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Nation Beat
Celebrates Mardi Gras
Scott Kettner, Founder-Artistic Director
www.nationbeat.com
Scott Kettner, on Drums and Percussion
Fabiana Masili on Vocals
Mark Marshall on Electric Guitar
Zé Grey on Electric Bass
Aaron Shafer-Haiss on Congas
Brian Drye on Trombone
Petr Cancura on Tenor Sax
At
Frederick P. Rose Hall
Dizzy’s Club Coca-Cola
Broadway at 60th Street
NY, NY
212.258.9595
(Dizzy’s Club Coca-Cola Website)
Roland Chassagne, Manager
Jason Olaine, Director of Programming & Touring
Desmond L. Prass, Asst. Manager
Michael Mwenso, JALC Curator & Programming Assoc.
L.A. Thompson, Venue Manager, Great Performances
Zooey T. Jones (with Erika Santucci) JALC Press
Dr. Roberta E. Zlokower
March 4, 2014
What better way to celebrate Mardi Gras night than to be at Dizzy’s Club Coca-Cola, partying with Nation Beat. According to their website, they play a “21st century fusion between thunderous Brazilian “maracatu” drumming and New Orleans second line rhythms.” At times the sound evoked Reggae, or Zydeco, or Rio Carnival, or straight jazz, or Latin jazz, or Afro-Caribbean, or a jiving, stomping Mardi Gras parade. The audience was led to participate with arm motion, chants, clapping, and much rhythmic connection. Some people stood and danced amidst the contagious musicality. I felt as if I might have been transported to Rio, and everyone received Mardi Gras beads.
Nation Beat, with Scott Kettner motivating the crowd, had Kettner on drums and percussion, Fabiana Masili on vocals, Mark Marshall on electric guitar, Zé Grey on electric bass, Aaron Shafer-Haiss on congas, and guests Brian Drye on trombone and Petr Cancura on tenor sax. Kettner took early, rambunctious drum solos, with Marshall’s eerie, exotic, electric guitar theme. I immediately wished Dizzy’s had organized a conga line, but with waiters to and fro it might have been a challenge. Fabiana Masili must have experience with cruises and big parties, because she presents enormous personality and an ability to rouse the crowd. She vivaciously sings in Portuguese and dances with hand instruments at once. Grey, on deep, enchanting bass, joined in with vocals, as did the entire band. Shafer-Haiss, on pulsating congas, kept the tempo vivid.
The next piece brought out tambourines, with Drye and Cancura on swinging trombone and tenor sax. They wore fedoras, and I remembered a dance along the Bayou at a Zydeco club in Louisiana. The sound’s frenzy was thrilling. The following piece exuded traditional jazz, with Masili adding a drum. Kettner explained the fusion of “maracatu”, and Brazilian fever exploded. Tambourines, drums, triangles, and vocal tropical calls and hoots all combined with the syncopated, South of the Border sound and lyrics. New Orleans music closed the set, with a Mardi Gras parade motif, in “My Big Chief”. This is when the audience began to seize space on the floor. I look forward to experiencing Nation Beat again.
Nation Beat Celebrates Mardi Gras
at Dizzy's Club Coca-Cola
Courtesy of Roberta Zlokower
Nation Beat Celebrates Mardi Gras
at Dizzy's Club Coca-Cola
Courtesy of Roberta Zlokower
Nation Beat Celebrates Mardi Gras
at Dizzy's Club Coca-Cola
Courtesy of Roberta Zlokower
Nation Beat Celebrates Mardi Gras
at Dizzy's Club Coca-Cola
Courtesy of Roberta Zlokower
Nation Beat Celebrates Mardi Gras
at Dizzy's Club Coca-Cola
Courtesy of Roberta Zlokower
Nation Beat Celebrates Mardi Gras
at Dizzy's Club Coca-Cola
Courtesy of Roberta Zlokower
Nation Beat Celebrates Mardi Gras
at Dizzy's Club Coca-Cola
Courtesy of Roberta Zlokower
Nation Beat Celebrates Mardi Gras
at Dizzy's Club Coca-Cola
Courtesy of Roberta Zlokower
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