LIC Notes

 

Liz Nieves is an Astoria-based photographer and music enthusiast. She recently launched a photoblog of her work called glitter unicorn and shared some of her fantastic local music photos (and the stories behind them) with LICNotes!

 

 

Where are you based in Queens? If you're not from here, where are you from and when did you come to the neighborhood?
I have lived in Astoria for ten years. I grew up all over NY (Bronx, Long Island and upstate near Ithaca).

 

What is your involvement/investment in local music?
I spent some time volunteering for Astoria Music and Arts this year and sometimes I curate art/music shows.

 

 

How would you characterize the scene you photograph?
Colorful, unpretentious, and unformed.

 

Can you tell us about some of the bands/musicians you've taken pictures of?
It's a very random group of people and the thing that seems to tie them together is a passion for their music.

 

 

Can you tell us about some of the best shows you've seen in the neighborhood?
This is really hard. I have seen Little Creatures pack out the Quays while everyone sang along, or Illimanjaro play a house party that had everyone dancing for hours. Bad Buka is amazing... I can't wait for their CD to come out. Hearing Bernadette sing with Mainline Gypsy gives me goosebumps everytime, or hearing Freedomhead rock out is like watching another reincarnation of rock and roll. James Call's songs have a way of becoming catch phrases you can't stop singing – I could go on and on. But bands that I would go see? All that I have named so far plus: The Jamies, Rattrap Bumpkin, Hops, Mathew Snow, Shaeffer and the Darklords, Silbin Sandoval, Thunderbang! (I'm sure I'm missing someone)

 

What are your favorite places to see shows in Astoria/LIC?
The Quays for true grit. The Astoria Brewhouse and LIC Bar are close behind.

 

 

What inspires you – in terms of photography, and in general?
Inclement weather and I try to capture fleeting moments of unique personalities to reveal underlying truths (or so I have been told).

 

What local photo exhibitions have you been a part of, and are there more in the works?
I will be having my first solo exhibit in January – I have displayed one piece for a fundraiser hosted by Stomp and Howl last year.

 

 

Can you tell us more about Astoria's Hell Gate Social and its place in the scene for music and photography alike?
Hell Gate (George Rallis) has done alot to contribute to the local art and music scene. It's the closest thing to an art gallery in Astoria and the variety of art that has been exhibited so far is quite amazing. No matter what the musicians think of the sound at Hell Gate, at some point every band and DJ that lives locally has performed there. The bar has been extremely supportive to every aspect of the arts in Astoria.

 

When it comes to music in Queens, we've all heard the detractors, the doubters, the unfortunately misinformed... Why is the Astoria/LIC music scene YOUR home and why is this the place you spend time and take pictures?
I am a third generation New Yorker who really loves my neighborhood. The common artistic thread that runs through LIC/Astoria makes it very easy to be social and have something to do or even have something going on. Every project that I have been a part of has only been met with support. For those that live here and have not experienced that because they only feel validated by what is going on in Manhattan or any currently hip neighborhood, you are missing out.

 

 

Thanks to Liz for sharing her work with us – check out her photoblog for music photography and much more!

 

Audrey Dimola is a born and raised Astoria/Long Island City gal. Best known around town for her work as Managing Editor of LIC-based arts/music/culture magazine, Ins&Outs, Audrey is now Project Manager of Dom & Tom, Inc., a NYC web and mobile development studio.

 

The LIC Barn Dance is a brand new monthly Americana music series at LIC Bar that kicks off on Monday, November 8th (RSVP on Facebook here)! We got the low-down on this unconventional hoedown from one of the series' creators, "Notorious" Liz Cousins. Check it out!

 

Who came up with the idea for the LIC Barn Dance?
My husband Daniel (aka The Invisible Kid) and I were out at a Silbin Sandovar show a few weeks ago and were riffing on some ideas, and he threw out the words Long Island City Barn Dance, which I wrote on a napkin and stuffed in my bag. From there it was chatting with Gus [Rodriguez, LIC Bar's booker and event producer] and making it happen.

 

Why LIC?
Simply? LIC is still an undiscovered neighborhood. Folks'll go one stop into Brooklyn for Williamsburg, or a lot more than that for Park Slope, but they think Queens is FAR. LIC is ONE stop into Queens from midtown! It's also a neighborhood of some AMAZING musicians and people. I want folks to recognize! And, I'd rather support MY neighborhood and it's proprietors.

 

What is the LIC Barn Dance all about?
LIC Barn Dance was developed to showcase the great Americana acts throughout LIC/Astoria proper as well as the City at large. This could be anything from bluegrass, country, western swing, Bakersfield, two-step, zydeco, rockabilly, ragtime to the more modern takes of NewGrass and Alt-country. It's about GREAT music, GREAT performances and giving people a GREAT reason to come back: fun. Music has gotten so dang serious, we aim to bring the fun back to a night out.

 

Why were DB Rielly, Rick Snell & The Whistlin' Wolves chosen for the inaugural show?
Gus had already booked DB Rielly and as DB is one of my favorite musicians and humans, he was a lock. He always does a seriously GREAT show and knows how to make the audience have fun (there's that word again). Rick Snell came in via Gus as well and knows a thing or two about most of the styles I listed above. He's a pro, and we're glad to have him on board. And The Whistlin' Wolves? I saw then the same night we came up with the Barn Dance idea and they absolutely blew me away. Really high-energy, tight show, and, dare I say...fun. So I HAD to get them on the bill.

 

What can music fans expect from future events in this series?
My main objective is to give folks a truly memorable night out with some amazing music. The future? I could say they have to come on out to keep it all elusive-like, but I'm hoping for things like a Bluegrass/Newgrass Festival, a Rockabilly night, a Mardi Gras zydeco/Swampfest, Banjopalooza (banjo being my favorite instrument, which I play VERY terribly)...just about anything under the Americana/Roots umbrella.

 

When can we catch the LIC Barn Dance?
We're looking at once a month, keeping it alive is up to YOU dear reader. Check in with us on Facebook or at www.licbarndance.com.

 

What is your particular investment/involvement in LIC?
I have lived in Astoria-LIC for 8 years now and have watched it grow and want the rest of the City to finally "get it". Queens isn't just Beer Gardens, cemeteries and airports! I also promote self-released bands/musicians to radio and feel a lot of GREAT music gets overlooked just because it's not signed with a huge payola machine behind it. Starting the LIC Barn Dance lines up perfectly with both of my "missions". And we hope you'll come along and join us. And because I've seen several posts on the topic, dancing IS optional.

 

 

The Inaugural LIC Barn Dance!
Monday, November 8th @ 8pm
LIC Bar: 45-58 Vernon Blvd, Long Island City
with DB Rielly, Rick Snell & The Whistlin' Wolves

 

Audrey Dimola is a born and raised Astoria/Long Island City gal. Best known around town for her work as Managing Editor of LIC-based arts/music/culture magazine, Ins&Outs, Audrey is now Project Manager of Dom & Tom, Inc., a NYC web and mobile development studio.

 

This article is reproduced with kind permission from where it originally appeared: writer/photographer William Ruben Helms' blog, The Joy of Violent Movement.

 

In the past three or four years, the LIC Bar, located on the end of a now bustling stretch of Vernon Boulevard, has developed a reputation for hosting some of the neighborhood’s best singer/songwriters – including Little Embers, whom I’m wild about, Jeanne Marie Boes, Gus Rodriguez (aka Silbin Sandovar), Brian Meece, Shelly Bhushan, Megan Kerper and others. With increasing frequency, some of the metropolitan area’s up-and-comers have stopped by to play sets such as the wildly talented Vanessa Boyd and others. I’ve seen a handful of shows at the LIC Bar and based on my own observations and conversations musicians seem to really enjoy playing at the venue – they rave about the sound system, which management has improved; they’ll mention that audiences there tend to come for the music and are lovingly supportive of the musicians; and musicians will rave about the intimate and informal performance spaces. In fact, I’ve heard some compare the LIC Bar to the Rockwood Music Hall, down in the Lower East Side. So when I heard that local indie sensation Nicola was playing her first of hopefully many gigs in Queens, I had to catch her – first because it had been about a year since I had seen her perform live and second, because she’s a phenomenon live. And considering the week I had before, I needed something to start my week off right. But I’ll get into that in a moment...

 

I’ve known Nicola for some time now, going back to when she introduced herself to me on MySpace. I listened to the tunes she had up and was blown away by that voice – it’s confident, soulful, sultry and powerful. What a voice! And before I saw her perform live, I had this visual sense based on hearing her on albums that she was an Amazonian; that she had to be at least six feet tall but when I saw her perform for the first time at Piano’s, a couple of years back, I was struck by her diminutive size. But she has a commanding, confident presence that’s simply unforgettable. I’ve seen her play with her full backing band and solo acoustic – you can normally catch her do solo sets at Penn Station, Union Square and Times Square as part of the MTA’s Music Underground series – but this would be the first time I would be catching Nicola with her percussionist Ray Diaz.

 

Now Diaz on the congas and other percussion instruments bring Nicola’s pop sentiment back to el barrio. The drums reminded me of the meringue and salsa blasted at eardrum bursting levels out of cars and house parties along Junction Boulevard, Roosevelt Avenue and 99th Street during boyhood summers. What was impressive to see is that both musicians had the comfortable simpatico of musicians who have played together for years. Both Diaz had Nicola had an impeccable and intuitive sense of what each other were doing and when they would be doing it.

 

Nicola did many songs I was familiar with from her previous albums and previous gigs, including “Limited Knowledge” which done as an acoustic number peels back the dense layers of the album version and allowed Nicola some room for her vocals to freely roam about the song. It seemed apparent to me that the small, Monday night audience was impressed by this woman. The fourth song of her set, a song I haven’t heard before, reminded me a bit of an old Cyndi Lauper song – and interestingly enough, it was a beautiful moment that enraptured the small crowd at LIC Bar. No one checked their Facebook or went on Twitter, no one aimlessly chatted with their friends. No one stared at the walls or decided to get up for a drink. It was rare and it was probably one of the best moments I’ve seen at the LIC Bar – if not the best moment I’ve experienced at a show this year. “Down,” from her first album had a comfy pop twang and it showed Nicola’s ability to write a catchy pop song. “Message” was pure power pop with some extensive guitar solos and a bit of a Latin party feel, thanks to an extensive solo by Diaz towards the end that had the crowd really getting into a party mood. People started cheering as though the Yankees won the World Series.

 

There were a couple of hilarious moments – moments that I really couldn’t possibly make up even if I tried. During Nicola’s set a crazy old man yelled out, “I’m horny – now where’s the food!” It was awkwardly funny. And at one point Nicola went into some playful stage banter about playing shows where there was at least one person from Des Moines, Iowa – and there was someone there who was actually from Des Moines, Iowa! What I will say is that Monday night at the LIC Bar was memorable and a helluva lot of fun. Go out and catch this woman – it doesn’t matter if it’s a solo, a duo, a trio or her full band wherever and whenever you can, it’ll be a Latin-styled pop party.

 

 

 

 

Article and all photos by Willam Ruben Helms. Check out more photos from Nicola's show at LIC Bar on Flickr.

I don’t think I’m down with the global warming thing. This new autumn weather – sultry/cold rain/humid/chill breeze – sucks. So New York is the new Austin; I almost turned on the a/c today, and it’s time to write the November rent check. But if this were really Austin, the rent would be lower.

 

In a spasm of quasi-political action, I refrained from flipping the switch and went food shopping using canvas bags. Having ditched my ’89 Honda Accord LX for a purple Fuji Absolute 12-speed, I’m now feeling virtuous but, well, a bit bland.

 

You know the temporary yet effective solution to that: I turned to sex, drugs, and rock’n’roll. I’ve hoisted more than my fair share of Radeberger* this past month, and even got to meet the Radeberger Girls. One of them bought me a beer – I think she fancies me a bit!

 

Oh right, you’re here for the music. October’s de-blanding has mixed Brazilian surf riffs, sax-playing around Japanese swing, and Croatian dance-party rock. On one LIC Bar evening, João Erbetta and his band spin out high-energy surf tunes with a Portuguese accent. My usual problem with much Brazilian music comes from its being too pastel and languid (yes, it’s my problem); I’m happy to listen to surf music anytime, and believe I hear complications under the fun. Erbetta neatly reverses those tropes. His playing is fluid, exciting, precisely shaped, and quite engaging, so much so that I don’t really want to look under the hood to see how it all runs. I’ve heard him play in other contexts, and know he’s not just technically a savvy guitarist, but a musician who blends his personality with many genrés. Sadly, the bar was not so crowded when Erbetta played. He deserves a wider audience; while pretty well known on the scene, that and $104 will get you to your day job on the 7 train next month.

 

We’ve chatted about DB Rielly before, but that’s not going to stop me here. DB’s band followed Erbetta’s, and the party mood continued. For me, this show pivoted around the playing of the estimable Hiro Suzuki, lead guitar player in the group. Suzuki favored swing-era tunes which, by virtue of his actually being able to swing, set up a great dance mood. DB added counterpoint via his bluesy sax playing. Even some folks who’ve followed him for years realized he even played sax – turns out it was his first instrument, who knew? – and the contrast in sound lent depth to what can be a surface-y genrè. The two also collaborated beautifully on some covers of singer/songwriter tunes, like John Hiatt’s "Feels Like Rain," managing the transitions in mood gracefully without damping the party spirit.

 

By time The Dynasty took the stage, the party mood had swung to raucous. Don’t look for The Dynasty on iTunes; this was a one-off group, essentially Chris and Diana from Bad Buka, playing as part of Diana’s sister Carla’s birthday celebration (not saying which one, but “Lather” would know). And celebrate is what Bad Buka do best. I can’t say I remember much particularly that went on, other than someone shouting to the crowd, “Shut up and sing!” Everyone sang, everyone danced, it didn’t matter if you knew Croatian songs or dances; soon everyone felt like part of Carla’s family and the celebration. As the full band is playing a Hallowe’en party, I’ll try to get a more fair assessment then. Like, it’ll be easier on Hallowe’en?

 

The evening closed with Julie Kathryn, a local singer/songwriter. That transition, closing after a rowdy crowd-pleaser, is less than easy, as I’ve noted previously. It does help the neighbors get some sleep, but the previous music had opened me up so much that I found it hard to calibrate Kathryn’s stuff. Which isn’t to say I didn’t enjoy her; I did. And when she said, “I’ve never played my guitar this hard, it’s out of tune!” I though, God on ya, lass! I’ll bring positive expectations to her next gig.

 

In a final twitch of political activism, I’ll be voting before filing that next report. You know that we middle-aged, upper-middle-class white guys ALWAYS vote. (That’s why they call us The Man, right?) Not saying I won’t vote the straight The Rent Is Too Damn High party ticket, of course. Especially if I’m tempted to turn on the a/c again.

 

*Bloggers are enjoined by some federal rule to reveal every product bought for them in the course of covering their beat. I’m compiling a disclosure document that will enumerate the Pilsner, Coteaux de Languedoc, small-batch bourbon, single-malt Scotch, self-produced cd’s, brownies, Hawai’ian skunkweed spliffs, and mutual avowals of sexual desire involved; it will be available for you right around the time I complete my 2008 NYS corporate tax return.

 

The Silver Shark is always moving, just under the surface of the LIC scene. He comes up suddenly to snap up some wine and music, and perhaps bare his teeth at nearby lovely mermaids – though he generally doesn't bite. You can catch an occasional glimpse of him at your favorite LIC venue, and regularly here at his blog.

Live music for the undead!

 

Fearless music lovers and Monster Mashers: make sure you have your Halloween costume picked out. The Queens neighborhood music scene has a virtual graveyard full of options for hellraisin' Halloween parties!

We've asked our resident Halloween expert The Dollar Store Demon to give us his two cents worth and he has summoned the hounds of hell to bring you his picks for this weekend.

 

FRIDAY OCT 29th

 

*"Did you hear that? Was it the howl of the banshee? Steady your nerves! Hold on tight to your pint glass as you scream for your life as The Jamies, Illimanjaro, The Concentrics plus The Suspicious Packages stir up a bloodbath of heavy rock."

 

The Shillelagh Tavern
4722 30th Ave
Astoria, NY
9pm

 

*"Wait! It doesn't end there! If you were lucky enough to survive the rock assault of The Jamies, stagger over to the oh-so-appropriately named HELL GATE SOCIAL where burlesque monster brides will seduce foolish mortals into turning into love slaves for the rockabilly stylings of AM PREACHER!
The Dollar Store Demon also nods with devilish approval at the very reasonable $5 cover.
Not bad for half naked she-devils gyrating to live rock n roll!"

 

Hell Gate Social
12-21 Astoria Blvd
Astoria, NY
11pm-2am

 

SATURDAY OCT 30th

 

*"Ahh! Saturday night! Hallow's Eve is nigh! So many pagan festivals -- a ghoul could lose his way. There is the possibility of drowning to death in the sea of choices, but I am here to keep you on the proper path of darkness. Gather round the cauldron, children..."

*"Rock n Roll as we all know, is the devil's music and one of its undisputed masters is PETER CASE. Peter has signed a dark pact with The Secret Theatre to play just one New York City show on his current US tour -- and it will be here in Queens! This will be your only chance to catch the fiend behind The Nerves and The Plimsouls so don't be ghoulish and miss out! Also on the bill are local heroes LITTLE EMBERS!"

 

The Secret Theatre
44-02 23rd Street
Long Island City, NY
tix available at: http://www.secrettheatre.com/
doors open 6pm

 

*"Now you're ready to kick into high gear -- from outside THE LIC BAR you will hear the gypsy fiddles play. Vampires and werewolves crouch down beside the caravan waiting for the drink specials to kick in. A tent covering has been placed over the majestic courtyard of the bar to contain all the mischief and evil lurking within...that can only mean one thing -- BAD BUKA'S HAUNTED MASQUERADE BALL is about to begin! These gypsy rockers are one of the strongest bands on the scene and if you're not convinced of that after this show, you must be a total zombie..."

Cash prizes for best costumes and drink specials, plus more music courtesy of Astoria DJ Group. $10 cover

 

LIC BAR
45-58 Vernon Blvd
Long Island City, NY 11101
www.licbar.com

 

*"Did ye know? The popular Long Island City watering hole DOMINIE'S HOEK was born on Halloween?! That's right -- honest to Lucifer -- they will be celebrating their 7th anniversary. Lucky for them -- unlucky for you if you miss this great evening that includes the sinister melodies of HEADFLOSS, QUEENS DENIM ROCKERS, & THE BLACK FIVES! Now is that evil enough for you?!"

 

Dominie's Hoek
48-17 Vernon Blvd
Long Island City, NY 11101

 

*"Don't be a Hallo-weiner and miss Astoria Music & Arts' 4th Annual ZOMBIE STOMP SOCIAL! THE BIG DEATH SCENE, DRUNKEN PUMPKIN, THE HEADLOCKS, and THUNDERBANG will transform into creatures of the night engulfed in an ocean of dry ice. Lift your goblets, show off your red masque of death and just get silly."

The Shillelagh Tavern
4722 30th Ave
Astoria, NY
8pm

 

SUNDAY, OCT 31st

 

*NIALL CONNOLLY knows a thing or two about Halloween and his SUNDAY SOCIAL at LIC BAR will prove that. Share your songs and ghostly tales as you gaze into the embers of your amber..."

 

LIC BAR
45-58 Vernon Blvd
Long Island City
5pm

 

HAPPY HALLOWEEN FROM LICNOTES!

 

Long Island City, to me, is an outpost town, a town somewhere at the edge of an island, not quite Queens, not quite Brooklyn. The sunset only can be seen between the grid streets of Manhattan like a landscape of window blinds. Yes, it’s only fitting a band called Mission: On Mars plays at the edge of the universe, or at least as it may be known to some of the nearby residents. Okay, that last part was forced writing and cheese but seriously, to many of the attendees who came out for Mission: On Mars at the Gantries, the faces – curious of the live music playing in their backyard – may have led to the band’s uninspiring set. The band may as well had been from Mars.

 

Mission: On Mars sounded technically good. Vocalist Kristen Hoffman sang with a tinge of Indian flavor while Neel Murgai’s throat singing added another layer to their blend of East meets West music. The band’s broad influences combine jazz, rock, funk, and Indian folk music, and was a hit among the children, who danced along with a belly dancer; imitating her movements as she flitted across the floor.

 

But the band played without heart and thus became boring. I had seen the band play before. It was last year at a music festival in Queens. I remember really liking them, their energy, their mojo, that hypnotic gesture they made with their instruments, and the way they made my head swirl with ‘60s decadent exuberance. At Live at the Gantries it was different but the band’s set shouldn’t have been surprising – most especially since the audience consisted of children, parents, and curious baby boomers.

 

If anything the show did, however, showcase the Gantries, and Long Island City for that matter, as a location for live music if the right people continue to sow these seeds.

 

Carlos Detres is an author and DJ, founder of multimedia online magazine, The Whiskey Dregs.

 

First and last photos by Carlos Detres; all other photos by Arianys Wilson, view more on Flickr.

 

Mission: on mars, Live at The Gantries by Renzo Ortega from Live at the Gantries on Vimeo.

 

There is nothing like watching a seasoned musician at his prime playing the music he loves. Such was the case at Live at the Gantries when we went to catch Andy Statman, one of this generation’s most acclaimed clarinet and mandolin players. We seem to be perpetually blessed with stellar weather and an even better crowd every time we head to see a live act at the Park and that night was no exception. Every New Yorker needs an excuse to celebrate on a hot Tuesday summer night and this is the perfect place to do it. Joyous, lyrical and vibrant, Andy’s music is equally transporting. As he began the first few tunes of his set, the words “Jewish Soul” came to mind – I heard the sensual strains of Greek and Mediterranean music, the rhythmic quarter notes of Middle Eastern tunes, and the mellifluous tones of classic jazz.

  

From their tune "Uman," a melody with a lively Israeli feel, to the ebullient "Anim Zemiros,” The Andy Statman trio are as diverse as the Queens music scene itself. In what has become a thriving Jazz community in Long Island City, Andy Statman is the jewel in its crown, combining the avant garde melodies of his beloved clarinet with down home bluegrass and the traditional Hasidic folk songs that were so much a part of his childhood. Born and raised in my adopted home of Jackson Heights, Andy is one of the most humble and most sought-after musicians on the NYC music scene. Clearly proud of his roots, Andy announced to loud cheers that he was born in Queens – little did some of the little kids running around realize that their parents had brought them to see a legend.

 

A Grammy-award nominated artist, Andy has played with such luminaries as Bela Fleck, Bob Dylan, the Grateful Dead and Itzhak Perlman but watching him play for a hometown crowd was a rare joy. Accompanied by bassist Jim Whitney and percussionist Larry Eagle, who adds some wicked bongos to the mix, Andy’s music defies category. There’s an exotic, soulful Middle Eastern feel to his music that reminded me of some of Rachid Taha’s early tunes mixed with the vivid beats of 1920s Jewish dance tunes and traditional bluegrass. Like Bela Fleck, Andy seems to draw from every kind of American music tinged with world music, synthesizing all forms and making them his own. One of the innovators of a new form of “roots music,” he has now helped to transform the genre. Only a finely tuned ear and rare talent can envision how such diverse forms of music can co-exist in such a beautiful way. Luckily, one of those artists plays right in our own neighborhood.

 

Gina Sigillito is a writer and published author who promotes local bands and writes about music in the NYC area.

 

All photos by Arianys Wilson, view more on Flickr.

 

 

 

 

ANDY STATMAN Live at the Gantries from Live at the Gantries on Vimeo.

 

I had never been to a show at the little gem on the water in Long Island City known as The Gantries, and I was excited to see it for the first time. I was racing to get to the venue in time for Mundo Clave, Queens' unique, soulful Latin jazz ensemble. With my Blackberry pressed to my ear, I was running down 50th Street in heels, talking to my friend Joe and rehashing the freak-out day we were both having. Once I reached the park perched on the edge of the East River it all changed. A little salsa, a little percussion and couples dancing with the beautiful New York City skyline in the background and the day managed to wash away.

 

"If you wanna get up and dance please don't be shy," bassist Fernando Benardos quipped as the band launched into their sexy, groove-laden, jazz-infused salsa tunes like "Sabor" and "Killer Joe." 

 

The crowd of more than one hundred was anything but shy. Despite the 90-degree heat, there was a businessman in a suit and tie doing a wicked merengue with his partner, young couples kicking back and grooving to the music, and even children dancing, ice cream in hand.

 

An eight-piece group of incredibly gifted Queens based musicians, Mundo Clave combines the best improvisation of classic jazz with the spice and passion of modern salsa and the heavy-bottomed bass of 70s funk. Their tunes infuse the infectious rhythms and percussion of early Santana and Tito Puente with the melodic style of Miles Davis and Dizzy Gillespie.

 

The Mundo Clave experience reminded me of my childhood days when my parents took me to see some of the local St. Louis jazz musicians who combined a timeless swing sound with bluesy vibes. As the band moved effortlessly from Salsa to Jazz and bass-laden grooves, they showed an incredible versatility. With a lilting Vibraphone, played masterfully by Dan Sieber, lively maracas, and sensual sax, Mundo Clave adds spicy variety to their music.

 

With Daniel Arboleda on tenor sax/flute, a phenomenal player who channels a little Grover Washington Jr., Mundo Clave launched into a few Miles Davis tunes, their way, spiced with Latin flair and complete with Timbales, blistering bongos and mighty drums. The man sitting next to us was so into the music that he was tapping along in tune with a drumstick and cowbell. By the time the band played an inspired cover of a Cha-cha tune by Poncho Sanchez, much of the crowd was up and dancing.

 

Mundo Clave's old style jazz combined with their hypnotic and sexy Latin rhythm is sure to garner a whole generation of fans. In a time when the term "Jazz fusion" is used far too often, these musicians are the real deal, taking the form back to its original mellifluous sound and spicing it up with a sultry Afro-Cuban style all their own.

 

Gina Sigillito is a writer and published author who promotes local bands and writes about music in the NYC area.

 

All photos by Arianys Wilson, view more on Flickr.

 

MUNDO CLAVE Live at the Gantries by Renzo Ortega from Live at the Gantries on Vimeo.