During the height of the COVID-19 shutdown, residents of Woodstock and surrounding burgs stayed sane, in large part, due to the efforts of Neil and Lexi Howard, the proprietors of the Colony Woodstock. While all other entertainment options seemed to be shuttered, Hudson Valley music-lovers could mask up and head to the new beer garden behind the legendary venue to eat, drink and hear great sounds – from both some national acts who were in performance cold storage due to the COVID shutdown and many fine local players.

So, it came as no surprise when the Colony opened its doors on October 22 to host a fundraising event for The Stop Woodstock National Coalition. This is a community-based group working with the Woodstock Land Conservancy to combat a proposed development that would wipe out 620+ acres of forest and wetlands with 191 housing units, a golf course and a helipad.

The sell-out event was headlined by Marco Benevento, the Woodstock keyboard wizard and multi-instrumentalist known for his work as a soloist, in his duo with Joe Russo and in collaboration with varied artists like Phish axe man Trey Anastasio, Grateful Dead bassist Phil Lesh, Tortoise’s John McEntire, drummers Billy Martin and Smashing Pumpkin’s Matt Chamberlin and many others.

Benevento gathered a flock of the area’s finest for a raucous evening of funk, psych and soul-inspired jamming all for a wonderful cause. The supporting line-up included but was not limited to drummers Aaron Johnston (Brazilian Girls), Bill Carbone (Max Creek) and Chris Consico, bassists Karina Rykman and Jeff Hill (Steve Earle), saxophonist Maria Christina Eisen, guitarist Danny Blume and singers Leslie Mendleson and Simi Stone.

The evening was kicked off with an eight-song set by singer-songwriter Kenny Roby. Roby’s first three numbers, with just acoustic guitar and voice, were obscured by the din of the packed house. Things kicked up several notches when he was joined by Johnston, Hill and Blume for a cover of “Street People” from legendary Woodstock songwriter Bobby Charles. Another highlight of his set was when Leslie Mendleson joined to belt out the lead vox on “I’m Gonna Leave You Behind.”

The night segued without break into Benevento’s set. He set things in motion with the bass and keyboard intro before kicking into trio hyper-drive with “At the End of the Beginning” from his 2022 disc Benevento. The youthful Consico laid down a thick Disco-meets-Bonham beat while Rykman kept it simple and in-the-pocket. The tune, as many in the evening, left plenty of space for Benevento’s inventive soloing on electro piano, organ and Mini-Moog. He also laid down lots of old school synth samples (was that a vintage Crumar sound, Marco?), with added echo, delay, phase and fuzz twisted out of an array of old stomp boxes.

The band next served up the title track from Marco’s 2019 release, “Let It Slide,” a toe-tapping stop-time pop funk crowd pleaser. On “Why You Gotta Throw It Away,” Benevento launched a solo that showcased the many influences he melds into a unified and distinctly original whole. There’s a heavy serving of New Orleans’ funk, some experimental jazz, Krautrock and psychedelics leanings and some jazzy flourishing arpeggios that make his sound like a paisley-stained Art Tatum.

The guest vocalist highlight of the night was Leslie Mendleson’s return to the stage for a take on Blondie’s “Heart of Glass.” Woodstock-reared singer Simi Stone also joined to add soul on a handful of tunes including “I Can’t Let You Go.” Benevento himself sang lead on perhaps the funkiest jam of the night, a cover of The Rolling Stones’ “Let’s Spend the Night Together.” The band riffed long and hard on this, with Marco rolling out more Louisiana keyboard hot sauce.

On the cover of “Come Together,” the assemblage sounded like “Low Spark of High Heeled Boys” era Traffic, with some fine Steve Cropper-inspired rhythmic soloing from guitarist Bloom and a biting tenor sax from Maria Christina Eisen. Another standout was the cover of the Gene McDaniel’s penned protest classic “Compared to What,” best known in its live rendition by soul jazzers Les McCann and Eddie Harris. This version had an early 1970’s Stones’ vibe of the ”Jamming with Edward” era, accented again by the broad, vintage Bobby Keyes yakety sax work.

For more info on Stop Woodstock National, visit their website.