One of the reasons Bklyn Sounds was born was the frustration of seeing great local music running out of media venues through which to find an audience that doesn’t already follow them on social media. This means that flagship artists perform shows. It also means screaming out loud about the awesome new music these artists are releasing. This is exactly what Bklyn Sounds will do periodically from now on. Support local music and the musicians who make it possible.
The key insight into the music source of ConclaveS self-titled debut album comes from the way you pronounce his name: “con klɑ-veɪ”.
The project led by singer / multi-instrumentalist Cesar Toribio and Scott Scribner is inspired by the “clave,” a rhythmic motif central to most Afro-Cuban music – and related, most American rhythmic music. Here it is a path to the contemporary Latinization of New York dance culture, Toribio drawing on a century of localized Afro-Caribbean influences, Machito’s 1940s Cubop and Eddie Palmieri’s boogaloo. to the Nuyorican soul of jazz / house / hip-hop producers Masters at work.
The Secret Sauce is the funky majesty of these catchy songs, full of Cesar’s layered keyboards and synths, Gabo Lugo’s smooth percussion, and the occasional trumpet fanfare (courtesy Aquiles Navarro and Scott Bevins). But if there is a star, it is the velvety tenor of Toribio. There’s something D’Angelo about his vocal stretches, a sweet timelessness, a lived humanity, and when applied to intensely grooved songs like “Perdon” and “Twice” it resembles the deeply moving balm that our summer needs.
The tension at the heart of The rain‘s Tired is as old as America, the one between the joy and beauty of black art and the weariness that blacks experience.
What makes singer-songwriter, multi-instrumentalist and artist Taja Cheek’s second album not only a pivotal work in 2021, but a massive contribution to the canon of black music is how, at this time of the story where the original sin of the country is, once again, striking its media consciousness, it addresses this tension in a manner that is both permanent and temporal.
Full of languid experimental pop compositions (Taja calls his blend of traditions “approaching songness”), but also jagged cuts reminiscent of hip-hop and collages that lingua franca. There is a natural eternity to the way that on “Find It”, for example, Cheek plunges from a lush psychedelic and philosophical pop guitar with a minimalist, pushy chorus (it says: “get out of nowhere”), in an ocean of ambient abstraction, and song resurfaces in a black church, where Travis Haynes gives a sermon as the spirits of tonal freedom invade the pews. One of the records of our collective year!
Although he mostly made a name for himself as a drummer of music often described as “jazz”, Jason nazary is one of a handful of excellent New York / Brooklyn based composers and rhythmists trying to make sense of the intersection of drums, electronics and free improv. (Most often, as one half of Anteloper, his duet with trumpeter and electronic fellow, Jaimie Branch.)
Despite a ten-year career, Spring collection is Nazary’s debut studio album as a leader. It’s his “locking album,” built on minimalist modular synthesizers and bizarre layers of percussion that Nazary made at home; then punctuated by musical collaborations with other improvisers, including branch, Matt Mitchell and Ramon Landolt.
The result is a wonderful, sometimes jarring, ball of hair, electronics and rhythms, always in playful conversation, sometimes funky, sometimes angry. Nazary is in first Spring collection with a show at IRL in Green Point Thursday June 30. (80 Franklin Street, 7 p.m., $ 20)
Company of analog players + Masta AceThe new single from “Home in America” is one of those encounters between hip-hop and music sometimes called “jazz”, which is in direct line with classics like Tribe Called Quest’s Low-end theory, and Guru Jazzmatazz.
A timeless-sounding band (APS is a Brooklyn-based collective, here featuring Ben Rubin on keyboards, Donny McCaslin on tenor saxophone, pianist Orrin Evans, bassist Dezron Douglas and drummer Eric McPherson) led by one of the MC heroes. originals from BK. Ace’s verses are less artistic and more editorial variations on the fatigue at the heart of L’Rain’s LP, invoking black lives in prison and the January 6 insurgents, while also questioning “Is- this democracy or hypocrisy? Everything seems pretty obvious old-fashioned, but also, very home-like. Whether that is heartwarming is an open question.
OUR CHOICES 6/25 – 7/1
Remember to check with individual sites for their vaccination and proof requirements for attendees, and whether RSVPs are required to purchase tickets at the door. (I have now been burned by this a few times)
That frenzy is back isn’t a headline – unless the Delta variant pokes fun at America’s reopening, we all knew the party was going to be massive this summer. But it pleases me very much that not only has the Bushwick (I know some say Ridgewood) club H010, whose lineup divides the difference between rhythmic hedonism, improvised us, and community support, has survived and reopened, but has augmented its cavernous main room and black box backroom, with a properly wired outdoor space .
Friday (6/25) they host a handful of techno / rave legends from NYC and Brooklyn: Adam x, Ron Morelli, DJ speculator and Blood. Open early – close late! (1090 Wyckoff Avenue, 6 p.m., $ 17 – $ 20)
Another one of those musical legends going about their business in Brooklyn, violinist Charlie burnham first made a name for himself playing electrified free jazz blues alongside guitarist James “Blood” Ulmer. But for a very long time, he’s been a regular at the genderless (but often very bluegrass-tinged) hootenannies at Sunny’s in Red Hook.
With Sunny’s future under a cloud (if anyone knows more about this, please shout out), Burnham brings his trio (with guitarist Marvin Sewell and bassist Fred Cash) to Beards in Park slope at Saturday (6/26). (376 9th Street, 7 and 9:30 p.m., $ 25, RSVP required)
In my eyes, Wild is more collective than a band, as their recordings and concerts seem to feature different formations (although still united around guitarist Tom Csatari), playing everything from acoustic music to live jazz to electric rumba rock who’s jam-bandy in the best possible way.
Saturday (6/26) in the evening they invade Red hook‘s San Pedro, a bar corner (site of more and more great neighborhood sounds) for two sets celebrating the release of their new recording, Placebo – World. It’s an acoustic solo album by Csatari, but Uncivilized will be a septet, so go see what they do. (320 Van Brunt Street, 8 p.m., FREE)
Blank forms is an excellent Clinton hill an arts and music-focused gallery and publisher doing exceptional curatorial work in their Grand Street space (or wherever they can find it).
This weekend they are hosting two shows from one of my favorite musicians in the world, the Chicago-based composer, multi-instrumentalist and community artist, angel bat dawid, who makes an all-too-rare appearance in New York. the Saturday (6/26) the evening performance will take place at 468 Grand Street and is open to all paying members of Blank Forms; Sunday afternoon performance (6/27) at Bedroom‘s Herbert Von King Park with saxophonist Adam Zanolini’s duo, is free for everyone with RSVP. (670 rue Lafayette, 3 p.m., free with RSVP)
While the Bushwick club Elsewhere has not yet returned to the organization of indoor shows, its rooftop is full of DJ sets almost since the reopening of the city.
This weekend, the rooftop is all about pride, and while Saturday’s Papi Juice party is already sold out, Sunday (6/27) afternoon presents a large collection of talents brought together by the electronic music label BK, Records without love, including beautiful house music by Donis and Jayda b. (599 Johnson Avenue, 2 p.m., $ 20)
Mirah originated from a 1990s scene in Olympia, Washington that not only gave the world the feminist punk of the Riot Grrrl movement, but also many strong singer-songwriters whose independent outlook and minimalist indie-pop sound informed the current generation of charts. toppers and Grammy nominees.
Mirah Yom Tov Zeitlyn has lived in Brooklyn for about a decade and, in the midst of the pandemic, ditched the 20th anniversary reissue of her 2000 stand-out, You think it’s like that but really it’s like that. Expect these songs to be a big part of her set, when she plays the songs. Sultane room at Wednesday (6/30). (234 rue Starr, 6 p.m. and 8:30 p.m., $ 25)
Remember: if you’re an artist, record label, or music organization in Brooklyn (or the New York City area) that releases new music, or produces events (Brooklyn), or just makes the noise you want broadcast in the community, please contact us. at [email protected]. We would love to hear it – and potentially put it on.
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