LIC Notes

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 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.