NYE VIP Bowling Lane for up to 8 People. NOT VALID WITHOUT PURCHASE OF TICKETS TO KAMASI WASHINGTON
Kamasi Washington, The Budos Band, Animal Collective (DJ Set)
Saturday, December 31st, 2016
Doors: 6:00 pm / Show: 6:30 pmBrooklyn Bowl
$250.00 - $350.00
This event is 21 and over
All New Year's Eve lanes are sold out. There will be no lanes seated until 2:15am
One bowling lane for 3 hours for up to 8 people. At the lane you will have a couch, table and food and beverage service. Bowling shoe rental for you and your guests is included. Does not include food, beverage, or gratuity. NOT VALID WITHOUT PURCHASE OF TICKETS TO KAMASI WASHINGTON
Tickets to Kamasi Washington on 12/31 can be purchased here.https://www.brooklynbowl.com/event/1390214/
At the prestigious Hamilton High School Music Academy, within two years, Kamasi earned the lead tenor saxophone chair in the top jazz ensemble. At the same time, Kamasi joined the Multi School Jazz Band (MSJB) where he reunited with several childhood friends who were pursuing their passion for music. During his senior year of high school, Kamasi formed his first band, “The Young Jazz Giants,” with childhood friends including Ronald Bruner, Stephen Bruner and Cameron Graves. After high school, Kamasi received a full scholarship to study ethnomusicology at UCLA, where he explored many of the non-western musical cultures around the world. During the summer after his freshman year, Kamasi recorded his first album with “The Young Jazz Giants” to spread new sounds of jazz all around the country. In his second year at UCLA, Kamasi went on his first national tour with the west coast hip-hop legend Snoop Dogg. Later that year, Kamasi joined the orchestra of one of his biggest heroes, Gerald Wilson, and later went on his first international tour with R&B legend Raphael Saadiq.
Over the years, Kamasi has performed and recorded with many of his musical heroes from various genres, including Gerald Wilson, McCoy Tyner, Freddie Hubbard, Kenny Burrell, George Duke, Lauryn Hill, Jeffrey Osborne, Mos Def, Quincy Jones, Stanley Clark, Harvey Mason and Chaka Khan. Kamasi’s own band “The Next Step” is a modern spin on a big band, which includes two drummers, two upright bass players, keyboard players, three horns players, a pianist, and a vocalist. In addition, Kamasi is part of a west coast musical collective called the “West Coast Get Down.”
Most recently, Kamasi worked on Kendrick Lamar’s acclaimed 2015 album “To Pimp A Butterfly.” On May 5th, Kamasi released his groundbreaking solo album “The Epic” on the trend-setting record label Brainfeeder. “The Epic” is a 172-minute, triple-disc masterpiece, featuring Kamasi’s ten-piece band “The Next Step” along with a full string orchestra and full choir. “The Epic” debuted #1 on several iTunes Jazz charts, including the US, Canada, Australia, Russia and UK.
While wizards use books of spells and alchemy to mix their masterful potions, the Budos employ heavy doses of continent-spanning psychedelic rock to beckon the occult and conjure the supernatural. Hence the title of the band’s fourth album: Burnt Offering.
"We made a conscious decision to embark on a new sound," explains baritone saxophone player Jared Tankel. The heavy, trippy side the group unveiled on The Budos Band III reaches full flower on new tunes like "Aphasia," "Trouble in the Sticks" and particularly the title track “Burnt Offering.” “We were messing around with an old Binson Echorec at practice one night and this loop emerged,” recalls bassist Dan Foder. The droning fuzz guitar is a call to the gods from below and encapsulates the band’s sonic progression perfectly. "This record is fuzzy, buzzy and raw, and more obviously psychedelic," adds Profilio.
Like a cratedigger's classic from a parallel universe, "Tomahawk" melds heavy, distorted guitar riffs with bright blasts of brass and bubbling drums. An eerie, ceremonial vibe awakens the slumbering giant "Into The Fog" and prods it to life.
Driven by melodies, rhythms, and changes that animate muscle and bone to move, yet compel the ear to lean in closer, these full-bodied instrumentals push Budos' music deeper into new territory.
All lingering traces of touchstones of yore—be they Fela Kuti, Dyke and the Blazers, or Black Sabbath—have been wholly absorbed and filtered through the Budos Band's ever-evolving aesthetic. "We sound nothing like our first record anymore," confirms Profilio. Anyone content to just slap the old "Staten Island Afro-soul" tag on Burnt Offering and move on clearly didn't listen to the music first.
The group composed more than two dozen songs in the course of making Burnt Offering, yet only recorded fifteen, further distilling its essence to ten classic cuts for the full-length release. If a new tune failed to capture the rambunctious energy of their live show, if it revised familiar territory or obvious influences, it got cut. Budos was determined to break new ground. "If any band says that's easy to do, they're fooling themselves—and not writing good enough songs," insists Brenneck.
In order to reach the apex of the mountain, the band had to come together like never before. Always a brotherhood, the time spent writing and recording Burnt Offerings saw changes that many bands would have run from, but for the Budos presented opportunities to hone their craft. "Making this record reaffirmed that we work together really well," says Profilio.
Burnt Offering breaks from Budos' earlier records in another significant regard: this is their first album without an outside producer. "We had arrived at a different place sonically and needed see it through completely ourselves," says Tankel. They still praise Daptone mastermind Gabriel Roth, who worked alongside Brenneck co-producing their first three records, but parting ways at this juncture made sense.
"We know exactly where we're at," says Profilio. "We didn't want to have to explain ourselves if we were in pursuit of a specific sound or vibe."
"We made the demo that got us picked up by Daptone in my parents’ basement when I was eighteen years old," Brenneck recalls. "This album is a continuation of that, fifteen years later … with a lot more records under our belts."
After all that time, Budos has become more than a band—it's a brotherhood. "This is a real family band," says Brenneck. "Guys who've been making music for a long time, and friendships that run completely parallel to the music." They still rehearse religiously almost every week, even if some of those rehearsals encompass just as much drinking, socializing, and listening to music as actual practice.
That camaraderie doesn't evaporate when they put their instruments down. On tour, they hit a brewery or pub for lunch en masse before sound check whenever possible, and like to stir up trouble. There are dust-ups and reconciliations. All that kinship comes to a head when they hit the stage. “We’ve seen some things out there that most bands don’t get a glimpse of these days,” suggests Tankel. “All of that craziness just brings us closer together. We couldn’t shake each other if we tried.”
And capturing the intensity of Budos' electrifying shows on wax, making the grooves vibrate with excitement, was one of the biggest challenges of Burnt Offering. "We record live to tape, with minimal effects," Brenneck says. Nowhere to hide, then. The band insisted that each song push the envelope. No room for filler.
The Budos have traveled far and wide—playing across four continents—since the band’s inception. A lifetime of world tours and weekly rehearsals went into the making of Burnt Offering, and the journey is far from over. As long as there are new audiences to thrill and sonic frontiers to explore, they'll forge ahead. "We haven't fulfilled our mission," concludes Profilio. "We're still very hungry."
“Caveman circles”, says Lennox, discussing the vision for their eleventh full-length album, Painting With; “Caveman circles, the first Ramones record, early Beatles and electronically produced. I think that was kind of our starting point”. Dizzyingly upbeat and gloriously realised, their latest LP bounces and pops with an urgent, ecstatic energy, propelled by polyrhythmic beats and gurgling modular synth, with Lennox and Portner’s vocals gleefully falling in and out of syncopation and off-kilter harmony. The songs are as experimental and deeply textured as anything that has come before but sound as sharp and snappy as chart hits, finding the band at both their most minimal and most ambitious: “The idea with cavemen was about being more primitive – the way we sounded when we were first playing together in New York” says Portner. “I feel like what we were doing with the last record [2012’s Centipede Hz] was something a little more complicated. This time we wanted to strip it down and simplify it, like techno and punk… And then put the Animal Collective filter on it all.”
Working as a trio, Portner, Lennox and Weitz began trading demos in early 2015, pursuing a goal of what Portner calls “really short pop songs: no B.S, get in, get out material…” The three met up in Ashville during that Spring and began exploring the songs together. “I feel like lyrically there’s some really tough stuff” says Lennox, “but the intention was for the songs to have the spirit of trying to work things out. To make things better.” The group made a conscious decision not to tour the songs first in an attempt to keep them fresh, something Weitz found to be “a freeing process. That shift in perspective contributed to how much space is on the record.”
Recording took place in the legendary EastWest Studios in Hollywood, home to sessions by The Beach Boys and Marvin Gaye. Making the space feel like home was essential: they lit candles on lily pads and projected a two-hour reel of dinosaur movies – spliced together by Dave’s sister Abby – on a constant loop. A baby pool was set up to help add to the vibe of the room, but the group soon discovered it sounded amazing when thudded and treated with effects. “Everything sounded good in that room” says Weitz.
You can hear it. Everything about Painting With feels crisp and direct as though delivered in super high-definition Technicolor; the pitter-pattering handclaps of Lying In The Grass, the delirious arcade-hall rave of Burglars, the galloping bass and piano of the radiant On Delay – even Bea Arthur’s introduction to Golden Gal seems to shimmer. The interplay between Avey Tare and Panda Bear’s vocals (recorded while sat on high pedestals to lend the singing an “airy” quality) is brought front and centre with an uncharacteristic clarity: “With the vocals, it’s not like a typical call and response or harmony.” says Lennox, “It’s like two voices become one. Without one singer it doesn’t really work the same way. They dance with each other.” Portner interrupts: “Both vocals are meant to complete one thought”. The band put much of this down to their close collaboration with engineer Sonny Diperri: “He played a big part in how the vocals sounded. We didn’t put a lot of effects on the voices like in the past… We tried to be really careful about reverb, to not make everything washed out. When there is echo on the album almost everything is acoustic reverb. It attests to the greatness of those old studios – it’s cool you can record in your apartment, plenty of great music has been recorded that way, but there is something to say about the time that went into crafting these rooms. It feels like a lost art form.”
In their search for more organic sounds, the trio challenged themselves to incorporate elements they usually find off-putting, either structurally or sonically “I remember specifically we brought up saxophone and brass instruments” recalls Portner. They enlisted the services of multireedist Colin Stetson – whose resumé includes collaborations with Arcade Fire, Godspeed You Black Emperor, Bon Iver and Tom Waits – to appear on the album’s rapturous, swirling opener, FloriDaDa, an ode to breaking boundaries and not seeing any separation in people or places: “We were huge fans of Colin’s and the sound that he has is super unique. We don’t notate a score for somebody, so it was cool to have him come in and lay down a bunch of ideas while the song was playing”. After discovering John Cale was a fan of their music, the group invited him down to the studio to record drones for Hocus Pocus – a slow-burning collage of stroboscopic vocals and bleeping, squelching modular synth that gives way to delirious release. Discovering the song wasn’t in a key the viola could be tuned for came as “a happy surprise” as they found themselves working with Cale’s material in new and exciting ways, his bowed tones and electronic manipulations forming a hypnotic transition into the beautifully sun-warped Vertical.
It’s just that that kind openness to playing with expectation and experimenting with form that lies at the heart of this personal and human album. “When we were doing (2007’s) Strawberry Jam, I thought it would be cool to literally rename ourselves The Painters.” recalls Portner, “Everyone kind of rolled their eyes at that one. But Noah brought the idea back [this time]. We talked about painting – cubism, Dada, these distorted ways of looking at things…” It’s all there in Painting With: the sound of artists finding vivid new ways to shape their ideas and challenge their own conventions, creating music that is at once startlingly fresh and still recognisably, uniquely Animal Collective.
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