Backtracking Forward: Wanted On Wax III
posted in: Features
In my ideal world, everyone would have access to a vinyl press in their own backyard. Cutting discs would be as easy as ripping a CD. Until that happens, I will be digging in the OurStage archives each month to bestow artists upon you whose music I would love to hear on vinyl. This month, the unique sounds of Sidecar Agogo and the laid back rhythms of the Chris DaSilva Band have caught my ear.
A fiddle can be a violin and a violin is a fiddle”it all depends on how the instrument is used and in what musical context it is played. As an instrument in classical music, the violin is a standard in a string ensemble, producing smooth and eloquent tones from its taught strings. Fiddles, on the other hand, have more of a spotty history in terms of mainstream music acceptance during the past few decades. Veteran musicians like Vassar Clements and Papa John Creach popularized the sound in the 1960s but were largely associated with the bluegrass and country genres, though there was some crossover into rock and roll.
Sidecar Agogo
Enter Steve Uh, a New York City violinist whose credits in the classical world include performing with the legendary Itzhak Perlman as well as sharing a stage with Paige McConnell of Phish. Steve, along with the rest of Sidecar Agogo, helps erase the stigma of the fiddle as a more niche instrument in the genres of country and bluegrass by bridging the sound with more contemporary influences in the worlds of rock, jazz, Latin and other international flavors. That’s not to say that Sidecar Agogo doesn’t represent with some twangy bluegrass undertones, but their extremely well-recorded tracks make it hard for listeners to pigeonhole their music since the rhythms and influences are spread out across many genres.
The musicianship on A Dance With Elise is a ripe blend of styles. The mixture of bongos and bass set a spicy groove for the introduction, creating a funky afrobeat sound until the keyboard kicks in and something more reminiscent of a Latin flair begins to take shape. Once the fiddle takes the stage, the song transforms into something entirely new and the band flawlessly shifts into a musical avalanche of genres.
The group’s stand out number is undoubtedly The Fiddler’s Return- Moser’s Jig. The mood veers throughout the track”from upbeat and funky to a bit abstract and spacey. Touches of jazz, latin, rock, bluegrass and more all morph together into a melting pot of sound. Steve’s fiddle comes in and out at the right times during the instrumental, allowing the rest of Sidecar Agogo to demonstrate their skills as musicians in top form. Coming Home is yet another example of Steve Uh having a proficient and powerful grasp of an instrument that rarely takes the spotlight.
The band performs in various cities nationally and internationally, but it’s easiest to catch them in Boston or New York City. If you are feeling adventurous, take a trip to Bad Doberan, Germany and catch them at Zappanale, an annual festival founded by Germans held in honor of the legendary Frank Zappa.
I confess that I have a fascination for the culture that encompasses the sound of reggae music. Rastafarianism, Jamaican DJs and Selectors throwing sound system parties, the creation of versions and dub music, and the history of ska and rocksteady all contribute to my enthusiasm yet its always been the rhythms of reggae that have kept me passionate. My appreciation extends beyond those foundational vintage recordings and branches into contemporary artists who utilize the contagious rhythm of reggae and craft new melodies from their own styles and experiences.
The Chris DaSilva Band
The Chris DaSilva Band draws influence from the familiar sounds of some standard reggae guitar chords and crafts their own fun and acoustically pleasing sounds. The trio consists of bongos, bass and acoustic guitar”a formula that produces a crisp and inherently catchy sound when blended together. What separates this talented trio from their counterparts though is their ability for writing remarkably likable and poignant songs that couple well with Chris DaSilva’s refreshing vocals.
The track Rasta Dog stands out as one of their catchier, and probably most requested, tracks. The bass and percussion work well together to develop an effortless groove on top of Chris’ strumming and the song’s charming chorus. The band sneaks in a minimal, dubby effect at times via the bongos, which Fred Pisciotta holds court behind. The utilization of the bongos as the main percussion helps smooth out their sound, creating a danceable yet laid back musical encounter.
Soul comes off as being a more personal tune through the lyrics and soft vocals while Smooth Down develops into an upbeat, head-bobbing kind of track that leaves behind an infectiously happy sensation. Both of these songs exhibit the reggae influence of their creators whereas Goosebumps has the group straying a bit from that chord style by playing a more rock-oriented track that bumps Chris’ vocals a notch than the previous riddims needed.
Their residency in New York City means anyone in the Metropolitan area has the opportunity to catch this up-and-coming trio live. Listening to the output from these talented musicians though, the desire to hear a performance in a warm, outdoor venue on a sun-drenched beach directs any mental imagery far away from the fast-paced bustle of NYC.
Keep Digging!
-Gregorious-