photo: Savannah Lauren (@savannahlaurenphoto)

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On February 21st, Marco Benevento treated an intimate East Village audience to a captivating demonstration of his range and versatility over two sets at the vibey NuBlu Classic. The evening was billed as solo piano with special guests, which ultimately meant one solo piano set and a trio set with longtime bassist Karina Rykman and drummer Chris Corsico. The low key atmosphere provided the perfect backdrop for an evening of musical exploration where Benevento channeled many of the jazz legends whose images adorned the walls in looped black and white video.

Benevento opened the show with an improvisation blending jazz and classical influences from Brad Mehldau, Benevento’s one-time teacher, to George Winston, the father of solo piano soundscapes. The tune gradually morphed into the frenetic “Atari,” a live show staple from his 2008 solo debut LP, Invisible Baby, that hits differently when he plays it without a band. Benevento drew the audience in immediately, with dancing and whooping mirroring his infectious energy and unabashed joy of making music that he channeled in an ebullient “The Real Morning Party” in celebration of a friend’s birthday. He followed with “Terrapin,” his recent collaboration with Clairo, and included a Vince Guaraldi-inspired jam and rendering of “Linus and Lucy,” in response to a request from the crowd. 

Benevento’s playing during the set at times evoked Art Tatum, with cascading runs in both directions, as well as bands like Dawn of MIDI, particularly when he’d mute the upright piano strings to create a sound more percussive than melodic. The remainder of the set included more spontaneous composition amidst original tunes, including “You Must Be a Lion” and a fan-requested “Record Book,” and covers, ranging from the likes of Dr. John to Seals & Crofts. Benevento informed the crowd that he managed to hit all 88 keys during the set, which he closed with “Drop Kick,” letting the music drop out at times to reveal pin drop silence from the reverent audience. Benevento also slipped in an early announcement of the upcoming Follow the Arrow Festival, his fourth, in Palenville, New York on June 28th. 

He began the second set unaccompanied, soon to be joined by Corsico and Rykman for more improvised goodness and Benevento originals. He sang “Solid Gold” and informed Rykman for the first time that he’d written it about her, reflecting the love among the players that makes for such joyful shows. (He also plugged Rykman’s upcoming show at Webster Hall on May 10th.) Rykman’s pulsating, perfectly in-time playing provides a solid foundation for the trio, the ideal complement to Corsico’s dynamic drumming style and Benevento’s shapeshifting tendencies, on display that much more on the heels of a solo set. The trio explored a range of styles, from the driving groove of “Nature’s Change” to a cover of “Benny and the Jets,” where Benevento’s playing took on a distinctive Keith Jarrett style. The energy in the room was palpable, with the audience fully engaged and dancing along, and the trio closed with a powerful rendition of “At the Show,” leaving the audience wanting more.

As the night drew to a close, Benevento and his bandmates took a final bow, leaving the audience buzzing with excitement. The solo piano performance had been a revelation, showcasing Benevento’s versatility and depth as a musician, and the addition of Rykman and Corsico in the second set transformed the evening into a full-blown dance party of musicality and improvisation. Whether alone or surrounded by friends, Benevento continues to push the boundaries of his craft, captivating audiences with his unique blend of genres and styles.