Originally, MKGO relied on its energy, sheer size and quick pacing to engage its audience. Saturday night's arrangements illustrated the band's ability to draw on aspects of the human condition without delving into sentimental pitfalls that can destroy a live show. Kammers conducted his motley crew of seasoned musicians through a 10 song set filled with solos, fast-paced beats, the occasional dirty joke and even a slow-down ballad.

The opener, "Big Boss", featured crescendoing woodwinds with swooning notes supported with throbbing bongos that inspired nostalgic adventures I never lived. Often, I found myself tying MKGO's sound to the ups and downs of an unnamed protagonist, reminding me of why I fell in love with music so many years ago.

Kammers's first solo came with "TTT", and found the frontman belting an improvisation that was both sonically precise and aesthetically raw. The twenty-something saxophonist hit the proverbial high note often and rolled down to raunchy low-notes simply because he could. Quick progressions and unscathed sounds drew cheers from the late-night crowd. 

The unlikely frontman's audio bravado catalyzed his band mates into spotlight-snatching improvs of their own. In the following song, "Mambo en Espana", flutist Nic Cowels exuded a sound that is equally provocative as it is difficult to describe. Cowels burnt eardrums and crushed preconceived notions by delivering ethos-laden notes somehow bordered by a vocal flair. His deft fingers moved over the keys with blinding speed, yet were so meticulous I had to remind myself that he wasn't relying on sheet-music. He was a welcome surprise, as were the intentional background vocals delivered by both the horn and woodwind sections at various times during this song, providing it with a crowd-pleasing pop-element.

"Shady Blues" featured a pair of guitar solos from the soulful hands of Tom Cumming and the rock-bordered strings of Abe Seiferth. The two form an interesting duo, and played improvisation pieces that mirrored MKGO's wide range and diverse influences. Putting these two to shame, however, was Kammers's follow-up solo that found him dueling with one of the group's trombonists. It made for a bizarre and unforgettable back and forth that smashed one's ideas of what a trombone should sound like and built fantasies of its potential.

A personification of consistency coupled with the timing of a metronome, Japan native Tomoaki Kanno played his drums with laudable control. A cornerstone of the group since its beginnings, his beats are characterized by a mindful eye to the composition, yet are strikingly original and movement inducing. Most were yearning for this guy to break into an extended solo, but it never came.

To fill the void in between songs was Kammers's stab at stand-up comedy. The sometimes awkward, often raunchy and always funny jokes kept both the crowd and band members comfortable and at ease. I always enjoy it when a frontman takes the time to candidly speak with his audience, it creates an unparalleled sense of intimacy that is rare in most live performances today.

The only drawback to the show was the late time slot, which consequently led to a short set. After an extended wait, both inside and outside of the venue, MKGO was onstage for a little more than an hour. Such a time constriction is commonplace and understandable, but it naturally cuts down on the length of the set-list and forced the band leader to keep a bead on the time allotted to each solo performer. This band has attained a sizable, and loyal, audience, making them deserving of a headlining spot.

Take the time to check out the band's website below. Go there often to find out the time and place of their next performance, they're worth the effort.

The MK Groove Orchestra is: Mike Kammers (Band Leader/ Tenor Saxophone); Tomoaki Kanno (Drums); Christopher Tordini (Bass); Abe Seiferth (Guitar); Tom Cumming (Guitar); Nic Cowels (Flute); John Beaty (Alto Saxophone); Joe Beaty (Trombone); Tatum Greenblatt (Trumpet); Jonathan Powell (Trumpet).