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Maciste all'inferno with live score by Sex Mob
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This project is funded by the Mid Atlantic Arts Foundation, through the generous support of the Doris Duke Charitable Foundation.

+ About the Performance
This program was recorded 03/27/2015 at Symphony Space.

Sexmob will be performing an original score to Maciste All’Inferno (Maciste in Hell), the 1925 Italian silent film directed by Guido Bregnone. This was the movie that inspired the young Federico Fellini to become a film director. Sexmob will create a score using their unique language of melodies, sounds and rhythms that they have developed over the last 20 years. This film is a surrealistic classic, and every performance will be unique.

+ About the Artists

Together for almost 20 years, Sexmob continues to redefine the jazz tradition, while being part of it. There is already a generation of young musicians (including Mostly other People Do the Killing) inspired by their CDs and legendary live performances. As each member of the band continues to evolve in their own projects (including Bernstein’s 8 year tenure with legendary drummer/vocalist Levon Helm), new sounds are folded into the Sexmob “big tent.”

Sex Mob began merely as a setting to feature the slide trumpet of leader Steven Bernstein, but has grown into a band with a much larger mission: to put the fun back in jazz music. After assembling the band, Sex Mob began a residency at the Knitting Factory, playing predominantly originals written by Bernstein. During a special evening of film music, the crowd went crazy for the “James Bond Theme,” and Bernstein realized that the audience was much more attuned to their plying when they recognized the tune. The ban started to expand their songbook, but not to the same old, tired jazz standards. Songs by Prince, the Grateful Dead, the Rolling Stones, and even the “Macarena” could find their way into a Sex Mob set, the only rule being that the song had to have such a strong melody that it could withstand serious deconstruction. Bernstein said in Jazz Asylum, “I realize that’s what jazz musicians have always done. That’s how Lester Young got popular; it’s how Charlie Parker got popular; it’s how Miles Davis got popular; that’s how John Coltrane got popular. They played the songs that everyone knew and because they could recognize the song, then that invited them into their style.”

Word of mouth began to spread about their live shows, with Bernstein’s on-stage antics and the band’s amazing musicianship as the focal points. Bernstein is one of the more active bandleaders out there, constantly dictating arrangements to the other musicians, and letting them have it when they don’t deliver what he wants. They never rehearse and they never have a set list, which keeps things constantly fresh. Their weekly gigs eventually got them voted as New York City’s best band in 2000.

Sex Mob’s 1998 debut, Din of Inequity, was the only release of a short-lived agreement between Knitting Factory Records and Columbia Jazz. Augmented by two guitarists (Adam Levy and London McDaniels) and keyboard powerhouse John Medeski, Sex Mob romped through a program mostly of covers and a handful of Bernstein originals. 2000 saw the release of Solid Sender on Knitting Factory, as well as the self-released Theatre & Dance. Solid Sender is another mix of covers (Nirvana, Rolling Stones, ABBA) mixed with more Bernstein originals, some of which serve as short bridges between tunes. Solid Sender also uses a wider variety of guests, including DJ Logic and a string trio featuring Charles Burnham. Theatre & Dance is split between Duke Ellington compositions commissioned by choreographer Donald Byrd for a dance entitled “In a Different Light: Duke Ellington,” and Bernstein originals written for a revival of the 1926 Mae West play “Sex.”

2001 brought a change in label, from Knitting Factory to Ropeadope, and an album with a less kaleidoscopic selection of songs. Sex Mob Does Bond (again with John Medeski) burning through the John Barry songbook, covering a host of tunes written for the first five James Bond movies. For 2003’s Dime Grind Palace, Sex Mob focused on Bernstein originals with a myriad guests including trombonist Roswell Rudd. 2006’s Sexotica on Thirsty Ear was a homage to the soundscapes of Martin Denny, and received a Grammy nomination for Best Contemporary Jazz Album. In 2008 Sexmob released their next CD on Thirsty Ear, Sex Mob meets Medeski Live in Willisau, featuring 3 suites of Sex Mob classics. In 2009 Sex Mob was the house band for Hal Willner’s Leonard Cohen tribute, “I’m Your Man”, and was featured in a Documentary and CD release of the live concerts.

After touring Europe with DJ Olive playing live versions of Sexotica in 2010, the band changed its name from Sex Mob to Sexmob. Their 2013 release Sexmob Plays Fellini: Cinema, Circus and Spaghetti, released on Royal Potato Family, documents the sound of a band that has been together for almost two decades, one organic sound. Hence the new name...Sexmob... for your listening pleasure.

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