BIG NAMES small room: The JAZZ Series presents KNEEBODY!
There isnt a handy term or genre for the music that Kneebody creates. Its a band thoroughly acquainted with 1960s free-bop, 1970s jazz rock, 1990s hip-hop and postmillennial indie rock; along with classical postminimalism. (Im leaving something out, Im sure.) Whatever the terminology, this group has an audience New York Times
Putting a finger on a band like Kneebody is a bit like raising it to the wind. At any given moment, the groups artistic inclinations can whip in an unpredictable direction. Wall Street Journal...
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BIG NAMES small room: The JAZZ Series presents KNEEBODY!
There isnt a handy term or genre for the music that Kneebody creates. Its a band thoroughly acquainted with 1960s free-bop, 1970s jazz rock, 1990s hip-hop and postmillennial indie rock; along with classical postminimalism. (Im leaving something out, Im sure.) Whatever the terminology, this group has an audience New York Times
Putting a finger on a band like Kneebody is a bit like raising it to the wind. At any given moment, the groups artistic inclinations can whip in an unpredictable direction. Wall Street Journal
the band has always had the same lineup, honing its vision into something that hovers in the worlds of jazz and rock while tossing in other genre elements, as well. Spinner
Its probably safe to assume at this point that no other band working today can offer what Kneebody delivered at the Blue Whale on Friday night. Los Angeles Times
Kneebodys sound is explosive rock energy paralleled with high-level nuanced chamber ensemble playing, with highly wrought compositions that are balanced with adventurous no-holds-barred improvising. All sounds-like references can be set aside; this band has created a genre and style all its own.
Kneebody bassist Kaveh Rastegar thinks of their sound this way, Personally, I think calling Kneebody jazz or electric jazz is fantastic because then we can move on from that hang up and play our music and alter expectations of what jazz is.
Kneebody is keyboardist Adam Benjamin, trumpeter Shane Endsley, electric bassist Kaveh Rastegar, saxophonist Ben Wendel and drummer Nate Wood. The band has no leader or rather, each member is the leader; theyve developed their own musical language, inventing a unique cueing system that allows them each to change the tempo, key, style, and more in an instant.
The quintet met in their late teens while at The Eastman School of Music and Cal Arts, became fast friends, and converged together as Kneebody amid the vibrant and eclectic music scene of Los Angeles in 2001. Since then, each band member has amassed an impressive list of credits and accomplishments over the years all while the band has continued to thrive and grow in reputation, solidifying a fan base around the world.
We are a democratic, equally owned-and-operated band with shared leadership, says Shane Endsley. Everyone brings in music and everyone votes on everything. And its always been just the five of us.
Kneebody draws upon influences spanning DAngelos Voodoo to music by Elliot Smith, Bill Frisell, and Miles Davis. Their live shows are known for intense sonic landscapes of the Radiohead ilk, for the rhythmic bombast of a Squarepusher or Queens of the Stone Age show, and the harmonic depth and improvisational freedom experienced at a Brad Mehldau concert.
In 2005, Kneebody released their debut self-titled album Kneebody on Dave Douglas Greenleaf Music Label. Low Electrical Worker followed in 2007 on the Colortone Label. A collection of 13 original songs, Low Electrical Worker was hailed by saxophonist Joshua Redman as one of his favorite albums of 2007. In the spring of 2009, Kneebody and vocalist Theo Bleckmann released 12 Songs of Charles Ives on the Winter & Winter label and received a GRAMMY nomination in the classical crossover category. Their third studio album is You Can Have Your Moment. Kneebody makes their Concord Records debut with the release of their fourth album,The Line.
http://www.kneebody.com/
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