This week is music overload and we love that here at LiveMusicDaily.
Let’s break this down by day. There are multiple acts on some days, which is fine, who says you can’t attend more than one concert in a night. Just ask photographer Josh Brick, he specializes in such activities.
In all sincerity we have some serious indie rock, funk, soul, jazz, and electronic madness in the district this week I figured that it was worthy of compiling a list so no one can say “well I would’ve gone, but I didn’t know.” Now ya know. Let’s get down to business shall we?
Wednesday (October 14)
Howard Theatre (SOLD OUT)
In 2015, the talent for creating a prolific output of exceptional music is almost a curse. Press people will tell you that there’s a bottleneck of too many artists covered by too few media outlets who always want to talk about something new. Managers will tell you that there’s too much money to be made on the road, so the album cycle goes on and on to support that. Artists may even feel pressured by reviewers and themselves to go into a deep stasis, only to emerge again when they’ve reinvented themselves into a newly revamped and retooled model, as opposed to just capturing time in a bottle and offering more to their catalog. At times, even fans have adopted this rule as well and are almost shocked when their favorite artist is able to release an LP already after two and a half or three years of waiting (let’s call this the MBV-effect). Lucky for us, Mac DeMarco is old school in his approach: when Mac wants to make a record and he has the songs ready, he makes it.
Like the days of Steely Dan, Harry Nilsson or Prince releasing a classic every year (or less) comes Mac DeMarco’s Another One, a Mini-LP announced almost one year to the date of the meteorically successful Salad Days. The album was conceived and recorded entirely by Mac in a short period of time between a relentless tour schedule. At his new place in Far Rockaway, Queens — a neighborhood as east as you can possibly be before hitting Long Island — you can live in relative isolation despite technically still being in New York City. This left Mac with nothing more to do with his down time than to make music. Another One is an eight track release of brand new songs, freshly written for this release and each of which expand the arsenal of Mac’s already impressive catalog.
Centered around a pump-organ riff and lilting vocal melody that is somehow both haunting and warm, “A Heart Like Hers” is a track that shows the maturity of Mac’s progression as songwriter. It’s a little bit more refined, a little bit more sophisticated, but nonetheless still retains the guts and soul of any classic Mac track. Opener “The Way You’d Love Her” has a playful swing to the chords and a guitar solo that wouldn’t be out of place on a mid-period ‘Dead’ LP, Mac’s new favored listening past time. The overall feeling of the LP is lost love, or perhaps love never found, a topic that the world never tires of and one Mac can move through without it being a dour and somber experience. Title track “Another One” and stand out “Without Me” exhibit this bittersweet sensibility in lyrical and musical context, both melancholic and romantic, blurring the line between happy or sad nostalgia. The record leaves you with the same satisfaction as an old Bogart movie: he’s still the hero, but he doesn’t quite get the girl.
It’s odd that despite working at the same pace as artists like Creedence, The Byrds and The Rolling Stones, coupled with an equally unending schedule of touring, press and recording, Mac is still labeled as a slacker. With two full-lengths and two EPs released and hundreds of sold out shows performed in the last several years, a recent late night television debut on Conan following a special guest performance on The Eric Andre Show, it seems, as Mac DeMarco nears his 25th birthday, there’s not a slack bone in the man’s body, besides maybe his a penchant for wearing comfortable clothes. You need comfortable clothes to work this hard anyway. Great singer/songwriters (Elton, Joni, Neil) don’t need to reinvent themselves; they just need to keep going and let the songs out in the world. If you’re like me and don’t think it’s been too soon since Salad Days – and you’re actually about to freak if you don’t hear more — here’s Another One.
Wednesday (October 14)
Robert Randolph, John Medeski & the North Mississippi Allstars
with Amy Helm & The Handsome Strangers
9:30 Club • Wednesday (October 14)
Gospel/Blues/Rock supergroup The Word features John Medeski (Medeski Martin & Wood), Robert Randolph (Robert Randolph & the Family Band), Chris Chew, and brothers Luther & Cody Dickinson (North Mississippi Allstars). The idea for the supergroup originated nearly a decade and a half ago when the North Mississippi Allstars went on tour with Medeski Martin & Wood. In 2000, The Word became a reality when Medeski and NMA were joined in the studio by pedal-steel guitar phenomenon Robert Randolph, and the quintet recorded their self-titled debut. The album was highly acclaimed for its fusion of gospel, blues and rock and was widely considered one of the best releases of 2001. The Word toured briefly behind the release before resuming their respective careers. The band reunited in the summer of 2005 at Bonnaroo and again in 2009 for a string of dates. With multiple Grammy nominations amongst them and a legion of fans across the country, The Word are reuniting again in 2012 for a few select shows and have plans to release the highly anticipated follow up to their debut album.
Avant-jazz keyboardist John Medeski devoted much of 2011 marking the 20th anniversary of MMW. To celebrate their 20 years together the trio released ‘20’, a series of new, never-released tracks each month of 2011. In addition to reuniting with The Word in 2012, Medeski plans to record a solo piano record.
The North Mississippi Allstars spent 2011 touring behind the release of their latest album Keys to the Kingdom. The album was hailed by both fans and critics and secured the trio’s legacy as the most intriguing groups to emerge from the Mississippi music scene.
Robert Randolph & The Family Band recently teamed up with T Bone Burnett and released We Walk This Road. The record is a celebration of African-American music over the past one hundred years and its social messages from the last thirty.
Thursday (October 15)
with Support from The Domestics
Black Cat • Thursday (October 15)
Over the course of 15 years and seven full-length albums, Blitzen Trapper has crafted one of the more compelling and varied catalogs in contemporary rock and roll. Indeed, singer and guitarist Eric Earley, who is also the Portland, Oregon-based band’s primary songwriter, is possessed of a musical and lyrical sensibility that is remarkably deep and wide; big ideas and universal emotions are wrung from the seemingly plainspoken details of small-screen and often highly personal stories, and set to music that reaches way, way back to old-timey folk and bluegrass, travels through everything from country, psychedelia and soul to prog, garage and metal, indulges gloriously in the classic rock of the 70s and 80s, and makes occasional side trips into hip-hop, skewed pop and noisey freakouts.
Even while continuing to explore broad stylistic territory, Blitzen Trapper’s eighth studio album, a 10-song collection titled All Across This Land, stands as an exceptionally focused and immediate effort. Though it follows 2013’s somewhat experimental VII, a futuristic hip-hop/country-rock hybrid, All Across This Land, in contrast, is a top-down, tightly defined piece of classic rock and roll, full of big riffs, bigger hooks and compelling, instantly relatable lyrics. In sound and scope it recalls two of the band’s more beloved albums, 2008’s breakthrough fourth effort, Furr, and 2011’s landmark American Goldwing. “I think it’s a return to the sort of more ‘classic’ Blitzen Trapper thing, for sure,” Earley says.
It also follows something of a pattern. “It seems to be that every other album goes this way,” Earley continues. “After Furr we did [2010’s] Destroyer of the Void, where we were exploring all these different things. Then came American Goldwing. After that, VII. Now we’re back to that rock thing again.”
Something else All Across This Land shares with Furr and American Goldwing: the fact that these new songs came quick, and in a very concentrated period of time. “Those two albums, I wrote all the songs at once and they all hang together. But the records that came in between, they were written over the course of a year-and-a-half or so,” Earley says. For All Across This Land, he continues, “I had all the songs written and demoed in a three or four month span. And I think they work together because everything came in such a short period.”
And yet, for a record characterized by its focus, there is still plenty of musical and lyrical ground covered within its ten songs. Gentle, almost folksy moments–the lilting, pedal steel-inflected “Love Grow Cold”; the fingerpicked closer “Across the River”; the acoustic-guitar-and-harmonica-led “Lonesome Angel”–abound, even if, for the most part, All Across This Land is defined by its more upbeat rock-and-roll numbers. To that end, Earley says it’s the record that perhaps best represents what Blitzen Trapper is as a live act. “It’s funny, because I think with this band, there’s two different ways people see us,” he says. “People who just hear the music somewhere, they tend to think of us as this, like, indie-folk act. But people who come to the shows know that we’re actually a hard rock band. And who knows? Maybe all that some people really want from us is folk music. But what we like to do is play rock music.”
On All Across This Land, they certainly do. The album kicks off with “All Across This Land,” a slice of sun-drenched rock propelled by a stabbing and syncopated guitar riff and full-voiced chords, accented by some euphoric “hoo hoo” backing vocals. When Earley’s vocal enters, it’s with a greeting of sorts: “Welcome to earth my son you’re here just in time / So much to learn so many ways you can shine.” The song is, at its core, a celebration of life, in particular of one that is just beginning. “One of the members of our band, Mike [Van Pelt] had just had his second boy, and I was thinking a lot about that,” Earley says. From there, he also began to look back on his relationship with his own father, a bluegrass and folk musician. “I was remembering how my father taught me to play music, There’s just so much potential in that relationship you have with a new life.”
From here, the record moves into “Rock and Roll Was Made for You,” another celebration of sorts, this one for music itself. Over a driving, percussive guitar riff, Earley testifies about its sometimes otherworldly powers: “Rock and roll gonna make you shout / It’s for shooting down planes after blacking out.”
Music also serves as the inspiration behind the record’s third track, the pulsing and atmospheric “Mystery and Wonder.” “In a lot of ways this one is me reminiscing about the songs I’ve written in the past and my reasons for writing them,” Earley says. “And it also looks at how we got into playing music as a band. Because we all came from much smaller places and then we moved to the city, which was Portland. Now, Portland isn’t really that big a place, but to us it was. And that’s where it all started.” Another cut, “Nights Were Made For Love” finds Earley examining his life and band from a more nostalgic perspective. Over a quick-paced but laidback country-rock rhythm, he sings about being “stupid, strange and young at heart / and all we wanted was to rock and roll.” “It’s looking back at our high school days–going to football games, playing music,” he says. “In certain ways, it’s sort of the story of the journey of our band.”
Earley’s childhood comes into play in a much different way on the dark and driving “Cadillac Road.” “That song is about a small mill town in the mountains outside of where we all grew up,” the singer explains. “Around ’83 or ’84, they shut down the mill and everyone was told to pack up and leave. And everyone did–but one guy stayed. People said he lived in the woods, and that if you listened you could hear him at night. It was this odd story that stuck with me, and I felt like I should tell that story.” But in telling the tale of one man, Earley manages to touch on much larger themes of loss, regret and perseverance in the face of a shifting American landscape. “Gotta change with the times,” he sings at one point, “but I dont have the heart.”
The album ends with another big statement, “Across the River,” a rumination on life and death that Earley sees as something of a bookend to opener “All Across This Land.” “I feel like they tie in together, because the first song is about new life, and the last one is almost a near-death experience,” he says. “I’m crossing a river to another place that’s something like the afterlife–it’s heaven, but it’s not. And then my father shows up and he says, ‘You’re not supposed to be here yet. You’ve got more stuff to do.’ ”
Earley’s father comes up often in the context of his lyrics, which is understandable–the elder Earley has cast a long shadow over his son’s musical life. “My dad and my grandfather both played instruments–guitars, banjos…my grandfather was a harmonica virtuoso,” Earley says. “So there was a lot of music around me as a child. And it was old-timey stuff. Like mountain music–the kinds of songs where no one knows who wrote them, basically.”
Earley’s childhood was so rooted in this music that he didn’t get turned on to rock and roll until much later, when he was already in high school. “So to me,” he says, “the 80s is kind of my foundation for rock. A lot of my influence is from the Replacements, R.E.M., that kind of stuff. Even Pavement in the early 90s.” As a result, on All Across This Land, “when I’m thinking of rock and roll, I’m thinking of Paul Westerberg, to be honest,” Earley admits with a laugh. In addition to Westerberg, he also cites Joe Walsh as one of his main rock influences: “He’s always been one of my favorite guitar players, and you can hear it on the album. The riffs and chords on ‘All Across This Land,’ that’s straight from Joe Walsh.”
That love of a particular type of rock and roll helped guide Blitzen Trapper’s approach on All Across This Land. “We recorded it specifically to be a two guitar, bass, drums and piano record,” Earley says. “Every song is a band song, and arranged just how we’d play it onstage. Because at this point, we’ve made tons of records and we’ve played tons of shows. And the people who come out to see us, they understand what we’re doing and they don’t care about genres or anything like that. They’re more interested in our actual specific unique personality as a band.”
As for what that specific personality is? “I think there’s two kinds of songs I love to write,” Earley says. “I love songs that rock hard and that just make you feel good, and then I love songs that are sad and introspective and touch you in a very deep place.”
Which, in essence, is exactly what Blitzen Trapper puts forth on All Across This Land. “I was trying to distill everything down to those two things,” Earley explains. And if, in doing so, the band happens to pick up a host of different sounds and styles along the way, so be it. “We’re never going to be a band that plays the same song over and over again,” he says. “We like to explore. And sometimes that’s not so easy for people to deal with. But we’re going to just keep on doing what we do.”
DJ Williams Projekt & Trongone Band
Live at Gypsy Sally’s • Thursday (October 15)
DJ Williams Projekt
DJ is the founder of the funky Richmond based band, DJ Williams Projekt; hip-hop/R&B group, The Breaks; acoustic duo, Williams & Jones; and guitarist for San Diego’s critically acclaimed group, Karl Denson’s Tiny Universe. Since starting a full time music career in 2001 DJ has toured the globe from small rock venues to large prestigious music festivals in the US, Canada, and Europe. Williams signed a record contract in 2005 with Harmonized Records and later released on his own label, Projekt Records.
DJ is now recording his own licensing music under Projekt Produktions.
The young guitarist has had the pleasure of sharing the stage with John Legend, Dave Matthews Band, Sharon Jones & The Dap Kings, Soulive, Levon Helm, Citizen Cope, Robert Randolph, Slick Rick, and many many more. With an emphasis on compelling melody, refined songwriting, and an extremely diverse musical palette, DJ Williams strives to push new boundaries as an up and coming guitar player. Just don’t let the name confuse you, because this musician is laying out grooves any “D.J.” would love to sample!
The Trongone Band
Rapidly gaining momentum with a sound that falls somewhere between southern Rock ‘n’ Soul and Americana Jam, The Trongone Band is turning heads and making an impact on the east coast music scene. Formed as a family and by brothers Andrew and Johnny with father John Sr. on bass, The Trongone Band enlisted much sought-after keyboardist Ben “Wolfe” White and quickly began packing various venues around Richmond, VA. With the addition of Wolfe, they entrenched their footprint on the city with a Thursday night residency at Cary Street Cafe, pushing the popular music room to maximum capacity for two straight years.
Spreading their musical wings, it wasn’t long before The Trongone Band procured a devout fan base and began making their name in neighboring cities, including sell-out shows in Blacksburg and Harrisonburg. Recently the band brought on award-winning bassist Todd Herrington to solidify their touring lineup. Herrington adds a crucial
dimension of deep pocket groove and funk to the already seasoned unit. As a collaborative effort, the band is set to push forward touring the East Coast and preparing for their full length debut album. This four-piece ensemble may not all be related, but with a chemistry so emphatically discernible, it’s fair to call them brothers.
Friday (October 16)
Leon Bridges (SOLD OUT)
9:30 Club • Friday (October 16)
The river of soul music flows on deep and strong, and 25-year-old Leon Bridges is immersed in its life-giving current. The Forth Worth, Texas native and Columbia Records artist is currently preparing his debut album for release in the summer of 2015. “I’m not saying I can hold a candle to any soul musician from the ’50s and ’60s,” Bridges says, “but I want to carry the torch.”
Humility aside, Bridges’ light is burning bright. Following the October, 2014 release of two tunes that set the on-line world aflame, and accompanied by intimate solo shows from London to Los Angeles and Nashville to New York, the singer and songwriter has proved himself a rare talent who can do smoldering ballads and elemental rock’n’roll with equal aplomb. While he appears to have emerged cut from the cloth and fully formed, Bridges explains in his dulcet voice how he came to be here now.
“As a kid I grew fascinated with modern R&B. In high school I’d try singing songs by Ginuwine and Usher,” he explains, “and I thought well, maybe they weren’t in my range.” Instead, a lithe, nimble physicality led Leon to study dance at Tarrant County College in Fort Worth. “I’d been doing hip-hop dance since I was 11 years old,” he says. “I knew there was a dance program there, and I started diving into ballet and jazz and modern technique and learning choreography. I thought that’s what I wanted to do.”
Native inspiration soon diverted his path. “A friend of mine brought his keyboard to school every day, and we’d have these little jam sessions, improvising, and I started to find my voice.” One day a female friend asked Bridges to look after her guitar while she went to class. “I asked her to show me a couple chords first. And she did: A-minor and E-minor. I fell in love with their sound, and that’s when I started writing songs, from those two chords.”
That Bridges compositional bedrock began in a minor mode is revealing. At a moment when popular music seems in thrall to major chord sing-alongs, the blue hues of Bridges’ tunes embrace a subtlety that feels wholly refreshing. “Based on my innocence on guitar and my lack of knowledge of the technical side, my songwriting is something I have to make on-point with melody and delivery to make it shine,” he explains.
With a few early compositions tucked under his belt, a seeming dichotomy surfaced: Bridges’ tunes sounded less like the modern R&B he’d grown up loving than a style he was, in fact, not very familiar with: classic soul. Furthermore, Bridges’ sleek, fastidious fashion sensibility dovetailed with the songs he was writing. He began a tenderfoot period of apprenticeship playing coffeehouses in and around Fort Worth, slowly finding and refining his voice.
A turning point soon came via a pair of selvedge trousers. One night at an Austin bar Bridges was approached by a young woman who complimented him on his snazzy Wrangler’s and said that he should meet her boyfriend, a fellow with a comparable sense of style. Her boyfriend turned out to be Austin Jenkins of the band White Denim. “I hadn’t heard of White Denim at the time,” Bridges says, “but I went and looked them up and thought yeah, that’s interesting music.” After Jenkins and his bandmate Joshua Block subsequently peeped Bridges perform at a low-key local show, they insisted Leon enter the studio to cut a few tracks on their burgeoning bank of vintage equipment.
That initial three-day session, with Jenkins and Block producing, yielded the recordings that set Bridges at the center of rapturous attention from aficionados and labels alike. The buttery, seductive “Coming Home” and the piston-driven, doo-wop flavored “Better Man” demonstrated Bridges’ versatility. Inking with Columbia Records, whose roster includes a certain hero named Bob Dylan, was the outcome of courtship and deliberation. “Columbia has artists I look up to like Adele and Pharrell, as well as Raphael Saadiq and John Legend,” says Bridges. “They way they value artistry makes it feel like home.”
The early 2015 release of another new song, “Lisa Sawyer,” has further burnished Bridges’ promise. With its brushed snares and glowing brass, “Lisa Sawyer” is a remarkably assured offering from so young a talent. The song, about Bridges’ mother, a woman “with the complexion of a sweet praline,” has the flavor of one of Allen Toussaint’s productions for the great Lee Dorsey. Connecting the sacred and the secular, “Lisa Sawyer” feels natural considering Bridges’ churchgoing childhood. And by writing with specificity about his own family, Bridges is creating resonant work about the African-American experience.
“I have a lot of insecurities because I don’t have a big powerhouse voice,” he admits. “I’m not a shouter. I rely on phrasing to get my feeling across.” Bridges’ delivery exudes strength through tenderness. “I guess that’s why I connected with Sam Cooke.”
The name Sam Cooke has appeared frequently in Bridges’ early notices in the press. The point of comparison is apt, but not initially intentional. “When I wrote ‘Lisa Sawyer’ I didn’t know anything about old soul music,” Leon says. “I was asked ‘Is Sam Cooke one of your inspirations?’ I had to say no, because I only knew Sam Cooke’s ‘A Change Is Gonna Come’ from the movie Malcolm X, which I’d watched with my father. But from being asked about Sam Cooke and Otis Redding I started digging deeper into soul music from the ’50 and ’60s and realizing this is really the root of what I’m doing.”
What to make of the fact that Bridges is working in a tradition whose existence he was initially only vaguely aware of? “It speaks to the gift God placed in me,” Leon says, choosing his words carefully. “It humbles and wows me to think I was pulling from something I didn’t really know about.”
In the striking black-and-white images that have accompanied Leon’s emergence, one photograph stands out. It depicts Bridges sauntering down a sunlit sidewalk, his shadow falling not behind him but stretching out in the direction of his forward stride. The implication is that Bridges is not walking away from the past, but moving forward with both family history and the tradition of soul music in full view. His ancestors and antecedents walk with him. “They’re with me at all times,” affirms Bridges. Steeped in tradition, drenched with intention and desire, Leon Bridges’ soul music is happening here and now.
Roger Waters & Special Guests: Music Heals, A Benefit Concert
Special guests Billy Corgan, Sheryl Crow and Tom Morello
DAR Constitution Hall • Friday (October 16)
Music Heals, an exceptional one night only concert, where some of the world’s biggest recording artists will join forces to raise money for MusiCorps – a charity supporting injured service men and women and their families. MusiCorps Band is made up of injured service members who have learned, and in some cases relearned, how to play instruments through the charity.
Roger Waters has supported MusiCorps for a number of years and served as a mentor to members of the MusiCorps Band, playing with the veterans at the Walter Reed Hospital in Washington DC and encouraging their love of music as part of the rehabilitation process.
Roger Waters says:
“The work I have done over the last few years with these men and women has been some of the most rewarding work I have ever done.”
MusiCorps is a non-profit charitable organization which helps wounded veterans play music and recover their lives. Praised by the Wall Street Journal as “revolutionary,” the conservatory-level program enables the wounded to learn, relearn, and perform music as a core part of their rehabilitation. MusiCorps is based at Walter Reed National Military Medical Center outside of Washington, DC, and is raising support and awareness in advance of national expansion.
Arthur Bloom, MusiCorps founder & CNN Top 10 Hero, 2014 says: “By injecting music into this space, we can inject life”
Big Something + Major & the Monbacks
The Hamilton • Friday (October 16)
Named Best Rising Artist of 2014 by Live Music Daily, Big Something is one of the most exciting new bands to emerge from the Southeast. A 6 piece powerhouse with a sound that is both unique and timeless, BIG Something fuses elements of rock, pop, funk, and improvisation to take listeners on a journey through a myriad of musical styles. Soaring guitars, synths, horns and alluring vocal hooks rise to the top of their infectious collection of songs and represent a sound that has caught the ears of such revered Summer circuit stalwarts as Galactic, moe., Robert Randolph, and even The B52s who have all tapped Big Something as direct support.
The group recently released its 3rd full-length studio album – Truth Serum – with the help of Grammy-nominated producer John Custer. Recorded almost entirely live in the studio, Truth Serum, is a great snapshot of the magic the band is capable of creating on stage. The album was named 2014 Album of the Year by The Homegrown Music Network, which makes Big Something the only band ever to win this award 3 times with 3 different releases (2010, 2013, and 2014). Truth Serum is available to stream for free in its entirety at: www.bigsomething.bandcamp.com
Major & the Monbacks
“Bands like this are crucial to the preservation of music. With a powerful mix of soulful vocals, powerful melodies, and calculated instrumentation it is safe to say Major and the Monbacks are definitely following in the footsteps of St. Paul & the Broken Bones, and I mean that in the best way possible. Support acts like these they are the future of preserving real music.” — Live Music Daily
No BS! Brass Band + Dank
Gypsy Sally’s • Saturday (October 17)
No BS! Brass Band
Based in Richmond, Virginia, No BS! Brass Band has quickly earned a reputation as a premiere band to see for heart-pounding energy and uncontrollable dancing. They take their music into uncharted territory, embracing the spirit of New Orleans into its original East Coast modern funk and fearlessly combining elements of James Brown, John Coltrane, Michael Jackson, and Led Zeppelin into their fiercely original sound.
Founders Reggie Pace and Lance Koehler have cast this 11-piece band in which nearly every member has had conservatory training, holding various degrees in music. In putting together the compositions and arrangements, the “b.s.” has been stripped to give the audience something solid, unique, organic, real, and powerful. They have the look of New Orleans with the raw sound all their own — music is a true definition of the “Richmond sound.” – Official Bio
Dank, formerly Dank Sinatra, is the next installment in what is a long and storied history of Rock and Roll music. Combining rhythm and blues tradition with a modern sense of urgency and experimentation, Dank is pulling Rock music into the 21st century as it was meant to be heard and experienced. With energetic and unpredictable live performances, as well as a knack for the studio and all of its wizardry, this Atlanta five-piece is showing fans what it takes to rock in the torrid seas of a post-Napster musical climate. It’s hard to pin down exactly what the Dank will become, or how far the band has come to get to where it is today, but at the core of this outfit is a red hot soul and a burning sense of modern day Rock and Roll magic. – Official Bio
Sunday (October 18)
Beninghove’s Hangmen + Three Man Soul Machine
Beninghove’s Hangmen is an instrumental downtown NYC-based sextet with a truly unique yet familiar sound. Their “creeptastic surf-noir” approach developed from a desire to mash the music of Tom Waits and Danny Elfman. But with the menacing yet playful instrumentation of two rock guitarists, saxophone, trombone, bass, and drums, the result is more of a psycho-crazed soundtrack to a Tarantino film. They have been called “NYC’s most cinematic noir band” (NY Music Daily).
Three Man Soul Machine
Blending the music of Soul, Jazz, Blues and Reggae, Three Man Soul Machine puts together a musical gumbo that stretches from Africa to the Caribbean and lands home in the USA. Hopefully, in one of these provinces of musical bliss, you, the listener, can find a home.
Three Man Soul Machine features Carter Stevens on Organ, Mylie Durham IV on Drums and Frank Mitchell Jr. on Tenor Saxophone. While Carter Stevens is a relative newcomer to the DC music scene, Mylie and Frank have played with bands including The Funk Ark, The Harry Bells, See-I, and Thievery Corporation over the last ten years.
These three musicians enjoy a variety of music and grooves and strive to blend these interests into their own version of the 21K organ trio.
If you love Bob Marley, Stanely Turrentine, Tommy McCook and James Brown, you’ll dig Three Man Soul Machine.