here.

Jenifer Jackson at a house concert on the Upper West Side, 10/1/15
A long-awaited return home by the now Austin-based Americana/jazz/psychedelic songwriter, in a rare trio show with amazingly virtuosic multi-instrumentalist Kullen Fuchs and violinist Claudia Chopek

Liz Tormes and Linda Draper at the American Folk Art Museum, 10/23/15
A rare solo acoustic dark Americana twinbill by two of the most potently, poignantly lyrical songsmiths in that shadowy demimonde.

LJ Murphy & the Accomplices and MacMcCarty & the Kidd Twist Band at Sidewalk, 11/6/15
Murphy has defined New York noir for a long time – and now he’s gone electric, with searing results. McCarty has more of a Celtic folk-rock edge and equally haunting, politically-fueled story-songs.

Karla Rose & the Thorns at the Mercury, 11/17/15
Enigmatic reverb guitar-fueled Twin Peaks torch songs, stampeding southwestern gothic bolero rock, ominously echoey psychedelia, venomous saloon blues and stiletto between-song repartee from another artist who made multiple appearances on this list because everybody wants her to sing with them.

The Sometime Boys at Freddy’s, 11/20/15
One of New York’s most individualistic, catchy, groove-driven bands ran through a sizzling set of haunting, gospel-inflected ballads, jaunty newgrass, acoustic funk and blue-flame guitar psychedelia

Amanda Thorpe, Mary Lee Kortes, Lianne Smith and Debby Schwartz at the Treehouse at 2A, 11/22/15
Impresario Tom Clark remarked that there might never have been so much talent onstage here as there was this particular evening, with noir Britfolk songwriter Thorpe, the soaring and savagely lyrical Kortes, the ever-darker and mesmerizing Smith and the powerful, dreampop/Americana-influenced Schwartz. For that matter, there have been few nights on any stage anywhere in this city with this much lyrical and vocal power, ever.

Like last year, the numbers here suggest many interesting things. Eighteen of these shows were in Manhattan, eight were in Brooklyn and two in Queens, which is open to multiple interpretations. More instructive is the fact that half of the twenty-eight were free shows where the audience passed around a tip bucket rather than paying a cover at the door. Most interestingly, women artists dominated this list, even more so than they did last year: an astonishing 39 of the 53 acts here were either women playing solo or fronting a group. That’s a trend. You’re going to see more of that here on the Best Albums of 2015 and Best Songs of 2015 pages at the end of this month.