Global Funk
Gig Seeker Pro

Global Funk

Band Rock Jam


This band has not uploaded any videos
This band has not uploaded any videos



"Kynd Music - Review of Bogo"

The first thing that struck me when listening to Global Funk's Bogo was how the listener, while hearing an obviously self-contained musical style, has to constantly shift and alter their perception of what they’re hearing. It’s quite interesting and while it makes for a sometimes challenging listen, it is well worth the effort.
For example, the short title-track and introduction is a throwback bit of jazz, frantically paced with a giant of afro of a chorus. This seamlessly moves into the mellow “Demons.” A moody and long song at 10:42, it has overtones of mid-era Steve Howe and, while perfectly suited to follow up “Bogo,” is far from it in style and sound. Immediately you start to think ‘I like this but what is it?’
Admittedly they settle down a bit for the next few songs. “Long Time Comin’” is a rollicking rock and roll song and “Sisters” is a lengthy signer songwriter type of tune with some great western guitar riffs. Then comes “Spank.”
Moody organs and 70’s strumming start this one off, occasionally dropping of into some smoky jazz bridges and you find yourself leaving the rock club for the jazz lounge, trading your beer for a martini. But you are smiling.
Then they broadside you with what, at first, sounds like a showtune. “Sarah’s Best” is an epic jazz romp, however. For 20 minutes you will hear subtle jazz guitar, bass, piano, and percussion all holding down the 70’s pop phrasing of the lyrics. Stay with me.
For “Rub” is next. Starting off with a Dave Brubeck (wrote the Peanuts theme) piano riff, it explodes into a funky instrumental that is lit up by the dueling organ and guitar licks. This is a sweet one folks.

The album wraps up with the western swing on speed styling of “You Might Say” and the classic rock reggae of “Up Here.”
Whew. See what I mean? You never quite know what you’ve got. You just know that you like it. Overall though Global Funk is held together by the jazz piano and funky organ of Anthony Smith and the genre-bending guitar of Josh Suhrheinrich. They seem to be able to play anything with ease, stamping it with their unique vision, a vision that will grow on you as you mine the musical nuggets of Bogo.
- Kynd Music - Dave Terpeny

"Global Funk Grooves at The Summit"

Jazz stood out when the Global Funk Council played at The Summit on Friday night.
It's also what earned the group members the most criticism from their audience.
In the early part of the evening, the crowd at The Summit had a tempered attitude. People lingered over their drinks at the bar or stood at the upstairs rail while they took in the music. The crowd seemed to be unwinding at the end of the work week.
Later, as the audience grew, more people took to the dance floor and packed it to the point where walking across the floor meant being jostled by dancers. The night was marked by a grooving energy inspired by the band's improvisations.
The Global Funk is based in San Francisco. The members joined together three years ago and have played more than 600 shows. Their performance showed this in their tight presentation - their rhythms and melodies flowed together smoothly without the awkwardness that improvisations can risk.

The band is Anthony Smith on keyboards, Jonathon Stoyanoff on bass, Josh Suhrheinrich on guitar and Ryan Krieger on drums.
Their music was almost all original, although they occasionally sampled from other musicians.
The high quality of instruments added to the first-rate performance. For instance, Smith played a Fenderhorn, one of the upper-end keyboards.
Still, some people were displeased with the performance. One man who sat on a couch at the side of the floor argued that their name included the word "funk" but that wasn't what they were playing.
I could see what he meant, although it begs the question of what funk is.
The American College Dictionary defines funk as a noun meaning "cowering fear; state of fright or terror." Clearly, not the musical term.
"Funk is a syncopation of rhythm," said Aragorn Wiederhold, the band's guitarist. "It's a steady pulse and having your way with it (the music)." He explained that what and how the band plays "depends on the crowd. The people in front of us steer us. The more response we get, the more we can take it. Tonight we're getting an energetic response from improv."
The Global Funk Council played a tight show that drew on roots in jazz and blues. Even if some were disappointed not to hear more of the funk they expected, the performance had few faults.
Editorial Assistant Lisa Meerts-Brandsma can be reached here .
- Durango Herald - Lisa Meerts-Brandsman

"Homegrown Music - Review of Bogo"

Global Funk's new album sends the boisterous funk foundation of the band into a new and varied direction. Songs retain the same impeccable instrumental tightness, but find diversity in vocals that give the band an interesting twist with wide appeal! Lengthy compositions with peaks and valleys of rhythm, emotion, and complexity. - Home Grown Music Network

"Global Funk's Monterey"

To describe this band merely as "soulful rock/funk" is doing it a disservice. On "Bogo" alone, I heard snatches of Jeff Beck, Ramsey Lewis, James Brown, Brian Auger, the Grateful Dead, Allman Brothers, Dixie Dregs, even reggae, classical, straight-ahead jazz, '70s jazz-rock fusion.
No wonder this band is building up a loyal audience with the so-called "jam rock" crowd. One song, the 20-minute jazz-rock jam "Sarah's Best" includes Frank Zappa-style spoken word, incendiary guitar solos and other jam band touches that would make, say, String Cheese Incident or Phish or Blues Traveler proud.
And this is a band that not only played last year's Monterey Jazz Festival, but has opened for artists like Ozomatli, the Isley Brothers, Spearhead and Maceo Parker.
- Monterey County Herald - Mac Macdonald -Entertainment Editor

"Dance Music With Substance"

Come and groove to the melodic dance beats of Global Funk Council at Moe’s Alley tonight. The high-energy band boasts dance music with substance. The goal? Make people bounce to its rhythmic beats.
"Sharing the joy of being alive makes people dance and that is what we hope our music does," said Jonathan Stoyanoff, bass player of Global Funk.
Global Funk’s eclectic sound is laced with bluegrass ditties, boogaloo breakbeats and rock anthems. It embodies everything from the improvisational sound of Phish to classic jazz/funk of Herbie Hancock and Weather Report.
"Originally we were an all-star funk group, but we’ve evolved over the years into something more original," said Stoyanoff. "The eclectic sound allows us to challenge ourselves, and it keeps us more entertained," he said.
Global Funk hopes to follow in the footsteps of Grateful Dead. "The Grateful Dead broke down the barrier between people and the audience. They created an energy and community. In a sense that’s what our main goal is," said Stoyanoff.
Crossing genres has served the group well. Global Gunk has opened for the Isley Brothers, Maceo Parker, Bernie Worell, The Radiators, Michael Franti and Spearhead, and Ozomatli.
The band is a foursome made up of Anthony Smith on keyboards, Jonathan Stoyanoff on bass, Aragorn Wiederhold on the guitar and Ryan Krieger on drums. They have earned respect from the national jam band community through innovative songwriting melded with brazen beats.
"We are very open-minded with each other, the group has a natural dynamic," said Stoyanoff. "We’re are on our own terms and are our own boss. As a collective, we have our weaknesses but we lean on each others’ strengths," he said.
Global Funk’s latest album, "Bogo," showcases the group’s skill at songwriting blended with rock/funk compositions. "Nothing about our music is constant; it’s always changing. We improvise a lot and never put things into a mold," said Stoyanoff.
Contact Michelle Camerlingo at
- Santa Cruz Sentinel

"Up All Night - Jammin' with the Talking Heads"

Review : Up All Night - Jammin' To the Talking Heads
Posted by Bill Lamb on April 07, 2005 03:15 PM (See all posts by Bill Lamb)
Filed under: Music, Music: Jam Band, Music: Pop, Music: Rock - Scroll down to read comments on this story and/or add one of your own.

Up All Night: Jammin' to the Talking Heads
Various Artists
Music from CMH Records
Release date: 10 May, 2005

These days tribute albums deserve to be treated with more than a little well-earned skepticism. However, when asked to review Up All Night : Jammin' To the Talking Heads, the fact that it was being released on CMH Records, the indie home to the occasionally great Pickin' On series of bluegrass tributes, I was at least hopeful. I'm happy to report that this music critic's eyes were raised in pleasure not just once but several times in the course of exploring this set of Talking Heads revisions by some of our country's best jam bands.
The definition of jam band is a difficult one, but the uniting thread seems to be an interest in blurring boundaries between traditionally accepted genres and a commitment to improvisation in concert. The sounds represented on this collection range blend in disparate elements of funk, jazz, country, bluegrass and soul to name just a few. For the performers chosen here, impeccable musicianship is a notable common trait. Whether the instrumentation is guitar, tuba, or Hammond organ, the standards are faultless.
As long as the original songs are not being butchered, I don't get too worked up over the concept of a tribute album, but an all too-common peeve I have is a new version of the song that merely rides in the old treadmarks of the original...maybe using a slightly altered vocal color here or a slight change in instrumentation there. As I listened to Umphrey McGee's by-the-numbers take on "Making Flippy Floppy" and Moonshine Still's zip through "Nothing But Flowers," I settled in for a version of Talking Heads music that merely added the crispness of up-to-date recording technology and some instrumental virtuosity to the brilliant originals. Fortunately I didn't need to wait long for that perception to change.
Washington D.C.'s Exit Clov turn in a version of "This Must Be the Place (Naive Melody)," Talking Heads' love song for the ages, that is not only beautiful but also clever. One of the attributes that makes Exit Clov unique is the tightly harmonized lead vocals of identical twins Emily and Susan Hsu. Brought forward on "This Must Be the Place (Naive Melody)" the Hsu sisters are a dead ringer for the sisters Weymouth (siblings of Talking Heads bassist Tina) on early recordings by the Talking Heads side project Tom Tom Club...clever, yes, and disarmingly gorgeous as well. The very next song raises the stakes again. Jazz master Robert Walter's band 20th Congress tear into an instrumental version of "Swamp" that proudly echoes the instrumental genius of the Memphis soul of Booker T. and the MG's. Robert Walter's extended Hammond B3 soloing adds a thrilling sense of timelessness. By now listening intently, I felt my face erupt in a broad smile listening to California-based Global Funk's "And She Was." Think of the coolest possible theme song for an ultra-hip TV sitcom and you have an idea of what Global Funk do with "And She Was." Hilarious moments in the onscreen life of the lead role shoot by while the song slides by in highly memorable jazz-funk colors. It is a brilliant tribute to Talking Heads as the band were always at their best when balancing on the razor's edge between kitsch and art.
The remainder of the album doesn't quite reach the peaks of these 3 cuts, but there are still pleasures to be found. Garaj Mahal turn in a pleasantly diverting instrumental version of "Psycho Killer," and the accordion, tuba, guitar, sax instrumentation behind vocalist Jessica Lurie on "Heaven" is engaging. My best advice is to steer clear of Hairy Apes BMX (the latest project by alt-rock veteran Mike Dillon) and their exploration of "Burning Down the House" unless creepy grunge-funk is really what floats your boat. As if you needed any more evidence, this collection abundantly demonstrates the enduring power behind the songs first recorded by Talking Heads and their flexibility in being adapted by other bands. This set takes a whirlwind tour of Talking Heads output from "Psycho Killer" off the debut album through "Nothing But Flowers" from Naked. I found myself wondering what these bands could do with "Don't Worry About the Government," "Girlfriend Is Better," or even "I Zimbra," but perhaps a sequel would be in order. For the most part, the recordings here maintain the integrity of the originals while frequently adding thoughtful new color to the words and music.

- William Lamb

"Jambase Review of Bogo"

Global Funk (formerly Global Funk Council) is a four-piece funk-fusion band that has been around the jamband scene for the past three years, laying claim to having played over 500 shows in that time period including appearances at New Orleans Jazz Fest, High Sierra Music Fest, Berkfest, Baja Bash, and Monterey Jazz Fest, to name a few. The band's personnel has changed a bit over the years, but the current players include Jonathan Stoyanoff on bass, Anthony Smith on keyboards, Ryan Krieger on drums, and Josh Suhrheinrich on guitar.
Their latest release, Bogo, is an ambitious mix of Phish-style jams, early Medeski Martin & Wood grooves, and prog-rock compositions reminiscent of Yes or Emerson, Lake, and Palmer. The opening title track is actually a short segment with the lyrics "Buy one, get one free," thus offering an explanation for the acronym "Bogo." Then the real substance of the CD unfolds with the Smith-penned "Demons," which starts out sounding like something Alan Parsons Project recorded in the 80's, then halfway through becomes the rock fusion of the Dixie Dregs. The song is complex with ever-changing tempos throughout, progressive in nature yet sprinkled with jazz fusion and funk. "Long Time Comin'" and "You Might Say," both written by Stoyanoff, are country-tinged, driving tunes with obvious String Cheese Incident and Phish influences.
The eleven minute "Sisters" is another example of the continually changing tempos and textures of GF's music. Starting off in a bluegrass way then switching into a kind of MOFRO funk, the tune then speeds up to a faster rock tempo, then reverts back into the bluegrass and then finally returns to the funk. At times, Smith's piano sounds very much like Bruce Hornsby and at other times he lays on the heavy Hammond B3 funk.
Following that is "Spank," a funk fusion instrumental number a la Garaj Mahal, similar in style to "Rub" heard later on the disc. Next up is "Sarah's Best," a twenty-minute opus written by Stoyanoff with complicated structure and changes. The lyrics and structure could be described as "Phishy" ("I don't care about nothing cuz nothing matters at all.") Almost like two songs in one, the tune eventually morphs into a rock anthem of sorts in which Smith and Suhrheinrich really let loose on their solos.
Closing the CD is "Up Here," another lengthy twelve-minute-plus composition, with reggae and Spanish jams in the middle of the song. The band covers a lot of complicated ground here, and again the compelling arrangements pique the listener's interest.
Anthony Smith's playing on organ and piano is very strong throughout the CD, as is Josh Suhrheinrich's guitar work. The rhythm section of Krieger and Stoyanoff provides a solid background for the two lead players to shine. It is evident from this CD that Global Funk has come a long way in three years, maturing into a growling rock-fusion-funk-prog monster.
Susan J. Weiand - JamBase | California

- Jambase - Susan Weiand


Keep on Pushin' -2002
Bogo -2004

Live Free Shows Available For Streaming or downloading



Anthony began playing piano at ten, studied jazz and classical music in his teens, dabbled with trumpet for a few years, and decided at nineteen to dedicate his life to music. He began performing around the Bay Area as a jazz pianist and pop keyboardist, and also wrote numerous pop and jazz songs. Under the mentorship of the late Bay Area piano legends Don Haas and Smith Dobson, Anthony established himself as an up and coming keyboard talent in Northern California. He was influenced by the inspiring array of world class jazz talent which frequented Bay Area venues, including pianists Herbie Hancock, Chick Corea, Michel Petrucciani, Monty Alexander, Oscar Peterson, Benny Green, Kei Akagi, Hal Galper, Cedar Walton, Kenny Barron, and most importantly Fred Hersch, his favorite of all pianists, with whom he developed a lasting personal friendship. He was also influenced by the quality pop/rock artists of his generation, such as Sting, Bruce Hornsby and Tears for Fears.

In 1990, Anthony moved to San Diego to pursue a music degree at San Diego State University. He quickly became the top jazz pianist in the SDSU program, received scholarships, toured Taiwan with the SDSU jazz ensemble, accompanied vocalist Dianne Schuur in concert with the ensemble, and began to play professionally around San Diego. Soon, he was an integral member of popular local Latin jazz band Koro Libre, as well as a promising hip hop act, Phazz, in which he not only played keyboard, but also rapped. Meanwhile, Anthony graduated from SDSU as one of the most in demand keyboardists/session musicians in San Diego, though still just in his mid-twenties. In addition to writing songs for his own groups and arranging music for others, he also started performing professionally on the vibraphone (also called vibes).

In late 2001, Smith created Global Funk Council, teaming with drummer Eric Bolivar and guitarist Dan Lebowitz (ALO). Before long, the group was touring the entire country, enjoying featured slots at national festivals such as Berkfest and High Sierra. GFC also released its first studio album, Keep On Pushin'. After some personnel changes, the group solidified its lineup and recorded Bogo, an ambitious collection of funk/rock compositions, in late 2003. With the release of the album, the band changed its name to Global Funk. Recently, Anthony arranged a Global Funk studio version of the Talking Heads hit And She Was, to be included in a Talking Heads tribute album with Umphrey's McGee, Robert Walters, Dark Star Orchestra and others.

Anthony has not only written dozens of songs for Global Funk, in which he plays multiple keyboards and sings lead vocals, but has also played an integral role in the band's business and greater organizational concerns. His musical/business vision is inspired by organizations such as The Grateful Dead, Phish and SCI, whose grass roots approaches garnered loyal fan bases while protecting the creative integrity of the musicians. Anthony and other Global Funk members currently reside in Merced, California.

Berklee alumnus Jonathan Stoyanoff began playing the electric bass guitar after failed attempts at many other vocations. In 1937 he organized an expedition to scale the ominous Mt. Everest, but after becoming disoriented in a snowstorm, made it only as far as Toledo, OH. During the cold war period he flew U2 reconnaissance flights deep into the heart of the former Soviet Union. His extensive photo documentation of secret Soviet spas, the nude beaches of Stalingrad, and of suspected on-location sites for the filming of Dr. Zchivago, earned him an early, if not honorable, discharge from service. Disenchanted with the American political climate, he then joined the "hippie" movement of the 1960's. This too ended badly as he was rejected by his fellow reactionaries for being too touchy-feely. Despite these many setbacks, Jonathan persevered and made the decision to attend the Berklee College of Music in Boston, MA. There he had the pleasure of studying with masters such as Jim Stinnett, Bruce Gertz, and funk guru Anthony Vitti. He has played and/or shared the bill with Larry Coryell, B.B. King, Robert Cray, Bill Wyman, Johnny A, Huey Lewis, Morelli Coryell, Dave Mason, and others. He may be contacted through a psychic medium. Jonathan plays Fender basses and uses G.K. cabinets and David Eden heads. He is currently 147 years old and trades his meds for Swatch Watches on e-Bay.

Aragorn Wiederhold started playing guitar at the late age of seventeen. As soon as he picked it up he never put it down. Finding himself enrolled at the Berklee College of Music he studied with some of Boston’s premier jazz guitar instructors, while participating in classical guitar studies at the Boston Conservatory. He received a Bachelor of Music in Performance and Contemporary Writing &