On Sunday night, hundreds of local musicians — as well as the many of the fans who love them — had Covington's Madison Theater packed to capacity to celebrate the 16th annual Cincinnati Entertainment Awards.
It was another love fest, as the music, laughs, camaraderie and drinks flowed throughout the tight three-hour ceremony/party CityBeat founded over a decade and a half ago as a means of honoring Greater Cincinnati's music makers (and, originally, local theater artists and productions).
Though it has lessened over the years as more people have grown to understand the CEAs better, there is still plenty of griping about the awards every year. The vast majority of complaints are about who gets nominated. It's understandable in light of the talent that is overlooked annually. Having so many talented and deserving artists in our city making quality music is a good problem to have. But if every worthy musical act in the Tri-State area were to be nominated for a CEA each year, the categories would include dozens of nominees and the show itself would have to be a sleepover affair. You think the Oscars are too long? Sit through one 16-hour CEA show and you'll be begging for a witty Billy Crystal musical number.
Like every year, the sport of CEA bashing is quickly forgotten once inside the venue for the ceremony. The awards celebration is the one time of the year where fellow musicians from every genre — some friends already, some friends-to-be, others perhaps only known via social media messages — gather in one place. There doesn't seem to be a ton of competitive spite within our music scene and the musicians I've talked and worked with, for the most part, are always pretty down to earth. (As if on cue, the griping returned right after the show — a comment on Sunday night's blog post featuring the winners of this year's awards deemed the whole program an embarrassment. Sixteen years of my life, wasted! Oh, anonymous trolls, where would you be without the internet?)
The CEAs can't help but become a communal love fest. (Yes, the drinking probably helps this quite a bit, as well.) In general, there seems to be a lot of internal support amongst local musicians, and it feels like external support and appreciation (outside of jerky, anonymous comments) is on an upswing. The CEAs are always a great reflection of that community spirit.
Ben Davis of Indie Pop duo Bad Veins kicked off the CEAs with his trademark taped accompaniment, but without bandmate, drummer Sebastien Schultz. Davis' performance was still compelling, capped off by that timeless ode to magic and mystery, The Muppets' chestnut, "Rainbow Connection." The singer/multi-instrumentalist set the tone (and the bar) for the night's performances, which included plenty of revelations and some fun, novel surprises.
Those unexpected moments are always the performance highlights of any awards show and this year's CEA lineup and production provided loads of highlights. Local Boogie Woogie torchbearer Ricky Nye rumbled through a great set of rollicking Blues, building up to a cool collaborative climax as Blake Taylor and Jonathan Reynolds of fellow CEA "Blues" category nominees 46 Long joined the pianist/singer. Nye and 46 Long had been embroiled in a mock online feud leading up to the show. Music heals! (Nye ended up winning the category.)
International Punk sensations The Dopamines gave the show a jolt with their explosive performance, launching into Guided By Voices' "A Salty Salute," but only after bassist Jon Weiner managed to insult nerds and "old fucks" in his introduction (they're "Punk," he reminded everyone later). From there, the trio launched into a mini-set of their own adrenalized anthems with fiery swagger. Fans were made.
The same can be said for singer Jess Lamb, the soulful vocalist who wowed the crowd with a few hypnotic songs, joined by her guitarist and bassist (who doubled on throbbing kick-drum). The sparse set-up belied the soaring sounds conjured, guided by Lamb's remarkable voice. Lamb was nominated for a CEA in the R&B/Funk/Soul category, a testament to her unique sound, which comes closer to resembling Florence and the Machine than, say, Usher. We may need to create an "Alternative/Soul/Rock" category to accommodate Lamb next year.
The Hip Hop/Rock band Gold Shoes are also keen hybridizers, and their CEA performance was a great display of the group's unique spin on Hip Hop fusion. The band provides a dynamic backdrop that's spiced with elements of Funk, Rock, Pop, Jazz and beyond. But the group isn't just providing a playground for frontman Buggs Tha Rocka to unleash his tight, captivating flow. The group writes melodic songs with strong, unique chorus hooks. Their CEA performance was a clinic on how to combine Hip Hop with other types of music without sounding like a cheap Pop grab (" … featuring Adam Lavine!"), Gym Class Heroes or, God help us all, Limp Bizkit.
The Cincinnati USA Music Heritage Foundation, which provided a great experience for VIP ticket buyers in the balcony, reminded everyone of the Queen City's place in shaping popular music with a segment presented by the group's president, musician Marvin Hawkins. After talking a bit about the organization's plans to continue honoring the area's rich musical past in 2013 (expect a lot of King Records-related events in honor of the locally-based groundbreaking label's 70th anniversary), Hawkins joined a host of local Roots musicians for a spin through a pair of songs from the recent collection, The Lost Notebooks of Hank Williams, a project spearhead by Bob Dylan that involved writing songs from a cache of unearthed lyrics written by the American music icon. The all-star band assembled — including Magnolia Mountain's Mark Utley and Renee Frye, David Rhodes Brown and Sylvia Mitchell — expertly played songs they had recorded at the Music Heritage Foundation's downtown headquarters, in the same space once occupied by Herzog studios, the site where Williams recorded "Lovesick Blues" and other classics.
The CEA show itself ran smoothly and first-time host Ted Clark proved to be a great fit for the show. Clark's deadpan, sardonic humor — familiar to those who flock to his "live talk shows" at MOTR Pub — was reminiscent of Zach Galifianakis and sometimes he had great lines that were maybe to subtle for the CEA's "party atmosphere." But from those of us paying attention — bravo, Mr. Clark.
There was an array of entertaining acceptance styles from the winners, ranging from choked-up and sincere to pumped-up and enthusiastic to more matter-of-fact. Wussy had a huge night, taking home the Album of the Year (for Strawberry) and Artist of the Year CEAs, capped by some funny lines while accepting. Drummer Joe Klug joked that, for anyone doubting they deserved the Artist award, Wussy "played Little Rock, Ark., four times in the past year."
The award presenters — a collection of local music supporters and personalities, mostly from radio and press outlets, as well as sponsor reps — did a great job hammering home the "support local music" message of the CEAs' mission. But presenter and CityBeat Arts and Culture Editor Jac Kern provided one of the funniest bits in CEA history with her tribute to Beyonce — via a soon-cut-off lip-synced performance of the National Anthem.
Culture Queer capped off the show (or warmed up the after party?) with a set that captured the fun of the night, rocking out a trio of quirky, animated Electro Indie Art Pop gems with their trademark film backdrop. The sprightly CEA trophy hostesses came out for some dancing on finale "Born Again," their funky get-ups matching CQ's twitchy, offbeat anthem — and the jubilant, colorful energy of the entire night — perfectly.
After a run of over 14 years, the popular "Monday Salsa Night" at Corryville club The Mad Frog — featuring local nine-piece Salsa ensemble Tropicoso (and weekly free dance lessons) — will come to an end this coming Monday (Jan. 28).
"The change is of course bittersweet," says Tropicoso's Nicholas Radina (who also tours with Over the Rhine and has performed with several local Latin groups, including his own ¡Zumba!), "but (we're) proud that we held a wonderful 'house gig' for so long in Cincinnati."
A press release describes the "Monday Salsa Night" finale as the start of a "break" for the event, though it's unclear if or when it would return (it also refers to Monday's show as being the "finale"). Part of the reason given for the "hiatus" is that, though it has worked for over 14 years, fans were asking for an earlier start time, since so many people have to get up Tuesday for work.
In response, Tropicoso has arranged for a new regular gig at the club, set to begin next month. "Friday Salsa Night" — featuring Tropicoso and everything fans have loved about the night — will take place at The Mad Frog on the second Friday of every month. The new night debuts March 9.
This Monday's finale starts with dance lessons at 9 p.m. Tropicoso — which was nominated in the "World" category of the Cincinnati Entertainment Awards eight times (including this year), winning twice — starts at 10 p.m. Tickets are $5 and the event is open to Salsa lovers ages 18 and up.
The band has started a Facebook page — "Mad Frog Salsa Night Memories" — and is asking attendees to share their favorite memories.
Last Friday at Bogart's, CityBeat and the Cincinnati Entertainment Awards presented a showcase featuring some of the best new local bands of 2012. (Check out some pics from the event here.) This coming week, four brand-new acts (featuring musicians from other established groups) will be playing their first shows ever. Here's a round-up of the new bands (possible nominees for next year's CEAs?) debuting.
• Joey Cook of Indie Pop greats Pomegranates has a new solo project called Danny and His Fantasy. Cook — who also headed up the side project Firs and has done a few solo shows with friends and bandmates — leaked the great track below via YouTube a couple of weeks ago. The piano-laden track "Too Out of Touch" is a great slice of dancey and wonderfully melodic Pop, highlighted by Cook's soulful falsetto, that wouldn't be out of place on an of Montreal record.
Danny and His Fantasy's debut show is this Friday at Mayday in Northside. Cook will be joined at the free show by Phil Cogley, the Indie Pop maestro from Columbus who performs under the name The Saturday Giant. Cogley's been making waves from our state's capitol, recently earning a slot on Columbus Alive's annual list of "Bands to Watch" for 2013. Locals Speaking Suns also perform.
• Also Friday, Pop Goes the Evil plays its first live show. The new crew debuts at MOTR Pub, playing a free show with Indiana rockers Left Lane Cruiser. Pop Goes the Evil is fronted by singer/guitarist Lucas Frazier, formerly of the popular, kick-ass local Rock outfit The Dukes Are Dead. The new group — rounded out by drummer Jordin Goff (also of The Yugos) and bassist Evan Roberts (organist for heavy local band Grey Host) — has issued a couple of great music videos, showcasing a swaggering, energized Pop/Rock sound that's not chasing any trends, opting instead for a more timeless appeal.
Here's the second single from Pop Goes the Evil, "Golden Apple."
Slanted Indie Pop crew Maps & Atlases formed in 2004 and, in 2010, released its breakthrough LP Perch Patchwork, the Chicago quartet's debut for the esteemed Barsuk label. Since Patchwork, the band has spent tons of time touring, which has included several dates in the Cincinnati area. The band's compelling latest release, Beware and Be Grateful, was issued by Barsuk last spring and is perhaps the finest example of the group's dynamic sound yet. M&A's sound is uniquely layered and structured, full of subtle, unexpected outbursts and song twists, yet still overflowing with magnetic melodies and spine-tingling harmonies.
The band performs tonight at Oakley's 20th Century Theatre with like-minded locals Archer's Paradox, who are readying for the release of their debut album a little later this year. Showtime is 8 p.m. and tickets are $15.
Here's the video for "Remote & Dark Years" from the latest M&A album.
• The end of The Grateful Dead, with Jerry Garcia’s 1995 death, didn’t do much to squash the band’s incredible popularity. To satiate some of that Dead thirst, various members from throughout Garcia’s and the Dead’s history have brought the legendary band’s spirit to that huge fan base on a fairly regular basis. Two Dead-affiliated artists have been sitting in with Chicago-based jammers Terrapin Flyer for the past few years for shows and tours. The band will be joined by Melvin Seals, who played Hammond B3 organ with the Jerry Garcia Band for 15 years, and Mark Karan, who played guitar with the post-Dead band The Other Ones and Bob Weir’s Ratdog, when they swing through Stanley’s Pub tonight for a 10 p.m. performance. Tickets are $20.
Here's some footage of the collaboration from last March, doing a version of Dylan's "Maggie's Farm," a Dead fave.
• Over a decade ago, Minnesotans Paul Sprangers and Scott and Evan Wells were integral parts of Hockey Night, a wildly eclectic Indietronic outfit that blended the lo fi Rock and snarky humor of Couch Flambeau with a next generation love of Electronica, Hip Hop and mad crazy sampling (remember "Battlestar Scholastica" from their 2002 debut Rad Zapping and "For Guys Eyes Only" from their 2005 swan song Keep Guessin'?). The band's ugly dissolution would have beaten the musical aspirations from lesser men, but Sprangers and the Wellses were made of sterner stuff and, after a brief hiatus, tapped drummer Nicholas Shuminsky to form Free Energy in 2008.
Free Energy, now based in Philadelphia, exploded into the wider consciousness when LCD Soundsystem¹s James Murphy produced the band's debut album Stuck on Nothing in 2010, causing UK music magazine NME to erroneously tout them as Murphy's new band. While patently false, the claim focused an extraordinary amount of attention on Free Energy and Stuck on Nothing; Spin and Rolling Stone cited the album and band among the year's best. With their just-released sophomore album Love Sign, Free Energy (now also featuring guitarist Sheridan Fox) reinforces and expands their new musical direction, a Classic Rock/New Wave Pop hybrid that enthusiastically references everything from The Cars to The Outfield to Cracker with equal amounts of affection and adrenaline. And in familiar ’60s Pop/Motown fashion, "Electric Fever," the album's infectious first single — originally leaked 10 months
ago — is the lead track on Love Sign. Free Energy might not be breaking any new ground but they go over the old territory with an ass-kicking intensity.
The band plays at Newport's Southgate House Revival tonight with Sweatheart and Homemade Drugs. Showtime is 9 p.m. and tickets are $8 at the door. (Preview by Brian Baker)
Click here for even more live music options tonight in Greater Cincinnati.
The polls have closed on voting for the 16th annual Cincinnati Entertainment Awards, the ceremony/party for which returns to Covington's Madison Theater on Jan. 27. Indie Pop greats Culture Queer were added to the CEA performance lineup today, joining Bad Veins, Ricky Nye, Gold Shoes, The Dopamines, Jess Lamb and a special collaboration put together by the Cincinnati USA Music Heritage Foundation.
While you can no longer vote online for your favorite local musicians, you can still have a say in one last category. The CEA New Music Showcase takes place Friday at Bogart's and, if you attend, you'll be able to vote for the "New Artist of the Year" CEA. The show will feature sets by New Artist nominees Jeremy Pinnell and the 55’s, DAAP Girls, Ohio Knife, The Natives, Public and Heavy Hinges (nominee R. Ring was unable to perform). Audience members will be asked to vote for who they thought did best and those total tallies will be weighted by votes from the CEA nominating committee to determine the ultimate winner.
You can do some pre-show prep and pick up this week's CityBeat to read our special cover story package about this year's "New Artist of the Year" CEA nominees, with profiles on each artist. Click here to read the intro and you can click on the band names below to check out each artists' feature article.
Below are a few audio tracks and videos from each nominee, so you can be even further prepared to vote wisely Friday night.
• Heavy Hinges is one of several New Artist of the Year nominees that contains several familiar faces. The Rock/Soul/Funk/Jazz/Gospel/Roots hybrid the band pimps was crafted after popular band Buckra called it quits following a dozen years of local music service. Buckra's guitarist/singer Dylan Speeg and bassist Andrew Laudeman formed Heavy Hinges in early 2012 with guitarist Jeremy Singer (also currently in Jimmelegs) and drummer Brian Williamson, both also experienced local players. Rounding the band out is relative newcomer, singer/ukulele player Maya Banatwala.
As expected in a field of New Artists, there isn't a ton of recorded material available from most of the groups. Heavy Hinges may have the least amount, but here's a cool promo video for an October show that includes a lo-fi Heavy Hinges recording as its soundtrack.
• Ohio Knife is the Indie Rock duo featuring drummer Joe Suer and singer/guitarist Jason Snell, who first teamed up in the late ’90s in the six-piece band Readymaid. After that group split up, Snell launched The Chocolate Horse, a project intended to be more compact, with fewer members in order to keep things more manageable creatively and logistically. The Horse eventually became complicated, as well, so Snell and Suer (along with mostly studio-only keyboardist/multi-instrumentalist Andrew Higley, another former Readymaid and Chocolate Horse member who now works recording sessions in Nashville) stripped down even more and formed Ohio Knife. The size of the project wasn't the only thing that was different for Snell this time around; he and Suer (who's played in Cincy bands like Caterpillar Tracks and others since the Readymaid split) play a hard-charging brand of melodic Rock, partially inspired by the Grunge bands Snell grew up listening to. The EP Ohio Knife is OK! was released by Detroit's Fountain Records right as the duo launched and Ohio Knife's second show ever was on the streets of Austin, Tex., where they were participating in a art/branding project with local company Landor at SXSW (footage from the trip formed the basis for an expansive, artsy window display in the downtown Shillito's building). Ohio Knife is looking to put out a full-length in the new year.
Here's the Ohio Knife video for the song "Going Down."
• Jeremy Pinnell and the 55s bring a Honky Tonk flavor to the CEA's New Artist category this year. Singer/acoustic guitarist Pinnell proved himself to be one of the area's best songwriters in previous projects like The Light Wires and The Brothers and The Sisters, roots-tinged outfits that suited Pinnell's penetratingly melancholic tunes perfectly. For the 55s, Pinnell reteamed with old high school pal Cameron Cochran, who also plays in Pop Empire and previously was in the excellent Folk duo The Sheds, to form a group that performed in the style of raw, vintage Country, like George Jones or Waylon Jennings. Rounded out by drummer Chris Alley and bassist Ben Franks, the 55s were a steady presence in the clubs in 2012, growing a loyal following in a relatively short period of time.
The 55s have no releases out (there are plans for an LP soon, though), but there is some great live footage of the band shot for the one-shot video project, The Emery Sessions (which Cochran helped organize and record). Here is Jeremy Pinnell and the 55s performing "Back Home" at Over-the-Rhine's historic Emery Theatre.
• If The Natives — a gifted local Hip Hop "band," that performs with live instrumentation — would have come out in the early ’90s, it would have taken them five years to accumulate the amount of music videos and audio releases they managed to released in 2012. Ah, technology. Even better, The Natives are creative and adventurous, so all of the work released is of extremely high quality. Oh and it's all available online for free. The band released two LPs in 2012 — the mixtape-styled Coup d'etat and the more artist- and song-oriented Native America. The Natives also collaborated on numerous pro videos for tracks from the albums, kicking off 2013 with the below clip for "So Much." The Natives will be working on members' solo projects to start 2013, so catch the group in action Friday, while you still can.
• DAAP Girls played it coy when first hitting the local club circuit, leaving an air of mystery surrounding just who was in the band before they played their first show. Fans would soon discover that DAAP Girls were really dudes! And familiar ones to local music followers. Featuring members of The Lions Rampant and Newport Secret Six, DAAP Girls play a groovy, dance-friendly brand of Indie Rock that manages to sound both contemporary and vintage. The lack of much information about the DAAP Girls online has fed the mystery, but it's also partially because the perfectionist members wanted to take their time releasing recorded material. There's a light on the horizon, though, for those who've been craving a take-home version of DAAP Girls — the band's Tape Songs will be released a little later this year. Below is the public's first taste of the album in a great music video for "Kate."
• The trio Public is the newest of the "New Artist of the Year" nominees. Though not far removed from high school graduation, the band already has a tight, masterful AltRock sound that should take them far. The three high school pals are talented musicians inspired by the likes of Muse, Led Zeppelin and The Killers. Public has released just one EP, Red, but it's a wildly impressive start. The songwriting and performance skills exhibited on Red (on which you can also hear touches of The Strokes and Modest Mouse) give one an indication that Public's just getting started and future work might be scarily good. Just last month, Public debuted the music video for the EP's "Castle in the Sky."
• Though not eligible for your vote Friday because they had to decline the invitation to play the New Music Showcase due to scheduling conflicts, be sure to read up on R. Ring. The duo teams local guitarist/singer/songwriter/engineer Mike Montgomery with Dayton, Ohio music hero Kelley Deal. After meeting during a recording session, R. Ring was formed to help Montgomery get over some stage fright about playing a solo show. Though they didn't do the usual "let's get signed!" hustle and bustle, intending to keep the project casual, their unique style quickly began to gain attention. R. Ring played South By Southwest last year and have a European tour on the schedule for this March, though activity will largely have to be routed around Deal's other big 2013 adventure — a world tour with sister Kim to celebrate the 20th anniversary of their band The Breeders' seminal Last Splash album. There isn't a lot of recorded material available yet, since R. Ring has officially only released one 7-inch single, but you can check out their Daytrotter session here. Below is the A-side of R. Ring's single, "Fallout & Fire," which showcases the twosome's sparse, hypnotic approach.
Friday's New Music Showcase at Bogart's starts at 8 p.m. and tickets are $7.
• Combining some of the idiosyncrasies of modern Indie Folk with uplifting Pop melodies, Chamber music arrangements and an Americana grab-bag of various other influences, the trio Plume Giant makes a glorious noise that is buoyed by the clever, collaborative songwriting, as well as the trio’s vocal chops, which add a slanted, colorful layer to the group’s sound via frequent and flawless harmonies. The threesome — which formed after meeting each other while attending Yale — makes this glorious noise with fairly spare acoustic instrumentation (Oliver Hill plays guitar guitar and viola, Nolan Green plays guitar and harmonium and Eliza Bagg plays violin, harmonium and various other instruments). But the sound of the group’s recent debut full-length, Callithump, is full-bodied and far from minimalistic. On the dynamic 2012 release, the trio explores traditional Appalachian music, swingin’ Jazz, Tin Pan Alley pomp and breezy Folk Pop, but all of it is filtered through Plume Giant’s distinctive vision, with hints of the avant-garde beneath the inescapable harmonies and lovely aura.
The now Brooklyn-based trio performs a free show tonight in Over-the-Rhine at MOTR Pub with like-minded Cincinnati-based Chamber Folk ensemble The Happy Maladies. Showtime is 9 p.m.
Here is Plume Giant's smile-inducing "We Got It Made" video from their debut LP, followed by The Happy Maladies' "New Again," taken from The Emery Sessions live music video series. The Maladies' song is the title track off their 2012 release, which was nominated for "Album of the Year" at the upcoming Cincinnati Entertainment Awards.
• At the Southgate House Revival in Newport tonight, Indianapolis progressive Bluegrass group Flatland Harmony Experiment performs a free, 10 p.m. show in the venue's "Lounge." Formed just a couple of summers ago, FHE has toured the region regularly, found success on radio outlets and through online Bluegrass/Americana/Folk music channels and are seemingly on their way to becoming an even bigger presence on the national festival circuit (in June, the trio will compete at the 40th Annual Telluride Bluegrass Band Competition). The trio (Scott Nelson on upright bass, Kris Potts on Mandolin and Johnny Plott on banjo) uses the tools of traditional Bluegrass and the members clearly have a firm grasp on the music's rich history (not to mention some delicious chops and textured harmonies that'll send a shiver), but they let the songwriting go wherever their contemporary minds might take it. Fans of groups like Yonder Mountain String Band, Leftover Salmon and The Infamous Stringdusters will love this Experiment.
Last year, the string band released its debut full-length, On Our Way. Here's the album's "Secret in the Seams":
Cincinnati Rock foursome Wussy had its biggest year by far in 2012, as the band traveled extensively for the first time, securing some great opening slots on tours by The Afghan Whigs and The Heartless Bastards. The band also gained a fan base in the U.K., where the label Damnably Records issued an acclaimed compilation culled from the band's previous albums called Buckeye (frontpeople Chuck Cleaver and Lisa Walker traveled to the U.K. to tour and promote the release).
With their press kit more overflowing than ever with international reviews and a variety of key radio appearances, Wussy's members are in a grateful mood. To say, "Hey, thanks," to their fans new and old, the group has issued Berneice Huff and son, Bill sings… Popular Favorites, a free compilation download that includes demos, rarities, b-sides and more.
Berneice Huff and son (named for that irresistible album cover travesty) kicks off with an intro from NPR's Terry Gross, taken from when Fresh Air did a piece on the group in 2009. The rest of the collection is a treasure trove for Wussy completists, with live radio sessions and interviews, a few cover tunes and the initial three-song demo that Cleaver took to Shake It in 2003 looking for a record deal.
Click here to download Berneice Huff and son, Bill sings… Popular Favorites and read more about the material included.
Here's one of the track from the collection, Coltrane Motion's remix of "Maglite," from the remix compilation This Will Not End Well, which featured several local artists' reworkings of Wussy songs (Coltrane Motion is based in Chicago but originated in Cincy).
Tonight at MOTR Pub in Over-the-Rhine, it's an evening of ethereal Indie Pop atmospherics as Columbus quartet Fever Fever joins Oklahoma-bred sibling duo Clemency for a free, 9 p.m. show. Both groups have sounds that are big-sky spacious and slathered with chiming, The Edge-like guitar echoes and passionate vocals. And both groups give it up to God, though they are refreshingly light on any kind of didacticism in their music. (Read more about the groups from this week's CityBeat here.)
Clemency was formed by Yukon, Ok., natives Jason and Paul Watkins, who would relocate to Nashville in 2005 to kick of their careers in earnest. After the 2008 full-length debut, Vapors, the duo released the 2012 EP, My Heart is on the Eastern Horizon, which featured a short film to accompany each track.
Fever Fever released its first album in 2009, followed by a pair of EPs, which helped earn FF some music placement deals (recently, the NFL used the below single for one of its shows). The band is currently putting the finishing touches on a new acoustic EP that's due for release soon. Here is the Fever Fever single "Beautiful Dream" from the band's 2012 EP, Kingdom (download the track for free here).
• At the Blue Wisp Jazz Club downtown tonight, Colorado's Funky Fresh Trio lays down its brand of melody- and groove-driven original modern Jazz Funk. The trio features bassist Patrick McDevitt and drummer Alejandro Castano, plus composer/saxophonist Josh Quinlan, one of the busiest people in the Colorado Jazz scene thanks to his work as a college Jazz professor and his roles at the Dazzle Recordings record label, the Gift of Jazz organization and the Telluride Jazz Celebration Educational Program.
The Funky Fresh Trio members combine their love of early Jazz Fusion, James Brown, Hard Bop, Bob Marley, World music and new-school jazzers like The Bad Plus and Medeski Martin and Wood to come up with a fresh sound that's contemporary, accessible and dynamic, yet honors their musical forefathers and is performed with such grace and effortless flair, you know the members have chops to spare.
The band plays the Blue Wisp at 7:30 p.m. tonight before participating in a music clinic for students of the University of Cincinnati's College-Conservatory of Music on Friday afternoon. Admission to the Wisp show is $7.
Here's the trio performing in Denver late last year.
For even more live music options in Greater Cincinnati tonight, click here.
Detroit producers/Electro musicians Ryan Spencer and Adam Pressley formed its new project Jamaican Queens last year, following the demise of their previous band, Prussia. The pair bonded over a mutual love for Hip Hop production, something that would find itself central to Jamaican Queens winding sound. Together less than a year, the twosome's single "Kids Get Away" introduced the newcomers with a sound that blends EDM, Hip Hop sounds and rhythms and a somewhat psychedelic brand of Indie Pop.
The band calls its music "Trap Pop," a reference to the Trap style of Hip Hop that is something of a successor to the old Southern Crunk style. Still, you won't mistake Jamaican Queens' music for T.I.'s — JQ's unpredictable, fluttering style recalls MGMT's last two albums had the Electronic aspects of their music been more prominent.
Jamaican Queens' first full-length, Wormfood, is due in February and was mixed by Christopher Lazlo Koltay, a former Cincinnati musician who has been enjoying a successful engineering/production career in Detroit the past several years, working with artists like The Dirtbombs and Akron/Family. Here's the song that has garnered the band the most attention so far, "Kids Get Away."