Marc Ribot’s genre-bending “The Prosthetic Cubans” album was released and gently played on WFUV-FM (90.7 in NYC) in the summer of 1998. I had never heard music like this and raced to the mall to buy the uniquely titled CD. It became a staple on my 5 disc cd player, and always raised an eye from others when I played it at parties or in my car.

After several failed attempts over the last two decades to see Marc Ribot live, I finally sealed the deal during his recent NYC Le Poisson Rouge show.  The celebrated guitarist and chameleon band whore spun off a half dozen east coast shows as a warm-up for his April-May European tour with his trio Jazz-Bins, featuring Greg Lewis and Chad Taylor.

Reminiscent of the bump and thump Beastie Boys era when they went electric and dirty garage on “Paul’s Boutique”, Ribot’s distinctive treble-edged guitar tone was immediately recognizable and an orgasmic centerpiece of the show.  Hunched over his guitar while sitting on a small chair stage left, Ribot was disappointingly invisible to the audience and rarely spoke.  Despite his unnecessary eccentric antics, Ribot and band’s talent and energy entertained heavy and delivered a wonderful show. It was impressive how just three dudes with no vocals could fill the room with such textured and rich music. Modern and digestible fusion jazz at its finest.

Although more withdrawn, Ribot’s “musician’s musician” reputation and cult following is similar to Daniel Lanois. I caught Dr. Lanois at Jazz Fest last year (click here for that story). They are “brothers from another mother” fur sure. I would love to catch them on stage together.

Taking a break from my usual front right rail perch, I kicked back heavy on the reserved “opera box” sidecar with a cocktail and my cowboy boots resting on an empty hightop chair. When in Rome…

If you don’t know Marc Ribot. Jump down the rabbit hole (click here for his website) and see what I mean about his sound!