Category Archives: Concert And Event Reviews

Concert Review: Fishbone at CBGB FESTIVAL 2012

Date: July 9, 2012
Venue: Brooklyn Bowl (NY, Brooklyn)
Concert review by Jim Hoey

While the first ever CBGB Festival was raging all over town this week and bands were playing in the hot sun defying expectations, some of the older bands on these round-town bills were trying to bring back the magic of ’02, ’92, or ’82. This is the agenda of the CBGB Fest: present emerging and established artists in the spirit of early NYC punk and Hilly Kristal (CBGB’s owner).

When Fishbone took the stage this Sunday at Brooklyn Bowl for the final performance of the festival, they did just that, playing a raucous, hard hitting set that dwarfed the efforts of the opening act, Paranoid Social Club, and probably most of the other bands playing on bills across town at venues like Central Park Summer Stage and Times Square. Groups like Agnostic Front, Guided By Voices, the So So Glos, Superchunk, The Pains of Being Pure At Heart, and the Hold Steady all fanned out across the city and presented a battering array of sounds for curious fans to attempt to experience. Fishbone was the one act I was able to catch.

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Concert review: META a well-blended confection of jazz and African (both Subsaharan and Northern) musics and sensibilities

Date: June 27, 2012
Venue: Le Poisson Rouge
Review by Matt Cole

On Wednesday,  June 27; singer, songwriter, and percussionist META played before a sparse, but enthusiastic crowd at La Poisson Rouge, backed by Ari Hoenig on drums, Francois Moutin on bass, and Thomas Enhco on piano and violin. Meta’s music has been described as “world songs,” and tonight’s show would feature a well-blended confection of jazz and African (both Subsaharan and Northern) musics and sensibilities.

Meta opened the show playing a tambourine-like instrument (I wasn’t close enough to see exactly what) in an odd meter, and singing in a tenor voice. I heard bits of both sides of the Sahara in his vocals. Then the rest of the band came in, playing what basically sounded like good 1960s-modern jazz, but fitting quite nicely with Meta’s singing. Presently, Meta stepped back and ceded the sound scape to the instruments, each of whom had a chance to come to the fore before Meta came back in. Whether he was singing conventionally with the band, or more orthogonally, it all came together quite smoothly.

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Concert review: Terje Rypdal – bringing Nordic, impressionistic, spacey sound colours to Manhattan.

Date: June 27, 2012
Venue: Le Poisson Rouge (NY)
Review by Jeremy Siskind

From the moment that Terje Rypdal and his quartet stepped onto the stage of Le Poisson Rouge, all my sensory impressions grabbed me by the hand and hurried me to towards a faded word in the dusk light of a pitchy forest: dated. The hairstyles of the Norwegian band were combed with ‘80s cliché, the sound was jazz-rock that harkened to the age when musicians were enamored with “plugging in,” and the overall aesthetic was a tribute to the sort of virtuosity that has – in my vision – gone out of style with the rise of conservatory jazz programs.

Oddly, the band functioned in almost two completely separate units with solos by rock-based Rypdal and heavily-Miles-influenced Danish trumpeter Palle Mikkelborg pivoting around a very able rhythm section of organist Ståle Storløkken and Italian drummer Paolo Vinaccia.

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Event review: Friday Night At The Vision Festival 17

Date: Friday, June 15, 2012
Venue: the Roulette

Reviewed by Matt Cole

One of the many interesting things about the New York City jazz scene is that it is large enough to have a number of separate sub-scenes that have little overlap between performers (and quite possibly audience, though that is much harder to quantify). While this can certainly feel like cliquishness at times, I suspect that a fairly large part of it is that people have only so much time available, and can devote themselves to only so many bands; thus there is a natural tendency to fall into somewhat vaguely-defined groups. This doesn’t, of course, remove the danger of insularity and diminishing musical cross-fertilization. At any rate, this phenomenon can be seen by contrasting the recent 17th Vision Festival with last winter’s Winter Jazzfest — two events with very different lineups and to a certain extent musical feels. Yet, both events can be put under the aegis of modern jazz. The crowds were different, too: Winter Jazzfest had a younger crowd which seemed right at home in the West Village venues which it calls home, while the Vision Festival has a formal, almost classical feel to it, complete with the occasional shushing (though to be fair, there was some seriously pianissimo music at times).

Concert review: Afrocubism Celebrates Brooklyn!

Date: June 9, 2012
Venue: Prospect Park /Bandshell (Brooklyn, NY)

Review by Augusta Palmer

Though the weather forecast threatened a downpour, the skies miraculously cleared just as the opening act, Alsarah and the Nubatones, took the stage at Prospect Park last Saturday for the second show in the 2012 Celebrate Brooklyn Season. Alsarah is a Sudanese-born singer, songwriter, and ethnomusicologist with a gorgeous, velvet- toned voice. Alsarah and the Nubatones played a selection of Nubian “songs of return” from the 1970s as well as original material and traditional music from central Sudan. The band, which also includes Karine Fleurima on vocals, Haig Manoukian on oud, Rami El Aasser on percussion, and Mawuena Kodjovi on bass, got the crowd moving with their beautiful vocal duets, lyrical oud, and infectious beat.

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