Feeds:
Posts
Comments

Archive for the ‘Music’ Category

Bowlive II: Night One – Soulive w/ Lettuce and Maceo Parker

(Photo by Allison Murphy)

Photo by Allison Murphy)

Bowlive 2, a two week Soulive residency at the Brooklyn Bowl, kicked off yesterday firing on all cylinders.  For a Tuesday, the venue was packed! You could literally feel The Gods of Funk smiling down upon the Bowl’s stage the entire night as we were delivered one of the funkiest weeknights the Brooklyn Bowl has seen.

(Photo by Allison Murphy)

(Photo by Allison Murphy)

Right off the bat it was evident that this year would be different. There were more cameras propped up around the venue to tape the magic that would take place over the ten day run.  There were three beautiful tapestries lining one of the walls with Eric Krasno‘s face shimmering in gold.  There was a Soulive backdrop on the wall across from the merchandise table set up for fans to take pictures in front of.  But the biggest difference this year…Bowlive 2 opening night sold more tickets than The Funky Meters did on their opening night.  That is crazy!!  Last year on opening night the venue was barely half full.  It was quite literally myself, my boys Rob and Russ and maybe 50 other people.  It was also the night that I met the wonderful musical blogger of ViewsSkewed.com, Meredith Berke.  I can safely say, without her assistance and guidance, Tinyrager.com may never have existed 🙂

(Photo by Allison Murphy)

(Photo by Allison Murphy)

The Nigel Hall Band

Nigel Hall – Keys, Vocals
Eric Krasno – Bass
Adam Deitch – Drums
Adam “Shmeeans” Smirnoff – Guitar
Alan Evans – Percussion
Neal Evans – Keys, bass
Tania Jones– Backup vocals
Mel Flannery – Backup vocals

Special Guest:
Ryan Zoidis – Alto Saxophone

Last year’s Bowlive saw Nigel Hall singing alone at his Rhodes until the ends of his set when members of Soulive and Lettuce would join in to help him close it out with major energy.  After a year of rotating back ground singers and putting together various combinations of musicians, The Nigel Hall Band has finally gotten it’s core group on lock down.

(Photo by Michael Jurick)

(Photo by Michael Jurick)

(Photo by Michael Jurick)

(Photo by Michael Jurick)

A little after 9pm, The Nigel Hall Band, consisting of Eric Krasno on bass, Adam Deitch on drums, Neal Evans on organ, Alan Evans on percussion, Mel Flannery and Tania Jones on backup vocals and Adam “Shmeeans” Smirnoff on guitar, hit the stage filling the excessively packed venue with soulful songs layered with get-down funk.  It’s always awesome seeing Krasno on bass.  He is so smooth with his guitar and to see him with a bass while others fill the guitar spot,  well, it’s fun! The always soulful Hall, decked out in an orange and white argyle sweater and a baseball cap, geared us up in a way that only he could.  While most songs were sung seated at his Rhodes, Hall sang his way through fan favorites such as “Never Know” and “Gimmie A Sign.”

Engaging the audience with his expressive nature, Hall danced around the stage for “Never Gonna Let You Go” and “Too Sweet” during which Ryan Zoidis came out for an impromptu saxophone solo.   Nigel Hall’s undeniable energy is exactly why Soulive has slated him to open for the remainder of the Bowlive 2 run.

Set List: Baby We Could Have It All (end), Hang It Up,  Back Home, Give Me A Sign, Too Sweet, Never Know, Never Wanna Let You Go

Click here to download a copy of the performance for your enjoyment!

(Photo by Allison Murphy)

(Photo by Allison Murphy)

Soulive

Eric Krasno – Guitar
Neal Evans – Keys, bass
Alan Evans – Drums

(Photo by Allison Murphy)

(Photo by Allison Murphy)

By the time the members of Soulive were set to hit the stage, the Brooklyn Bowl was a sardine can busting at the edges with excitement.  However, before the anticipated set could begin, Brooklyn Bowl owner Peter Shapiro came on stage to express his gratitude for this musical event and for the audience participation by offering 600 shots of Tequila which were delivered by the tray full throughout the venue.

The lucky residents of New York City recognized that even though this was a school night, nothing would keep them from enjoying the first night of what is expected to be a giant success of a musical run. Pete knew this and the turn out was jaw-dropping.  Perhaps everyone felt stupid for missing Lettuce and Maceo Parker playing Brooklyn Bowl together back in January.  Perhaps they just heard how good it was and needed to check these guys out for themselves.

(Photo by Michael Jurick)

(Photo by Michael Jurick)

Nigel Hall comes to the front of the stage and screams into the microphone, “Are you ready to Rage?”…a pitiful response follows.  He repeats himself and the venue caught on.  We were ready to rage.

Finally, the hosts for the night, guitarist Eric Krasno, drummer Alan Evans and organist Neal Evans, appropriately dressed in Royal Purple, entered on stage and the Brooklyn Bowl erupted.  Over the course of the next hour, the funky trio blasted through “El Ron” and releasing a fantastic “One in Seven” on us before offering us a few Beatles covers from their latest album, Rubber Soulive.

Set List: El Ron, Aladdin, One in Seven, Come Together, Eleanor Rigby—>I Want You (She’s So Heavy)

Click here to download a copy of the performance for your enjoyment!

(Photo by Michael Jurick)

(Photo by Michael Jurick)

Lettuce w/ Maceo Parker

Maceo Parker – Saxophone

Eric Krasno – Guitar
Neal Evans – Keys, bass
Adam Deitch – Drums
Adam “Shmeeans” Smirnoff – Guitar
Alan Evans – Percussion, Vocals
E.D. “Jesus” Coomes – Bass, Vocals
Ryan Zoidis – Alto Saxophone
Cheme Gastelum – Saxophone
Igmar Thomas – Trumpet
Brian Thomas – Trombone
Eric Bloom – Trumpet
Nigel Hall – Keys, Vocals

Special Guest:

Alecia Chakour – Vocals
James Hurt – Keys

(Photo by Allison Murphy)

(Photo by Allison Murphy)

Lettuce came on stage raging full force into the appropriately named “Blast Off” with “Last Suppit” following. A few songs in, Maceo Parker, the leader of James Brown’s infamous horn section, joined the stage.  As he enters, he playfully goes for Nigel Hall‘s baseball cap and then drops his hand and they share a laugh.  Now it was time to dance your ass off as they raged right into several covers beginning with Parliament Funkadelic’s “Up for the Down Stroke.”

(Photo by Michael Jurick)

(Photo by Michael Jurick)

It was pretty sick to see Cheme join the horns even though Sam wasn’t there and how it was nice they gave him real room to solo during the encores, the same way they gave James Casey a long solo during “Get Back” last year. ~ Russ Agdern

(Photo by Allison Murphy)

(Photo by Allison Murphy)

The tidal wave of funk through the combination of Lettuce and Maceo continued to bring the fire with “Uptown Up” were Maceo rapped the Corey Parker verse.  “There Was a Time,” a James Brown favorite, saw Adam Deitch solo on the drums as Maceo Parker teased Brown’s “Cold Sweat” over top.  At one point Parker focuses on  It was then time to give Ray Charles a little love as Maceo and the gang brought it down nice and slow for “Night Time is the Right Time” where Alecia Chakour ripped a solo that had all eyes on her and people asking left and right, “Who was this phenomenal voice?”

(Photo by Michael Jurick)

(Photo by Michael Jurick)

The remainder of the set continued to up the heat with funky vibes and soulful solos. Alecia Chakour joined backup vocals as Maceo Parker exited the stage.  She is absolutely amazing.  Talk about attitude and vocal style. Straight soul sista right there.  An audience member got on a friend’s shoulder and screamed for her during her solo before being asked to get down. The energy in this place was killer.

(Photo by Michael Jurick)

(Photo by Michael Jurick)

(Photo by Michael Jurick)

(Photo by Michael Jurick)

There was a time where there were at least 8 people on stage and they were all just playing, improving beats. Nigel and Chakour inserting their voices in various places.  The focus was again on Nigel Hall as he busts out his vocals with “Making My Way Back Home.” Acclaimed Jazz pianist, James Hurt, popped in for a few minutes to tear up “Pass the Peas” and  again for the encore of “By Any Schmeans Necessary.” Somewhere in the middle of all of it, Maceo Parker returns to the stage in his long winter jacket, looking all ready to walk out the door, but not without one more goodbye!

Set List: Blast Off, Last Suppit, P-Funk Medley including: Up for the Down Stroke/Mothership Connection/Let’s Take It To The Stage/take Your Dead Ass Home, Uptown Up, There Was a Time, Night Time is the Right Time, Shake Everything U Got, Pass the Peas, Soul Power tease, Makin My Way Back Home.

Encore: Sam’s Flying Huff Machine, By Any Schmeans Necessary

Click here to download the Lettuce Set

(Photo by Allison Murphy)

(Photo by Allison Murphy)

Tonight Soulive will take the stage with yet another serving of Lettuce along with a few sides of hip-hop MC Pharoahe Monch and WAX.  Be prepared to be blown away by their spittin’ lyrics and fresh beats.

Read Full Post »

The Funky Meters (Photo by Dino Perrucci)

The Funky Meters (Photo by Dino Perrucci)

Three Nights of The Funky Meters @ The Brooklyn Bowl (01.15-17.11)

This was an event!  In the same spirit as Phanatics travel to Coventry for three nights of Phish, died hard Meters fans traveled far and wide to witness The Funky Meters magic occur over a span of three nights at the beloved Brooklyn Bowl in Brooklyn, NY.

For having never been to New York, I have never felt more at home in a brand new place. I can’t help but compare the room to the Rock N Bowl in New Orleans, a similar venue with a bowling alley and large stage for music, but this room has a great layout. A bar in the back, with a large dance floor area, the stage straight ahead. And to the side, a few steps up, rows of bowling lanes, with a walkway in front, providing a side stage vantage that lets one really feel like part of the performance. Everywhere you stand, there is a great vantage point of the stage, the lighting is good and the sound quality anywhere in the room was great too. ~ NOLA resident, Ananda Atmore

George Porter Jr. (Photo by Jeffrey Dupuis)

George Porter Jr. (Photo by Jeffrey Dupuis)

Back in 1967, Art “Poppa Funk” Neville collected a funky gang of New Orleans musicians who would come to be known as The Meters, .  George Porter Jr. played bass, Art “Poppa Funk” Neville played keys, Joseph (Zigaboo) Modeliste on drums and Leo Nocentelli on guitar! In 1977, they called it quits, leaving behind a musical legacy cementing them as Funk pioneers.

Russel Batiste (Photo by Jeffrey Dupuis)

Once the group disbanded, Art “Poppa Funk” Neville joined with his brothers performing as The Neville Brothers while George Porter Jr. founded PBS, or Porter, Batiste and Stolz.  Since The Neville Brothers were not touring this season, Art Neville was openly available to hit the road with The Funky Meters, who are the members of PBS with the addition of Art “Poppa Funk” Neville.

Art “Poppa Funk” Neville – Keys
George Porter, Jr. – Bass
Brian Stoltz – Guitar
Russell Batiste, Jr. – Drums

Brian Stolz (Photo by Dino Perrucci)

Brian Stoltz (Photo by Dino Perrucci)

It had been three years since The Funky Meters last played together. When Brian Stoltz isn’t wowing the audience with his shredding guitar style with The Funky Meters, Ian Neville holds the guitar spot. Essentially, in the middle of all these Meters heads were PBS fans and EVERYONE was a George Porter Jr. fan! But, honestly, who doesn’t love George Porter Jr.?  Go check my facebook info under “religion”, you’ll find George Porter Jr.‘s name stands alone!

(Photo by Dino Perrucci)

(Photo by Dino Perrucci)

The Funky Meters (02.15.11)

Art “Poppa Funk” Neville – Keys
George Porter, Jr. – Bass
Brian Stoltz – Guitar
Russell Batiste, Jr. – Drums

(Photo by Jeffrey Dupuis)

(Photo by Jeffrey Dupuis)

I was lucky enough to have the wonderful New Orleans photographer Jeffrey Dupuis (Jeffrey Dupuis Photography) as a house guest for the three night run.  We arrived in Brooklyn just in time to grab something to eat some scrumptious $3.50 falafel sandwiches at Oasis, one of my favorite spots to hit before heading to The Brooklyn Bowl.

The turn out for a Tuesday night was exactly what we thought it would be. The venue was no where near sold out but the place was full of people who knew what was going to take place on stage that night. And what a great warm-up performance it was.

(Photo by Jeffrey Dupuis)

(Photo by Jeffrey Dupuis)

(Photo by Jeffrey Dupuis)

(Photo by Jeffrey Dupuis)

As they took the stage, each member had a blazing smile on their face and the audience was wild with applause. George Porter Jr. notices a couple in the audience wearing a “George Matters” tie-dyed tee shirt, the same shirt they had personally created and gifted to him many moons ago.  “I recognize that shirt,” he states as he starts the first jam, which was so unbelievably funky.

The following four songs were from The Meters catalog.  “The World” brought the funk full throttle as Brian Stoltz reminded me how much I had missed seeing him perform.  He is truly superb with his rock-driven funk guitar styling. “Fire on The Bayou” and “Change/Reform”  had the entire audience singing as they were the most recognizable Meters songs performed that night.  Porter growled deeply into the microphone as they pounded out a wonderful “Here Comes the Jungle Man” that book-ended a “They Don’t Know” tease.

The noticeable covers of the night were Lee Dorsey‘s “Get Out of My Life, Woman”, Professor Longhair‘s “Going to Mardi Gras” and Tom Waits‘s “Way Down in the Hole”. Porter and Russell Batiste, Jr. both pulled out solos that earned their own spot in the set list! Art showed his age but with a smile on his face, he played through with energy and had a few golden moments himself.

Best reason to do three nights: Rare Songs ~ NOLA Photographer Jeffrey Dupuis

In the end, we were given almost two hours of pure Funky Meters gold and we all walked out of The Brooklyn Bowl terribly excited and putting together our wish list for tomorrow night’s set list!

Set List – Night I
A Jam*
The World Is A Little Under The Weather >
Chicken Strut >
…Fire On The Bayou >
Cardova >
Get Out Of My Life Woman >
Here Come’s The Jungle Man >
They Don’t Know (tease) >
Here Come’s The Jungle Man >
Change/Reform >
Hang ‘Em High >
Africa >
Going To Mardi Gras >
Cabbage Alley >
Going To Mardi Gras >
Porter’s bass solo >
Way Down in The Hole >
Russel Drum Clinic>
Just Kissed My Baby
Porter’s bass solo >
Just Kissed My Baby >
It Ain’t No Use

* Art sings Billy Jean (Michael Jackson)

(Photo by Dino Perrucci)

(Photo by Dino Perrucci)

The Funky Meters (02.16.11)

Art “Poppa Funk” Neville – Keys
George Porter, Jr. – Bass
Brian Stoltz – Guitar
Russell Batiste, Jr. – Drums

Special Guests:
Nigel Hall– Vocals/Keys
Eric Krasno – Guitar
Adam Deitch – Drums

(Photo by Jeffrey Dupuis)

(Photo by Jeffrey Dupuis)

The second night had more of a turn out.  People had heard the buzz about the previous night and the venue was now 60-70% full.  My girlfriend, Ananda, was flying in from NOLA directly to the show.  As she flew towards us to the airport, my NYC crew and I hightailed it from Rockwood Music Hall after watching Nigel Hall Band perform on their quaint stage.  We all had our rage faces on as there would also be a third show we would be hitting after The Funky Meters.  As well, we had the knowledge of knowing that the Nigel Hall Band would be joining The Funky Meters on stage later that night. The excitement was never ending.

I had flown in straight from New Orleans, made my way through the crowd of smiling faces. Instant reunion with Jam Cruisers, NOLA to NY music lovers and friends old and new. It was my turn to come to their town. Love was everywhere, and the hugs and smiles were abundant, on stage and off. ~ NOLA Resident, Ananda Atmore

Porter was wearing yet another form of tie-dye shirt and Batiste was in another sports jersey, this time white.  The boys don’t stray too much from their signature styles.  Just like their first night, they started off with songs from The Meters catalog with favorites like “Here Come The Meter Man” and “Look-Ka Py Py.”

(Photo by Jeffrey Dupuis)

(Photo by Jeffrey Dupuis)

The covers of the evening were Roger Miller‘s “Chug-A-Lug,” Professor Longhair‘s “Tipitinas” and “Big Chief.”  The encore gave us “Higher” and “Sing A Simple Song,” both  Sly and The Family Stone covers while “Them Changes” was a Buddy Miles tune made popular by Jimi Hendrix and Band of Gypsies. “Peace Pipe” has me a bit confused. A friend suggested it might be a Mardi Gras Indian song.

“Love Slip Up on Ya” is a song specific to The Funky Meters catalog and Brian Stoltz once again blasted us with his masterful guitar. “Ride Me Dunky,” also a Funky Meters tune, saw Porter giving us his deep bass lines.

Stepping off stage for only a few moments, the fellas came on stage to perform “Be My Lady.”  However, as amazing as they were alone, The Funky Meters show blasted out of  control when the Nigel Hall Band took the stage for the remainder of the three-part encore.  Nigel grabbed the microphone, Adam Deitch sat in on drums and Eric Krasno played a second guitar for Sly Stone’s “Sing A Simple Song” and “Higher.”

I heard the first few notes of a familiar song, and thought “could it be?”. Are they really going to play it? YES! It was “Be my Lady”! This is an old Meters song that I haven’t heard performed in several years now, and a long time favorite of mine. This was my golden musical moment, and hearing them perform this song made the whole trip worth it in one moment. ~ NOLA Resident Ananda Atmore

(Photo by Jeffrey Dupuis)

(Photo by Jeffrey Dupuis)

The energy on stage was palpable. Watching Eric Krasno play across from Brian Stoltz was magnificent.  Two of my favorite guitarists having so much fun with each other on stage. Russell Batiste, Jr. banging on a cowbell, dancing all over the stage as he helped knock the energy up to another level. Art “Poppa Funk” Neville needed key changes shouted out a few times and then he left Nigel Hall to take over as he walked away for a breather and took the time to dance around to the music.

(Photo by Jeffrey Dupuis)

(Photo by Jeffrey Dupuis)

The Royal Family remained on the stage with the The Funky Meters to close out the show! And what a show this was.  The second night had been pure fire!! It was off to the third show of the night: DJ Nutritious‘s Bembe rage with Nigel Hall and Stephen Chopek.

Download Link To The Funky Meters @ The Brooklyn Bowl (02.16.11)

Set list – Night II
Here Comes The Meter Man >
Look-Ka Py Py >
Too Funky >
Bass intro Too >
Chug A Lug
Love Slip Up On Ya
Keep on Marching (Funky Soldier)
That Ain’t The Way to Carry On
Funkify Your Life
My Baby
Tipitina’
Hoo Chie Coo
Ride Me Dunky/Soul Island
Message From The Meters
People Say
Bass Intro too >
Big Chief>
Peace Pipe

Encore
Be My Lady
Sing A Simple Song*
Higher*
Them Changes*
Cissy Strut – tease*

*w/guest Nigel Hall, Eric Krasno & Adam Deitch

(Photo by Jeffrey Dupuis)

(Photo by Jeffrey Dupuis)

The Funky Meters (02.17.11)

Art “Poppa Funk” Neville – Keys
George Porter, Jr. – Bass
Brian Stoltz – Guitar
Russell Batiste, Jr. – Drums

Special Guests:
Eric Krasno – Guitar
?uestlove – Drums
Nikie Glaspie – Drums

(Photo by Alison Murphy)

(Photo by Allison Murphy)

Here we were, the third night of The Funky Meters.  The house was packed and this time, I was going to rage front row, right under George Porter, Jr.. I had taken myself from the front of the stage the previous nights to write on the elevated side of The Brooklyn Bowl because I knew I would dance away from my responsibility of writing if I was up front. Again, he is my religion after all.

(Photo by Jeffrey Dupuis)

(Photo by Jeffrey Dupuis)

(Photo by Jeffrey Dupuis)

(Photo by Jeffrey Dupuis)

As I walked around the venue throughout the show, I ran into musicians like Nikie Glaspie who was utilizing a bowling with her friends.  Henry Butler was standing amongst the crowd with a huge smile on his face.  Joe Russo and Eric Krasno were watching from backstage while the owner himself, Pete Shapiro, positioned himself atop a speaker right on the side stage sucking the entire thing in with a beaming persona.

(Photo by Jeffrey Dupuis)

(Photo by Jeffrey Dupuis)

It started off the same as the nights previous.  Batiste was wearing another green jersey, Porter was in yet another tie-die, Stoltz was in a button up with a few hipped out accessories. I forgot to mention his Kenny Rogers look he’s raging this tour.  He pulls it off nicely! The tapers were out in full force.  Sadly, even though I saw tapers each night, the third night was the only recording that could be found. Enjoy!

Download Link To The Funky Meters @ The Brooklyn Bowl (02.17.11)

The funky foursome brought the heat immediately after a funky, funky warm-up jam got the night started right.  Porter had his feet firmly planted into the ground as he put the bass in our face front row.

(Photo by Jeffrey Dupuis)

(Photo by Jeffrey Dupuis)

The night was full of amazing, jamming covers.  We got “Rainy Day Women” by Bob Dylan, “9 to 5” by Dolly Parton and “Love the One Your With” by Crosby, Stills and Nash.

(Photo by Alison Murphy)

(Photo by Allison Murphy)

There was a KILLER Rock-a-billy vibe during “Big Boss Man”, a Luther Dixon song made famous by Jimmy Reed.  They ran through “Simple Song” again, the Sly cover from the previous night.  The crowd was on fire, singing along to everything, filling in the lyrics when Art couldn’t remember them as they barely got through The Allman Brothers‘ “Midnight Rider” where Stoltz saved the day with a ripping guitar solo.

We had a few repeats with “Funkify Your Life”, “Hoochie Coo”, “Fiyo On The Bayo”, “Junko Partner” and “Cabbage Alley” among others. All audience favorites that we didn’t mind hearing over and over again.  “Aiko Aiko,” a James Crawford song made famous by the one and only Dr. John had the place erupting with dancing feet.


(Photo by Jeffrey Dupuis)

(Photo by Jeffrey Dupuis)

The entire night was so high energy and the event was capping off such a full week of funky New Orleans Love, it was just outstanding. Towards the end of the night, Eric Krasno, Nikie Glaspie and ?uestlove joined the stage for a percussion driven rage. Batiste, Glaspie and ?uestlove took turns beating the drums, the cowbell and just about anything else they could find to hit within their reach.  Krasno was back on guitar facing off across Stoltz.

(Photo by Jeffrey Dupuis)

(Photo by Jeffrey Dupuis)

The encore saw Krasno leave the stage and then jump back on as they weren’t done with him yet. The wicked funky “Keep on Stretching Your Rubber Band” and “Audubon Zoo”, originally titled “All Asked For You” and changed by their manager, closed the three night run.

The 3rd night didn’t disappoint either. The set list speaks for itself really. They played again Sing a Simple Song, which had me on the front row jumping and smiling even more enthusiastically than before. And the encore of Keep on Stretching your rubber band. Pure Funky Meters magic. ~ NOLA Resident Ananda Atmore

The Funk Meter was off the charts this last night.  Even though watching The Funky Meters is similar to watching Furthur, in the respect that they aren’t spring chickens anymore, they brought the FIYO to the Brooklyn Bowl the past three nights.

(Photo by Alison Murphy)

(Photo by Allison Murphy)

I watched as all the men got up, gathered in the center of the stage and bowed before us.  Porter walked to the front of the stage and I got a smile and handshake from him as he continued down the line of people in the front row shaking hands and thanking the audience for coming. I might never wash this hand.

Alison Murphy caught Porter shaking my hand! (Photo by Alison Murphy)

Allison Murphy caught Porter shaking my hand! (Photo by Alison Murphy)

The final part of this musical adventure placed me upstairs in the backstage area, shaking hands, hugging and taking pictures with George Porter Jr.  It was a trio of nights that I will NEVER forget. I hope you enjoy(ed) the shows!!

Setlist: Night III
Jam >
Funky Miracle >
Funkify Your Life >
Rainy Day Women >
9 to 5
Hey Pocky Way >Cissy Strutt >
Love the one you’re with >
Hoochie Coo
He Bite Me (the Dragon) >
Voodoo Child* >
Fiyo on the Bayou >
Big Boss Man >
Aiko Aiko ^ >
Junko Partner >Midnight Rider >
Simple Song #  >
Cabbage Alley >
Baby What you want me to do >
Hey Pocky Way

Encore
(Keep on Stretching) your Rubber Band
Audubon Zoo (All asked for you)
* w/ Billy Jean (Michael Jackson) tease
^ w/ She’ll be coming round the mountain
# w/ Krasno, ?uestlove, Nikki Galaspie
(Photo by Jeffrey Dupuis)

(Photo by Jeffrey Dupuis)

Me and my Religion :) GPJR!!  (Photo by Ananda)

Me and my religion 🙂 GPJR!! (Photo by Ananda)

Read Full Post »

Idina Menzel’s New York Philharmonic Debut w/ Marvin Hamlish at Lincoln Center’s Avery Fisher Hall

This article is dedicate to Kelli Dugan, my beautiful sister who constantly reminds me where our love for music is rooted.  For that, I am eternally grateful!

Music!  It amazes me.  No matter what kind, ultimately, one of the greatest things about music is its ability to draw people together.  My sister and I are like oil and water.  It works in some ways, in others, not so much! But one thing we have always connected through, although not always agreeing on, is music.

Growing up, my sister and I were raised around the symphonies, Broadway musicals and Disney On Ice events.  Our grandmother and mother got us season tickets to various Philharmonic groups and other classical performances.  Our father played jazz piano and surrounded us with the blues every night after dinner.  We grew a taste for finer music, smooth voices, song and dance.

Avery Fisher Hall

Avery Fisher Hall

I branched off, falling in love with the jam community after finding Jerry Garcia and Janis Joplin while my sister stayed with the more mainstream pop music side of life.  But, where our passions never differed was with Broadway.  My sister is completely addicted to the Broadway world as I am with our community.  So, when I found out that Idina Menzel would be debuting with the New York Philharmonic at Lincoln Center‘s Avery Fisher Hall, I immediately snagged tickets for her Christmas present.

Wicked's Elphba

Wicked's Elphba

For those of you not familiar with Idina Menzel, she is one of the greatest singing talents of our generation.  Raised in Queens and Long Island, her claim to fame was her Broadway debut as Maureen in the original cast of Rent where she was nominated for a Tony award.  She would later go on to win a Tony Award for her role as Elphaba, the green witch in Wicked.  The later became my sister’s favorite Broadway show immediately upon its release.  Sadly, we were never able to see the original cast of Wicked and thus another reason for the importance of this night!

Rent's Maureen

Rent's Maureen

Having never been to Avery Fisher Hall, I absolutely melted upon entering the building.  This wasn’t your average club venue or even a nice theater for that matter.  The grand Hall was simply stunning, dripping in rich textures and colors. There was an amazing layout of seats that allowed for everyone to have a clear view of the stage, twinkling lights bordered the many layers of seats around the audience and the acoustic set up was meticulous.

Avery Fisher Hall - Interior

Avery Fisher Hall - Interior

Marvin Hamlisch

Marvin Hamlisch

The New York Philharmonic had already taken their seats, waiting for their conductor.  When he finally came out, he was announced as Marvin Hamlisch and my sister jumped COMPLETELY out of her seat, leaning into me saying “How come you didn’t tell me Marvin Hamlisch was performing.  MARVIN HAMLISCH????   Seeing her reaction, I recognized that I should know this name.  Of all the classical music we had seen performed, I should have remembered this name.  Not only is he one of the world’s most famous conductors/pianists/songwriters, his contribution to music is never ending.   He is one of only two people to have been awarded Emmys, Grammys, Oscars, and a Tony, a Pulitzer Prize, and two Golden Globes. I mean, COME ON!!!   Musical talent at its best!

Idina Menzel debuts the NY Philharmonic

Idina Menzel debuts the NY Philharmonic

When Idina Menzel was announced, she walked out in a gorgeous white gown with a black belt matching her velvet black hair, wearing no shoes and the biggest grin.  Being an empathetic person, I could only imagine how swelled her heart must have been walking out on that stage, knowing she would be performing with the greatest symphony on Earth in one of the most prestigious music halls in the greatest city on Earth.  And her actions proved just that.  In a setting where the pompous, uptight, yuppie vibe generally overtakes the artists, over the night she would giggle, joke, take her liberties and just connect on such a personal level with all of us.

Seeing her walk out on stage drew a tear to my eye. I knew the music tonight would be touching but I wasn’t exactly sure how much.  A night where I thought my sister would be crying her eyes out showed me just how much I enjoyed this music as the tears came freely numerous times throughout the performance and I could be found asking my sister for all her tissues.

Jumping immediately into song, Idina Menzel sang “The Life of the Party” from The Wild Party, setting the tone for the otherwise unusually relaxed night at the Philharmonic.

“I’m Not That Girl” was our first taste of Wicked and had my sister gasping for breath as Idina‘s smooth voice registered to the tops of the balconies.  Such a pure voice. Then, Idina‘s personality came to form as she picked up the microphone and bantered with the audience.   She began with a little anecdote:

“In college, I had this professor and I had the biggest crush on him.  One day, we were given an assignment to pick out a Cole Porter song and we were asked to perform it in the front of class later in the week.  I picked out what I thought was the sexiest Cole Porter song I could find.  I dressed in the sexiest thing I owned and came into class.  I began singing the song and immediately he stopped me. ‘What are you doing?’ he asked.  I told him I was singing the song.  ‘Do you have any idea what this song is about? he asked.  He proceeded to tell me how this was a women on the streets, she was cold, tired and hungry….and scared”

As she lowered her voice, almost whispering the word “scared,” she broke into Cole Porter‘s “Love For Sale,” one of the most beautiful Cole Porter songs ever written. It was sensual, painful and contained all the hurt and lust that this women from the street evoked.  Idina nailed the emotions perfectly. Her teacher had made his point.  And then, before she even began singing I could hear the mash-up coming.  She threw in some of the “Idina spirit” as I would come to call her little bursts of personality.  She mashed Cole Porter‘s song with Sting‘s “Roxanne.” Kelli and I both giggled.  Even the uptight grandmother next to me grunted out a little smirk.

Idina Menzel and Marvin Hamlisch

Idina Menzel and Marvin Hamlisch

One of the greatest thing of this performance was how low-key Idina made it feel.  She owned it, making it her own with her bare feet and her fun stories. This time she spoke fondly of Jonathon Larson, writer/composer of the musical Rent. How this wonderful man spent his last days creating what would become one of the Broadway‘s most famous and acclaimed musicals only to die the day before seeing his masterpiece come to life on stage.  She spoke of how this moment in time truly changed her outlook on life.  How every night, the cast performed to their highest abilities in honor of this wonderful man.  How she took the lesson of truly appreciating living in the moment and trying to preserve those moments in her heart once she had stepped away from them.  The tears had started flowing in the eyes of the woman surrounding me.  Tissues started making their way into the hands of men who appreciated the context of the story. 

I wrote out this entire article before looking for videos.  There was a strict no video or  picture rule and flashlights abounded around us as security descended upon any light they saw in the audience.  I am totally shocked that so many videos came up in my search.  After watching the videos again, I can’t help but transplant back into Avery Fisher Hall, soaking up the elegance, the purity and the energy of the swelled hearts around me.  During “No Day But Today” from Rent, Idina held out the microphone and allowed us to join in her triumph debut. It began as a soft A Capella and tears were streaming down the audiences face, especially mine.  Here is the video. It speaks for itself.


“Look To The Rainbow” followed from Finian’s Rainbow, a Broadway show I was unfamiliar with.  Then, probably the most interesting or perhaps just odd portion of the show, the singing of Lady Gaga‘s “Poker Face.” Oh, man am I sick of hearing this song being covered by every artist on Earth.  Now here we were, in the most elegant Hall in NYC with the world’s greatest Philharmonic performers, performing this ridiculous yet catchy song.

“Hey you guys, don’t you feel that you’ve arrived, playing this song?” she joked to the musicians on stage.

The reason for this choice song was simple.  Idina Menzel had recently made an appearance on GLEE, the hit show on FOX and “Poker Face” was the song she performed as the mother of Rachel played by Lea Michele.  The video is HILARIOUS as Idina stopped multiple times throughout the song to banter with the audience and Marvin directly.  She is EXTREMELY ADORABLE!!


Not sure why I knew this was coming but Idina‘s next anecdote focused on her greatest Idol and one of the other great voices of a slightly older generation, Barbra Streisand. Idina had been tapped to perform for a performance for Barbra Streisand and her nervousness was simply overwhelming. She practiced and practiced and finally, she performed terrified as she watched Barbra sitting across from her seated next to George Bush at the event.   Later, as they feasted at the event, Barbara approached Idina and asked “Did you sing for me tonight? I didn’t have on my glasses!”  As the audience laughs along with the musicians, Idina broke out her jazzy vocals to sing “Funny Girl” and “Don’t Rain on My Parade,” both songs made famous by Barbra Streisand.

Finally, closing out her gorgeous performance, she thanked us for being there, she thanked her parents, her staff, her loving husband, Tey Diggs, and her new son Walker, at which point she began to get emotional.  As well, those around me were again picking up their various tear sponges.  Possibly the most beautiful part of the performance, the lights dimmed and a single spot light beamed on Idina Menzel. The instruments were laid to rest and the microphone was turned OFF.  Idina filed our ears with a crystal clear, A Capella version of “For Good,” one of the most gorgeous and beautifully written messages in the musical Wicked.

There were a lot of sniffles during this entire event but nothing like this.  My sister had finally lost her composure and I had to hand her back the tissues that she had so lovingly offered me earlier in the show. Idina was singing directly to her in that moment and I was so happy to have my sister….my friend…with me in this moment.

Idina Menzel bowed to the multiple faces beaming back at her. She had filled our spirits with a songbird’s voice. We were so happy as she exited the stage.  Marvin and the Philharmonic stayed still as she finally came back to the thunderous applause for a three part encore.

The song that we had all been waiting for was to follow: “Defying Gravity,” the defining song as her role of Elphaba in Wicked. The video is not great as the taper was trying to hide from security but the music is what is important and that comes across fine!

After “Defying Gravity,” Marvin Hamlisch grabbed the microphone and proclaimed:

“So, you chose the songs of all your favorite names in music but you haven’t sung one of MY songs…just saying.”

So, Idina took her seat on the stool provided for her as Marvin left his podium to take his place at the instrument that made him a legend…the grand piano. His first few taps of the ivories released the song immediately.  Before Idina even sang the first few words I heard gasps of recognition around me. She was singing “What I Did For Love,” the Marvin Hamlisch‘s Tony award winning song from A Chorus Line. It was just Idina, Marvin and a piano.

Finally, dedicating the last song to her mother, her road nanny and biggest fan, she sang Annie‘s “Tomorrow.” A musical that her mother refused to let Idina try out for so that she could “be a real little kid.”  It was so beautiful.  There is really something about purity of voice and emotions felt in the music that instruments can’t touch.

https://i0.wp.com/ecx.images-amazon.com/images/I/41TUgArKtyL._SL500_AA300_.jpg

Idina never choose a song from her cd, I Stand, and I wondered why? Not that I was complaining, but it almost felt expected being that it was newly released. However, in a room filled with Gleeks, Broadway junkies, wanna-be singers, Opera lovers, and Philharmonic followers, Idina Menzel offered up something for everyone. And there wasn’t a dry eye in the house when she finished!

Set list:
“The Life of the Party” from The Wild Party
“I’m Not That Girl” from Wicked
“Love For Sale” from The New Yorkers / “Roxanne” by Sting
“No Day But Today” from Rent
“Look To The Rainbow” from Finian’s Rainbow
“Poker Face” as performed on Glee
“Funny Girl” from Funny Girl
“Don’t Rain On My Parade” from Funny Girl
“For Good” from Wicked
“Defying Gravity” from Wicked
“What I Did For Love” from A Chorus Line
“Tomorrow” from Annie

Read Full Post »

Bernie Worrell: Jazz Standards @ The Bitter End (01.20.11)

The Bitter End, East Village, NYC

The Bitter End, East Village, NYC

For music heads like us, it is nights like these that we live for, nights like these that we crave! A night where one of your favorite musicians step outside of his genre to show you a softer side. A night where one of your favorite musicians surprisingly joins a stage he wasn’t slated to be on. It is the moment when the music takes a drastic turn in the most unexpected ways and the musicians you love show you that they have more to give in a way you could imagine.

On this night, Bernie Worrell, a founding member of Parliament/Funkadelic and well known for his work with The Talking Heads, would carry into his musical world and show us just how he interprets Jazz Standards.

The Bitter End, East Village, NYC

The Bitter End, East Village, NYC

As I entered The Bitter End, a venue I had never frequented prior to this night, I recall feeling a musical presence immediately.  I can’t put this sentiment into words really but in hindsight, without really knowing who I was seeing at first and eventually figuring out just who all I was going to see that night, you might possibly understand how I felt the power of all that talent in that room.  There were some heavy, HEAVY hitters joining Bernie Worrell on stage this night.

The Bitter End is a famous place!  Apparently, it is Manhattan’s longest running Rock  Club even though tonight we would be delivered jazz mixed with a bit of the FUNK!  The venue itself is small with a typical bar atmosphere towards the front.  Continuing past the bar, the stage is situated on the right side of the venue surrounded by few tables and booths. The place was not large by any means, perhaps able to hold a few hundred people, less then 100 seats to be sure.

Upon settling into our table, I took a moment and introduced myself to Bernie’s wife, Judie Worrell.  Such a vibrant creature, she was wearing fuzzy raver boots and purple tights. I liked her immediately.  We discussed the set and made a plan to talk after the show. For now, I wanted to focus.

Bernie Worrell and Friends @ The Bitter End

Evan Taylor – Drums
Andrew Kimball – Guitar
Will Bernard – Guitar
Tim Luntzel – Bass
JT Lewis – Drums
Glen Fittin – Percussion
Chops Horns: Dave Watson and Daryl Dixon

Bernie’s rig was situated on the left side of the stage, a peninsula of keys consisting of  a Mini Moog, Hohner Clavinet, ARP Pro Soloist, Kawai PH 50 (keyboard on top of the other keyboard), a Baby Grand and a Melodica (handheld).

He slipped into the seat, alone on stage, and proceeded to start the show with the gorgeous solo piano piece “Take the A Train”, a signature song of The Duke Ellington Orchestra and written by Billy “Sweet Pea” Strayhorn.  I was speechless.  Completely taken aback.  I wasn’t sure what I was expecting but watching Bernie Worrell, the king of funky keys, sitting there playing this beautiful jazz arrangement, sitting only a few feet from us, it was very special.  It was an elegant moment for an otherwise dive-y bar/location.

Peep the pimpin jacket...

Peep the pimpin jacket...

Worrell studied both jazz and classical music at New England Conservatory of Music which makes me love him even more.  After the lovely solo piano intro, the rest of the stage filled up with the remaining musicians that would provide a superb complimentary background to Bernie’s performance.  A wonderful surprise was revealed as Will Bernard took the stage with his guitar.  This is one of my favorite jazz guitarists on the NY scene and a complete surprise as, I believe, Smokey Hormell was slated to play.  This cemented the night in my mind.

Bernie Worrell is a man full of flavor. He was wearing leather pants, purple and gold Nike kicks, a styling hat, and this trippy fish jacket. Oh man, I wish I could describe his jacket. But alas… the picture must suffice. Bernie introduced all the men on stage graciously. Apparently, the baby faced mutton chop wearin’ drummer Evan Taylor, was to thank for this night of music. It was his idea to put this project together and Bernie was ecstatic over this fact. So was the audience!

“It’s so GREAT to be able to play with these youngsters” ~ Bernie Worrell

The second song, wonderfully caught on video (thank you labellemusic), was Benny Golson‘s “Killer Joe.” The Chop Horns, consisting of Dave Watson and Daryl Dixon stood in front Steven Cage in the middle. I was unaware of who many of these artists were until tonight.  I knew Bernie of course, and Will Bernard. But the other musicians on stage would proceed to slay me with their talent.

“Well, here we go!” screams Bernie as they head into “Aqua De Beber.”  Andrew Kimball on bass took the first solo on this a bossa-nova jazz standard.  I was shocked at how well the horns blended into the room. I was thinking that with horns like this in such a small space that we were going to be blasted.  But either the sound guy works magic or this trio was just on point with each other because they melded seamlessly and never once overpowered any other part of the stage.  It was here that the Parliament/Funkadelic side of Bernie Worrell came alive, producing his signature sound, bending the notes and giving us a trippy, spacey vibe behind the jazz.  Will Bernard took his first solo and everything seemed to come together.

The Chop Horns exit and we got a salsa vibe radiating from the stage. The hearty jazz standard “Take Five” had Bernie standing and playing the synthesizer. Bernie went a little wild on his machine as he played the meat of the song on his keys the only way Bernie could and the crowd went wild. Shooting back to the Baby Grand, he manipulated the notes with one of his many contraptions. The rest of band just floating in the background, all eyes were on Bernie. I thought the song had changed but Will and Co. had just laid out their instruments. It got really heady in there. This jazz standard had been touched by a funkadelic angel. It’s flavor was 110% Bernie’s.-+

Bernie and his krewe

Bernie and his krewe

“You’re My Thrill” was next.  A favorite song of mine for the ladies to sing even though we would get no singing here. It has been covered by Lena Horne, Billie Holiday, Ella Fitzgerald and just the complete cream of the female voice crop.  Bernie was back on his synthesizer for this song and only he played the opening of the song as JT Lewis provided the beat.  At some point during this song, there seemed to be a bit of mis-communication that led to Bernie going rouge on part of the song.  They were trying to figure out when to head into the bridge of the song.   As Bernie flew through a solo on the Moog, Will Bernard tipped his hat to the keys genius, as if to say: “This is your time, do your thing music god!” And then Bernie looks up and realizes that all eyes are on him and they head into the bridge.

Gettin' Some!

Gettin' Some!

Will Bernard soloed into the second bridge and he really took his liberties with his guitar, overpowering any other guitar that was on stage. I got to be honest, I can’t even recall hearing another guitar let alone focusing on another guitar. Honestly though, Andrew Kimball was probably stoked to be playing along side Will Bernard. He is THE MAN after all.

Then came a drum solo that had me silently flipping out. Being a closet drummer lover, I LOVE drum solos/drum battles. JT Lewis was this drummer’s name and I left The Bitter End so wrapped up in his sound, I can’t describe it. I couldn’t wait to go research him. I recall leaning over to Maurice and asking, “Who is this guy!?!”  Maurice preceded to hand me his Iphone showing a never-ending, big named list of the projects that Mr. Lewis had been a part of. The man has performed/recorded with over two hundred artists from all genres. The list Maurice showed me was endless. I hope you check him out. Wish I could link a site to his name but the man doesn’t have a website? He is so acclaimed yet no website? If you are seeing this Mr. Lewis, please have your staff create a sanctuary for us to go and listen to your beats or find where you will be performing next. You are amazing.

The Chop Horns were back on stage now for “All the Things You Are.” This song was originally released through a Broadway play, Very Warm For May .  So fun! I LOVE BROADWAY. As the sultry song began, Dave Watson took to the microphone, announcing that Darryl Dixon was the horn player for Parliament/Funkadelic‘s “Flashlight.”  Thunderous applause came from that tiny venue. You have to  love when artist talk to us, give us back-stories, emotions become involved, you are part of the music, the culture, if only for a minute in time. You’ve played some part in making that musician who he is while the musicians enhance our moment in time through entertainment. Such a symbiotic relationship between artist and fan.

Bernie teases “Flashlight” and they plug his CD. “It’s all about all of us,” says Bernie.  Bernie feels the symbiotic thing I was talking about, doesn’t he haha? A funky flavorful jam with horns and Bernie bending his sounds with his many contraptions.  I noticed the night got progressively funkier and obscure as it progressed.

Glen Fitten ~ Percussion

Glen Fittin ~ Percussion

Bernie directs a compliment towards Daryl Dixon.  “I knew what he had when he first joined P-Funk.”  There were smiles.  It was a touching moment and you could see the thanks in Daryl’s eyes as he smiled back at Bernie.  Bernie then intro’d the solo to Bye Bye Blackbird”, another one of my personal favorite ballads!!!  A little confused, I leaned over to Maurice Brown, a SUPERB trumpet player from Chicago who joined our musical krewe that night, and asked him if his trumpet “had that wide base like that as well.”  He proceeded to tell me that the instrument I was looking at in Steven Cage’s hand was a flugelhorn, not a trumpet.  Learn something new everyday! Dave Watson had changed to a flute to close the song and once his lips finally pulled away from his instrument, he said: “That song was like a pretty woman…you don’t ever want to let her go.”

Bernie brought the Melodica to his lips for “Moon River”, but not before throwing out an intro on the keyboard.  Oh, how I LOVE this song.  The one thing I took away from this song was the fact that Bernie is passionate. His eyes close as he slowly and severely played the Melodica.  I am not the biggest fan of this instrument as it sometimes sounds childish but Bernie took this song and ran with it.  Quietly, softly, romantically.  I found myself very moved in the moment. Bernie requested a glockenspiel solo from Glen Fittin and the xylophone raged in a soothing manner.

Bernie holds Melodica during Keys intro...

Bernie holds Melodica during Keys intro...

The show had started off as jazzy and cool as it could have been and gradually, over the course of the show it got funkier, more obscure. And then Bernie brought it. He brought the jazzy funk goodness into “Watermelon Man”. Everyone was back on stage, Bernie was on his synthesizer and the horns were in full blast. I loved watching Daryl Dixon move as he played, with confidence and grace in his jiving moves.

At this moment, and many other moments throughout the night, I realized how desperately I wish there had been a taper present. I was sad for everyone outside of this little hole-in-the-wall venue. They were missing this great show. Bernie turns to the Rhodes, called out to The Chop Horns and Will Bernard charged through on his guitar. This was a spectacular funky ending to an otherwise wonderful jazz performance touched by a funk god!

Bernie and Friends!

Bernie and Friends!

 

When the show was over, everyone was on their feet. This was both completely unexpected and expected at the same time. I was blown away over the quality of sound, the quality of music but at the same time, I knew this was going to be special and that is why I was here.

Setlist:

1)  Take A Train
2)  Killer Joe
3)  Aqua De Beber
4)  Take Five
5)  You’re My Thrill
6)  All The Things You Are
7)  Bye Bye Blackbird
8)  Moon River
9)  Watermelon Man

Tiny Rager with Will and Bernie!

Tiny Rager with Will and Bernie!

 

Read Full Post »

Robben Ford, Toss Panos, Andy Hess & John Scofield @ The Blue Note (12.01.10)

Happy Birthday To Ali Greenberg!!  Ali made my night by picking a wonderful choice performance for her birthday celebration, choosing an intimate John Scofield and friends performance at the Blue Note in the East Village, NYC for a lovely Wednesday night of music.

On stage tonight was:

Robben Ford – Guitar & Vocals
Toss Panos – Drums
John Scofield – Guitar
Andy Hess – Bass

Robben Ford, Toss Panos, Andy Hess & John Scofield - The Blue Note, NYC 12110 (Photo by Dino Perrucci)

Robben Ford, Toss Panos, Andy Hess & John Scofield - The Blue Note, NYC (Photo by Dino Perrucci)

Video and pictures, other then professionals, were prohibited and as our crew arrived early, we were sitting pretty much directly on the stage and I was unable to get away with much.  Thank goodness for Dino Perrucci of Dino Perrucci Photography being present to capture a few moment on camera for us! The pictures throughout the article are his. THANKS DINO!!

I was excited to see tonight’s performance not so much for John Scofield this time but for Andy Hesss and specifically Robben FordRobben Ford is a five-time Grammy nominee and has played with artists as diverse as Joni Mitchell, Jimmy Witherspoon, Miles Davis, George Harrison, Phil Lesh, Bonnie Raitt, Claus Ogerman, Michael McDonald, Bob Dylan, John Mayall, Greg Allman and many others.

Robben Ford - The Blue Note, NYC 12110 (Photo by Dino Perrucci)

Robben Ford - The Blue Note, NYC 12110 (Photo by Dino Perrucci)

After the first song (unknown title), John Scofield introduced the members of his posse on stage.  There was a joke made then went into Traveling Riverside Blues, a Robert Johnson original made famous by Led Zepplin.  A JAMMING Good Morning Little School Girl was next, a song covered so many times that it has been acknowledged by the Blues Foundation Hall of Fame.

The joking continued throughout the night into the next song.  Robben Ford suggested that John had created this blues style song during their two day rehearsals in L.A. and he believed it didn’t have a name.

Yes! We practiced!Robben snickered.

Scofield responds, “Yeah, you have to rehearse the blues.  And actually, the song does have a name and it’s called Slow Blues in F Sharp. ”

It’s in the second fret,”  jokes Scofield to Robben, the audience half gasping, half laughing. “Just kidding! He knows what he is doing!

Robben Ford & John Scofield - The Blue Note, NYC 12110 (Photo by Dino Perrucci)

Robben Ford & John Scofield - The Blue Note, NYC 12110 (Photo by Dino Perrucci)

Andy Hess, ex-bass player for Gov’t Mule, ripped his spot the entire set.  Being that I was positioned directly under Scofield, hoping not to get sweat dripped on me as the place was scorching hot, Andy was blocked most of the set but his strings stood out in each song. My ears kept being drawn to his style of playing.  I found their song choices for the evening fun and feisty as opposed to some stiff jazz performance. The boys had fun in that short window of music.

John Scofield - The Blue Note, NYC 12110 (Photo by Dino Perrucci)

John Scofield - The Blue Note, NYC 12110 (Photo by Dino Perrucci)

Sadly, the set only last a little over an hour, one hour and seven minutes to be exact.  Having to pay $35 to be seated at The Blue Note plus having a $5 minimum at your seat (which really means another $10 plus tip as nothing costs $5.00), brought the bill up and I expected more music for that price, especially since the following set didn’t begin until 10:30pm.  I felt a bit slighted, not going to lie.  AND you have to pay again to view the second set.  Alas…it was annoying but it was worth it regardless.  A nice birthday celebration with friends over a show is never something to complain about 🙂

The crew on stage debated over the next song.  Lovin’ Cup was “on thier list” so they choose that one. John Scofield talked about how he and Robben were fourteen years old together back in 1966 and loved this song.

Aside from the short length of the performance, it was a nice quick bite of music for a Wednesday night.  Can’t go wrong with that 🙂  Everyone should check out Robben Ford when you get a chance.  The guy wails.

Set list: Unknown First song, Traveling Riverside Blues, Good Morning Little School Girl, Slow Blues in F-Sharp, Lovin’ Cup

John Scofield - The Blue Note, NYC 12110 (Photo by Dino Perrucci)

John Scofield - The Blue Note, NYC 12110 (Photo by Dino Perrucci)

Read Full Post »

« Newer Posts - Older Posts »