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Archive for the ‘Marco Benevento’ Category

[ATTENDED: December 13, 2024] Karina Rykman 

Last year, my wife and I saw Karina Rykman twice.  First as an opening act and then for our final show of 2023, as a headliner.

The show was great–loud and dancing and fun and everything you’d want in a jamband adjacent musician who totally kicks ass.

When she announced another Philly show this year (my second to last show of the year, but my wife’s final show of the year once again), I snatched up tickets immediately.

Karina is such a joy to see live.  Her band rocks and her choice of songs (both her own and covers) are designed for maximum fun (and chops).  And of course, she has a perpetual smile on her face–no one enjoys playing music as much as she does. (more…)

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[ATTENDED: April 13, 2024] Marco Benevento / Ghost Funk Orchestra

I have seen Marco Benevento three times live.  Every time has been a wonderful, joyous experience.  And I promise myself I’m going to see him again soon.

I didn’t go to his shows last year because I needed a break from shows that week.

This year, I already had a ticket to see Swans and then my daughter and I were going to go see Jhariah, so I couldn’t go to see Marco this time.    But he’s always playing shows and I’m sure I’ll see him again pretty soon.

Ghost Funk Orchestra has a name that I was bound to love.  And yet when I listened to them I found that i didn’t really like them at all.

Ghost Funk Orchestra is the brainchild of composer/multi-instrumentalist Seth Applebaum. The band draws heavy influence from the worlds of soul, psych rock, salsa, and beyond.

Even that description is perfect for me, but I feel like they take my least favorite elements from all of the genres and I instantly bristled at the vocals and the recording style.

They’re probably a lot of fun live, and I’m sure I would have enjoyed them opening for Marco, but I did not enjoy the album at all.

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[ATTENDED: December 15, 2023] Karina Rykman 

I‘ve seen Karina Rykman play bass with Marco Benevento three times.   She exudes a joy that is infectious.  And her sound with Marco is outstanding–her fuzz bass is unparalleled.

So I’d wanted to see her solo for a while, even though her solo songs are a bit more discoey than I would have liked. She opened for Guster back in April and she and her band blew me away.  In fact, my wife liked her so much that she was totally on board with seeing her again.

Yes, her singing voice is rather discoey (she must use lots of effects on it to sound so echoey and outer-spacey, but man, when she jams, she gets down and dirty and often quite heavy.  But she also steps back and lets her impressive guitar player Adam November take over.  And her drummer Chris Corsico is pretty awesome too.

She sold out Milkboy (I was supposed to see her there in 2020 and I think it would have been a very different show) which she was pretty thrilled about.  And the crowd was 100% dancing to her groove.

She opened with three songs from her album Joyride (which had not come out in April).  “Joyride” and “All That You Wanted” are softer songs that accentuate her way with melody and hooks–the choruses are dynamite. (more…)

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[ATTENDED: December 15, 2023] Coyote Island

Coyote Island opened for Karina Rykman.  I hadn’t heard of them and when I listened to a song or two I thought they sounded kind of folkie and mellow.  Turns out

Coyote Island is the musical vision of producer/songwriter and multi-instrumentalist, Mike O’Hehir. For many years Mike travelled the country with guitar in hand. With roots in folk music, the sound quickly expanded into a new genre-bending realm of psychedelic indie. With good vibrations, dancey grooves, and tropical psychedelia, Coyote Island offers you a sonic vacation from the doldrums of existence.

Okay, so that’s promo blather but it’s not far off.

When the band started, they played an excellent instrumental jam.  It rocked and was really grooving.  Their second song was kind of lite-reggae.  I don’t like reggae, but I enjoyed this song because it deviated from the formula in little ways.

Their next song was, as the blurb says, kind of tropical psychedelia.  There’s definitely the tropical element in the drums from Ryan Benoit.  And five-string bassist Garrett Roy Jones played a great low-end.

It was lead guitarist Amir Rivera who really blew me away.  I loved the way he casually played some really amazing solos.  He was fast, but also very clean and tasteful.

I don’t have any song titles, although I do know that they played a super fun and hugely surprising cover of “Can’t Get You Out of My Head” by Kylie Minogue–sung by Amir.  Another really fun moment was when Mike broke a guitar string–a low E of all things–and had to get a new guitar.  He climbed off the stage to their gear which was stacked up in the crowd.  While he grabbed and tuned a guitar, Amir led the rest of the band in this rippling fun instrumental.  None of this is to dismiss Mike, whoc joined in about halfway through and added a ton of little details.

Indeed, Mike is a fun and engaging front man.  He’s got a smooth island-inflected singing voice [I was stunned when he said they were from Maine as they sound like the least Maine-sounding band I could imagine].  He had on a fun outfit and was generally smiling and happy.

When the set was over he walked through the crowd and happily talked to anyone.

Without question they would make an excellent opening band in nearly any situation.  I hope to see them again.

 

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[DID NOT ATTEND: March 10 & March 11, 2023] Marco Benevento / Mike Dillon’s Punkadelic ft Nikki Glaspie & Brian Haas

I saw Marco Benevento at Ardmore Music Hall about a year ago.

His shows are so much fun.  He’s a fantastic performer and his band is terrific.

The fact that he was playing two venues within easy driving distance of me seems like a no-brainer in terms of me going to see him.  And yet, I felt that I needed a week without shows since I have a bunch coming up.

Sorry Marco.  I still love you. (more…)

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[ATTENDED: February 25, 2022] Marco Benevento

Almost exactly five years ago to the day I saw Marco Benevento headline a show at the Ardmore Music Hall.  That show blew me away, it was so much fun.  The whole band: Marco on keyboards, Karina Rykman on bass and Andy Borger on drums were terrific.  And the three of them laid down a fantastic groove all night.

The trio was almost the same tonight. This time Dave Butler was on drums, but it was still Marco and Karina.  I looked up Karina and found that she is 23, which means she was 18 last time!  She was fantastic then and even better tonight.

There was supposed to be an opening act: Deer Scout.  But for whatever reason, they didn’t come and it was announced a few days ago that Marco would play two sets.

I arrived a little later than I wanted to, but he didn’t go on exactly at 8, so that was fine.  I was also amused because for the first time in a while, I was one of the youngest people there.

Joe Russo’s Almost Dead had played three nights in Philly a few weeks ago and it was clear that people who were at that show were here as well (Marco plays with JRAD, although his music is not similar at all).  There was a lot of tie-dye and a lot of long gray beards.  I decided not to get mixed up with that crowd so I hung back a bit. (more…)

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[ATTENDED: October 9, 2021] The Menzingers

I saw The Menzingers open for Weezer back in 2016 and really enjoyed them.  I’d been wanting to see them again mostly because I was really far from the band when I saw them and couldn’t really get into it the way I might have liked.

So when they were listed as headlining two nights of Philly Music Fest I knew I had to see them.  Especially in a small place like Ardmore Music Hall.

I have only been to Ardmore a couple of times.  My favorite show there was Marco Benevento where the sound was outstanding.  Even right up against the stage.  Well, for this show I was right up against the stage (although as more and more people crowded into the place, I moved away from the band’s more devoted (and a little crazy) fans.  But apparently I never got far back enough because literally all I could hear the whole show was Tom May’s guitar.  And May tends to play lead licks and solos, so I never really got the backing chords of Greg Barnett unless May wasn’t playing anything (which happened from time to time).

Obviously it was more fun being able to see bassist Eric Keen and drummer Joe Godino (who I couldn’t see at all last time), but it was weird having the sound so disjointed.  Throughout the set I tries moving further and further away from the stage, but I was never able to get further to the middle. (more…)

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[DID NOT ATTEND: October 7, 8, 9, 2021Joe Russo’s Almost Dead [rescheduled from September 24, 2020]

I don’t actually know Joe Russo’s Almost Dead.  The only thing I really know about them is that Marco Benevento is the pianist for the band.  Honestly that’s good enough for me.

They are playing three nights in Montclair and two of them sold out almost immediately.

It didn’t actually occur to me that the Dead in the band name is a Grateful Dead reference.  But I see that JRAD is like a Grateful Dead cover band plus more.  They are known for their intermingling of the Grateful Dead’s recognizable folk-rock and Americana sound with more contemporary Progressive Rock and Jazz Fusion influences.

So I had a lot going on that week and decided I didn’t need to see a Grateful Dead band.  Especially since I don’t especially like the Dead (althouh it’s more their recording sound (too tinny) than their songs.  But according to GratefulWeb, the run was a hit. (more…)

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SOUNDTRACK: MARCO BENEVENTO-Me Not Me (2009).

This album (Benevento’s second) with the confusing title is actually a (mostly) covers album.  Marco takes some familiar (to me) and some unfamiliar (to me) songs and turns them into instrumental versions using piano (and more), bass (from Reed Mathis) and drums.

The first song is My Morning Jacket’s “Golden.”  The melody is instantly recognizable and bouncy and fun.  Matt Chamberlain provides drums, which are skittery and complicated but never loud. Until the end when the songs starts to float away with trippy synths and some wild drumming.

“Now They’re Writing Music” is an original piece that switches between synth and piano and features Chamberlain and Andrew Barr on drums.

“Seems So Long Ago, Nancy” is a Leonard Cohen song.  It’s produced as if it’s on an old scratchy record with echoing bass and drums over the scratchy piano.  Barr is on drums.

“Mephisto” is an original, a slow jazzy number with a hummable melody and Chamberlain on drums.

“Twin Killers” is a Deerhoof song.  Appropriately, it has some riotous drums (from Barr who is on the next two songs as well).  It’s longer than the original because it features a cacophonies middle section that is just insane.  But Benevento’s faithful reproduction of the melody line makes this really catchy.

“Call Home” is a pretty lullaby.  It’s an original with soft keys and a baby cooing.

“Heartbeats” is the Jose Gonzales/The Knife song.  The main low riff sounds like its on the bass and then Marco plays the familiar lead melody with all kinds of fuzz thrown over the song.

“Sing It Again” is a mellow song from Beck off of Mutations.  I don’t really know it that well but this version is very pretty and simple.

A highlight of the album is this really fun version of Led Zeppelin’s “Friends.”  It’s immediately recognizable and yet different somehow.  Its full of raucous paying from all three especially when Benevento ads the sinister synths near the end.  Chamberlain plays up a storm on the drums.

The final song is George Harrison’s “Run of the Mill.”  I don’t know the original, but this is a jazzy song with lot of piano runs from Marco and some restrained drumming from Chamberlain.

This is a pretty solid introduction to Benevento’s music, although his albums definitely get better once he starts writing his own songs with words.

[READ: March 14, 2021] “Surrounded by Sleep”

Ajay was ten years old.  His family lived in Queens (having moved from India two years earlier).  He and his older brother, Amam, were in Virginia visiting his aunt and uncle.  One morning Aman was swimming in the pool.  He dove in and hit his head on the cement bottom.  He was on the bottom of the pool for several minutes before anyone noticed.

His parents were not terribly religious, but as Amar lay in a coma in the hospital, his mother began to pray regularly.  She also prostrated herself and fasted.

At first Ajay thought “her attempts to sway God were not so different from Ajay’s performing somersaults to amuse his aunt.”  Then Ajay knelt before the altar and drew in the carpet an Om, a crucifix, a Star of David and the Superman logo.

When his mother saw him praying, she asked what he prayed for.  He told her for a 100 on his math test. His mother said “What if God said you can have he math grade but then Aman will have to be sick a little while longer? …   When I was sick as a girl, your Uncle walked seven times around the temple and asked God to let him fail his exams just as long as I got better.”

Ajay replied, quite rightly, “If I failed the math test and told you that story you’d slap me and ask what one has to do with the other.” (more…)

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SOUNDTRACK: MARCO BENEVENTO-Between the Needles and Nightfall (2010).

This is the third album by Marco Benevento and his trio: Reed Mathis on bass and Andrew Barr on drums.

It’s hard to put this release into any genre because of how fluid Benevento is.  He has some poppy songs, some jazzy bits and some experimentation.

Most of the songs are pretty long (over 6 minutes) and none of the songs have words (well, one has a aspoken section).

“Greenpoint” flows around a very simple bass line as Marco plays a poppy piano throughout the song.  There’s also some synthy blasts that move the song beyond a simple piano motif.  Around the four minute mark, the song shifts gears, growing a little faster and little more intense as the drums crash through.

“Between the Needles” is a slower song with a pretty bass line and slow piano chords.  After a minute and a half it takes off a bit with bigger piano chords and a more dramatic tone.  But then it all slows down to just piano before building up again, this time with even more evocative lead bass.  “Two of You” is quieter, with a waverly keyboard line that lays under the lead piano  The main piano line acts like a lead vocal line and is really pretty and quite catchy as well.  It builds into a nice bouncy song by the end.

“Numbers” is a slow song with a lead bouncing bass and simple keyboard intro chords.  The song builds in layers until it is a loud, almost-crashing sound with some jazzy piano soloing on top.  “It came from You” is a super catchy piano melody with some complicated electronic drumming. It turns into a bouncy and fun romp by the end.

“Ila Frost” is one of the catchiest things on the album–a lively piano melody both in the repeated background and the main lead line.  It’s followed by the even catchier “RISD.”  In addition to the fun pulsing bass, the main echoing keyboard melody is simple but instantly catchy.

“You Know I’m No Good” is the shortest song on the disc.  It’s a slinky torch song that is actually written by Amy Winehouse. Knowing that, you can hear it in the delivery.  There’s a sort of crashing drum section in the middle.  This song also has the only vocals–worldless “da da daing” toward the end.

“Music Is still secret” is a lovely, slow jazzy ballad. While “Wolf Trap” is the opposite.  There’s some loud clangy drums and a big fuzzed up bass that matches perfectly with the really noisy piano melody.  Once the song starts going, there is some ferocious soloing from Marco as the rest of the band jams behind him.

The disc ends with “Snow Lake” an electronic kind of processed sounding track that mixes some interesting synths and some low ringing bass.  It ends with a wild cacophony of sounds–electric and otherwise–and then abruptly ends.

There’s not a lot of earworms on this disc.  But everything sounds great.  The musicianship is top notch and the songs are all pretty fun.

[READ: September 14, 2010] “Lucky Girls”

In this story, the narrator is an American woman living in India.

As the story opens she says she always imagined what it would be like meeting Arun’s mother for the first time.  She pictured a fancy restaurant with herself looking stunning.

But in reality, Mrs Chawla showed up at the apartment one day, unannounced.  The narrator had been living there for five years and had yet to meet the mother of the man who owned the place.

The narrator was in her painting clothes when Mrs Chawla showed up.  The narrator considered changing, but decided against it.  Mrs Chalwa was shorter than expected; she looked at the narrator as if she too were not what was expected. (more…)

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