Posts Tagged ‘ queens ’

Garcia Peoples: March 24, 2019 Trans-Pecos

April 3, 2019
By

Those in the know around these parts have probably seen Garcia Peoples a handful of times or more by now — they’ve maintained a hyperkinetic schedule of local and tour shows that would be the envy of any hungry young band.

Listen to this set from Trans-Pecos a couple Sundays ago and you can understand why no promoter ever says no to these guys . This band is absolutely on fire right now, its players dialed in to a level that normally takes years. Being a private event, this was a “play what you want” set for the band, and they took that to heart, leading off with an extended improv that transitioned into their cover of “Laila Pt 2” by Agitation Free (which we first heard at Union Pool) followed by “High Noon Violence” from their brand-new breakout album, Natural Facts. After a spot-on “Total Yang,” the band were joined by Ryley Walker for an extended 16-minute improv that found Walker joining Tom Malach and Danny Arakaki as a third guitarist. Adding to the special nature of the proceedings, the band was joined by semi-regular member Pat Gubler (aka P.G. Six) on keys.

As the writer Jesse Jarnow memorably puts it, Garcia Peoples are “your heady, friendly reminder that it’s alright to let the sunshine in”. Arakaki, Malach, Derek Spaldo (bass) and Cesar Arakaki (drums) are after something here that’s so much more than being a Grateful Dead-referencing tribute band. In fact, their principal resemblance to a musician named Garcia is that each of these guys are skilled musicians with a hot improvisational streak, rarely playing a song the same way twice. Their sound lives in a zone all its own, and seems sure to cast a wide net far beyond the GD/Phish crowd. It’s no accident that they cover the likes of Agitation Free and Relatively Clean Rivers more frequently than, say, this alchemical rendition of “The Other One” with Chris Forsyth.

So yes, New York-based heads will probably end up seeing Garcia Peoples whether they specifically plan to or not. But really, you ought to plan to. A band this good should be top of mind for anyone who cares about how the best live music should sound.

I recorded this set with a soundboard feed and Schoeps MK5 cardiod microphones onstage. The sound quality is excellent. Enjoy!

Download the complete show from its Live Music Archive page.

Garcia Peoples
2019-03-24
Trans-Pecos
Queens, NY  USA

Recorded and produced by acidjack

Schoeps MK5c (onstage, XY)>KC5>CMC6 + Soundboard>>Sound Devices MixPre6>24/48 polyWAV>Adobe Audition CC>Izotope Ozone 5>Audacity 2.3.0>FLAC ( level 8 )

Tracks
01 Jam>
02 Laila Pt. 2 [Agitation Free]>
03 High Noon Violence
04 [banter]
05 Total Yang
06 Pecos jam*

* w/ Ryley Walker

PLEASE SUPPORT GARCIA PEOPLES: bandcamp | Facebook

Ryley Walker & Ryan Jewell: March 24, 2019 Trans-Pecos

April 2, 2019
By

Making music is an act of generosity — the sharing of your inner self with a public that may or may not appreciate or understand it. The music in the world that is great is also the music in which the artist is most honest with her/himself. Honesty often means getting close to the dark places inside you.

Ryley Walker’s music has always embodied a certain conflict. When Walker takes a fairly straightforward folk-rock album track and turns it into a live 15-minute jazz-psych freakout, I don’t think the change is just about the “freedom” of the live setting or a fundamental dislike of the album track. Maybe that’s part of it, but I see a contest of impulses — to be a commercially approachable troubadour or the more esoteric, improvisational player he’s been since his career began. Do you want to be the guy who wears British tailoring in leafy photo shoots, or do you want to be the guy who uses his trio show with Ryan Jewell and Steve Gunn to play 50 minutes of psych jams? Walker is both of those things — he’s good at being both of those things — but one gets the sense that he isn’t totally comfortable living solely as either. I get it: A lot of us want to be more than our headline.

There’s a well-known paradox of the “sad clown” — that people who are funny are often people who aren’t happy. Anyone who has caught Ryley live or read him in Vice or reads his Twitter knows that he is certainly the former: he can be very, very funny. Listen to his lyrics as sung, and you might be surprised: Most of Walker’s songs are varying degrees of melancholic. Even a whimsical-sounding tune like “Summer Dress,” if you listen to his delivery, is more anxious than it seems: for a person with a belly full of wine singing about green pastures of desire, the narrator sounds ill at ease. The song is especially vivid for me because it’s the first one I ever heard Ryley Walker play. That very first song lacerated me; I believed the voice I heard.

Generosity. It’s sharing those darkest places in yourself, but it’s also playing a huge fan’s birthday party at Trans-Pecos in the middle of the day, even though you’ve got another show in town that Tuesday (which ends up being a jaw-dropping improv set with Jewell, David Grubbs, and C. Spencer Yeh—check back here soon). This set (a duo of Walker and Jewell) encapsulated all of the different sides of Ryley Walker at once — from his best-known song (and total live jammer) “The Roundabout” to the not-often-played-anymore “Summer Dress,” to the ending jam, which hews closer to his most recent Union Pool shows — and also kills.

That Walker puts his conflicts out there for everyone to see is not a flaw, nor is one choice he makes more true or “real” than another. They’re who and what he is — honest to the point of ache, always pushing to be something more. The late 2010s don’t feel like a moment for generous spirits, but you don’t choose when you’re born, anymore than you choose to whom, or where. Yet here he is: a generous spirit, one for whom, on this particular day, I was especially grateful.

Download the complete set from its page on the Live Music Archive.

Ryley Walker & Ryan Jewell
2019-03-24
Trans-Pecos
Queens, NY  USA

Recorded and produced by acidjack

Soundboard + Schoeps MK5c (onstage, XY)>KC5>CMC6>>Sound Devices MixPre6>24/48 polyWAV>Adobe Audition CC>Izotope Ozone 5>Audacity 2.3.0>FLAC ( level 8 )

Tracks
01 The Roundabout
02 [banter]
03 Summer Dress
04 [American Primitive rap]
05 Primrose Green
06 [HBD]
07 Pecos psych jam

PLEASE SUPPORT RYLEY WALKER: Bandcamp | Dead Oceans

Desertion Trio: February 2, 2018 Trans-Pecos

February 5, 2018
By



Desertion Trio joined us at newly-licensed Trans-Pecos this past Friday to celebrate the release of their new album, Midtown Tilt, having done the same in their hometown of Philadelphia the night before. The album picks up in many ways where their excellent 2016 effort, Desertion, left off, oscillating between focused riffage and freeform jazz improv. This set showed off not only bandleader Nick Millevoi’s ample guitar skills, but gave broad berth to guest keyboardist Jamie Saft, who appears on both of the band’s albums, adding tremendous depth in the process. Of course, the focus of this one-hour sessions was on Midtown Tilt, including an outstanding rendition of “Jai Alai Noon” that gave Saft ample room to run., while set closer “Numbers Maker” coalesced into an extended freakout before tapering off into its final minutes. For those of us who’d seen the band before, there was much to love about this version of “Desertion and Arsonist’s Match,” which departed from earlier, Saft-less renditions we’ve featured but kept the song’s essential nature as a palette for extended interaction. As we’ve pointed out before, all of these fine musicians contribute to the music world in so many ways, so it is a special pleasure to see them come together here in New York. Check out Midtown Tilt, which is available directly from the band now.

I recorded this set with Schoeps MK22 microphones at the stage lip, together with a soundboard feed. The sound quality is excellent. Enjoy!

Download the complete set: [FLAC/ALAC/MP3]

Desertion Trio
2018-02-02
Trans-Pecos
Queens, NY USA

Exclusive download hosted at nyctaper.com
Recorded and produced by acidjack

Schoeps MK22 (stage lip, ORTC)>KC5>CMC6 + Soundboard>>Sound Devices MixPre6>24/48 WAV>Adobe Audition CC (fades, mixdown, compression, limiter)>Izotope Ozone 5 (EQ, effects)>Audacity 2.0.3 (track, amplify)>FLAC ( level 8 )

Tracks [Total Time 1:02:10]
01 It’s A Hard World For the Little Things
02 Midtown Tilt
03 Jai Alai Noon
04 Where They Do Their Capers
05 Desertion and the Arsonist’s Match
06 The Carideon
07 Fascination Fadeaway
08 Numbers Maker

Band:
Nick Millevoi – Guitar
Johnny DeBlase – Bass
Jamie Saft – Organ
Kevin Shea – Drums

PLEASE SUPPORT Desertion Trio – visit their bandcamp page.

Chris Forsyth & the Solar Motel Band: April 6, 2017 Trans-Pecos

June 1, 2017
By

Chris Forsyth’s appearance at Trans-Pecos a couple months ago heralded that most important of musical happenings: the possibility of a new release. With their latest No Quarter release The Rarity of Experience a proven success win fans, Forsyth and the Solar Motel Band used this intimate stage to show off some of their latest attractions. After hitting the ground running with “High Castle Rock,” we heard three new numbers in a row, including “History and Science Fiction” and “Mistaken the Bottle” (which we first heard at Union Pool back in late 2016) plus a new as-yet-unnamed (to us, anyway) number. When you add in “Dreaming In the Non-Dream I-II,” you’ve got a set chock-full of new material that continues to expand on Forsyth’s unique guitar vision, which blends a rock fan’s appreciation for shredding (he named a song after “Cocksucker Blues,” after all) with a Deadhead’s appreciation for sonic exploration, thematic variation, and little details. It’s always a treat to see Chris and the band, and we’ll be sure to keep you posted on what’s next.

I recorded this set with onstage Schoeps MK5 microphones into a warm-sounding Aerco preamp, plus a soundboard feed. The sound quality is excellent. Enjoy!

Stream and download the complete set on our bandcamp page:

Chris Forsyth & the Solar Motel Band
2017-04-06
Trans-Pecos
Queens, NY USA

Hosted at nyctaper.com
Recorded and produced by acidjack

Schoeps MK5c (onstage, DFC, XY)>KCY>Aerco MP-2 + Soundboard >> Zoom F8>2x24bit/48kHz WAV>Adobe Audition CC>Izotope Ozone 5>Audacity 2.0.3>FLAC ( level 8 )

Tracks
01 High Castle Rock
02 American History and Science Fiction
03 [new1]
04 Mistaken The Bottle
05 The First Ten Minutes of Cocksucker Blues
06 Dreaming In the Non-Dream I-II

Support Chris Forsyth & The Solar Motel Band: Website | Facebook | Buy The Rarity of Experience from No Quarter

Herbcraft: November 13, 2016 Trans-Pecos

November 30, 2016
By

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The first time I saw Herbcraft, I had no idea who they were, had barely gotten set up, and had no idea what to expect. Two years later, I can say that that show by the Portland, Maine band remains one of the true gems of my entire recording “career,” and one of the most pleasant surprises I’ve ever come across from a live band period, let alone an opener. The band’s fluid, almost entirely improvisational sets are a thing of cosmic beauty, taking you to that comfortable yet foreign place where your mind and music unite. This set at Trans-Pecos, opening for MV & EE, continued in that vein, as the band played an extended thirty minute improv that even they couldn’t give a name to. This afternoon set required neither fancy lights nor the cover of darkness to take us back to that place, to open our minds and our imaginations to a better world that is not quite our own. Dig in.

I recorded this set with Schoeps MK4V microphones in the audience and Naiant X-X omnidirectional microphones split onstage. The sound quality is excellent. Enjoy!

Stream the complete set below. You can download it on a “Pay What You Will” basis from our bandcamp site if you click through.

Herbcraft
2016-11-13
Trans-Pecos
Queens, NY USA

Exclusive download hosted at nyctaper.com
Recorded and produced by acidjack

Schoeps MK4V (FOB, DFC)>KCY>Z-PFA + Naiant X-X (split onstage)>>Zoom F8>2x24bit/48kHz WAV>Adobe Audition CC (compression, fades)>Izotope Ozone 5 (EQ, effects, image)>Audacity 2.0.3 (track, amplify, downsample, dither)>FLAC ( level 8 )

Tracks
01 Live at Trans-Pecos

PLEASE SUPPORT Herbcraft: Bandcamp | Facebook | Woodsist

Eleven Twenty Nine: July 23, 2016 Trans-Pecos

August 15, 2016
By

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The beautiful thing about seeing a Tom Carter-related project is you never quite know what you’re going to get, but you know it will be transportive. It could be anything from his trio set with Chris Corsano and Carter Thornton late last year, to his ambient/drone work with Barry Weisblat, to one of his haunting solo guitar sets — whatever you see, you will be glad you did. On this night, we saw one of Carter’s best-loved projects, Eleven Twenty Nine, originally a collaboration with fellow guitarist Marc Orleans which has yielded an impressive album on Northern Spy Records and a followup on Drawing Room Records.

For this special performance at Trans-Pecos, Carter and Orleans were joined by Jimy SeiTang on bass and Rob Smith on drums, both of whom have seen time in our favorites Rhyton. The set consisted of three distinct improvisational pieces, each a rich, engaging tapestry of sound that blended the aesthetics of rock, free jazz and ambient music in the way for which these players have become known. What is an undulating, complex beast of a song, composed improvisationally out of many disciplines becomes a transcendent whole. Witness, for example, the climactic guitar at the end of the first piece, or the subtle, searching quality to the beginning of the last. You can certainly enjoy hearing it happen on a recording, but seeing these guys do their thing live is without parallel.

I recorded this set with Schoeps MK22 microphones up front, Naiant X-X microphones onstage, and a soundboard feed. The sound quality is outstanding. Enjoy!

Download the complete show: [MP3/FLAC/ALAC]

Stream the complete show

Eleven Twenty-Nine
2016-07-23
Trans-Pecos
Queens, NY

Exclusive download hosted at nyctaper.com
Recorded and produced by acidjack

Schoeps MK22 (FOB, ROC)>KCY>Z-PFA + Soundboard + Naiant X-X (3’ split, onstage)>>Zoom F8>3x24bit/48kHz WAV>Adobe Audition CS 5.5 (align, mix down, fades, compression)>Izotope Ozone 5 (image, EQ, exciter)>Audacity 2.0.3 (track, amplify, balance, downsample, dither)>FLAC ( level 8 )

Track
01 Improvisation 1
02 Improvisation 2
03 Improvisation 3

Musicians
Tom Carter – Guitar
Marc Orleans – Guitar
Jimy SeiTang – Bass
Rob Smith – Drums

Support Eleven Twenty Nine: Facebook | Northern Spy | Drawing Room

Horse Lords: July 23, 2016 Trans-Pecos

July 26, 2016
By

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For most of its nearly ten-year history, this website has been a collaboration, reflecting the individual tastes and contributions of those who contribute to it. In the past two years, it’s hard to overstate the contribution that Eric PH has made to the team, introducing not only a number of great recordings, but a slew of new bands to the mix. Horse Lords, of Baltimore, are one of his very best finds, and since he first saw them in 2015, we’ve been hoping to do something with them directly. The band headlined a stacked bill this past Saturday at Trans-Pecos, which felt like a welcome, air-conditioned respite from the steaming heat outside. But more important than the change in temperature was the change in perspective, as each of the forward-thinking acts on the bill reminded us of how powerful experimental music can be. While too many bands of their ilk toil in obscurity, Horse Lords have received their due of late, in the form of stellar reviews for their latest album, Interventions (released by NYC label Northern Spy). 

The band’s heady combination of guitar, bass, drums, and at-times keys, sax, and second percussion isn’t the easiest to describe; it has a tinge of desert blues to it, the controlled chaos of free jazz, the music-school time shifts of math rock and the propulsiveness of, well, rock. The band brought all of that complexity to the stage and didn’t miss a beat, holding our attention through the latest album’s first single, “Truthers” straight through to the album’s centerpiece, “Toward the Omega Point,” at the end. As Eric PH pointed out in his review of the 2015 show, the band members know how to fill the spaces in the music when they need to, but also know when to leave some open air. We were floored by the band’s musicianship, their control, and their ability to craft a setlist that hung together through a diverse range of sounds. For anyone who cares about where music is going next, be sure to put Horse Lords on your list of things to see.

I recorded this set with a set of Schoeps MK22 open cardioids near the front of the room, a pair of Naiant X-X omnis split onstage, and a soundboard feed from the night’s engineer. The sound quality is phenomenal. Enjoy!

Download the complete show: [MP3/FLAC/ALAC]

Stream the complete show:

Horse Lords
2016-07-23
Trans-Pecos
Queens, NY

Exclusive download hosted at nyctaper.com
Recorded and produced by acidjack

Schoeps MK22 (FOB, ROC)>KCY>Z-PFA + Soundboard + Naiant X-X (3’ split, onstage)>>Zoom F8>3x24bit/48kHz WAV>Adobe Audition CS 5.5 (align, mix down, fades, compression)>Izotope Ozone 5 (image, EQ, exciter)>Audacity 2.0.3 (track, amplify, balance, downsample, dither)>FLAC ( level 8 )

Tracks
01 Truthers
02 Intervention III
03 Bending to the Lash
04 Untitled
05 Toward the Omega Point

Please support Horse Lords: Facebook | Bandcamp | Tumblr

Big Ups: July 16, 2016 Out In the Streets Festival

July 21, 2016
By

IMG_0760

Big Ups is one of the very best live bands in New York right now. At the core of that has to be the kinetic-but-controlled performance of vocalist Joe Galarraga, who reminds at times of a skinny Henry Rollins with a sense of humor. Mugging for the crowd, twisting his body into unusual positions, he never loses sight of the music or the message being delivered, which he propels at you in spoken word that rises at the right moments to scream. Brendan Finn (drums), Amar Lal (guitar) and Carlos Salguero (bass) make that performance possible, with controlled dynamics that pay as much attention to the softer interludes as to their songs’ frequent climaxes. Having seen these guys twice in 2014, promoting their first album Eighteen Hours of Static, and been blown away each time, we were eager to see where they’d gone from there.

The band’s 2016 record, Before A Million Universes, advances the conversation both lyrically and musically. At this performance at the Out In the Streets Festival, the band’s growth was evident in the current-album numbers “Contain Myself,” “Hope for Someone,” and “National Parks,” as well as a new piece that explores the soft/loud dynamic even further. On this sweltering, thunderstorm-pocked afternoon, the band commanded a friendly crowd who clearly knew them well, and made the most of the thirty minutes’ time allotted. The band’s music may be darker in tone, but Galarraga doesn’t let that get in the way of having a laugh with the crowd, or pulling faces that fall on the lighter side of serious. Even with the sun shining, by the time the set reached the band’s most straightforward hardcore number, “Goes Black,” we were all living in his world, and there was nothing else around.

In a crowded festival season, Out In the Streets is a perfect, smaller-scale local standout, with a tent to shield the bands and the music part of the crowd in the middle of Ridgewood’s historic Onderdonk House’s ample backyard, ringed with vendors, lounge chairs and picnic tables, and (not to be underestimated) plenty of bathrooms. The lineup, of course, reflected that ethos, with many of the best local acts (including Big Ups and, coming soon, Guerilla Toss) that Brooklyn fans see year-round at clubs like Shea Stadium and Baby’s All Right. It was one of those days that brought together like-minded people in a comfortable, manageable way — and gave us yet another serious jones for more Big Ups.

nyctaper and I recorded this set with his Neumann TLM-102 large-diaphragm microphones and an excellent house mix by Cliff Ribeiro. The sound quality is excellent. Enjoy!

Download the complete show: [MP3/FLAC]

Stream the full set:

Big Ups
2016-07-16
Out In the Streets Festival
Onderdonk House
Queens, NY

Exclusive download hosted at nyctaper.com
Recorded by nyctaper and acidjack
Produced by acidjack

Neumann TLM-102 (FOB, DFC, PAS) + Soundboard (engineer: Cliff Ribeiro)>Sound Devices 744T>2x24bit/48kHz WAV>Adobe Audition CS 5.5 (align, mix
down, compression)>Izotope Ozone 5 (light EQ, exciter, image)>Audacity 2.0.5 (track, amplify, balance, downsample)>FLAC ( level 8 )

Tracks
01 Contain Myself
02 Hope for Someone
03 Not Today
04 Wool
05 [new song]
06 T.M.I.
07 Goes Black
08 National Parks

If you enjoyed this recording, PLEASE SUPPORT Big Ups, visit their websitelike them on Facebook and buy Before A Million Universes from Exploding In Sound.

Journalism: May 21, 2016 Trans-Pecos

June 7, 2016
By

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You can’t always be sure that a band that sounds good in the studio — and Journalism sounds great on their debut, Faces — will measure up live. We’re extra-excited to report that Journalism are one of those bands, and then some, and we were grateful to host them at Trans-Pecos on a recent Saturday night. Lead singer/guitarist Kegan Zema is a savvy live performer, one who works to look and act the part, and the crack band of Mike Greene (guitar), Owen Keiter (bass) and Brendan Mehan (drums) has a well-oiled and well-practiced sound. Sound-wise, I hear a little bit of Television and Ride in them, as well as some later younger bands like DIIV and Cloud Nothings. This show led off with a new song, “Passenger,” before taking us through most of Faces. The band saved their best song (so far) for last, the propulsive, engaging “Faces I,” a rather dark take on the business of rock n’ roll itself, especially coming from a young band. In this day and age I wouldn’t disagree with Zema’s cynicism, but for his sake and ours, I hope Journalism keep on finding this ride to be worth it.

I recorded this set with Schoeps MK22 microphones at the stage lip, plus Schoeps MK41V supercardiod mics on the room and a stereo soundboard feed. The sound quality is excellent. Enjoy!

Download the complete show: [MP3/FLAC]

Stream the complete show:

Stream Faces (then buy it!):
Journalism
2016-05-21
Trans-Pecos
Brooklyn, NY USA

Exclusive download hosted at nyctaper.com
Recorded and produced by acidjack

Schoeps MK22>NBob Cables>PFA> + Soundboard + Schoeps MK41V (at SBD, ROC, PAS)>KCY>Z-PFA>Zoom F8>6x24bit/48kHz WAV>Adobe Audition CS 5.5 (align, mix down, adjust levels)>Izotope Ozone 5 (EQ, compression, tube effect)>Audacity 2.0.3 (track, amplify, balance, downsample, dither)>FLAC ( level 8 )

Tracks
01 Passenger
02 Watching & Waiting
03 Faces II
04 Time Being
05 Night of Knife
06 Denim Jesus
07 Faces I

SUPPORT Journalism: Facebook | bandcamp

Chuck Johnson: March 24, 2016 Union Pool and March 29, 2016 Trans-Pecos

April 29, 2016
By

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We saw a lot of our friend Chuck Johnson lately, between his one-of-a-kind full band performance at the Three Lobed Sweet Sixteen Spectacular, to these two NYC shows, the latter of which we sponsored. Both of these performances — the first at Union Pool, the second at Trans-Pecos — showcased Chuck’s recent album on Trouble In Mind Records, Velvet Arc. It’s a more electric-focused project than some of his other recent work, but continues with their strong sense of narrative, and Chuck’s refreshing, ingenious phrasing. We were grateful that Chuck was able to make time for two New York performances — and that we were able to sponsor one of them. Chuck is back out west and off the tour trail for a bit, but we’ll be waiting for his return.

The Union Pool set was recorded by EricPH in our usual manner in the venue, with engineer Doug’s soundboard feed and AKG microphones. The Trans-Pecos show was recorded with Schoeps MK4V microphones at the stage lip only. The sound quality of both is excellent. Enjoy!

Download the Union Pool show: [MP3/FLAC]

Download the Trans-Pecos show: [MP3/FLAC/ALAC]

Stream the complete shows:

Chuck Johnson
2016-03-24
Union Pool
Brooklyn, NY

Exclusive download hosted at nyctaper.com
Recorded and produced by Eric PH

Soundboard (engineer: Doug) + AKG C480B/CK63 > Roland R-26 > 2xWAV (24/48) > Adobe Audition CC (align, compression, mixdown, normalize, fades) + Izotope Ozone 5 (EQ) > Audacity 2.0.5 (downsample, dither, tracking, tagging) > FLAC (16/44.1, level 8)

Tracks [37:43]
01. Florets
02. [tuning]
03. Sail Away Ladies
04. [tuning]
05. Anamet
06. Middle Water
07. [tuning]
08. Velvet Arc

________________________

Chuck Johnson
2016-03-29
Trans-Pecos
Queens, NY USA

Exclusive download hosted at nyctaper.com
Recorded and produced by acidjack

Schoeps MK4V (stage lip)>NBob Cables>PFA>Zoom F8>24bit/48kHz WAV>Adobe Audition CS 5.5 (align, mix down, compression)>Izotope Ozone 5 (EQ, effects)>Audacity 2.0.3 (track, amplify, balance, downsample, dither)>FLAC ( level 8 )

Tracks
01 Florets [fades in]
02 [tuning]
03 Sailaway Ladies
04 [tuning2]
05 Anamet
06 Middle Water
07 Velvet Arc

Support Chuck Johnson: Website | bandcamp | Trouble In Mind Records 

Support nyctaper

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