Lucid Culture

JAZZ, CLASSICAL MUSIC AND THE ARTS IN NEW YORK CITY

Concert Review: iLa Mawana at Sullivan Hall, NYC 5/6/10

Here’s a fun band to check out this summer if you can figure out how to spell their name (you have to wonder how stoned whoever came up with that one was). iLa Mawana play all different kinds of roots reggae – upbeat anthems, slow grooves, sweet ballads and some psychedelic dub – and do all of it well. Late on a weeknight, they kept the Sullivan Hall crowd in the house and had everybody swaying through a 40-minute set that could have gone on for twice as long if the club had let them. Bassist Ryan Hinchey was perfect, supplying fat, chronic low end just a hair behind the beat like Family Man Barrett did in the Wailers. Drummer Sammy Wags had the one-drop down cold but also had a lot of different beats up his sleeve, especially on the faster numbers, abetted by a nimble conga player stashed toward the back of the stage. Organist Jason Moore added funky blips and bleeps when he wasn’t washing away the River of Babylon with a river of his own; guitarist Dave Rosen didn’t get the chance to step out much, but when he did he showed off a warm, understated Steve Cropper soul style. Singer Gianpaolo Blower goes for casual and laid-back – this band is all about good vibes – with some brassy, spot-on high harmonies from the band’s friend Sarah, who came up from the audience to join them for the second part of the set. They segued from their slinky opener, Dub Electa into a quick romp through a hypnotic one-chord jam, then into another original featuring a casually bluesy solo from their excellent alto sax player (their three-piece horn section added a welcome brightness over the trance-inducing pulse of the bass). Shifting chords hypnotically until it was practically impossible to find the beat – just moving anywhere at this point felt good – Tree Dub gave their trumpeter a chance to choose his spots.

The title track to their forthcoming new album Soldiers of Sound was as dubwise as they got, bringing it down with simple yet dizzyingly effective reverb guitar. The set wound up with a couple of fast, bouncy numbers, Frankly and Mortal Motion and closed with the big, spiritually charged Karmaland that wound down to just a tasty keyboard solo over the bass and drums at the end. If roots reggae is your thing – from the classics to current-day stars like Groundation and Meta & the Cornerstones – iLa Mawana (there – got it right) will hook you up. The cd release show is at Harpers Ferry in Allston, MA on 5/15; summer tourdates below.

May 07 – Greene, NY – Headyfest

May 08 – Narragansett, RI – The Wheelhouse

May 15 – Boston, MA – Harpers Ferry

May 20 – Miami Beach, FL – Purdy Lounge

May 21 – Sarasota, FL – Pastimes Pub

May 26 – Gainesville, FL – Backstage Lounge

May 27 – Orlando, FL – Plaza Theatre

May 28 – Panama City Beach, FL – Reggae J’s

May 29 – Satellite Beach, FL – Sports Page

May 30 – Sebastian, FL – Captain Hiram’s Resort

June 01 – Austin, TX – Flamingo Cantina

June 06 – Huntington Beach, CA – Gallagher’s Pub

June 16 – Portland, OR – Mt. Tabor Theater

June 17 – Arcata, CA – Jambalaya

June 18 – San Francisco, CA – Mojito

June 19 – San Francisco, CA – The Mezzanine

June 26 – Block Island, RI – Captain Nick’s

June 27 – Block Island, RI – Captain Nick’s

July 08 – Westerly, RI – Paddy’s Beach

July 16 – Rochester, NY – Dubland Underground

Aug 27 – Ithaca, NY – Castaways

Also worth knowing if Afrobeat is your thing – the massively funky, horn-driven 12-piece band Emefe, who played before iLa Mawana were also a lot of fun and had a lot of people dancing.

May 7, 2010 Posted by | concert, Live Events, Music, music, concert, New York City, reggae music, review, Reviews, world music | , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , | Leave a comment

Concert Review: Dwight & Nicole and Howard Fishman at Banjo Jim’s, NYC 1/11/08

Dwight & Nicole took the night from shithouse to penthouse (a putrid, suburban Lite FM act had preceded them) in the span of seconds. A cynic might consider them a lounge act, but a closer listen reveals them to be the real thing, a completely authentic, 1960s style soul act. Dwight Ritcher was battling a nasty cold, but he still managed to nail his harmonies and play his Flying V guitar with a virtuosic, purist touch, very reminiscent of Steve Cropper. Nicole Nelson is the real deal, a genuine soul singer with a subtle, jazzy touch, stylistically evocative of Sharon Jones at her gentlest, or Dinah Washington in straight-ahead mode. Tonight she didn’t use any melisma, and hardly any vibrato, and held back from belting until she really needed to go to the well. When she did, it was spine-tingling. Ritcher and Nelson have the kind of intuitive chemistry that comes with toiling night after night in dives of all kinds, and it was clear that she was making up a lot of her lyrics on the spot. Yet she sang them as if she’d been living in them her whole life. Exuberance, joy, sadness, heartbreak: every emotion she tackled, she nailed them all.

The duo also have a deep feel for the blues. They recast Slim Harpo’s Hip Shake as a slinky, seductive soul number, and did a spot-on version of the Muddy Waters classic Honeybee. The most delightful thing about the original is the counterintuitive, staccato way Waters used his low E string to punctuate the phrases. Ritcher obviously knows the song well: his playful, purist take would have made Muddy proud. At the end of the night (the duo played between the other bands’ sets and then again after pretty much everybody had left), Ritcher moved to piano and, after some urging, Nelson picked up his guitar. She ought to play more: with her impeccable sense of melody and good taste, one can only imagine how good she’d sound if she could work up a few songs, or a few vamps.

Blues guitarist Howard Fishman got his start in New York busking on the Bedford Avenue L train platform. He was the first artist to have a weekly residency at Pete’s Candy Store, and released two excellent albums of original songs (the second of which actually made our top 20 list a few years ago, in a former incarnation). He built up quite a following, and then, completely without warning, he turned into Dave Matthews. And immediately fell off the face of the earth. He’s back, if not exactly humbled, tonight accompanied by a first-rate crew including Roland Satterwhite on violin, Ian Riggs on upright bass and a superb trombone player who stole the show with his soaring, crescendoing solos. Fishman mixed older material with a few covers, including a subtle and soulful version of the brilliant Willard Robison obscurity Where Are You. Having left the rock and the jam-band stuff behind, he’s taken on a little bit of a gypsy edge in his chordal attack, giving his material considerable added bite. Each of the supporting cast took a turn on vocals, Satterwhite impressing the most with a Chet Baker-style take on Pennies from Heaven to close the set.

Fishman’s stage persona is indifferent, sometimes abrasive, qualities which can be admirable for a punk performer (John Lydon made a thirty-year career out of acting that way), but that could make it more difficult for someone more reliant on audience rapport. Which might explain why Fishman was at Banjo Jim’s tonight instead of headlining the Gershwin Hotel as he triumphantly did in his first incarnation as a bluesman. He still sings like your older uncle who only shows up for birthdays and seders, but the lyrical wit and understated, purist musical sensibility that were part and parcel of his earlier work are back and in full effect. As good as it is to be able to reinvent yourself, it’s just as useful to be able to return to a previous incarnation, especially as captivating as Fishman used to be and has become again.

January 11, 2008 Posted by | blues music, concert, Live Events, Music, music, concert, New York City, review, Reviews, rock music | , , , , , , , , , , , , , , , , , , , , , , , , , | 1 Comment