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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

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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!

 

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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)

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Bonerama 2010 Best Rock Band Award
2010 Best Rock Band Award

Again, another night of wonderful music to start off the weekend. Every Friday in November, Bonerama held a November Northeast Residency Tour at Sullivan Hall in the East Village, NYC.  I attended their 11.12.10 performance with Jonathan Batiste a week earlier but it was tonight’s performance (11.19.10) that had us purchasing tickets the day the residency was announced many moons ago. Buzz Universe would open the venue at 9pm. The Nate Wilson Group opened the show at 10pm with Bonerama going on around 11ish.

Formed back in 1998 by Mark Mullins and Craig Klein, Bonerama won this years Big Easy Best Rock Band Award.  This is a truly impressive feat and should be greatly recognized.  A Brass-filled Funk Rock Band winning over all guitar rock bands?  That is just impressive.   They do have a guitar which Bert Cotton rages the hell out of but it is the horns that draw their crowd to the venues.  They have released five CDs and had the luxury of holding stage with brilliant musicians all over America.  I beg you to attend one of their shows in your area….check out their tour schedule here.

Bonerama

Greg Hicks – Trombone
Jason Jurzak – Bass
Mark Mullins – Trombone
Terence Higgins – Drums
Craig Klein – Trombone
Bert Cotton – Guitar

Special Guests:

Steve Kimock – Guitar
Kyle Hollingsworth – Keys
Maurice Brown – Trumpet
Jonathan Batiste – Keys
Nate Wilson – Keys
Chuck Perkins – Poet

BC to Kyle (Photo by Allison Murphy)

BC to Kyle (Photo by Allison Murphy)

As we arrived, the stage was in the process of being arranged for Bonerama.  It didn’t take long.  When the lights dimmed, the front row got a little more smashed but as usual our crew had locked down the front providing plenty of space for me to just dance my face off.

The stage filled with BONES!!, the nick-name given to or adopted by the members of Bonerama, and it took them no time at all to for Mark Mullins and his Bones to blast into a Meters Medley containing verses and measures from Stay Away, Doin’ The Dirt, 9 to 5, and Stay Away.  The energy rose right off the bat and the small venue started dancing in unison almost immediately. Terence Higgins (Dirty Dozen Brass Band) started the set at the drum kit, the only special guest to be on the stage from the beginning.

Bayou Betty followed but it wasn’t long until Bonerama decided it was time to bring the heat.  Introducing Kyle Hollingsworth (The String Cheese Incident) on stage to cover the keys, they bounced right into Deed’s Well Done.

CK & Kimock (Photo by Allison Murphy)

CK & Kimock (Photo by Allison Murphy)

Almost immediately, they introduce Steve Kimock (Steve Kimock Crazy Engine) to the stage.  Praying that he would position himself somewhere towards the front of the stage, we were denied.  He tucked himself behind Kyle‘s keyboard and barely smiled.  I absolutely adore Steve Kimock. He was the main reason I was there but as someone close to me so aptly pointed out, the man has hardly any stage presence.  Not complaining , just observing.  He doesn’t smile, he doesn’t have much expression at all.   But Jerry loved him. And when you are as talented as Steve Kimock, you don’t need to do anything but play.  To been seen shouldn’t be important to those who are feeding our ears with music. Is it your image or your sound you want us to recognize? Kimock is all about the sound and there is nothing wrong with that 🙂

By Lost, a Kyle Hollingsworth song, all three major guests had joined the stage. Kyle, Steve Kimock and Terence Higgins.  Kyle starting out the song with the NOLA styling of his keys and singing with his smooth voice.  This was totally his song from the singing to his keys solo towards the end.  At this point, the show just gets hotter and hotter. I really do advise you all to download the link at the bottom of the article and listen to it as soon as you can 🙂  The jams, the horns, the hotness….Oh My!

Now, a song for the horns!! When My Dream Boat Comes Home, a song made famous by Fat Domino and Patsy Cline, saw Maurice Brown‘s trumpet popping up into the massive group of trombones that filled the right of the stage.  Maurice, a New Orleans transplant, was giving ample time to show us his chops on the horn. With every pull from his trumpet, he made furious little faces reminding me of Skerik for a moment in that respect and I promised to pay more attention to him next time. Perhaps see his solo show somewhere. Afterward, Greg Hicks takes some time to thank Maurice for the performance.

MM & Maurice (Photo by Allison Murphy)

MM & Maurice (Photo by Allison Murphy)

It’s about this time that the music reaches a boiling point and they never take the lid off until the end of the set. The light show got a bit better.  Steve Kimock ripped open his arsenal of talent unleashing it upon 21st Century Schizoid Man, finally taking a few steps to the front of the stage.  He plays Jerry so well as it was sounding right then.  However, his sound is unique and those of us who truly love him can pick him out of any song.  The members of Bonerama blasting their horns out to close off a trippy jam, reminding us that this was a rock concert and they were the leaders!!!

CK & Kimock (Photo by Allison Murphy)

CK & Kimock (Photo by Allison Murphy)

The jams kept coming one after the other continuing on with The Way It Goes, another Kyle Hollingsworth song.  Maurice exists the stage leaving the other special guests still on stage. Kyle Hollingsworth gave us one more hot and heavy keys laced jam before Jonathan Batiste was invited to take his place at the keyboard.  As well, Chuck Perkins entered the stage.  Not knowing who he was but LOVING spoken word poetry, this was one of my favorite parts of the evening. “Lights, Camera, Music…

And then we got the jamming-est Bonerama Whipping Post I’ve heard in a long time. Jonathan Batiste on the keys and Maurice Brown on trumpet. Great! (Much better on the recording.)

Set 1: Meters Medley, Bayou Betty, A Deed’s Well Done, Lost, When My Dreamboat Comes Home, 21st Century Schizoid Man, The Way It Goes, Poetry Jam, Something You Got, St. James Infirmary, Whipping Post

Kyle Hollingsworth sang and played on Lost, When My Dream Boat Comes Home, 21st Century Schizoid Man, The Way It Goes

Maurice Brown played on When My Dream Boat Comes Home, 21st Century Schizoid Man, Poetry Reading, Something You Got, St. James Infirmary and Whipping Post

Steve Kimock sat in on Lost, When My Dream Boat Comes Home, 21st Century Schizoid Man, The Way It Goes, Poetry Reading, Something You Got, St. James Infirmary

Some Steve Love

Music...

Music...

During set break, I got a chance to chat with Kyle Hollingsworth.  I mentioned enjoying his set at Camp Barefoot in Virginia earlier that year.  He thought for  second and then it registered.  “The one with all the moonshine,” he said.   He spoke of how he and his band found El Jefe in a convenient store on the way to that festival.  I had come to the show last weekend and had some time to chat with my friend  Terence Higgins but wasn’t able to catch him this set break. We emptied onto a smoky street to rest before set II.

A few times throughout the show I gave my front row spot to  the lovely Allison Murphy of Allison Murphy Photography. Hope you are enjoying her photos 🙂 I will let you listen to the rest for yourself but a few fun points about Set II before I go.

MM & CK (Photo by Allison Murphy)

MM & CK (Photo by Allison Murphy)

Set 2: Intro, Swamped In, The Other One, Dark Star, The Other One, You’re The One, Yer Blues, Allright Allright, Bap Bap, Moby Dick

Encore: Crossroads

Kyle Hollingsworth sat in on keys for Swamped In, The Other One, Dark Star, The Other One, You’re The One, Alright Alright, Bap Bap, Moby Dick.

Steve Kimock sat in on Guitar Swamped In, The Other One, Dark Star, The Other One, You’re The One (his song), Alright Alright, Bap Bap, Moby Dick

Nate Wilson on keys, Joe Scatassa and Asher Rosssat on Trombones and Scott Bourgeois on Sax for Yer Blues

Bonerama + Hollingsworth + Kimock

Bonerama + Hollingsworth + Kimock

Last thing, a small anecdote, perhaps a warning.  A girlfriend of mine got spit on during one of the songs.  I saw it out of the corner of my eye fly from the trombone and land near her spaghetti strap. LOL!!!  She saw me register it and then we both broke out laughing.  The conversation that ensued was hilarious.   Now, was this spittle awesome or gross?  My girl was totally grossed out but trying to find the humor in it.  However, there happened to be a red-hatted woman in the front row being overly playful with Craig Klein. Totally Wook Video Network worthy if I had had the stealth to tape her, which I didn’t tonight.  She would have loved something like this to happen to her. Should we have wiped it for her as a souvenir?  LOL!!  EWWW! But let this be a warning to you all.  You rage some front row Bones, you are bound to be spit on.  Second set, I give my spot to a lovely woman and within seconds she leans back and whispers, “You get spit on up here don’t you?” And with that, she turned around with a huge smile on her face, welcoming whatever came her way because she KNEW them Bones were worth it!!  Enjoy the show!!

Download: Bonerama Live at Sullivan Hall on 2010-11-19 (November 19, 2010)

Bones + Maurice

Bones + Maurice

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” We Wish You Were Here” ~ Allen Woody Benefit ~

Allen Woody

Allen Woody

An absolutely historical night of music.  A bitter-sweet night of music.  A magical combination of guitar-shredding artists who came together for the memory of one man. Allen Woody!

Allen Woody!! For those of us who tend to seek out a bass line in a song, the name Allen Woody should register in your brain’s musical library.  Specifically, in the southern rock genre. He was the stand-out bassist for bands such as The Allman Brothers Band, Gov’t Mule, The Artimus Pyle Band and more.

Allen Woody

Allen Woody

His unexpected passing on August 26, 2000 encouraged his fellow musicians to hold the first benefit called One For Woody in September 2000.  Tonight, ten years later, Warren Haynes and an ARSENAL of guitar-wielding friends put together the second benefit for this greatly missed musician: Another One For Woody: “Wish You Were Here!”

This was a man whose musical presence touched the lives of numerous musicians, inspired a genre and who’s musical contribution deserves recognition.  Tonight, people paid over $140 a ticket to pay homage to this dearly missed bass player whose tragically early departure from music left a gaping whole in the sound of southern rock.  The proceeds from this 10th Anniversary event went to raising money for musical education in schools.  For every person we heard complaining about the price, we politely reminded them of this fact.  Having just had the privilege of attending T-Bone Burnett’s “Waiting For Superman” Benefit at The Beacon (click for my review) a few weeks earlier, it is safe to say that the quest for keeping music & art in the school system is not going to ever be ignored. We are all soldiers in that fight.

“It’s too loud? Too fuckin’ bad” -Allen Woody 4/4/96

Roseland Ballroom

Roseland Ballroom

Arriving at 6:45pm, I had quibbled with my man over arriving to the venue early. He didn’t want to stand around for hours and I wanted to make sure we had ample time to arrive early enough for good viewing locations.  Roseland Ballroom is one of those venues, like Terminal 5, that has a sardine-like feeling with horrible site lines due to low ceilings and poor design.  Doors were meant to open at 6pm but didn’t open until after 7pm.  When we arrived, the line to the venue was wrapped completely around the block. Of course, even being an hour early, we were still slightly late but the first of our friends. Our section of the line starting to bulge as more friends joined our space.

Dino Perucci (Dino Perrucci Photography) and Allison Murphy (Allison Murphy Photography), two of my favorite NY based photographers, were walking the front of the stage.  My smile swelled because I knew that I didn’t need my camera tonight.  Throughout this article, many of the pictures you will see are shots through their lens.  Thanks to both photographers for allowing this Tiny Raging blogger to stand there and take it all in, not having to worry about the pictures.  And thank you, not simply for this show, but for the hundreds you do every year. Thank you, from all the people who admire your talent and work, for doing what you do and bringing the music to our eyes.

The show was supposed to start at 7pm and the doors didn’t even open until after 7pm.  After a lovely chat with the lovely Allison Murphy while the unusually long sound check and stage set-up it seemed about that time.  Those of us in the front were debating which musicians would be standing/sitting/playing where.  As long as I could see a full-on shot of Derek Trucks, Warren Haynes and Luther Dickinson, I didn’t care where I was standing.

Warren Haynes Acoustic Set

Warren Haynes – Guitar
Edwin McCain – Guitar
Kevin Kinney – Guitar

Out walks Warren Haynes with two other musicians that I am unsure of.  It wasn’t until maybe an hour later that I found out that the men were Edwin McCain and Kevin Kinney. This was the acoustic set and it was beautiful.

As soon as Warren Haynes started his strumming into Kevin Kinney‘s Just Outside Of Heaven (A Good Country Mile), I got that religious swell that I sometimes reach when the beauty of the music overwhelms me.  This time, it was just as much the energy in the room as the music.  I looked behind me and saw the faces of all my friends just beaming with excitement and love.  Edwin McCain sang The Lucky One.  All three sang on a gorgeous rendition of I Shall Be Released.

Set: Just Outside Of Heaven (A Good Country Mile), The Lucky One, I Shall Be Released

North Mississippi Allstars Duo

Luther Dickinson – Guitar & Vocals
Cody Dickinson – Drums, & Electric Washboard

Special Guests:

Gordie Johnson (Big Sugar) – Guitar
Artimis Pyle (Lynyrd Skynyrd) – Drums
Danny Louis (Gov’t Mule) – Keys
Audley Freed (Cry of Love) – Guitar

Around 8:15pm, the Dickinson Brothers,  tonight calling themselves the North Mississippi Allstars Duo, took the stage.  The Dickinson family had a wonderful connection to Allen Woody over the years.  The late Jim Dickinson, the Duo’s father, was good friends with the members of the Allman Brothers Band back in the day and when the North Mississippi Allstars toured with Gov’t Mule, they have fond memories of Allen Woody sitting in with them.

Warren Haynes + Gordie Johnson (Photo by Allison Murphy)

Warren Haynes + Gordie Johnson (Photo by Allison Murphy)

The Brothers Dickinson brought the Memphis blues to our ears with Sitting On Top of the World, a 1930’s standard. The gospel tone came out with Shimmy She Wobble > Station Blues > Preachin’ Blues, all North Mississippi Allstars originals.  It was at this time that standing in front of the speakers began to take effect and I had to pop in the ear plugs.  It never fails and as usual, I ended up passing out the rest to friends and strangers around me who were clearly in need.

And then it was time for the guests.  Gordie Johnson, Big Sugar guitarist and recent Gov’t Mule producer, came out to join the Duo for Po Black Maddie. Initially, it looked as though Gordie was going to sing the song but it almost appeared as if he was unsure of the words.  Did anyone else catch this mumbling into the microphone?? Luther ended up singing the song.


Hook Herrera, Warren Haynes + Luther Dickinson (Allison Murphy)

Hook Herrera, Warren Haynes + Luther Dickinson (Allison Murphy)

Gordie Johnson remained for Straight to Hell. Cody Dickinson‘s smile never left his face the entire set.  It almost looked plastered on but we all know he was truly happy. How could anyone not be?  There was a stand-alone drum solo by Cody Dickinson while Luther and Gordie Johnson switch sides of the stage for the final song of the set.

The end of their set was FIRE!!  The Duo welcomed Artimis Pyle (Lynyrd Skynyrd) on drums, Danny Louis (Gov’t Mule) on keys and Audley Freed (Cry of Love & the Black Crowes) to the stage to perform Whiskey Rock A Rolla! There was now an arsenal of musicians on the stage to sing about whiskey and rock-n-roll! Four guitarists as Cody Dickinson moved from his drums to a guitar, tambourines, keyboards…What a mess of Southern rednecks.  Their vests, boots, long stringy hair, cowboy hats…all screaming of their bluesy country background.


Set: Sitting On Top of the World, Shimmy She Wobble > Station Blues > Preachin’ Blues, Glory Glory, Po Black Maddie, Straight To Hell, Whiskey Rockin Rolla

Gov’t Mule

Warren Haynes – Guitar & Vocals
Matt Abts – Drums
Danny Louis – Keyboards, Background Vocals and Other Goodies
Jorgen Carlsson – Bass

Special Guests:

Gordie Johnson (Big Sugar) – Guitar
Jim Loughlin (moe)- Drums
Vinnie Amico (moe) Drums
Chuck Garvey (moe) – Guitar
Hook Herrera – Harmonica
Luther Dickinson – Guitar & Vocals
Cody Dickinson – Drums, & Electric Washboard
Artemis Pyle (Lynyrd Skynyrd) Drums
Rich Robinson (Black Crowes) – Guitar
Robert Kearns (Cry of Love) – Bass
Audley Freed (Black Crowes) – Guitar
Savannah Woody – Vocals

The members of Gov’t Mule take the stage after a few minutes of stage setting. Warren‘s iconic raspy voice heads into Railroad Boy. The screen behind the band was projecting a black background with “GOT MULE?” plastered across in white. Warren ripped a solo and the set just launched into southern goodness at its best.

There was a spacey rip into Blind Man in the Dark, a personal favorite to sing around my apartment. Warren asked us how we were feeling and the place erupted with a happy reply.  Danny Louis jumped off the keys and onto guitar for Steppin’ Lightly.  At this point, there were old picture of Woody shooting or lingering across the screen behind the band. His face smiling at us, showing his appreciation for the music in front of him.

Sometimes there is nothing better then watching the hands of your favorite guitar player.  Personally, my favorite guitar player had not yet hit the stage but here in front of me was Warren.  He is simply amazing.  Watching Warren, I was in tune with his hands much more then usual.  I equate that to the fact that I have never been this close to his hands before. I was so happy to be in the front row. Banks of the Deep End sprang out of his hands and so it went…full on Warren!

And now it was time for some GUESTS!!!  Gordie Johnson once again joined the stage, this time followed by Jim Loughlin & Vinnie Amico, the drummers from Moe.  They raged I’m A Ram before jamming into Dear Prudence where Chuck Garvey, also of  Moe, joined with his guitar. I LOVE Moe.

Warren Haynes + Chuck Garvey (Photo by Allison Murphy)

Warren Haynes + Chuck Garvey (Photo by Allison Murphy)

Dear Prudence with the members of Moe.  AWESOME! THIS little addition to the stage made me very VERY happy.  Seeing Chuck on stage with Warren was interesting.  Their sounds are so different so vibing them together was great even though I silently wished it had been Al who was joining the stage.   Chuck lead while Warren sang. There were whimsy art paintings across the screen behind the stage.  Chuck gave a great solo and then tagged in Luther.

Warren Haynes + Hook Herrera (Photo by Allsion Murphy)

Warren Haynes + Hook Herrera (Photo by Allsion Murphy)

The 320 Blues saw Hook Herrera join the stage with his mighty harmonica.  Oh, the harmonica. I LOOOOOOOOOVE the layer of sound a harmonica add to a musical journey.  As well,  Luther and Cody Dickinson joined the stage followed by Artemis Pyle (Lynyrd Skynyrd).  GOD! It just kept getting better and better! So many musicians had been touched by Allen’s friendship, music and memory.  Cody busted out his washboard and I finally heard the North Mississippi Allstars sound that I associate so much to that washboard.  The place was on FIRE!! and the music was so loud and vibrant that the musicians drinks were shaking off the amps.   As far as energy was concerned, this was the pop-off song of the night, so far.

Audley Freed + Robert Kearns (Photo by Allison Murphy)

Audley Freed + Robert Kearns (Photo by Allison Murphy)

Warren then spoke of how Big Sugar used to open for Gov’t Mule and how he and Allen Woody would rage this Al Green song. He welcomed Rich Robinson (Black Crowes) to the stage for Stay With Me, Rick’s slide guitar sound melting everyone’s ears.  Danny Louis was back on his keyboard.  This song was so pretty.  Warren ripped a solo and then they all hugged. The next song saw Rich Robinson staying on stage and being joined by Robert Kearns (Cry of Love) replacing Jorgen Carlsson on bass and Artemis Pyle (Lynyrd Skynyrd) jumping on drums.  They flew into Sometimes Salvation, a Black Crowes cover, and the venue cheered.

Simple Man was next.  I love this song. It never gets old for me. Matt Abts left the stage this time leaving only Artemis Pyle to play the drums. Audley Freed was back out on guitar and so they went…


Warren Haynes + Savannah Woody (Photo by Allison Murphy)

Warren Haynes + Savannah Woody (Photo by Allison Murphy)

Wishing Well was next with the same people gracing the stage. And then we were given an emotional surprise. Savannah Woody, Allen Woody’s daughter, came out to the front of the stage to sing Soul Shine. And  she sang the line:  Now you gotta let your soul Shine / Just like my daddy used to say...the entire place erupted with the longest loudest cheer of the night and Warren’s tears took over the gleam in his eye.  It took some time for people to realize who Savannah Woody was but when she sang that line, I knew immediately that it must be SOME kind of close relative to Woody.

During the song, she was standing on stage, arms dangling while solos were being taken.  A stage hand brought out a tambourine in the cutest way but she still didn’t move that much.

Warren Haynes + Savannah Woody (Photo by Allison Murphy)

Warren Haynes + Savannah Woody (Photo by Allison Murphy)

When Allen died, a fund for Savannah’s education was established in his memory. She didn’t look any older then a high school student and it made me sad to know she lost her father so young. But the fact that she was up there, singing in her father’s memory, and not crying…we knew she was a strong. Certainly stronger then me as I teared up once I realized who she was and what she meant to the show.  It must feel wonderful to see that your father touched so many lives.  It must be wonderful to know that all those amazing guitar legends up on stage were actually men who look after their own and I am sure have taken her under their wing over the years.  It was a lovely and touching performance of an otherwise tedious song.

This show was supposed to end at 11:50pm, due to city/venue rules.  This set ended at 11:30pm and we KNEW that we were not going anywhere for sometime because now….it was time for The Allman Brothers Band, but not before almost a 40 minute set break.

Set List: Railroad Boy > Blind Man In The Dark, Steppin’ Lightly, Banks Of The Deep End, I’m A Ram (with Gordie Johnson, Jim Loughlin & Vinnie Amico), Dear Prudence (with Chuck Garvey, Jim Loughlin & Vinnie Amico), 32/20 Blues (with Hook Herrera, Luther Dickinson, Cody Dickinson & Artemis Pyle), Stay With Me (with Rich Robinson & Artemis Pyle), Sometimes Salvation (with Rich Robinson, Robert Kearns & Artemis Pyle, without Jorgen Carlsson), Simple Man (with Artemis Pyle, Audley Freed & Robert Kearns, without Matt Abts & Jorgen Carlsson),Wishing Well (with Artemis Pyle & Audley Freed), Soulshine (with Savannah Woody & Artemis Pyle)

The Allman Brothers Band

Gregg Allman – Keys
Butch Trucks – Drums
Jai Johanny “Jaimoe” Johanson – Percussion
Warren Haynes – Guitar
Marc Quiñones – Percussion
Oteil Burbridge – Bass
Derek Trucks – Guitar

Special Guests:

Hook Herrera – Harmonica
Rich Robinson (Black Crowes) – Guitar
Artemis Pyle (Lynyrd Skynyrd) Drums
Berry Oakley, Jr. (Bloodline, OKB) – Guitar
Audley Freed (Black Crowes) – Guitar
Chuck Garvey (moe) – Guitar
Danny Louis – Keyboards, Background Vocals
Vinnie Amico (moe) Drums
Jim Loughlin (moe)- Drums
Luther Dickinson – Guitar & Vocals
Cody Dickinson – Drums, & Electric Washboard
Matt Abts – Drums

The set break must have last over 40 minutes.  Sadly, my date for the evening felt the weight of the tiresome day during the obsessively long break and had to leave.  A set that was supposed to end at 11:40pm and didn’t even start until at least midnight.  This was insane but I only knew good things would come from those of us who had been standing on our feet for over five hours at this point.

Allman Brothers Band, Warren Haynes + Derek Trucks (Photo by Allison Murphy)

Allman Brothers Band, Warren Haynes + Derek Trucks (Photo by Allison Murphy)

When the music final started, my feet were aching, I was missing my date and fighting to hold my place up in the front row.  The masses pushed even closer as Derek entered the stage.  And for the first time since I was able to meet him on his tour bus during Mountain Jam (click to read), I was back into a super fan.  My legs buckled at first site, my smile exploded out the side of my face and I screamed like one of those chicks who faint when seeing the Beatles or Justin Beiber.  Derek-Mania was going through my entire body.  He is the one musician that makes me completely lose control.

Derek Trucks + Marc Quinones  (Photo by Allison Murphy)

Derek Trucks + Marc Quinones (Photo by Allison Murphy)

At this point, I am afraid I won’t be doing a great job of writing out exactly what went down.  Like I said, I get a little more then weak in the knees when I see Derek Trucks and stopping to takes notes or trying to recall everything when all I want to be doing is staring at his fingers, well…..I didn’t write much at all.

First, the overly handsome Oteil Burbridge joins the stage, followed by Warren Haynes and Gregg Allman who wander to their respective instruments.  It didn’t take more then 60 seconds for the rest of the members of The Allman Brothers Band, including Marc Quiñones on percussion, to lock into place and blast right into Don’t Want You No More, the first song on the first Allman Brothers album and an instrumental that was originally recorded by The Spencer Davis Group in 1967.  All I wrote in my notes is “Ok, I just need to dance now.”

Gregg Allman continued striking the keys and singing into This is Not My Cross to Bear, a song Greg wrote about an old girlfriend.  Both Derek and Warren were given ample time to release their talents through solos during this song so be sure to watch.  And as you watch Derek smile towards the camera right in the beginning of the following video, you can be sure he is smiling at me.  Oh yes!  To be sure **wink**

End of the Line was next.  Warren changed out his guitars for this one and ripped out an astounding solo.  Sometimes I just don’t understand how things can sound so different with every show.  Same style but soooo different in sounds.  At this point it is still only the members of The Allman Brothers Band gracing the stage and it proceeded that way for the following 5 songs.

Greg Allman + Danny Louis (Photo by Allison Murphy)

Greg Allman + Danny Louis (Photo by Allison Murphy)

So at this point, there is a lull in the sound throughout the audience and I catch myself SCREAMING like one of those Beatles Mania fans again: “DEREK I LOOOOOOOOVE YOU!!!!!!!!!!!!!!!.”  No One Left To Run With was next, one of the few songs Dickey Betts wrote for the group but never sang.

Fun fact: This song was included on the 2002 compilation CD Mullets Rock!. For a while, The Allman Brothers were prime offenders of the haircut that was “Business in the front, party in the back.”

There was a gnarly guitar duel between Warren and Derek.  I mean it just never ends with these two.  Warren was  presenting us with such a phenomenal night of music and he was the ONLY musician to play in almost every song and at least in ever set.  He was the hardest working man in show buisness that night!  The drums in this song were killer.

Black Hearted Woman, also a song written by Gregg Allman about the same woman he wrote This is Not My Cross to Bear about, followed and continued right into Other One Jam, a Grateful Dead cover, until they begin inviting out the guests!!! Greg sang his heart out and the video shows it!


Hook Herrera came out and joined the boys for Who’s Been Talking. That man is an absolutely phenomenal harmonica player. I’ve said it a million times but I LOVE THAT INSTRUMENT. You can’t get a sound from any other instrument the way a sound is produced through a harmonica. It’s just soulful and the epitome of the blues to this southern gal.

Artimus Pyle + Audley Freed (Photo by Allison Murphy)

Artimus Pyle + Audley Freed (Photo by Allison Murphy)

Midnight Rider, a crowd favorite,followed.  Now, the original version of the song was with Duane Allman playing.  I believe  Gregg Allman re-made it a few years later (correct me if I am wrong).  If you listen to older recordings, you can hear and feel Duane and Dickeys’ opposing styles very well. So amazing.  Also, in 2005, this was used in the opening credits of Rob Zombie‘s horror flick The Devil’s Rejects.  Who doesn’t love that kind of product placement!?

Midnight Rider was followed by One Way Out. This song welcomed out Rich Robinson, Berry Oakley Jr. & Artemis Pyle to the stage.  I don’t know why but the videographers apparently must have run out of time or video because the Allman Brothers YouTube videos begin dying off around this point.

Warren Haynes + Berry Oakley Jr (Photo by Allison Murphy)

Warren Haynes + Berry Oakley Jr (Photo by Allison Murphy)

Statesboro Blues saw all guests leave the stage except for Berry Oakley Jr..  Berry Oakley Jr. is the son of Berry Oakley, a founding member and original bass player for The Allman Brothers Band who sadly passed away in 1972.  It was a tribute for many people this evening and I was hoping people recognized the significance.   Berry Oakley, Jr. left the stage and was replaced by Audley Freed & Danny Louis on guitar and keys respectively for The Band‘s The Weight.

Chuck Garvey, Jim Loughlin, Jimmy Vanderbogart & Vinnie Amico came out to join The Allmans during one of my all time favorite Grateful Dead songs, Franklin’s Tower. Got to be honest with you and admit I have NO CLUE who Jimmy Vanderbogart is and I can’t find any info online that can give me more insight – If you know, please comment.

Southbound followed with the addition of the Dickenson Brothers joining the crowd on stage along side Hook Herrera and Danny Louis.  This was one of my favorite songs of the set simply because it was The Allman Brothers with this North Mississippi Allstars Duo and a freaking harmonica.  SOUTHERN GREATNESS!!!

All guests exited the stage and a RAGING Whipping Post closed out the set.  Derek Trucks once again showing us he is the king of the slide guitar. Once again showing me that he is the king of kings in my world when it comes to the guitar.

Gordie Johnson (Photo by Allison Murphy)

Gordie Johnson (Photo by Allison Murphy)

As my girlfriend and I walked away, we realized it was almost 2am in the morning on a work night.  We discussed leaving before the encore and went to the restroom.  Coming back up from the basement bathrooms, we smiled at each other as we heard the   stage light up again.  We couldn’t leave.  Not this time.  Warren Haynes began strumming the chords to Pink Floyd’s Wish You Were Here. And without uttering a word, the entire venue began singing the lyrics.  Warren places his hand behind his ears and the venue sings louder.  Berry Oakley, Jr., Gordie Johnson, Danny Louis and Matt Abts joined the stage for the remainder of the song with images of Woody’s face flashing smiles across the screen behind them.  And I cried…for the third or fourth time that night.

Set List: Don’t Want You No More, Ain’t My Cross To Bear, End Of The Line, No One Left To Run With, Black Hearted Woman > Other One Jam, Who’s Been Talking, Midnight Rider, One Way Out, Statesboro Blues, The Weight, Franklin’s Tower, Southbound, Whipping Post

Encore: Wish You Were Here

What an amazing night of music!!  Simply amazing. The epitome of love and community within southern rock was found on that stage this night.  I truly wish I could offer you a free download but alas…..

Click here to DOWNLOAD/STREAM/LISTEN to the show!

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