Le Poisson Rouge
World, Experimental, Jazz
| Le Poisson Rouge |
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Location:
158 Bleecker St
New York, NY 10012
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| Date/Time | Artists |
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Mon Nov 23 2009 8:00p |
Bakithi Kumalo Kaïssa |
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Show data courtesy of JamBase
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Tue Nov 24 2009 8:00p |
Savage Ballet Jeremy Kittel Lucille Chung |
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Show data courtesy of JamBase
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Fri Nov 27 2009 6:30p |
Jeremiah Lockwood The New Standards |
The New Standards w/ Jeremiah Lockwood of Sway Machinery About This EventMinimum Age:18+Doors Op... [more info] |
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Show Details: The New Standards w/ Jeremiah Lockwood of Sway Machinery About This EventMinimum Age:18+Doors Open:6:30pmShow Time:7:30pmArtistsThe New StandardsThe New Standards are John Munson (of Trip Shakespeare and multi-platinum Semisonic) on bass, Chan Poling (founder of the seminal 80’s haute-punk-pop group The Suburbs) on piano, and Steve Roehm (Billygoat, Electropolis) on vibes. This unique minimalist trio was formed in 2005 by three friends and consummate performers with the idea of playing their favorite songs unplugged, but with the opportunity to enhance the inherent attributes of the tunes with as wide a range of interpretation as they saw fit: from the plainest rendition to an all out swinging nuttiness. With their natty suits and their unique jazz, rock, soul and pop chops, The New Standards tell each song’s story in singular style. The New Standards' "Rock and Roll" follows up their eponymous debut. Focusing more on favorite rock tracks this time, the trio gives the new set a workout that is by turns fiery, soulful, stark and dark. The group lays bare the lovely bones of songs like "Maps" by The Yeah Yeah Yeahs and “Such Great Heights” by The Postal Service while swinging through modern punky classics like The Replacements "Androgynous," The Velvet Underground's "Rock and Roll" and The Clash's "London Calling.” Fans of the band will be happy to finally hear recordings of their arrangements of "Hey Ya" by Outkast and Britney Spear’s "Toxic." The New Standards are regulars at Joe’s Pub at The Public Theater in New York City and have been featured in The New York Times and been pick-of-the-week in Time Out/New York, they’ve played Europe and China, and in their hometown Minneapolis/St. Paul regularly sell out their Dakota Jazz Club multiple show stands as well as the 1000+ seat Fitzgerald Theater in St. Paul with their Annual New Standards Holiday Show. Don’t miss what the Minneapolis Star Tribune calls “one of the most fun bands out there now” when they come to your town! Jeremiah Lockwood of Sway Machinery Front man of The Sway Machinery and frequent collaborator with Balkan Beat Box, Jeremiah Lockwood started his career performing on the streets and in the subways of New York City, playing solo and with Piedmont Blues master Carolina Slim. Local favorites, Jeremiah and Carolina Slim's relationship has been chronicled in The New York Times Magazine and Time Out NY. American Primitive, Jeremiah's solo album, is an attempt to capture that fascinating and powerful intersection of Americana and NYC street culture. "Lockwood, a young Brooklynite who plays good guitar and banjo and sings like he's possessed by the schizoid spirit of Bukka White, forges his own idiosyncratic strain of blues-cum-country on his impressive debut." --DownBeat The Sway Machinery, Jeremiah's band, offers a different view of his musical personality. This exciting project, a collaboration with musicians from Antibalas and Tom Waits' old band, is an exploration of the Ashkenazic Jewish liturgical music tradition Jeremiah grew-up exposed to in his family. The band has been capturing the attention of more and more New Yorkers in the last year and is poised to break out on the national and international level. Listen to "Birkas Kohanim" from The Sway Machinery's new self-titled EP, out now on JDub Records. Visit http://swaymachinery.com "Lockwood's arrangements of Jewish cantorial songs whip up a frenzy wherein all the world's music can do that which music does best: celebrate. Such joyful synthesis is what music is all about, not to mention what New York is all about." --Buzz Poole, The Village Voice Jeremiah Lockwood lives in Brooklyn, NY with his wife Shasta and their two sons Moses Lion and Jacob Ulysses. Show data courtesy of 
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Sat Nov 28 2009 10:00p |
Matthew Dear Amir Audion (aka Matthew Dear) Mike Doughty Audion |
Audion (a/k/a Matthew Dear) w/ Clark Warner Saturday 11.28.09
Audion (a/k/a Matthew Dear)
w/ Clar... [more info] |
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Show Details: Audion (a/k/a Matthew Dear) w/ Clark Warner Saturday 11.28.09
Audion (a/k/a Matthew Dear)
w/ Clark Warner
11pm doors & show
$15
Strictly 21+
This is a General Admission, Standing event.
Information available here: http://lepoissonrouge.com/events/view/674 Show data courtesy of
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Sun Nov 29 2009 11:00p |
Audion |
Audion Saturday 11.28.09
Audion (live)
11pm doors & show
$15
Strictly 21+
This is a General Admis... [more info] |
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Show Details: Audion Saturday 11.28.09
Audion (live)
11pm doors & show
$15
Strictly 21+
This is a General Admission, Standing event.
To purchase tickets go to
http://lepoissonrouge.inticketing.com/events/57824
Audion
Matthew Dear (aka Audion) is an electronic-music innovator, a globally recognized DJ and live performer, and the founder of acclaimed electronic dance-music label Spectral Sound (sister imprint to Ghostly International). Known both as the frontman of three-piece indie band Matthew Dear’s Big Hands and for his ever-present role of DJ and producer, Dear is a celebrated talent who has earned acclaim in all corners of international press, from Germany’s techno bible Groove to the New York Times. Dear is also a heavily-in-demand remixer, having worked with artists such as Chemical Brothers, Hot Chip, Ellen Allien, Liquid Liquid, and Dubfire. (Dear also produces for Richie Hawtin’s Minus imprint under the moniker False, and for respected minimalist label Perlon as Jabberjaw.) The one constant in Dear’s work has always been his ability to stay one step ahead, balancing the realms of art and hedonism with a gentleman’s grace.
Matthew’s dark alter ego Audion first stormed the electronic-music scene in 2004, unveiling a trilogy of pulverizing singles that would ultimately re-align today’s techno sound. In 2006, Audion followed the series with the breakthrough club anthem “Mouth To Mouth,” a constantly ascending work of art that has captured the imagination of DJs and fans in all club genres worldwide.
Now it’s 2009, and Audion is re-emerging with a new plan to take his project to new heights, including a load of new boundary-pushing material and a hypnotic, highly detailed live show.
The Audion live experience has always been thrilling, with Dear creating new interpretations of his material on the fly. In his new live show, Dear goes even deeper into the Audion world, further differentiating it from his more song-oriented Matthew Dear material as well as from the herd of live-laptop performers cluttering the electronic-music scene. By fusing man and machine into an indistinguishable unit, Audion controls his audiences’ collective consciousness in new, never-before-seen ways. At the center of the show is a custom video setup employing the talents of Audion art director/cover designer Will Calcutt and artist Eno Henze, who has created psychedelic visuals at Frankfurt’s Cocoon club and gallery exhibitions worldwide.
Audion’s live show will debut in summer 2009 at select technologically advanced festivals and clubs. These events are powerful experiments in chaos and hypnotic depth, tearing down the walls of the live electronic-music experience. Show data courtesy of
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Mon Nov 30 2009 8:00p |
Theo Bleckmann John Hollenbeck Large Ense... Todd Reynolds |
John Hollenbeck plays Hollenbeck+Meredith Monk, John Hollenbeck Large Enssemble, Future Quest and... [more info] |
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Show Details: John Hollenbeck plays Hollenbeck+Meredith Monk, John Hollenbeck Large Enssemble, Future Quest and Hollenbeck/Reynolds/Moran Trio Monday 11.30.09
John Hollenbeck Large Ensemble
Future Quest: re-imagining the music of Meredith Monk
Todd Reynolds
7pm doors | 8pm show
$15
18+ or accompanied by legal guardian
This is a First-Come, Fully Seated event.
There is a two item minimum per person to hold a seat.
To purchase tickets go to http://lepoissonrouge.inticketing.com/events/57852
John Hollenbeck has gained widespread recognition as the driving force behind the unclassifiable Claudia Quintet and the ambitious John Hollenbeck Large Ensemble, groups with roots in jazz, world music, and contemporary composition. He is well known in new-music circles for his longtime collaboration with Meredith Monk, composing and performing the percussion scores for her Magic Frequencies, Mercy, and The Impermanence Project. He has been commissioned by the Bang on a Can All-Stars, Gotham Wind Symphony, Ethos Percussion Group, the Painted Bride Art Center (Philadelphia), and others.
This show spotlights Hollenbeck in each of these roles, opening with music from Rainbow Jimmies (GPE), his new CD of chamber works, played by violinist Todd Reynolds, vibraphonist Matt Moran, and the composer.
Next comes Future Quest, a quintet devoted to “re-imaginings” of Meredith Monk’s music, with vocalist Theo Bleckmann, saxophonists Ellery Eskelin and Tony Malaby, pianist Gary Versace, and Hollenbeck on percussion. Monk herself will be in attendance.
The evening culminates in a set by the John Hollenbeck Large Ensemble, performing music from the group’s lavishly-praised new CD, Eternal Interlude (Sunnyside), including three New York premieres. Show data courtesy of
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Tue Dec 1 2009 9:00p |
Uri Caine Arditti Quartet |
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Show data courtesy of
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Wed Dec 2 2009 8:00p |
Vodkatron Jean D'arc |
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Show data courtesy of JamBase
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Fri Dec 4 2009 7:00p |
Cory Chisel & The Wanderin... Brendan Benson |
Brendan Benson w/ Cory Chisel and the Wandering Sons Minimum Age:
18+
Doors Open:
7:00pm
Show Tim... [more info] |
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Show Details: Brendan Benson w/ Cory Chisel and the Wandering Sons Minimum Age:
18+
Doors Open:
7:00pm
Show Time:
8:00pm
This show is on sale Friday Oct. 9 at noon. Members can buy tickets now. E-mail members@lprnyc.com to find out how.
This is a general admission, fully standing show.
Brendan Benson
Late afternoon, Miami, and Iggy Pop and I were standing watching for a manatee that occasionally swims up along the river at the end of his garden. Pop was bare-chested in cerise trousers, talking about Brendan Benson. "Well you know Brendan," he said, “you how Brendan is, how Brendan sounds…” and as he spoke he waved his hand, stirring the warm air.
He was telling me why he had invited Benson to sing on a track on the Stooges’ 2007 album the Weirdness. "I wanted a sweet, clean, effortless American voice on that particular chorus," he explained, as we looked down the river. "And Brendan had the voice."
It wasn't until this moment that I truly realised the Americanness of Brendan Benson. I'd long had him pinned as an Anglophile; heard in the glint of his lyrics, in the texture of his music, the influence of Elvis Costello, the Beatles, Bowie.
But as Pop pointed out, it was an Americanness lay in that voice. Benson’s voice has a gleam to it, a West Coast shimmer, the shine of a sleek new fender. When I hear Brendan Benson sing I think of the furl on a Coca Cola bottle, of broad Midwestern skies and bright yellow mustard.
It was there in the biography of course: a lifetime spread across four states, from a childhood spent on the outskirts of New Orleans, to his years in Detroit, Michigan, sojourns in Los Angeles and San Francisco, and a more recent relocation to Nashville, Tennessee.
Inevitably this has brought an itinerant quality to his songwriting, a geographical and emotional search for somewhere to belong. It is there in many of the titles: One Mississippi, Lapalco, Metarie, House in Virginia, Life in the D. But it is there, too, in the songs’ tale of perpetual quest, both literal and emotional: is this the place? he seems to be asking. Is this the girl? Is this What I'm Looking For?
Somehow Benson has shaped these restless-hearted stories into songs that fit together with near-mechanical neatness, that carry the delicious clunk-click of rhyme: ‘hop’ to match ‘shop’, for example, or ‘shade’ for ‘esplanade’. These are songs that arrive perfectly formed, immaculate, well-polished, songs that are musical Model Ts.
It is a style he has honed, of course. On 1996’s One Mississippi, the songs came rough-hewn but charged with hooks and with wit; 2002’s Lapalco brought a perfect pop ripeness, and by The Alternative to Love in 2005, there was something quite brilliant, quite burnished about his songwriting. Along the way he has co-written and recorded two spectacular albums with the Raconteurs, Broken Boy Soldiers and Consolers of the Lonely.
For Benson, The Raconteurs was not just an opportunity to play with close friends Jack White (The White Stripes) Jack Lawrence and Patrick Keeler (The Greenhornes) but also an chance to roll around in the rock, psychedelia and blues that had shaped his musical taste. He once told me how he fell in love with the Blues when he first heard Cream playing Rollin' and Tumblin' on the radio; how this led him to Howlin Wolf and to a guitar style that is “scuffed, scruffy, flappy.” “My stuff is all chords and melody,” he said. “And so playing with the Raconteurs is so liberating because, when you play the blues with other people, you're all on common ground, you all know the same basics.”
This year's offering, My Old, Familiar Friend, gathers together all of these influences — the Americanness, the Anglophile twist, the geography, the rock and the pop to create something truly exceptional. Recorded in Nashville and London, mixed in LA, produced by Gil Norton (Pixies, Echo & the Bunnymen, Foo Fighters) and mixed by Dave Sardy (The Rolling Stones, LCD Soundsystem, Oasis) it is a marriage of passion and perfectionism, an illustration of all that is special about Benson - from the glimmer of “Feel Like Taking You Hom”e to the “Motown” swoon of Garbage Day.
The key to Benson’s talent has always rested there in the music itself. Through all of his songs ribbons a delight in melody. It was there in One Mississippi’s Bird’s Eye View, just as it is there in My Old, Familiar Friend’s Poised and Ready. For Benson, words themselves are musical instruments; feel it flutter through the rhymes of Don't Wanna Talk: "I hear you loud and clear/ But now I fear this ear/ I'm lending/ Is falling off/ And all is lost/ And it seems never-ending."
Benson’s musical approach is detailed, craftsmanlike, fastidious. Take for instance A Whole Lot Better from the My Old, Familiar Friend, in which harmonies, hand-claps, guitar are layered to produce a work of such heart-filled buoyancy, a work that culminates in the sweet, dove-tailing swoop of its refrain: “I fell in love with you/ And out of love with you/ And back in love with you/ All in the same day.”
Down by the river we waited for hours, but the manatee never came. The lights came on in the houses over the water, and someone started playing Nat King Cole. There are many things I remember from that afternoon with Iggy Pop, a buff-coloured lizard on the table, a Head & Shoulders bottle in the bathroom, but there are three memories that always burn brightest — the warmth of the air, a shade of cerise, and that perfect description of Brendan Benson’s voice: Sweet. Clean. Effortless.
Listen: Brendan Benson Daytrotter session
Cory Chisel and the Wandering Sons
Like many artists before him, Wisconsin based singer-songwriter Cory Chisel, first connected with the power of song – and the spellbinding possibilities of live performance – through the music he heard in church as the son of a Baptist minister. The gospel’s rich vernacular of loss and redemption also informed his innate poetic sense and lyrical range.
Mockingbird, Chisel’s forthcoming album is plainspoken, intimate and soulful, Chisel’s songs have an unadorned, lived-in beauty, free from clutter and pretense. The album was produced by Grammy-winning producer Joe Chiccarelli (The Shins, The White Stripes) and features members of The Raconteurs and My Morning Jacket. Mockingbird will be released in July and follows up Cory Chisel & the Wandering Sons’ 2008 live EP Cabin Ghosts, which Chisel co-produced with Tony Berg. Show data courtesy of
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Sat Dec 5 2009 7:00p |
Ferenc Nemeth LIONEL LOUEKE |
Lionel Loueke About This EventMinimum Age:18+Doors Open:7:00pmShow Time:7"30pmDescription:This i... [more info] |
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Show Details: Lionel Loueke About This EventMinimum Age:18+Doors Open:7:00pmShow Time:7"30pmDescription:This is a first-come seated performance. Seating is limited; please arrive early.ArtistsLionel Loueke Karibu, the stunning major label debut from guitarist and vocalist Lionel Loueke, takes its title from a Swahili word meaning “welcome.” It’s a fitting name, as the opening title track invites the listener into the musical world of one of the most distinctive new voices in Jazz. Featuring Loueke’s long-standing trio of bassist Massimo Biolcati and drummer Ferenc Nemeth, Karibu is also graced by rare guest appearances by two legends: pianist Herbie Hancock and saxophonist Wayne Shorter. It’s clear from the opening sounds of “Karibu”—an odd-metered guitar groove that Loueke sings in unison while simultaneously providing clicking mouth percussion and layering on syncopated guitar chords—that this is an artist uninterested in retreading the ground of where Jazz has been. Loueke has used the many remarkable musical experiences of his 34 years to create his own unique sound as a guitarist, composer, and bandleader. His journey has taken him through hardship, across three continents, brought him under the mentorship of music legends, and landed him at the most famous Jazz record label in the world. * * * Loueke’s story begins in Benin, a small country in West Africa, where he was born to parents that he describes as “intellectual,” adding that “music was part of everyday life, but not in the family.” Fortunately an older brother played guitar and was part of a band that played Afro-Pop music in the style of Fela Kuti and King Sunny Ade. “I remember when I was 11 or 12 I was going to see my brother perform. I would be listening from 10pm to 3am in the morning, just looking at him playing, listening to the music.” Finally when Loueke was 17 years old, his brother let him pick up his guitar, and he quickly realized that he had a great facility for the instrument. Besides the Afro-Pop music that he heard his brother performing, Loueke also began to be enamored with the traditional African music of Benin, as well as Nigeria, Congo, Zaire, Mali and Senegal. However, it was an encounter with Jazz music that would set Loueke on a different course. A friend of his brother’s came to visit from Paris, bringing with him a CD of guitarist George Benson. “I listened to that and it was unreal for me. I had to transcribe every single line trying to play like him. Then I tried to check out what happened before him, Wes Montgomery, Joe Pass.” Loueke finally decided to pursue music more seriously and left Benin to attend the National Institute of Art in the Ivory Coast. Short of money, Loueke stumbled fortuitously into his first professional gig. He explains: “I was a student, and I couldn’t pay my rent so they kicked me out, and I needed to get a gig so bad. So there was a club, and I tried so many times to get a gig there. So one night I just went to the club because I was desperate. I didn’t have anything. I needed money to survive. The band took a break, during the break I went on stage, I picked up the guy’s guitar and I start playing. They came to me and tried to grab back the instrument. And the manager said ‘No, let him play.’ So after I played the manager said ‘Man, you want a gig?!’ [laughs] That was my first gig, and I carried that gig for two years!” In 1994, Loueke left Africa and moved to Paris to pursue Jazz studies, enrolling at the American School of Modern Music, a small conservatory run by several alumni of the Berklee College of Music in Boston. After graduation, Loueke was awarded a scholarship to attend Berklee, and so he left Paris and moved to the United States. It was at Berklee that he first met Massimo Biolcati and Ferenc Nemeth, the musicians who would become his core band. Through jam sessions, the trio developed an immediate rapport, in part fueled by internationalism. Biolcati is of Italian decent, but grew up in Sweden, while Nemeth was born and raised in Hungary. Both had extensively studied African music and were drawn to Loueke who was just beginning to fuse a Jazz technique with his African roots. After graduating from Berklee, Loueke was accepted to the Thelonious Monk Institute of Jazz in Los Angeles along with Biolcati and Nemeth. The Monk Institute is a selective program that allows students to study and perform with some of the finest Jazz musicians in the world, including three legends that would nurture Loueke’s burgeoning talent and become his greatest mentors: Herbie Hancock, Wayne Shorter and Terence Blanchard. “I flipped,” says Hancock, recalling the moment he first heard Loueke’s audition tape. “I’d never heard any guitar player play anything close to what I was hearing from him. There was no territory that was forbidden, and he was fearless!” Before even graduating from the Monk Institute, Loueke began touring in Blanchard’s sextet, a highly-creative band that recorded two albums for Blue Note (Bounce and Flow) and allowed Loueke to begin expressing his own voice as a soloist and composer. Since leaving Blanchard’s band he has been hired by Hancock and become a prominent member of the pianist’s current quartet, touring extensively and recording on Hancock’s Grammy-nominated album, River: The Joni Letters (Verve). Loueke has also recorded two albums under his name for independent labels, In A Trance (Space Time) and Virgin Forest (ObliqSound), as well as the collective Gilfema (ObliqSound) with Biolcati and Nemeth. * * * In a review of Loueke’s solo performance at the 2007 Bonnaroo Music and Arts Festival’s Somethin’ Else Jazz Club, Jon Pareles of The New York Times described his singular sound: “Mr. Loueke is a gentle virtuoso. As a singer, he has a husky, sincere baritone and a melting falsetto that he uses to scat-sing along with his guitar solos. He’s also a full-fledged jazz guitarist, and he uses both electronics—guitar synthesizer, looping devices—and African roots. In one piece, unassisted by any technology beyond microphone and amplifier, he sang, made percussive tongue clicks and played syncopated guitar chords and leads. He multiplied himself, one way or another, in nearly every song.” That gentle virtuosity and awe-inspiring technique shine through on Karibu, Loueke’s nine-track debut for Blue Note Records, which showcases Loueke’s guitar prowess, his skill as a composer, and the deft interplay of his trio, a simpatico unit that has been together for eight years. The album, which was produced by Eli Wolf, includes seven original Loueke compositions as well as gorgeous reinterpretations of the Hoagy Carmichael/Johnny Mercer standard “Skylark” and John Coltrane’s signature ballad “Naima.” “Karibu” presents several aspects of Loueke’s style, from his use of mouth percussion to his singing, which weaves in and out of his guitar lines, at times in unison, but also occasionally offering counterpoint. Also representative is the playfully repetitive groove that is passed between the guitar and bass, which belies the complex meter of the tune. “My music is very easy and is very complicated,” explains Loueke. “Most of my stuff is in odd meters: 17, 13, 15, 9, 7. But the idea behind it is I don’t want to play 17/4 that sounds like 17/4. I want to play a 17/4 that sounds almost like 4/4, so the non-musician can still feel it. That’s what it’s about for me. I’m not going for the intellectual craziness, music is not about that. It’s about the emotion it has. That’s what we’re trying to play.” “Zala” is named for Nemeth’s hometown in Hungary. It was inspired by the warm, festive welcome the trio received from the drummer’s family during a visit on a European tour. “They’re close in terms of family,” says Loueke. “They support each other, it’s always a party, there’s kids running, so that tune is about that. It has a craziness and it has a beauty.” “Benny’s Tune,” written for Loueke’s wife, is surely on its way to becoming a new standard having become a fixture of Blanchard’s set list (it also appears on Flow). The tune’s gorgeous descending melody line alternates and contrasts with a skittering groove to great effect. “Agbannon Blues” is a blues in 13/4. “‘Agbannon’ has a meaning in Fon [the African dialect spoken in Benin], it’s a heavy carrier, like a lady carrying a big basket on her head,” explains Loueke. “You hear it, the groove is very laid back, heavy, funky.” The remarkable self-assuredness of the trio pieces could almost seem to overshadow the well-integrated contributions of the album’s two very special guests, Hancock and Shorter, each of whom participate on two tracks. The mere presence of these two legends on Karibu speaks volumes about their admiration of Loueke and his musicianship. In fact, the last time Hancock and Shorter were sidemen on a Blue Note session was for trumpeter Lee Morgan’s album The Procrastinator in 1967. When asked why he chose to participate on Loueke’s session, Shorter’s answer was right to the point: “There’s only one of him.” Shorter’s soprano saxophone is equally as incisive on Loueke’s austere arrangement of Coltrane’s “Naima,” soaring over top of the intricate rhythmic bed laid down by the Loueke, Biolcati and Nemeth, while Loueke plays every inch of his guitar, even using it as a percussion instrument throughout. Loueke wrote “Seven Teens” while out on tour with Hancock, dedicating the tune to the band’s sound technician who used the phrase to test the microphones before each concert. Written in 17/4, “Seven Teens” features an explosive solo from Hancock. “Light-Dark” is the album’s longest track, a 10-minute exploration that features both Hancock and Shorter (again on soprano), and captures group interaction at its best. As the title suggests, the piece is marked by a shift in harmonies that move from light to dark. “I learned that type of writing with Wayne Shorter. Wayne often had his pentatonic melody, very simple, but then you hear the harmony in back.” The joyous album closer, “Nonvignon,” leaves us on a celebratory note, with a danceable African groove underneath Loueke’s buoyant vocals, which are in Fon and roughly translate to: “Let’s be brother and sister / Because if we’re not / We’re throwing away the gift God gave us.” Perhaps the defining quality of Karibu is that from the first note to the last the listener can hear Loueke’s spirit filling every moment of the music. Playful and full of imagination, his is a generous spirit that welcomes you into his world. Karibu. TRIO will be Lionel Loueke - guitar/vocal Massimo Biolcati - acoustic bass Ferenc nemeth - drums Show data courtesy of
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