Some acts are meant for the big stage, while others find themselves more accustomed to tiny surroundings that make a large production seem small. Percussion extraordinaire Cyro Baptista, has played with nearly everyone including: Paul Simon, Sting, John Zorn, Herbie Hancock and Trey Anastasio, mostly in the largest of venues. Separating himself as background rhythm innovator to charismatic band leader, the Brazil native has honed his own band – Beat The Donkey – to both music and theater fan’s curiosity. This night he would take his own band to the small stage and pull off throwing another Carnival style fiesta.
Encompassing eight players, that along with Baptista, play loose song structures around a playful stage energy; Beat the Donkey revolves around a plethora of instruments that resemble a music class room taught by Mickey Hart. With such a cache of materials to work with, the possibilities are endless. However at this particular performance, Cyro and his troupe focused on beats, beats and more beats. A reflection of his New York City street performance beginnings, and Latin roots, Baptista’s show steams of amateur production with ambitious energy and theatric showmanship. Some may just see Beat the Donkey as improvisational Stomp.
Prancing in front of the stage in his signature beige fuzzy hat, Baptista would make his presence strikingly known by leading his band into the crowd for sword dancing, tap dancing, and general melee, all done in outlandish costumes. But despite all the fancy toppings, and off-off Broadway feel of the small venue, much of the show seemed shortchanged on such a tiny stage, as the show is as much sight dependent as sound worthy. When the music hit its climatic moments,Baptista would shout like a fair-goer on a roller coaster and a euphoric "oooohhhh" would repel, as the band would lead into their beat friendly jams. However, the raucous ensuing was built more upon energy than specifics. When singing, the elder statesman Baptista would shout with exuberant art rock expressions that bordered on David Byrne dramatics and Alice Cooper hysteria. In the midst of all this, he strives to develop personalities for each of his band members, and lets each of the eight musicians grace forward to showcase their raw talents - mainly on the percussive and theatrical side.
In the middle of the set the band dove head first into a cover of Led Zeppelin’s "Immigrant Song" with shrilling vocals and all. Although this version wasn't Robert Plant worthy, it was definitely the drum circle you always wished you'd hear strumming next too you at a festival. With minimal traditional lead instruments, leaving the open spaces for the various percussions, only the electric guitar and mandolin made a guest appearance here and there, nothing overwhelmingly technical, but it didn't matter. Toward the end of the show, Baptista inevitably invited fellow Trey Anastasio Band members, Andy Moroz, Dave Grippo and Jennifer Hartswick for a few improv Latin flavored numbers. Referring to the trombone, saxophone and trumpet players as part of his "family," the band hit their most innovative moments of the night. But give credit where credit is due. Cyro Baptista and his Beat the Donkey take an art form that can easily grow tired from weeks on the road, and continually transform the stage into a lively circus atmosphere each night.
