With deep roots in improvisational jazz and progressive rock, NYC’s Consider The Source provides an instrumental experience that can be best described as an “Indo-Eastern aural awakening". Their psychedelic fusion of American jazz, funk, and heavy metal with Middle Eastern classical and folk music translates into an eclectic sound that has been dubbed Sci-Fi Middle Eastern Fusion. Foreign time signatures and exotic rhythms reveal a musical diversity that has been enhanced by the trio’s combined studies abroad, including the tala of North India, microtonality and melodic ornamentation of South India, and Yoruba bata drumming of West Africa. Their extensive cultural background allows for vibrant, dialogue-based improvisation -- where rhythms are words, notes are feelings, and dynamics convey the intensity.
Consider The Source features Gabriel Marin on fretless double-neck guitar, John Ferrara on bass, and Jeff Mann on drums/percussion. Marin has been celebrated as “the guiding light for his generation of six-stringers" and “a whirling dervish of virtuosity”. His voice-like guitar melodies have been called “sophisticated” and “Mahavishnu-esque”, with an apparent “depth of Coltrane influence in his phrasing and note choice”. Ferrara has been admired for his compelling bass approach, which “evokes as much bodily emotion as it does musical passion”. Exquisitely combining South Indian, drum ‘n’ bass, and metal rhythms, he has been called a “slap-funk maestro with dazzling technique and an intense conception of the groove”. Mann provides a unique rhythmic layer to the multi-cultural eclecticism, with a strong background in African drumming and American Jazz. Relix.com praised them for their “intense jams, showcasing their diversity and pushing their instruments to the proverbial limit”.
For the last several years, the trio has been touring incessantly and building fierce momentum. They have toured the US seven times over, as well as the Middle East and Europe. Musical influences include The Bad Plus, The Mahavishnu Orchestra, King Crimson, and Tool. Their musical diversity is further demonstrated by performances alongside luminaries such as Victor Wooten, Wayne Krantz, Kris Myers (Umphrey's McGee), Wyclef Jean, Andy Statman, Grace Potter & The Nocturnals, Jacob Fred Jazz Odyssey, GE Smith (SNL Band), Giant Panda Guerilla Dub Squad, The Heavy Pets, Kung Fu, Keller Williams, George Porter, Jr., Jeff Sipe, and many others. They have also taken the stage at numerous festivals including Catskill Chill, The Big Up, Wormtown, Amberland, Burning Man, Mid-Summer Meltdown, and NYC’s Fretless Guitar Festival and Gypsy Festival.
2012 is shaping up to be an epic year for the band, with national and international tour dates and festivals continuously being added to their already impressive schedule. Summer plans will include a German tour with jazz-metal extraordinaires, Panzerballett, and performances in France and Israel. Recently, the guys released an unplanned live recording from one of the best sounding shows of the year. The album, F**k It, We’ll Do It Live, is currently available at considerthesource-nyc.bandcamp.com.
John Ferrara - Bass Guitar
Gabriel Marin - Double Neck Guitar
Jeff Mann - Drums, Percussion
Consider the Source - Self Titled Debut EP 2004
Esperanto - Full length LP 2006
Are You Watching Closely? - Full Length 2009
That's What's Up - Full Length 2010
F**k It! We'll Do It Live (Volume 1) - Live Album 2012
Consider the Source serves up a stew of transcendent Middle Eastern funk
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One half-expected Gabriel Marin to levitate halfway through Friday evening’s Consider the Source sho...One half-expected Gabriel Marin to levitate halfway through Friday evening’s Consider the Source show in the Tralf Music Hall.
Dressed head-to-toe in loose-fitting white cotton, his long hair tucked beneath a fez, the guitarist appeared like some otherworldly ascetic, a deity inhabiting a human form, perhaps, or at least a swami of some sort. His playing only added to the aura of otherness his appearance cultivated. Favoring Eastern and Middle Eastern modalities, Marin was a whirling dervish of virtuosity, his fretless double-neck guitar evoking sounds more akin to an Indian sarod or a tenor saxophone than to the standard output of electric guitar. The combined effect made the listener feel compelled toward a semi-mystical state.
You can’t say as much for many modern rock bands. But Consider the Source has always occupied a space that seems either above or slightly to the left of temporal concerns or musical trends. Their self-described stew of “sci-fi Middle Eastern funk” is heady, heavy, complex and ebullient. This is not music for the faint of heart. It’s exploratory, improvisation-centered stuff, and it is as emotionally exhausting for the listener as it appeared to be physically strenuous for the trio of CTS men — in addition to Marin, bassist John Ferrara and freshly recruited drummer Louis Miller.
The interplay between the three musicians is the wellspring of the CTS magic, clearly. The arrangements of these instrumentals are daring and adventurous. Most were taken at a brisk tempo, and the shifts in meter, syncopation, dynamic and key signature sped by in a blur. Pulling off music that is this complex is akin to walking a tightrope in high winds. Making all of it groove, move and breathe organically is an even more-daunting challenge, but all through Friday’s show, CTS did just that. Rarely is music this progressive so . . . well, sexy and exotic are the words that come to mind. Music for the brain and the body, then.
A five-tune chunk of songs comprising “Keep Your Pimp Hand Strong,” “Blue Steel,” a still-untitled new number, “Thai for the Straight Guy,” and “I’ll Fight For the Imp” formed the core of the set and offered a primer in the CTS ethic. Unquestionably, Marin is the primary soloist, and he echoed Mahavishnu Orchestra-era John McLaughlin often and well during his mind-bogglingly sophisticated solos. Marin also brought to mind the “sheets of sound” style of chord layering pioneered by John Coltrane with his mid-’60s quartet. Over the five years that CTS has been frequenting Buffalo, Marin’s playing has continuously evolved, and Friday’s show was notable for the depth of the Coltrane influence in his phrasing and note choice.
That said, bassist Ferrara — a slap-funk maestro with dazzling technique and an intense conception of the groove — and drummer Miller were not exactly there to sit back and provide low-key accompaniment for their guitarist. Propulsive is the only word that can accurately describe this rhythm section’s interlocking performance, though “sick!” and “Oh My God!” might do the trick in a pinch, too.
A fantastic evening, even if Marin never did manage to levitate. Next time, maybe.
Various National Press Quotes
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"Consider the Source fuse a variety of styles together to create their own sonic masterpieces. T...
"Consider the Source fuse a variety of styles together to create their own sonic masterpieces. Though there are only three members in the band, they manage to weave a thick tapestry of sound.
- The Raquette
"impressive improvisational skills and signature Middle Eastern motifs." Jambase.com
"intense jams, showcasing their diversity and pushing their instruments to the proverbial limit" Relix.com
"If you're curious as to what the kids are listening to in the Big Apple, Consider The Source may provide the answers."
"Consider The Source not so much played music as put the audience in a trance, taking those who listened to them in a sort of timeless zone, riding the melodies...and funk."
SunSentinal (Miami FL)
"having seen them live, I completely understand why people are so fanatical about them. They were amazing." Guilt Free Pleasures.com
"a shimmering prog-rock opus" Post-Gazette (Pittsburgh PA)
"a particularly enticing and heady brand of jam-rock that's heavy on complex time signatures, Middle-Eastern motifs and blurry, white-hot musical interplay." Free Times (Columbia SC)
"The roof top patio of Cool Beans buckled to the beat as hundreds of people jumped and stomped in sync to the music of Consider the Source.... A heavy metal Bar Mitzvah on acid." On The Record (Denton TX)
"dynamic, psychedelic melodies and intricate bass parts from champion bassist John Ferrara. The band hails from NYC, but seem to have quite a following in Philly – the crowd pushes forward, dances, sways, yells out song titles, and erupts in applause"
Phrequency Beta (Philadelphia PA)
"These 3 young men are devastating with their music."
Fresno Famous (Fresno CA)
On The Verge - Trio of Influences
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Published: 2009/07/15 by Matt Franciscovich Consider the Source New York, N.Y. Trio of Infl...Published: 2009/07/15
by Matt Franciscovich
Consider the Source
New York, N.Y.
Trio of Influences
Self-described as “Sci-fi Middle Eastern funk that also rocks,” the New York City-based instrumental trio Consider the Source — Gabriel Marin (double-neck electric fretless guitar and chaturangui), John Ferrara (bass) and Justin Ahiyon (drums and percussion)—delivers effect-soaked riffing, spaced-out shredding and sitar-like twanging with funky bass and anchoring drums. From its beginnings as what Ahiyon calls “a totally improvising group,” the band has drawn upon influences from progressive rock and jazz fusion artists like The Mahavishnu Orchestra and The Bad Plus. Travel abroad has also impacted the group’s development as Marin explains that, “In a different culture, you can understand why music sounds a certain way or why cats play a certain way, so it gets more in your blood.” The threesome recorded its second full-length, Are You Watching Closely? earlier this year which, according to Ahiyon, moves in “a new direction incorporating a lot more rhythmic stuff, a lot more melodic stuff. It’s a little bit more extreme.”
Consider The Source at Sullivan Hall - Show Review
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By Matt Franciskovich - relix - https://www.relix.com/ Instrumental Sci-Fi prog-rockers Consider ...By Matt Franciskovich - relix - https://www.relix.com/
Instrumental Sci-Fi prog-rockers Consider the Source (CTS) dished out an intense night of tunes to a packed Sullivan Hall in downtown Manhattan on Saturday night, welcomed by family and friends for the three-piece’s first show in their hometown since September of last year.
The trio (Gabriel Marin on fretless guitar and fretless chaturangui, John Ferrara on bass and Justin Ahiyon on drums, percussion and samples) brought their A-game and delivered a 90-minute set stuffed with established favorites, new developments and a taste of things to come.
Wasting no time, CTS started the night off with two fast and funky numbers that have become staples of the band’s kinetic live performances: “Taihai For the Straight Guy,” a math-rock riff session that left ample room for Marin to explore his array of unworldly effects and “Keep Your Pimp Hand Strong,” which grabbed guts and mashed brains with Ferrara’s visceral bass bumping that shook the building.
“No Touching,” a softer new song from the band’s soon-to-be-recorded album, turned down the distortion while Marin incorporated a flute effect on his double-neck during a Radiohead-ish jam.
The trio’s foreign influences came out during the next tune, beginning with a sitar drone accompanied by Middle-Eastern twangs that eventually swelled into an airy guitar solo played with an ebow (electronic bow) to create a rising and fading essence.
Deemed the band’s “ode to Zoolander,” a tune called “Blue Steel” involved seamless transitions from chaotic freak-outs to head-banging riffage without warning and demanded the attention of all in the room – which it received.
The respectful crowd listened closely as what could be called the band’s only ballad (it’s a stretch) of the night swept through the air with a bluesy finger-picked progression that recalled Eric Clapton’s beautifully clean guitar wails on “You Look Wonderful Tonight,” if only for a few seconds. Proving to be the most mellow song of the night, this stray gem was gently tucked into a powerful set of tunes and lightened up the atmosphere before CTS buckled down their rocking helmets once more.
With a return to the heaviness of songs from earlier in the set, the band flawlessly grooved their way through three more intense jams, showcasing their diversity and pushing their instruments to the proverbial limit.
Before the last song, Ahiyon thanked the audience for its support and dedicated the show “in memory of [his] dad who recently passed.”
Then, Ferrara eased his way into accelerated slap-pop mayhem during an extended bass solo while Marin sat down on the stage and along with everyone else in attendance, watched in amazement as the bassist’s strumming hand turned into a flesh-colored blur. Eventually, Ahiyon kicked in and, after listeners’ ears had been cleansed from chaos momentarily, Marin got up and carved his way back into the arrangement culminating in a fleshy free form explosion of sound to end the set.
With no label backing, Consider the Source is preparing to hit the studio during the first week of February to record its second full-length album, Are You Watching Closely? to be followed by a national tour.
WHO WHAT JAZZ WHERE WHY: some semi-secrets of jazz in the Village
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Another surprise and a different sound can be encountered at Plan B, which is on the ground floor of...Another surprise and a different sound can be encountered at Plan B, which is on the ground floor of a brownstone on E. 10th St. across from Tompkins Square Park. It looks like a private club given its blacked-out front window and velvet rope before the door. But there's nothing fancy about the place though—no exclusion policy, no cover charge, and inside on a recent Friday night there was a grungy living room-style party going on. People with drinks were in the alcove with comfy seating, there was a happy crowd at the bar (and though there was little light, a dude was painting a canvas), and at a space amidst all was one white-hot trio.
The band Consider the Source—Gabriel Marin, guitar; John Ferrar, bass and Justin Ahiyon, drums—is not a year old but has the juice of this moment, using Middle Eastern motifs as a launching pad for maniacal electric jams that suggest they've just come back from Iraq and can't wait to demonstrate what exhilaration amid chaos sounds like. I was alerted to them by Marin's dad Craig, a puppeteer responsible for George Carlin's "Shining Time Station" kids TV show, who hyped the trio as "the next Mahavishnu."
They're not that exactly—Ferrar's finger-popping on his bass is extraordinarily fast and furious, but all in solid 4/4 rather than McLaughlinesque odd meters, and Ahiyon drives the three with a loose clatter, not Billy Cobham like power tom-tomming. Also, Gabriel Marin when he came to ecstatic climaxes reminded me of Jimmy Page in the earliest Led Zepplin days. But it was all good, fast fun. Like jazz should be, right?
By Howard Mandell
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On Saturday, Consider the Source played for another crowd. While this was Consider the Source's firs...On Saturday, Consider the Source played for another crowd. While this was Consider the Source's first time playing the Black Oak, they are certainly not strangers to the Oneonta music since they have played muliple shows in the area over the past few years. The all-instrumental band has developed quite the following among Oneonta students, and it's easy to see why. The three piece band from New York City always puts on a memorable show led by guitarist Gabriel Marin.
Standing well over six feet tall, Marin is a sight to see. His presence is accentuated by his sometimes unreal sounding guitar playing. On a fretless, double-necked guitar, Marin led the band through a night of mood enticing jams. All three members of the band are incredible musicians, with John Ferara playing a funky slap bass and Justin Ahiyon on drums that filled the room and kep the energy alive. It continued to amaze me that a mere trio was playing this music and not a larger ensemble.
Although their styles changed throughout the night, the standout portions were when they experimented with Middle Eastern sounds that felt like they could easily be feautured on the "Lawrence of Arabia" soundtrack. Using these sounds as a theme, the band seamlessly transitioned into full out jams, especially in their much demanded encore. As senior April Hilmer put it "[the band] has a lot of energy and the put on an amazing live performance."
Seeking the Source
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Hot Bayside jam band looks East for inspiration Consider The Source is a band that appreciates t...Hot Bayside jam band looks East for inspiration
Consider The Source is a band that appreciates the layers of culture that make up their city. The eclecticism reflected in their music is ever-present in Queens, from the Turkish corner store to the Indian restaurant a few blocks away. Thanks to their relentless dedication and independent promotion, CTS plan to make 2008 their year to shine.
A November performance at The Village Underground in Manhattan finds the band in fine form, tight and propulsive. Guitarist Gabriel Marin, a tall young man with classic shoulder-length rock-star hair, shows off a distinctive style of playing his fretless guitar - hunched over, eyes closed, clearly lost in a musical realm of his own making. A Hunter College alum, Marin, 25, hails from the Upper West Side in Manhattan, but met fellow bandmates and Queens natives John Ferrara and Justin Ahiyon, both 24, through New York's rock music circuit when they were in their mid-teens.
The rhythm section, comprising Queens College alumni and Oakland Garden natives Ferrara on bass and Ahiyon on drums, supply mesmerizing rhythms that grow at a steady, energetic pace as the band's improvisations unspool.
Ahiyon's vigorous drumming, combined with a hot, cramped venue like The Village Underground, prompts him to go shirtless mid-set. The band is hard to miss, even through the smoky air of the tiny club. Sweaty and furiously thrashing, they still convey a feeling of serenity. Most likely it's the Eastern tint in their musical style.
Off stage, their intensity gives way to down-to-earth modesty. They smile and hug members of the audience when their set ends. They even hit up nearby bars, inviting everyone in attendance to tear it up at a late-night after-party. Their amicable reverence for each other is nearly tangible. These guys share an unspoken relationship for each other, thanks to their music.
"We've become friends through the music. The three of us have a unique style on our instruments," Marin says.
CTS began at a party one night about three years ago when Marin and Ahiyon started jamming together. "He was the only other person that was into Turkish music," Marin recalled. Soon after they brought Ferrara into the mix.
What culminated was, as Ahiyon put it, "a dynamic connection in music," so the musicians decided to make it official. They named their band, started recording their improvisations and booked venues.
Ahiyon and Ferrara still live in Bayside. "They are Queens-bred through and through," says Ahiyon's mother, Vicki Ahiyon Nieter. "They use the basement apartment in my home on 54th Avenue for their rehersal space."
CTS's Indian and Middle Eastern musical style comes straight from the source Ð in January 2006 Marin and Ahiyon traveled to India in search of authentic lessons in life and the exotic music of the land. As they proudly announced on their Web site, "We're traveling across the globe with our instruments, in pursuit of music and inspiration." According to Marin, "The trip didn't change our style as much as it reconfirmed that it was the direction we wanted to go in."
While in India the pair crashed with the musical gurus they were studying under in Calcutta, and at other times stayed in cockroach-ridden youth hostels. They were completely submerged in the poverty and chaos of the city, but took it as a learning experience. After a 33-hour journey to Southern India, they were pleased to stay in a decent apartment with other percussion students. They opened their minds and tuned into the teachings of the East in the hope of bringing a newfound strength to their music.
And so they did, only to return to America with a deeper connection to the music of the Far East and a spirituality that beckoned them to explore the idea of genre bending.
According to Marin, their influences have expanced to include Bulgarian folk tunes, Jewish folk music, Northern and Southern Indian classical music, Persian music, Turkish music and American jazz and heavy metal. "We all grew up playing jazz, and I was really into classical, too," he says. The fusion "comes from the metal, jazz and classical music in our blood. We were a fusion band for a year and a half before we went" to India.
Ferrara picked up on his bandmates' enthusiasm for the sound right away. "It's rhythmic, and in-depth. Once it was exposed, we had to explore it," he says.
Ahiyon describes Indo-Eastern music as having the ability to "make you leave yourself," like a vehicle for spiritual transportation. Once they applied this otherworldly dimension to their improvisational jamming, the two sounds of East and West just fell together.
With no lead singer, the band compensates for the absence of vocals with the sporadic insertion of one-liners from an electronic sampler, mostly in the form of quotations from the movie "Borat." The band members say they are inspired by movies and enjoy having a sense of humor when they perform because it lightens up their performance, and gets a kick out of the crowd.
Ferrara says that the band is an instrumental trio that has no problem taking risks with their audience. He says that their strong instrumentation works for them because they have open-minded fans that produce what Ahiyon considers "an atmosphere of love."
"They are throwing love at us, and it inspires us to give it back," he says with a sudden surge of excitement. The key ingredient to their crowd-stimulating ability, he says, is that he and his bandmates thrive on the energy of the audience. He worries that fans may be disappointed with their studio albums after experiencing their invigorating live sets.
The band agrees that their albums may be more subdued and less captivating than their live performances, so the band's next album will be recorded during a live New York show early next year. At the present time the band is focusing on promotion and publicity, and taking a breather from booking many upcoming shows. They last performed Dec. 18 in Philadelphia, but they announce new shows on their Web sites at www.myspace.com/considerthemusic, or considerthesourcemusic.com, where their two albums, "Esperanto" (2006) and "Consider The Source" (2005), can also be purchased.
Considering the Source
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"It's not everyday that you find a group of young men exploring the winding facets of the world's mu..."It's not everyday that you find a group of young men exploring the winding facets of the world's music, and doing it with such skill....a truly unique New York City phenomenon."
BreakThru Radio Live Set and Interview
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for a live studio set and interview please visit: http://www.breakthruradio.com/index.php?show=28...for a live studio set and interview please visit:
Consider the Source provides a 2 hour set of their eclectic electric sound...
Or chills out with a 1 hour set of all acoustic music (on instruments from India, Eastern Europe and the Middle East)
Profit for Prophet
The Great Circuiting
The Transported Man
Closer To Home
You Go Squish Now
How Am I Not Myself?
Keep Your Pimp Hand Strong
Do Not Shrink Me Gypsy
Order of the Triad
Those We Do Not Speak Of
Moisturize the Situation
One in 7
Last Rickshaw to DumDum
PDF RiderStage Plot / Input List
There are no upcoming dates at this time.