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November 2011 Music Calendar

Posted in Show Review on October 31, 2011| Leave a Comment »

November 2011 Music Calendar

Calendar updated daily!

Tuesday, November 1, 2011

($35-$42) Matthew Sweet/”Girlfriend” anniversary shows w/ The Shadowboxers @ City Winery
($45-$65) Return to Forever Unplugged @ The Blue Note (2 sets)

Wednesday, November 2, 2011

(By Donation) Bobby Previte Trio with Francesco Diodati @ Zebulon Cafe
(Free) Nutritious w/ special guest Dj Deniss @ Bembe
($10) Charlie Hunter Solo Residency @ Sycamore
($15) The Louis Armstrong Centennial Band @ Birdland NYC
($25) Blue Coupe featuring Albert and Joe Bouchard (formerly of Blue Oyster Cult), and Dennis Dunaway (Alice Cooper) with Goldy McJohn (keyboardist for Steppendwolf) @ Iridium Jazz Club
($35-$100) Koyaanisqatsi Live! @ Avery Fisher Hall (730pm)

Lose yourself in Philip Glass’s powerful music for the 1982 Godfrey Reggio film Koyaanisqatsi: A Life Out Of Balance, performed live by the Philharmonic and the Philip Glass Ensemble, as the landmark film is projected on a huge screen above the Avery Fisher Hall stage.

($30-$40) Garrison Keillor @ Town Hall
($35-$42) Matthew Sweet/”Girlfriend” anniversary shows w/ The Shadowboxers @ City Winery
($45-$65) Return to Forever Unplugged @ The Blue Note (2 sets)

Thursday, November 3, 2011

($15) Orgone & Ikebe Shakedown @ Sullivan Hall
($20) Bob Mould: See A Little Light- An Evening of Reading and Music @ The Bell House
($20) Papa Grows Funk with special guests Brother Joscephus & the Love Revival Revolution Orchestra and Charlie Dane @ Hiro Ballroom
($25) Henry Butler & Jambalaya @ The Jazz Standard
($35-$100) Koyaanisqatsi Live! @ Avery Fisher Hall (730pm)

Lose yourself in Philip Glass’s powerful music for the 1982 Godfrey Reggio film Koyaanisqatsi: A Life Out Of Balance, performed live by the Philharmonic and the Philip Glass Ensemble, as the landmark film is projected on a huge screen above the Avery Fisher Hall stage.

($45-$65) Chick Corea, Gary Peacock & Brian Blade Trio @ The Blue Note (2 Sets)

Friday, November 4, 2011

(Free) Tall Tall Trees @ Rockwood Music Hall
($14.50-$75) Sweet Honey In The Rock @ Stern Auditorium
($15) Steve Kimock & Friends featuring Bobby Vega, Bernie Worrell , Wally Ingram and special guests, XVSK open (Exter v. Kimock) @ Brooklyn Bowl
($20-$25) Paul Oakenfold @ Pacha New York
($25) Less Than Jake: Performing ‘Losing Streak’! @ Rocks Off River Cruises
($25) Sonny Landreth with Bob Mould and The Jim Keller Band @ Highling Ballroom
($30) Henry Butler @ The Jazz Standard
($35) Air Supply @ B.B. Kings Blues Club
($39-$50) Bill Frisell / Bill Morrison The Great Flood @ Zankel Hall
($45-$75) Chick Corea’s Five Peace Band @ The Blue Note

Saturday, November 5, 2011

($10) Igmar Thomas & The Cypher @ The Blue Note (late night set)
($10-$12) Turbine featuring Pigeons Playing Ping Pong @ Sullivan Hall
($15) Steve Kimock & Friends Featuring Bobby Vega, Bernie Worrell , Wally Ingram and special guests, XVSK open (Exter v. Kimock) @ The Brooklyn Bowl
($25) Less Than Jake: Performing ‘Hello Rockview’ @ Rocks Off River Cruises
($25-$30) Terence Blanchard Quintet @ Michael Schimmel Center for the Arts at PACE
($30) Henry Butler @ The Jazz Standard
($45-$75) Chick Corea’s Five Peace Band @ The Blue Note

Sunday, November 6, 2011

($8) Jessica Lurie @ The People’s Improv Theater
($30) Henry Butler & Jambalaya @ The Jazz Standard
($40-$180) Crosby, Stills and Nash @ The Beacon Theater
($45-$75) Chick Corea’s Five Peace Band @ The Blue Note

Monday, November 7, 2011

($5) Red Baraat @ Brooklyn Bowl
($8) NY Funk Exchange @ The Lovin’ Cup
($8) Jim Campilongo @ The Living Room
($15) Abigail Washburn plus Doug Paisley @ The Bell House
($25) Mingus Orchestra @ The Jazz Standard
($35-$45) The Secret Sisters open for Brandi Carlile – Solo Acoustic @ Town Hall
($40-$180) Crosby, Stills and Nash @ The Beacon Theater
($70-$380) Watch The Throne: JAY-Z & Kanye West @ Madison Square Garden

Tuesday, November 8, 2011

(Free) Mark Guiliana @ Rockwood Music Hall
($45-$65) Chick Corea & Bobby McFerrin @ The Bluw Note (2 sets)
($60-$140) Joan Baez & Kris Kristofferson @ The Beacon Theater
($70-$380) Watch The Throne: JAY-Z & Kanye West @ Madison Square Garden
($75-$160) Sting @ Roseland Ballroom

Wednesday, November 9, 2011

(Free) Nutritious w/ special guest Steve Tek Gonzalez @ Bembe
($10) Charlie Hunter Solo Residency @ Sycamore
($15) The Louis Armstrong Centennial Band @ Birdland NYC
($20) Helen Sung Quintet @ The Jazz Standard
($45-$65) Chick Corea & Bobby McFerrin @ The Blue Note (2 sets)
($75-$160) Sting @ Roseland Ballroom

Thursday, November 10, 2011

Bear Creek Music & Arts Festival @ Spirit of Suwanee Music Park, FL
($10) Todd Sickafoose’s Tiny Resistors + String Quartet @ The Stone

John Ellis (sax, clarinet) Alan Ferber (trombone) Matt Mitchell (piano) Jonathan Goldberger (guitar) Ted Poor (drums, percussion) Todd Sickafoose (bass, baton)
String Quartet: Jeff Gauthier, Sara Parkins (violins) Alma Fernandez (viola) Maggie Parkins (cello)

($10) Reckoning @ Kenny’s Castaways
($10) Reflections: After-Futhur Party @ B.B. Kings Blues Club (11:30pm)
($14-$18) Future Rock @ Gramercy Theater
($20-$30) In/Out 2011: Digital Performance Festival, Daedelus @ The Knitting Factory
($25-$30) Fitz and the Tantrums @ Terminal 5
($45-$65) Chick Corea & Bobby McFerrin @ The Blue Note (2 sets)
($50-$84) Futhur @ Madison Square Garden
($150-$600) MGMT to perform at the Maurizio Cattelan: All and the Guggenheim International Gala After-Party @ The Solomon R. Guggenheim Museum

The after-party is a special fundraising event. Your ticket purchase will help support and maintain the Guggenheim’s innovative exhibitions, acquisitions, and education programs.*

Friday, November 11, 2011

Bear Creek Music & Arts Festival @ Spirit of Suwanee Music Park, FL
(Free) The Mamiko Kitaura Trio with Sunny Jain @ The Brooklyn Winery
($10) Scott Amendola and Charlie Hunter @ The Stone
($22-$28) Martha Wainwright – Residency @ City Winery
($35-$42) Trombone Shorty & Orleans Avenue @ Terminal 5
($45-$65) Chick Corea & Gary Burton w/ The Harlem String Quartet @ The Blue Note (2 sets)
($150-$600) MGMT to perform at the Maurizio Cattelan: All and the Guggenheim International Gala After-Party @ The Solomon R. Guggenheim Museum

The after-party is a special fundraising event. Your ticket purchase will help support and maintain the Guggenheim’s innovative exhibitions, acquisitions, and education programs.*

Saturday, November 12, 2011

Bear Creek Music & Arts Festival @ Spirit of Suwanee Music Park, FL
($5-$7) Eye Candy for Strangers ft. Daedelus @ Brooklyn Bowl
($10) The Meters Experience ft Leo Nocentelli (The Meters) with Dangermuffin @ The Brooklyn Bowl
($10) Late Night Groove Series: Chelsea Baratz @ The Blue Note (late night set)
($45-$65) Chick Corea & Gary Burton w/ The Harlem String Quartet @ The Blue Note (2 sets)

Sunday, November 13, 2011

Bear Creek Music & Arts Festival @ Spirit of Suwanee Music Park, FL
($7) Afro Funky Party w/ Zongo Junction, Top Shotta & DJ Offbeat @ Cameo Gallery
($10-$15) Fishbone Rene Lopez, Roots of Creation @ The Brooklyn Bowl
($20) The 37th Anniversary of Hip-Hop & The 38th Anniversary of the Universal Zulu Nation @ SOBs

Presented By: Afrika Bambaataa Doug E Fresh, Grand Master Melle Mel, DMC,
Cold Crush Brothers & More DJs: Q-Tip, Kid Capri, Jazzy Joyce, Lady Love, & More

($45-$65) Chick Corea & Gary Burton w/ The Harlem String Quartet @ The Blue Note (2 sets)
($70-$84) Foo Fighters @ Madison Square Garden

Monday, November 14, 2011

($5) Red Baraat @ The Brooklyn Bowl
($8) Jim Campilongo @ The Living Room
($25) Mingus Orchestra @ The Jazz Standard
($65) Buddy Guy @ B.B. Kings Blues Club
($100-$120) Josh Groban: Straight To You Tour @ Madison Square Garden

Tuesday, November 15, 2011

(Free) Driftwood @ The Living Room
($8-$10) NY Funk Exchange @ Club Groove
($20) Hubert Sumlin w/ Devon Allman’s Honeytribe @ Iridium Jazz Club
($45-$65) From Miles – Corea, Gomez, DeJohnette, Roney & Bartz @ The Blue Note (2 sets)
($65) Buddy Guy @ B.B. Kings Blues Club

Wednesday, November 16, 2011

(Free) Nutritious @ Bembe
($15) The Louis Armstrong Centennial Band @ Birdland NYC
($15) Giant Panda Guerilla Dub Squad @ Highline Ballroom
($25) Meshell Ndegeocello @ Hiro Ballroom
($45-$65) From Miles – Corea, Gomez, DeJohnette, Roney & Bartz @ The Blue Note (2 sets)
($50-$84) Katy Perry @ Madison Square Garden
($50-$90) Bela Fleck & the Flecktones @ Town Hall
($75-$200) An Evening with Patti LuPone and Mandy Patinkin – Concert @ Ethel Barrymore Theater

Thursday, November 17, 2011

(Free) DJ High Maintenance with The Big Hair Girls @ HK
($15) Carbon Leaf w/ special guests Delta Rae @ Sullivan Hall
($25-$35) Chris Robinson Brotherhood @ Irving Plaza
($45) Delbert McClinton
($45-$65) From Miles – Corea, Gomez, DeJohnette, Roney & Bartz @ The Blue Note (2 sets)
($60-$150) John Fogerty @ Beacon Theater
($75-$200) An Evening with Patti LuPone and Mandy Patinkin – Concert @ Ethel Barrymore Theater

Friday, November 18, 2011

(Free) Hill Country Live Presents: Gent Treadly
(Free) Tall Tall Trees ACOUSTIC SHOW @ Postcrypt Coffeehouse
($10) Breakestra @ The Brooklyn Bowl
($10) Jeff Bujak & Fundimensionals @ Sullivan Hall
($15) Marco Benevento (solo piano)/ Superhuman Happiness @ 92Y Tribeca Main Stage
($20-$29) Architecture in Helsinki @ Irving Plaza
($25) Zoe Keating @ Hiro Ballroom
($26) The New Mastersounds, Soul Rebels Brass Band, Fox Street All Stars @ Highline Ballroom
($27-$33) The Airborne Toxic Event @ Terminal 5
($35) Acoustic Alchemy @ Iridium Jazz Club
($45-$65) Chick Corea’s Flamenco Heart The Blue Note (2 sets)
($48-$53) Ani Defranco @ Music Hall of Williamsburg
($60-$150) John Fogerty @ Beacon Theater
($75-$200) An Evening with Patti LuPone and Mandy Patinkin – Concert @ Ethel Barrymore Theater
($135-$150) Dave Matthews and Tim Reynolds @ United Palace Theater

Saturday, November 19, 2011

(Free) Taylor Carson @ Rockwood Music Hall
(Free) Tall Tall Trees ACOUSTIC SHOW @ Postcrypt Coffeehouse
($13.50-$15) Toubab Krewe & The London Souls @ Littlefield

$.50 of all advance ticket sales goes directly to Toubab’s African charity

($15-$20) Ryan Montbleau Band @ City Winery
($20) Keller Williams Live Kids Show (Doors Open @ 10:30am) with a live Drum Circle @ The Brooklyn Bowl
($25) Raul Midón @ Highline Ballroom
($45-$60) Ani DiFranco @ Town Hall
($45-$65) Chick Corea’s Flamenco Heart The Blue Note (2 sets)
($50-$110) Kid Rock @ Beacon Theater
($75-$200) An Evening with Patti LuPone and Mandy Patinkin – Concert @ Ethel Barrymore Theater

Sunday, November 20, 2011

($8-$10) Zach Deputy & Big Daddy Love @ Brooklyn Bowl
($8-$10) Ultraviolet Hippopotamus @ Timbre Coupe @ The Bowery Electric
($25) Chris Smither @ Joe’s Pub
($25) Raul Midón & Nigel Hall @ Highline Ballroom
($30) Allen Toussaint (Solo) – A Southern Night @ Joe’s Pub
($45-$65) Chick Corea’s Flamenco Heart The Blue Note (2 sets)
($50-$140) Ray Davies @ Beacon Theater
($75-$200) An Evening with Patti LuPone and Mandy Patinkin – Concert @ Ethel Barrymore Theater

Monday, November 21, 2011

($8) Jim Campilongo @ The Living Room
($22-$28) Martha Wainwright – Residency @ City Winery
($25) Mingus Orchestra @ The Jazz Standard
($27.50) Leon Russell @ B.B. Kings Blues Club
($30) Allen Toussaint (Solo) – A Southern Night @ Joe’s Pub
($35-$65) Chris Cornell @ Carnegie Hall’s Stern Auditorium
($45-$75) Liza Minnelli & Sam Harris: “Schmoolie & Minnooli” @ Birdland
($75-$200) An Evening with Patti LuPone and Mandy Patinkin – Concert @ Ethel Barrymore Theater
($80-$110) Taylor Swift @ Madison Square Garden

Tuesday, November 22, 2011

($10) Jerry Joseph @ The Living Room
($15) Robert Randolph and The Family Band @ Brooklyn Bowl
($25) Mobb Deep @ B.B. Kings Blues Club
($30) Allen Toussaint (Solo) – A Southern Night @ Joe’s Pub
($45-$65) Chick Corea & Marcus Roberts Duo @ The Blue Note (2 sets)
($75-$200) An Evening with Patti LuPone and Mandy Patinkin – Concert @ Ethel Barrymore Theater

Wednesday, November 23, 2011

(Free) Nutritious @ Bembe
($15) Robert Randolph and The Family Band @ Brooklyn Bowl
($15) The Louis Armstrong Centennial Band @ Birdland NYC
($10) Pre-Thanksgiving Funk Fest. Give Thanks To The Funk! feat. The Main Squeeze , Sophistafunk , Swift Technique and Cold Flavor Repair @ Sullivan Hall
($30) Allen Toussaint (Solo) – A Southern Night @ Joe’s Pub
($35) EPMD,Ghostface Killah, Black Moon, Special Ed, Black Sheep & Black Rob @ B.B. Kings Blues Club
($35-$85) Jason Mraz A Special Acoustic Evening with Toca Rivera @ Carnegie Hall
($50-$70) Chick Corea & Herbie Hancock Duo @ The Blue Note (2 sets)
($75-$200) An Evening with Patti LuPone and Mandy Patinkin – Concert @ Ethel Barrymore Theater
($105-$115) Mary J. Blige – My Life @ Terminal 5

Thursday, November 24, 2011

HAPPY THANKSGIVING!!!

Friday, November 25, 2011

($15) Robert Randolph and The Family Band @ Brooklyn Bowl
($15) moe.’s Official After-Party w/ Floodwood feat. Al Schnier & Vinnie Amico of moe. @ Sullivan Hall
($18) Slick Rick @ B.B. Kings Blues Club
($20-$40) Stephen Kellogg & the Sixers with Jon McLaughlin @ Bowery Ballroom
($25-$30) Donna the Buffalo with Richie Stearns @ City Winery
($28.50) Dark Star Orchestra @ Best But Theater
($32-$40) moe. w/ Dumpstaphunk @ Terminal 5
($45-$65) Chick Corea Original Elektric Band The Blue Note (2 sets)
($65-$125) The Cure @ Beacon Theater

Saturday, November 26, 2011

($15) Robert Randolph and The Family Band @ Brooklyn Bowl
($15) moe.’s Official After-Party w/ Ha Ha The Moose: Rob, Chuck, and Jim of moe. with opening act The Brew @ Sullivan Hall
($20) Bernie Worrell Orchestra and special guests @ Joe’s Pub
($20-$40) Stephen Kellogg & the Sixers with Jon McLaughlin @ Bowery Ballroom
($28.50) Dark Star Orchestra @ Best But Theater
($32-$40) moe. @ Terminal 5
($45-$65) Chick Corea’s Original Elektric Band @ The Blue Note (2 sets)
($62-$75) Live Radio Broadcast: a Prairie Home Companion with Garrison Keillor @ Town Hall
($65-$125) The Cure @ Beacon Theater

Sunday, November 27, 2011

($40) Harlem Gospe Choir with Babyface @ B.B. Kings Blues Club
($45-$65) Chick Corea’s Original Elektric Band @ The Blue Note (2 sets)
($65-$125) The Cure @ Beacon Theater
($75-$200) An Evening with Patti LuPone and Mandy Patinkin – Concert @ Ethel Barrymore Theater

Monday, November 28, 2011

($8) Jim Campilongo @ The Living Room
($25) Mingus Orchestra @ The Jazz Standard

Tuesday, November 29, 2011

($20-$35) John Scofield Quartet ft. Mike Eckroth, Ben Street & Greg Hutchinson @ The Blue Note (2 sets)
($30-$40) Suzanne Vega @ Joe’s Pub (2 sets)
($75-$200) An Evening with Patti LuPone and Mandy Patinkin – Concert @ Ethel Barrymore Theater

Wednesday, November 30, 2011

(Free) Tall Tall Trees @ Union Hall
(Free) Nutritious w/ Alison Tara @ Bembe
($10) The Heavy Pets @ The Brooklyn Bowl
($10-$12) Leroy Justice @ Mercury Lounge
($15) The Louis Armstrong Centennial Band @ Birdland NYC
($20-$35) John Scofield Quartet ft. Mike Eckroth, Ben Street & Greg Hutchinson @ The Blue Note (2 sets)
($30-$40) Suzanne Vega @ Joe’s Pub (2 sets)
($75-$200) An Evening with Patti LuPone and Mandy Patinkin – Concert @ Ethel Barrymore Theater
($100) DJ Tiesto @ Pacha NYC

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Return To Forever 4 @ The Beacon Theater ~ 2 Nights (08.12-13.10)

Posted in Show Review on August 17, 2011| 2 Comments »

Return To Forever IV Press Photo

Documenting shows like these is what influenced me to start my site. I was sick of missing performances, looking them up and finding three paragraphs about epic moments in musical history taking place in my city. Three paragraphs with no set list, no body behind the paragraphs, no feeling behind the words. When a show of such epic proportions such as Return To Forever comes around YOU – DO – NOT – MISS – IT. And if you do, that is where I come in.

Return To Forever IV

I have been asked continually over the past month WHO is this group? WHY are they so important? WHY are you missing the Royal Family Affair for them? WHY aren’t you going on Phish tour with your man? WHY WHY WHY?

Forget answering questions for a minute and just imagine the pain you get when someone you know explains that they don’t know who Jerry Garcia is. The pain you feel when they say they have no idea who Miles Davis is or who the Red Hot Chilli Peppers are. Can you feel that pain? Right inside your chest, around your heart? Inevitably, inside your head you are now asking the questions. How can these people not know? How can they not understand? How can they not have heard?

Return To Forever is the answer to all these questions. A power house of musicians, a super group of instrumentalists, a musical institution. Return To Forever helped define a musical genre and has only graced the planet as a unit for a total of five times since 1977. Epic.

You are going to need a little background first.

The Beacon Theater marquis

What is Jazz Fusion?

In the late 1960’s, jazz musicians began blurring the lines of their traditional training. Allmusic Guide states that “until around 1967, the worlds of jazz and rock were nearly completely separate”. However, based on the circumstantial situation of young jazz musicians being forced to play electronic equipment, jazz began it’s evolution into a new musical genre called Jazz Fusion or Jazz Rock. Quite simply, Jazz Fusion is jazz that is strongly influenced by other styles of music.

Here’s a more in depth definition which shows you why this music is influential to the Jam Band / Funk scene:

Jazz fusion is a musical fusion genre that developed from mixing funk and R&B rhythms and the amplification and electronic effects of rock, complex time signatures derived from non-Western music and extended, typically instrumental compositions with a jazz approach to lengthy group improvisations, often using wind and brass and displaying a high level of instrumental technique.

~ Thank you Wikipedia ~

Peter Max presented this portrait to Corea before the 1st night!

Jazz Fusion has deep roots in the Jam Band scene. The connection is crucial and distinct. While Jazz Fusion was being created and acknowledged in the 1970s, rock artists such as Cream, Grateful Dead and The Jimi Hendrix Experience were getting a lot of publicity and fame for their lengthy improvisations based on blues, rock, psychedelia and some jazz. These rock artists had an impact on Miles Davis, the king of jazz development, who generated a ton of media attention to this new jazz-rock genre with his ground-breaking 1970 album release Bitches Brew. From there the genre grew and exploded into numerous different directions eventually leading to the World Fusion movement of the 90’s.

Allmusic lists the following jazz-rock categories:

Singer-songwriter jazz-rock (Joni Mitchell, Van Morrison, and Tim Buckley)

Jam- and improvisation-oriented rock groups (Traffic, Santana, Cream)

Jazz-flavored R&B or pop songs with less improvisation or instrumental virtuosity (Blood, Sweat & Tears, Chicago, Steely Dan)

Groups with “quirky, challenging, unpredictable compositions” (Frank Zappa, the Soft Machine)

Four major groups led the world in popular Jazz Fusion in the 1970s:

Weather Report
The Mahavishnu Orchestra
Herbie Hancock’s HeadHunters
Chick Corea’s Return To Forever

I will let you do your own research on the first three, which I strongly encourage you to do, and get down to the nitty gritty.

The Creation of Return To Forever

Famed artist and designer of RTF Tour teeshirt, Peter Max

After playing on Miles Davis’s ground-breaking jazz-fusion album Bitches Brew, pianist and composer Chick Corea was in a prime position to chase this growing style of music and experiment with it’s development. He formed a number of avant-garde jazz bands before finally forming Return To Forever in 1972.

There have only been four incarnations of Return To Forever in the past 40 years. This is a fact that makes this reunion so EXTREMELY important.

1972-1973: First group created and focused mainly on Latin-inspired music to include Flora Purim (vocals), her husband Airto Moreira (drums and percussion), Corea’s longtime musical co-worker Joe Farrell (saxophone and flute), and the young Stanley Clarke on bass.

1973-1976: Farrell, Purim and Moreira leave the group to form their own band. Bill Connors (guitarist ), Steve Gadd (drummer) and Mingo Lewis (percussionist) were added. Stanley Clarke is still the bassist. A replacement on vocals was not hired and all the songs were now instrumentals. Shortly before 1975, Lenny White would take over for Gadd and Lewis due to touring and career conflicts. As well, 19 year old prodigy Al Di Meola would step in to cement himself as guitarist. The group had finally taken shape having now completely changed into the jazz-rock style and found themselves at the on the US pop album charts.

1977: Corea shocked Clarke by deciding to change the lineup of the group and to not include either White or Di Meola. The final incarnation of Return to Forever featured a four piece horn section and Corea’s wife Gayle singing vocals. After the last studio album, Musicmagic, Chick Corea officially disbanded the group and so began the feuds within the group.

Musical Gossip: It is believed to be an issue over Scientology that caused the rift between Clarke, Corea and the other musicians.

1983: Return To Forever regroups for a short tour but no albums are recorded.

2008 Reunion: The classic Return to Forever line-up of Corea, Clarke, White, and Di Meola reunited for a tour of the United States. No new music is recorded.

2011 Reunion: A new, amazing line-up is created for a US tour. The rift between Al Di Meola and Chick Corea ensures Di Meola’s absence in the line-up. Mahavishnu Orchestra alum and violin virtuoso Jean-Luc Ponty and guitarist Frank Gambale have taken his spot while Lenny White and Stanley Clarke were welcomed back into the line-up.

Now here we are three days after the show and I can’t stop typing my heart out. A friend of mine happens to be good friends with Lenny White. Because of this friendship, I was granted access to the entire band and two nights of musical creativity that has cemented itself as one of my top 10 Most Exciting Musical Adventures ever.

Let the show begin…

My wonderful welcome package! Shirt and Hat in the bag!

Return To Forever IV – The Return

Chick Corea – Keys
Stanley Clarke – Bass
Lenny White – Drums
Frank Gambale ~ Guitar
Jean-Luc Ponty ~ Violin

I entered the Beacon Theater all alone. My man was out west touring with Phish and the rest of my musical crew were either at The Royal Family Affair in Vermont or at The Brooklyn Bowl seeing Bustle in Your Hedge Grow for a nice cheap price. All were musical options that I wish I could have been a part of. However, no matter how much I thought of checking out of NYC for the weekend there was no way I was missing Return to Forever, not to mention the amazing bonus opener, Zappa Plays Zappa performing only 40 blocks away from my apartment for two nights. This was too much of a treat to resist.

So, there are some of the answers to the “WHY?” questions. I adore my Royal Family and I love Phish tour but those groups are mere peasants in music compared to the kings I got to see on stage.

Corea, Ponty and Clarke

Upon entering the Beacon both nights I went to the box office and picked up my comped ticket and my Back Stage pass from the generous Lenny White! I took to my Row “E” Orchestra seat and just took in the energy around me. Again, I was alone, so in my excitement I engaged the MULTIPLE men around me. Why men, because there were no women, hardly anywhere. It was quite nice. One obvious perk became clear when I used the restroom. The line for the men’s room was a mile long while I literally walked right in and out of the stall within a span of 2 minutes. Absolutely no line.

In a packed hall, 5% of the audience might have been women. Needless to say, I got some strange looks and eventually, I had men of all ages coming up to me asking me why I was there. I couldn’t believe their blatant gender discrimination but I understood why some people just couldn’t resist asking why a young (30 years young is young to this crew) pretty female was there all alone to see these old man bands. I proudly explained I was there mainly for Return To Forever but I was equally excited for the Zappa Plays Zappa performance having seen them multiple times before and knowing that Dweezil and his friends would shred our faces.

Zappa Plays Zappa

Zappa Plays Zappa Opens

Zappa Plays Zappa opened up both nights for Return To Forever. Led by the jazz/rock legend’s son, Dweezil Zappa, on guitar, Zappa Plays Zappa continues to breath life into the work of the late Frank Zappa. Joining Dweezil is a rotating cast of musicians, some of who played with Frank before his passing.

Zappa Plays Zappa

Both nights the set list was the same with a few variations in delivery:

“Po-jama People” ~

“Fifty Fifty” ~ Opening the first night with this song, Jean-Luc Ponty came out the second night and played this song with the band. It was a wonderful thing to behold as Jean-Luc was privileged enough to play with Frank Zappa when Dweezil Zappa was only 4 years old.

“St. Alphonzo’s Pancake Breakfast”

“”Don’t You Ever Wash That Thing” ~ The first night, Ben Thomas (vocals) dropped the mic during the climax of the song and picked it up at such a time that the lyrics exploded and the entire band laughed along with the audience.

“What’s the Ugliest Part of Your Body?” ~ A funny tune with Doo-Whoop styling.

“Big Swifty” ~ Released the band a little more and ended the set.

Dweezil Zappa raging his strings...

Return To Forever couldn’t have picked a better band to open for them. They couldn’t find a better fit to open our sense to jazz fusion and prepare us for the experience we were about to be delivered both nights.

The beauty behind anything involving Frank Zappa, aside from the amazing shredding compositions he created, is the fan base. THEY ARE DIE HARDS! Very often, people pass up the opening band. However, at the 8pm start the venue was moderately packed with die hard fans of Zappa. Lucky for me, I was in the Return To Forever friend’s and family section so most of the people were in the back hanging with the band and I had rows of seats open in front of me. I loved this.

Thanks to Dweezil and Crew for the wonderful warm up!

The Zappa fans truly energized the audience. After every song there was a standing ovation. During every song there was someone who was screaming at the stage. Dweezil Zappa ripped the guitar open numerous times and the band followed Frank’s coockiness to deliver a stunning 35 minute opener.

RTF IV entering the stage!

Return To Forever Returns

The Beacon filled up during the course of the Zappa Plays Zappa Set but it wasn’t until the lights went down for the men of the hour that all the seats around me filled up. Both nights, just like Zappa Plays Zappa, were similar but with a few variations in delivery.

Lawrence Fishburne Introduces RTFiV

The first night, Return To Forever members simply came on stage without any introduction. We were in a standing ovation from the start. These gods of fusion stood at the edge of the stage, in a line, bowed, wave and blew kisses. The audience ate it up and it wasn’t until they began playing their instruments that the audience quieted. From this point, we couldn’t miss a note. The second night, Lawrence Fishborne, looking pleasantly plumper then I have ever seen him, came out to introduce the super group. Sadly, I only saw the end of this introduction because I was coming back from the restroom.

Laurence Fishburne backstage with RTF

The audience the first night was electric. As the music played, I recognized that I had never heard The Beacon more quiet then I was experiencing right then. Every single pair of eyes was fixated on the stage. Every single person’s interest was on that stage. Why?? Because that is how utterly amazing and respected these men are as musicians.

And then the music began….

SET LIST: Both Nights

Medieval Overture
Sorceress
Renaissance
Dayride
After the Cosmic Rain
Romantic Warrior
Spain
Encore: Captain Senor Mouse
Encore: School days

Upon taking to their instruments, they immediately flew into “Medieval Overture”. The first song off their sixth album, Corea immediately led the stage in the songs beautiful melody. After the gorgeous opening, Stanley Clarke’s turn at the microphone. He spoke of how happy he was to finally hook up with Corea in NYC all those years ago. He spoke to the different versions of the band and how happy he was. But most importantly, he wanted to thank US. He wanted to thank his audience, his avid followers, for supporting this venture and this group for 40 years.

We got some funky flare with “Sorceress” as Corea and Ponty lead the song through Lenny’s chunky funky drumming. Corea continually reared his melodic imagination and rhythmic energy. It was then time for Chick Corea to pick up the microphone. He spent some time speaking to his beloved audience.

“The members of this band are from all around the United States. Ponty is from Texas, Corea jokes. Laughter erupts. “But this [NYC] is our musical home. Where were you born Lenny?” Laughter erupts again. “‘RIGHT HERE,” screams Lenny White!

The whole group raging it proper!!

Corea introduced each member of the band. When it came time to introduce Jean-Luc, there was a standing ovation. I have honestly never experienced so many standing ovations in one night. Chick described Ponty as the guy who has inspired every single person on the planet in his instrument. And then, I experienced what could possibly be one of the longest standing ovations I have ever witnessed and it was so well deserved. The emotions in me swelled for Ponty. At that point, I wish I had more of my musical friends around me, experiencing this magic with me. Just the sheer respect being shown to these musicians was special enough.

And into Jean-Luc Ponty’s “Renaissance” they went, paying homage to the master that had joined this version of the group. Ponty, 69, added class and extra lyricism to the mix. One of the beautiful things about these two nights is that the group recognized each other fully. There was a little portion of the show dedicated to the showcasing of each artists. The first few songs were Corea’s and White’s, next Ponty, then Stanley and then back to Corea. It was wonderful.

“Since all the guys in the band are such good composers, I wanted to have everyone’s compositions add to the new RTF IV vibe. So we all agreed: let’s open it up – which is the way we like it, and I think the way the fans like it too.” ~ Chick Corea stated in a press release.

Clarke takes to the mic to speak of his love for us all!

Ponty took the mic next. Walking to the front of the stage, he spoke in length about playing with Frank Zappa, how Dweezil was only 5 years old at the time and how very proud he is of Dweezil for continuing his father’s legacy in music. There was another round of applause for Zappa Plays Zappa. Then Jean-Luc spoke of three bands that defined the jazz fusion Genre. I listed them earlier in the article. With the exception of HeadHunters, Ponty has had the distinct pleasure of playing in all three groups and thanked us all for allowing him to play for us. He then introduces Stanley Clarke and that is when things got compeltely show-boating amazing.

Stanley showcasing his awesomeness!

Stanley Clarke’s “After The Cosmic Rain,” a gospel-infused song, brought Stanley Clarke to the forefront and he thumped and plucked the living hell out of the strings. Imposing a flamenco-style bass virtuosity upon us, he was absolutely on fire while he literally shredded his electric bass. Getting up in Lenny White’s face, I can’t believe he didn’t break multiple strings with the strength of his playing. “Day Ride” followed and Stanley continued to be the focus on the stage. Out of the whole group, he was making his presence known in a vivid way.

Stanley Clarke is THE MAN!!!

“Romantic Warrior” showcased Gambale and Clarke, who captivated the audience. Gambale, an Australian, did not labor in the shadow of Di Meola. If anything, he’s a more flowing, tasteful, melodic player and he shone during the samba-like stretch of “Romantic Warrior”. Di Meola fans who disagree should note that Corea introduced Gambale as his “favorite guitarist.” I agree, his melody is just more friendly.

Lenny White rages the stage!

They ended the set with Corea’s much-loved song “Spain”. However, the group did not play the stuffing out of it. Instead, there were short, single-chorus solos from Ponty, Gambale and Corea before White bashed out a solo. The tune’s real treat came when Corea conducted a duet of sorts with his fans, exhorting it to sing back his short, snappy melodies, which they did. This was actually quite hilarious as Corea hit higher on the scales and faster in rhythm.

Frank Gambale acknowledging his praise!

At the end of the set, the musicians came to the end of the stage to a roaring applause and a standing ovation. I was so wrapped up in the fact that it was over that I forgot that there would be an encore and got very sad yet invigorated about what I had just witnessed.

After only a few seconds of clapping, the super group came out to end the night with Clarke’s fun clap-along jam tune “School Days”. Gambale is absolutely wonderful and he displayed a sweep-picking like no one I have ever seen. Ponty unleashed flurries of notes before sparring and holding his own with Clarke, proving once more that they belong in the Return To Forever family.

The Meet and Greet

Clarke, myself and White

Gamble and TinyRager!

After the show, I met my friend by the backstage door and was let into the private meet and greet backstage. This wasn’t the Meet and Greet that VIP paid a couple hundred bucks for…nope. This was a PRE-PRIVATE Meet and Greet.

It was there that myself and 20 other people got up close and personal with these amazing musicians. Again, I was asked how I had come to fall for this style of music. It blew their minds as the room was full of die hard male fans and their clueless wives. I was lost with my jaw on the ground, I was shocked, I was speechless and couldn’t quite form words at times but I was the happiest I had ever been meeting a group.

I watched the grown men around me shaking and just melting in front of their idols in music. Ponty was quite and seemed shy but I was able to get a smile out of him as we spoke of his time with Frank Zappa and Weather Report.

OMG! Jean-Luc Ponty and TinyRager

Chick Corea and TinyRager

Frank and I connected on our colorful clothing while Chick Corea’s wife and I bonded over the diet that has helped her loose 90 pounds while Chick has lost 70. The entire shown I had wondered why he looked so frail.

Stanley and I spoke about the various experiences I have had with my favorite bass players this year and how meeting him was just the icing on the cake. Having danced on stage with Larry Graham and getting a giant hug from Bootsy Collins in Switzerland, having spent a few minutes enjoying Marcus Miller and now this. The meetings of my bass heroes would be complete if only Les Claypool would have dinner with me!

Views from the Meet and Greet room!!!

** Editor’s Note: Please excuse the poor quality of the pictures. I never saw a single professional camera in the venue either night. As well, Chick Corea’s professional photographer even had his finger shaken at him when trying to sneak a few pictures. The Beacon is crazy about it so I was forced to use my Droid phone.

Also, I’d like to specially thank Andy Kahan for giving me the opportunity to experience this epic adventure and allow me to help bridge the gap in music.

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Paul Simon @ Montreux Jazz Festival (07.14.11)

Posted in Music Festival, Show Review, tagged Art Garfunkel, Bela Fleck, BMG Music, Bob Dylan, Bridge Over Troubled Water, Columbia House, Esperanza Spalding, G-Love, Graceland, Jay-Z, Lady Smith Black Mombazo, Learn How To Fall, Mariah Carey, NAS, NPR, Paul Simon, Peace like a River, Philip Larkin, Questions for the Angels, Simon and Garfunkel, Slip Sliding Away, The Auditorium Stravinsky, The Avett Brothers, The Miles Davis Tribute, The Obvious Child, The Only Living Boy in New York, The String Cheese Incident on August 1, 2011| Leave a Comment »

My 1992 Sony CD Player 🙂

I got my first CD player during Christmas 1995. I was 13. Up until this time, music to me had been limited to whatever I could find on the radio (which I couldn’t rewind), Disney princess movies, other fluffy movie and show soundtracks.

My grandmother had season tickets to Broadway musicals and Classical Series and so I drowned in those, willingly. That music also made up the majority of my tape collection. On the way to school I was able to hear the radio but my mother preferred country against our “harder” choices. We would bond over many of the bands from her time but I still never had what I considered true musical freedom until Christmas 1993 with the arrival of my first CD player.

Mariah Carey's Music Box Album Cover

I see this as a definitive moment in my musical development and the start of a major addiction. I was 15, had allowance and I needed things to spend my money on. I would eventually join Columbia House, BMG Music (both no longer in existence as CD selling companies)and all the other companies that gave me music on the cheap. I would scam them using multiple names, ending up with tons of CDs and not enough time to devour them all. It was the start of my searching; searching for music that filled a hole.

I was given two CDs with my new CD player. My parents, knowing my love for singing and pop culture, gave me Mariah Carey‘s Music Box. My Uncle John (unsure of his motivation) gave me Simon and Garfunkel‘s Bridge Over Troubled Water.

Simon and Garfunkel's Bridge Over Troubled Water

Simon & Garfunkel

I would come to memorize every one of the songs on both CDs within days. I fell IN LOVE with Simon and Garfunkel while Mariah Carey disappeared in the back of my CD case after a few months and eventually from my memory.

I was immediately turned on emotionally and spiritually by Bridge Over Troubled Waters. I was 13. I struggled with anger and teenage angst and this CD connected with me on so many levels. The voices, the lyrics, the music. A simply stunning CD. More importantly, it opened me up to a time period in music that I had missed…the 70’s. A few months later, I would find Jerry and the musical hole within me would be filled.

There is so much to say about it but I won’t bore you with my run-on stories. My point is that my connection with Simon and Garfunkel runs deep. Paul Simon is sort of my Bob Dylan. I can hear you all screaming now but it’s true. He may not win in your books for the highest award of lyrical and/or song construction but in my book, he is #1.

The Auditorium Stravinsky stage, described in full in my Overview of Montreux Jazz Festival Post, was littered with musicians. I noticed an accordion, a xylophone, a piano, three guitars, a percussion section, one bass, two drummers, a piano and keyboard, horns, and a violin (I think).

Paul Simon’s desire to incorporate multiple multi-cultural instruments is a huge selling point for me being someone who likes to see change and diversity in her musicians. Simon ranks up there with Bela Fleck for going out in to the world to be the hungry learner, the constant musical hunter. I find so much beauty in musicians like that. We need more musicians like that.

Paul Simon @ Montreux Jazz Festival

This would be my first time seeing Paul Simon live. This was an epic moment for me. I felt giddy, like a school girl (pun intended) going to see her first musical crush. I imagined seeing Paul Simon many times in my life but I never thought the first time would be in this amazing auditorium in Switzerland. I had to cross the world to make it happen and I couldn’t be happier.

The show was in The Auditorium Stravinsky and we were in the #3 box seats instead of #4 from the night previous. I wondered if any stars would surround me again. Esperanza Spalding and Paul Simon had been my box neighbors just a night earlier as I watched The Miles Davis Tribute.

Tonight’s show would consist of multiples titles off Simon’s latest CD, So Beautiful or So What. The CD is built around his acoustic guitar and as the title suggests, the songs consist of views on extremes. However, his projections find themselves somewhere in the middle. His songs lie between the worlds of love and indifference, good and evil, hope and heartbreak. He speaks on everything from Christmas shopping to suicide bombers to Global warming. It speaks of his nephew, who has been on multiple tours of duty to Iraq to Jay-Z and Jesus.

The Making of So Beautiful, So What

Singer-songwriter Paul Simon was listening to a box set of old American recordings one day. Among the songs, he found a Christmas sermon bearing the voice of Atlanta’s Rev. J.M. Gates, a hugely popular preacher in the 1930s and ’40s. That sermon stayed with Simon, who turned it into a song.

“It really struck me, not only because it was really an unusual way of having a Christmas sermon, because it’s very dark, it’s like a warning,” Simon tells Morning Edition host Steve Inskeep, “but also … there was a real rhythmic pulse to it … it sounded so natural. I lived with that for a while, and then I thought, ‘I could write a song called “Getting Ready for Christmas Day,” and find a way of making verses that lead up to the sermon and then follow the sermon.’ “

~ Excerpt from NPR’s interview with Paul Simon (04/12/11)

Setlist:
Boy in the Bubble
Dazzling Blue
Fifty Ways to Leave Your Lover
So Beautiful or So What
Slip Sliding Away
Peace like a River
The Obvious Child
Only Living Boy in New York
Learn To Fall
Questions for the Angels
Diamonds on the Soles of Her Shoes
Gumboots
Sounds of Silence

Encore:
Kodachrome from 1973
Here Comes the Sun
Still Crazy After All These Years
Call Me Al

Simon started his set with “Boy In The Bubble,” the opening song on his 1986 album Graceland. Simon’s lyrics deal with the complex human consequences of modern technology. Do you recall the Boy In The Bubble from the 1980s? Ironically, this was a perfect start to a show that would continue on with songs highlighting intense issues.

“Dazzling Blue” followed and was the first song performed off Simon’s latest album. The song has a heavy African vibe; the stage was cast in a blue curtain of light with the majority of light on Simon alone. Beginning with a talking drum from India, the audience was immediately given access to the love that Simon has for different styles and texture of sound found in various cultures around the globe.

Miles apart, though the miles can’t measure distance
Worlds apart on a rainy afternoon
But the road gets dirty and it offers no resistance
So turn your amp up and play your lonesome tune

Maybe love’s an accident, or destiny is true
But you and I were born beneath a star of dazzling blue

~ Lyrics from “Dazzling Blue”

American rock drumming initiated the beginning to “Fifty Ways To Leave Your Lover,” a 1975 hit song from his album Still Crazy After All These Years. The stage was filled with green light and Simon sang about the song’s mistress and her humorous advice to a husband on ways to end a relationship.

Fun Fact: G. Love covered the song on his album Fixin’ To Die (2011) which he recorded with the folk-rock band The Avett Brothers. ~ Thanks Wikipedia

And then Paul spoke…

“Hello my friends. I am so happy to be here. This is my fourth or fifth time here.” ~ Paul Simon to his audience

The bluesy title track, “So Beautiful or So What,” off Paul Simon’s latest album, began with two wooden bars being clapped together. The song verbalizes a lesson about life being what you make of it.

Bemoaning human frailty:

Ain’t it strange the way we’re ignorant
how we seek out bad advice
How we jigger it and figure it
mistaking value for the price
And play a game with time and love
like a pair of rolling dice.”~ Lyrics from “So Beautiful or So What”

I swear I heard a telephone ringing as part of the chorus. It was totally prevalent but I am not sure it was part of the song. At the time, it didn’t surprise me but it made me curious. I loved this song, with its full sound and rock sensibilities. There was a spoon on metal solo, accordion overlay, beaded shakers kept the beat and Paul showed his picking skills. One thing about Paul’s music, the sounds he conjures out of the various worldly instruments he employs in his music is what truly sets each song apart from the next.

Using his mouth in an unusual way to intro the song, Paul Simon chose another oldie, “Slip Sliding Away.” The best way I can describe these mouth sounds would be like when the drawings in the cartoons would take two coconuts to make the sound of a horse walking. It was gorgeous…until there was an equipment malfunction. Paul paused, tapping his fingers on his guitar until his other guitarist strapped in. Flutes and harpsichords were being played but I couldn’t figure out who was playing the beautiful sounds. Simon accompanied the beauty with whistles and the song ended with acoustic scaling and whistling by Simon.

“Peace like a River,” the 7^th song of his 2^nd studio album, highlighted the piano. Paul’s voice cut right through me. There is something so calming and soothing about his sound. The softness is romantic yet there is fierceness in his delivery that comes off as pure professionalism and eagerness to be different.

I found an eight minute video of the performance which shows nothing, but you can hear Simon on stage clearly and that is what matters:

Four drumsticks counted off as both drummers began the lead into “The Obvious Child.” This song is defined by it’s Latin-inspired rhythms and is off The Rhythm and Saints album released in 1990. Reminiscent of a Big Band feel, we started moving in our seats. Paul Simon knows what I like, he truly does. Bright red lights blew up the stage as Josh was so moved he got up to dance.

Did Paul know his favorite fans were in the audience from NYC? Did he know that the NYCers who were there loved this next song? Perhaps not! But I like to think he did as he broke into “The Only Living Boy in New York.” This song touched me deeply as it was the only song sung off Simon and Garfunkel’s 1970 release, Bridge Over Troubled Water, one of the greatest albums to ever grace this planet.

The irony was not lost on me that on the album it is Art Garfunkel who sings the song while Simon takes a secondary position in the delivery. Not this time. Not tonight.

Bridge Over Troubled Water fun facts:

Fifth and final studio album by Simon & Garfunkel

Reached #1 on the Billboard Hot 100 chart on February 28, 1970

Won 1971 Grammy Award for Album of the Year

Won 1971 Grammy award for Best Engineered Recording

Title track won the 1971 Grammy Award for Record of the Year

Title track won the 1971 Grammy Award for Song of the Year

Won Best International Album at the first Brit Awards in 1977

#51 on The Rollings Stones ‘Greatest Album of all Time’ List

The tears trickled down my cheeks freely now. It had only been a matter of time before I knew this would happen and I did think it was going to happen sooner then it did. It took eight songs to rip into my heartstrings. I was immediately transported back to being 12 and hearing his voice for the first time and I prayed that he would sing more songs from this album but it never happened.

“Learn How To Fall” was full of horns and fierceness. It was jubilant yet with a serious message of needing to “Learn How to Fall” before you can “Learn How to Fly.”

Then perhaps my favorite song of the performance was next, a song I had never heard before. A song off the new album called “Questions for the Angels.”

On “Questions For The Angels,” a middle-aged man strolls across the Brooklyn Bridge searching for heavenly help, only to be confronted with a Jay-Z billboard for a reply.

A pilgrim on a pilgrimage
Walked across the Brooklyn Bridge
His sneakers torn
In the hour when the homeless move their cardboard blankets
And the new day is born….

…..Downtown Brooklyn
The pilgrim is passing a billboard
That catches his eye
It’s Jay-Z
He’s got a kid on each knee
He’s wearing clothes that he wants us to try

~ Lyrics from Questions for Angels

Can I just give props to Paul Simon for picking on Jay-Z? I don’t want to condone any negative tension but I find it hilarious, although not surprising, that Paul Simon chose these lyrics. It makes me recall the feud between NAS (who I am seeing tonight with Damien Marley) and Jay-Z. Would this bring Jay-Z down on Simon? Will there be retaliation through lyrics? Can you imagine that going down? Now, that is some musical drama that I would be interested in seeing take place…just saying.

Speaking on religious material making it’s way into the album:

“It’s not so much that it pops out in a larger way … it’s more frequent. I really had no plan to do that,” Simon says. “They begin as stories, and where they go is just a path I follow. Sometimes spiritual or religious imagery will be part of the story. It’s seldom the point of the story, but it’s a presence that lingers.”

~ Excerpt from NPR’s interview with Paul Simon (04/12/11)

It was back to the old school, this time with songs from Simon’s most famous album, Graceland. At this point I just couldn’t take notes anymore. I had to dance this out. Other members of the audience felt the same way as they were lifted out of their seats during the dueling drummers solos during “Diamonds On The Soles Of Her Shoes.” The song is a pure classic about a short relationship Paul Simon had with a diamond mine owner’s daughter, while recording in South Africa. She was very rich and privileged, yet she acted very down to earth, like a poor girl. The drummers were amazing playing off each other and I longed for a concert of just drummers. Can you imagine? I can.

The Lady Smith Black Mombazo inspired song “Gumboots” kept the dance party going. This song reminded me String Cheese meeting Bela Fleck. There was picking on the guitars and a violin entered the mix. The piano player got up and played the inside of his piano. There was such a wonderful mixture of sound and it kept us all on our feet. It’s a beautiful song inspired by The Gumboot Dance which is an African dance that is performed by dancers wearing Wellington boots. In South Africa these boots are more commonly called gumboots.

The rest of the band joined the stage for “Kodachrome from 1973” This song left the hall so full of sound. Great sound. My friends and I were all up dancing in our box. There was no calming us down.

There you have it 🙂 The end of the set. Exiting the stage to monstrous applause, the entire band left. The entire audience began clapping in unison without letting up. Shortly after, Paul came out alone on his acoustic guitar.

!!!!!!!!!!ENCORE!!!!!!!!!!

When the notes trickled from the stage and the audience heard “Sounds of Silence,” the Auditorium went silent. You could hear a pin drop. “Hello darkness my old friend”…and with that, the tears flowed freely again.

This was definitely the most intimate song of the night. It tore at the heart strings, it made people smile, scream and feel something inside of them stir. Paul’s music does that to you. It’s such a classic song that everyone on the planet knows and is touched by it.

Hello darkness, my old friend
I’ve come to talk with you again
Because a vision softly creeping
Left its seeds while I was sleeping
And the vision that was planted in my brain
Still remains
Within the sound of silence

~ Lyrics from “Sounds of Silence”

Then the audience joined in by humming the lyrics. A single man and his guitar was standing alone on one of the world’s most famous stages and had the entire placed entranced. It was magic. It was awesome. It was music at its simplest. Music at its best.

“Here Comes The Sun” was the second choice with accordions and two guitars with Simon backing the melody. And with that, the stage emptied again.

The following video has “Sounds of Silence” into “Here Come The Sun.” Enjoy!

!!!!!!!!!! ENCORE #2 !!!!!!!!!!

Everyone walked off stage and for a few minutes the audience just chanted in unison. Paul Simon came out yet again for a second encore. There was no end in sight and that was awesome.

I took out Josh’s Iphone and video taped “Crazy Love” in it’s entirety with GREAT quality. Enjoy!

“Still Crazy After All These Years” was next. Paul didn’t have an instrument for these songs. Just his voice.

“We’re living in a certain time, and we’re aware of it. And that’s part of what we’re aware of, along with our own personal aches and pains,” Simon says. “The dialogue between what’s going on in the world and what’s going on internally seems to be a natural thing — well, it’s natural to me, anyway, to have these thoughts.” ~ Excerpt from NPR’s interview with Paul Simon (04/12/11)

“Call Me Al” ended the set. Everyone was finally up dancing now. Dancing down below me and clapping. The flute player moved to the keys. There was a major bass rage. Only a few seconds but so funky! You know the bass line I’m speaking of??

“One of my favorite poets is Philip Larkin,” Simon says. “Philip Larkin didn’t write for several years before his life ended. And when he was asked why he didn’t write, he said the muse deserted him. It sort of scared me. That’s why I think I have no right to assume that some thought is going to come. … But I think, in my imagination, if it is it, there will probably be something else I’m interested in.”

At 70 years old, Paul Simon shows no signs of slowing down. He is a master of his art, with a soft, intelligent voice, that attains an unmatchable sense of melancholy and tenderness. Regarding his latest cd, anyone who can take a sermon and build an entirely new outlook on life through it by music is stellar. I was moved and inspired by this show and I hope that this article touches you in some way that makes you go out and purchase the new album or perhaps invest in seeing him live. Simply Phenomenal.

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Marcus Miller Workshop, Montreux Jazz Festival, Switzerland (07.14.11)

Posted in Music Festival, Show Review, tagged Dapp Theory, Fairmont Le Montreux Palace, Front Row Hoes Posse, Herbie Hancock, Jackson 5, Jimmy Hendrix, Larry Graham, Marcus Miller, Marcus Miller Workshop, Paul Chambers, Quincey Jones, Ron Carter, Sean Rickman, Sly and the Family Stone, Stanley Clark, The Alps, The Staple Singers, The Temptations, Victor Wooten, Wayne Shorter on July 29, 2011| 3 Comments »

Marcus Miller Workshop @ Fairmont Le Montreux Palace, Montreux Jazz Festival

Fairmont LeMontreux Palace - GORGEOUS!!!

Right this way... (c) Josh Raskin

Walking up to the GORGEOUS Fairmont Le Montreux Palace, I couldn’t help but smile. This was my favorite structure along the entire lake. The yellow awnings and its ornate classical design were simply stunning amongst the green background of The Alps. No matter where you walked along the water, the striking building made itself known amongst the grey and less-colorful buildings.

I arrived (with Josh) in time to walk right in with Marcus Miller on my left. He was clicking beats with his tongue softly, wearing his signature hat and a vest. I smiled and said “Hi.” He nodded and smiled with his eyes. He was genuine, I could feel it immediately.

Up the stairs to the left we went.....

As we entered the Hotel, we were directed up a grand staircase into an elegant space with pink and peach toned walls. Cherubs and damsels carrying vines of flowers were carved into the grand windows and arches. There were about 200+ chairs set up in front of a tall stage but they were all full of fans.

I got a bit sad at the thought of having to stand in the back but within a second Josh had grabbed me by the hand and seated us on the floor directly in front of the people seated in their comfortable wooden chairs. Within a few seconds there were two rows of fans that followed suit. (Shout out to my Front Row Hoes Posse!)

Marcus Miller walked on stage after a few minutes. His drummer, Sean Rickman of Garaj Mahal, immediately went into it with funk. I was immediately reminded of Victor Wooten and my mind drifted to the Stanley Clark, Victor Wooten, Marcus Miller project called S.M.V. I had forced Josh to listen to their CD just weeks earlier and it was a project Marcus would touch on later in the workshop.

After the rhythm duo finished playing there was some banter. Miller joked about how “this wasn’t a workshop but by the looks of things, it appeared to be a concert.” The space was bursting and the unlucky late arrivals were spilling into the hallways.

Miller explained how “these workshops are for you, the audience, and the hungry learner. I could stand up here the whole time and play licks or I can field questions,” which were welcomed at that time.

One of the greatest parts of the entire experience was hearing how each question was fielded by someone from Germany, Austria, France, America, Jordan or Spain. Each questions yielded a different accent and I just found that part totally intoxicating on its own merit.

And here we go... (c) Josh Raskin

Question #1: “How do you decide to use a fretted or non-fretted bass?”

The Fret Neck

Here is a little background info on frets:

The metal strips running across a guitars neck are called frets. Now, here’s what might be confusing: the word has two different meanings when used by guitarists. It can be used to describe:

1. The actual piece of metal wire

2. The space between the metal strips

Both of these are referred to as frets by guitarists. The space between the frets or metal wires is the place where you should put your finger to make notes. You do not put your fingers directly on the metal strips. So, the area of the neck between the nut and the first strip of metal is referred to as the first fret. The area on the neck between the first and second strip of metal is referred to as the second fret, etc…

Miller explained about frets and how they help one stay in tune. “When you don’t use frets, it’s like you are playing a violin or cello. Without the frets, you can use vibration to create a singing quality which I love because of the more natural sound that is made.”

Marcus Miller Workshop (c) Josh Raskin

Question #2: “Are you doing a tour with this show?”

“Yes, 9 shows. Not a lot but it’s really very special to honor the 20 years since Miles Davis’s death.”

Miller spoke of producing Miles’s album TuTu Revisited and how he really didn’t know if he wanted to jump right back into a Miles Davis session for another couple of years. However, the 20th anniversary of his death is so special and so Miller took his idea to Herbie Hancock and Wayne Shorter and vowed that if they wouldn’t be part of the project then it wasn’t meant to be. The two jazz legends were immediately on board and so the project came to life.

[Some shouts out about “TUTU” being a choice on the set list]

“As we were creating the show, we thought, let’s finish with something everybody knows and then we can go to the Blah, Blah, Blah part which allows for so much space within the notes of the song.”

Miller then went on to explain that on their set list for the show written below each song was “Blah, Blah, Blah.” He spoke about how they didn’t want to do the songs the same and it was when they began to have fun with the songs that the “Blah, Blah, Blah” would happen. It was the “Blah, Blah, Blah” that made this experience its own and where the beauty in the performance was meant to show itself. So, during each song, the group would go off into “Blah, Blah, Blah” and that was when the magic happened.

Another song like that is Wayne Shorter’s “Footprints” Breaks into “Footprints”

Marcus Miller Workshop (c) Josh Raskin

Question #3: “Who were a few of your influences growing up?”

This was Josh’s question and it provided for great content for this article!

“I grew up in the 70s, the golden years of bass playing. I had musicians in my head like Larry Graham, who taught us the importance of the E-string.”

With that, Miller broke into Sly and The Family Stone‘s “Thank You (Falettinme Be Mice Elf Again)”.

“Before Larry Graham, there was James Jameson, a Mowtown session artist who played on so many tracks that you might recognize.”

With that Miller broke into The Temptations‘s “My Girl” Here is Jameson’s bass line:

“James Jameson was a very inventive man and yet he could keep it really simple and make a statement.”

Then he broke into The Jackson 5’s “I’ll Want You Back.” Here is the bass line:

“Then I got into Jazz with the acoustic bass players like Paul Chambers and Ron Carter.”

With that, Miller broke into “So What” from Miles Davis’s Kind Of Blue CD. The intro for this song is something that Paul Chambers is extremely famous for! Listen to the intro here:

“When Stanley Clark came on the scene, I was so excited. He was the first one that made the bass an instrument that was allowed to be in the front of the stage. As a bass player, to see that was liberating. Jaco Pastorious was a continuation…

And then one day, I stopped listening to everything. I was in high school and my roommate told me to stop listening because I had to find my own voice, my own style. We needed to get rid of the negative of not having our own style. I really respected this guy and so I stopped listening.

Now, it’s very difficult to stop listening to your heroes when you are a young person. After a few years, I felt I developed a personality. Then Miles Davis called and said ‘Be at such-and-such studio in 1 hour,’ and he hung up.

So, I ran to the studio and during that session, I really tried to find my own voice. I didn’t want to walk away without leaving my own signature. I didn’t want people, years from now, looking back and saying, ‘Hey, you sounded like [insert name of famous bass player here] during this track.’ I wanted my OWN voice. It was during that Miles session that I feel as though I found my own sound. I didn’t know if I liked it, but it was all mine.”

Miller breaks into “Power of Soul” by Jimmy Hendrix, the reflection of his bass was shining on the walls and off the faces of the multiples smiles in the room.

Question #4: “I would like to know why you chose and how you developed ‘Time After Time’ for this tour.”

“Miles was playing [Time After Time] towards the end of his life. He was always seeing the beauty in songs that other artists were unable to see. He would choose songs you never thought he’d play like the Broadway tune “If I Were a Bell.” He’d show you the beauty in the songs other thought were cheesy.”

Flowers at the Reception Desk... (c) Josh Raskin

Marcus produced the Miles Davis Tribute and how he thought by choosing Time After Time he could explain that concept of finding the “beauty in the cheese” musically.

“We needed to expect the unexpected. During rehearsals, Wayne Shorter would suggest taking the song to a C-Sharp, something none of us would have ever thought of. When they did it, it was like the sun came out. It just evolved…”

He then somehow got to speaking about his discovering Samba and how hard it is to discover new music these days. He spoke about record stores and radio stations the beauty they used to entail.

“Remember old record stores? The owners were true music lovers. I used to frequent the type of stores where you would walk into the store and just ask, “what ‘cha got?” The owner would put on the latest find and many times we would walk out with as many as we could afford. It was the same with radio DJs. They used to play what they loved. They were the ones who were discovering music back then. It’s very hard today.

People call musicians masters. When I think of masters I think of athletes. I do not believe that musicians can master music. That is not something that can be achieved as a musician. As a musician, you are constantly evolving, constantly learning, constantly absorbing. I like to refer to them as endless searchers. Wayne Shorter is an endless searcher, always finding new things.”

Marcus Miller Workshop (c) Josh Raskin

Question #5: “How do you find your personality? How much technique vs. feelings is needed?”

Miller answered with the greatest answers ever delivered after this question.

“You are not allowed to choose,” he said. “When you need it, you can reach for your technique and it’s great to have that. However, you need your feeling all the time. Best is when you have the head and the heart working together.”

Miller then breaks into The Staple Singers‘s “I’ll Take You There.” Just listen to that bass line:

“I come from an R&B background and it makes you have to stay doing the same thing over and over again in a song. But I try to add something that makes it different.”

He proceeded to play the bass line of “I’ll Take You There” in its simplest form. And then as he continued to play the measures repeatedly, he would throw in a few extra notes and colored outside the lines of the measures.

Marcus Miller Workshop (c) Josh Raskin

Question #6: “How did you choose the two Seans?”

“Just so you know both of their middle names are Christopher. These are things that happen when you have Wayne Shorter involved in a project. Sean Christopher Jones was on TuTu Revisited and Sean Christopher Rickman had a video on Youtube that I showed Herbie [Hancock] and Wayne [Shorter].”

Here is the video that got Sean Rickman the job, his work with Dapp Theory at Montreux in 2003:

Question #7: “Over the past 20 years, I have heard Quincey Jones state that the electric bass changed live music. Please explain.”

“Before the electric bass, live performances didn’t have the low-end because you couldn’t mic an electric bass properly enough to fill the low end sound. The electric bass allowed for Rock N Roll to develop and evolve and for the music to be FULL. [Plugging in] changes the music and makes you play differently. Take it from me; I know how it feels to not be heard while playing vs. hitting one note and changing the entire landscape. The art of amplification is what truly changed live music. Once the bass was properly amplified.”

Question #8: “Will you be producing a CD from this tour?”

“Perhaps. We have had 9 shows and we have recorded all the shows with great outcome. Perhaps I can get everyone on board so we can pull together a DVD.”

Marcus Miller Workshop (c) Josh Raskin

Question #9: In a thick German accent: “Back in your youth, you were part of slapping competitions in school and it helped you with the ladies. Can you please show us some good slapping to get girls?”

Everyone broke into laughter, including Miller who then spoke of Thunder Claps and competitions and how “you only want to do competitions when you are young.”

Miller ended the set playing Larry Graham‘s “The Jam”. One of our FAVORITE songs. One of the greatest bass lines to open a song EVER!!! Here is Larry performing it:

And now with Marcus Miller:

“The Jam” a song that we would hear so many times over the next four days I would wager that “The Jam” was, by far, the most played song at the festival.

~~~

The workshop ended with Miller walking off the stage into a puddle of fans wanting to just pass him a smile, shake his hand or just be in his presence! I had enjoyed my tiny moment with him walking in and so I went to find Josh who had skirted around the venue trying to take pictures with his fancy camera. The staff was constantly asking others to shut off their cameras. Thank God Josh is sneaky because we wouldn’t have had much visual content for this article! 🙂

Turns out, Josh had found himself just on the other side of the wall in the room where they would eventually bring Miller seconds after he got off stage. When Josh saw him, he said: “Marcus, when you spoke of attending a performing arts school in NYC did you mean La Guardia High School?”

Miller: “Yes, you live there?”

Josh: “Yes, I teach in a middle school that tests the most students into La Guardia.”

Miller: “Where do you teach?”

Josh: “Booker T. Washington Middle School.”

Miller: “NO WAY! I know that school…”

And so it continued for a few more minutes of talking school, music and Manhattan. My lucky Josh had gotten the final interview of the session even though Marcus Miller had ended up getting in the last question! 🙂

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Miles Davis Tribute @ Montreux Jazz Festival (07.13.11)

Posted in Music Festival, Show Review, tagged Auditorium Stravinsky, Claude Nobs, Cyndi Lauper, Disney, Esperanza Spalding, Funky Claude, Garaj Mahal, Herbie Hancock, James Brown, John Coltrane, Lake Geneva, Marcus Miller, Marcus Miller Workshop, Miles Davis Hall, Missioni, Missoni, Quincy Jones, Sean Jones, Sean Rickman, Snow White and The Seven Dwarfs, Someday My Prince Will Come, Star Wars, Switzerland, The Miles Davis Tribute, The Montreux Jazz Festival, Time After Time, TuTu, Wayne Shorter on July 22, 2011| 6 Comments »

Note from the Editor: You are encouraged to read The Montreux Jazz Festival posts in order as they all contain information that pours meaning into the following posts: Click here for My Behind The Scene Tour and Overview of The Montreux Jazz Festival **

Miles Davis Tribute @ Montreux Jazz Festival

Even though the Montreux Jazz Festival had been raging for over two weeks, The Miles Davis Tribute was the first show of the festival for Josh and I, having just arrived in Montreux, Switzerland by way of Paris, France earlier that morning.

View from looking left out to lake Geneva or Lake LeMan

View from walk to Auditorium, while walking and looking left out to Lake Geneva aka Lake LeMan

This would be a very special performance for us and other Americans who were attending because this show was not making its way to the United States. Sad but true, which made this a very special performance for jazz heads like Josh and I.

We walked from our hotel to the gorgeous Auditorium Stravinsky, about a 15 minute walk along the gorgeous Lake Geneva, or Lake Léman as the Swiss prefer to call it. You can read more about this gorgeous auditorium and its amazing acoustical design in my previous post titled My Behind The Scene Tour and Overview of The Montreux Jazz Festival!

Having been blessed with a amazing VIP package from the wonderful Sloane Family earlier in the year, we were so excited and didn’t know what to expect! We had already been greeted upon arrival to our hotel by a Festival representative and been given a goodie bag full of Mac Cosmetics, two festival tee-shirts, a dual-disc sampler CD, Missoni pamphlets and more.

View of festival sidewalk heading up to Auditorium Stravinsky at night!

Night view of festival sidewalk heading up to Auditorium Stravinsky, which is to the left of the white tent! The Lake is located behind me at this view.

We found our way to the Protocole’ Office where a most gracious staff took care of us. Vivian, Josephine and Helena were beyond wonderful!! Thank you ladies for your patience, giving us the best of care, making sure we weren’t kicked out of our booth by the stars and reminding us how hospitality should be handled. New Yorkers need to recognize! The hospitality in Switzerland is absolutely unmatchable.

We were given two slips of thick paper and orange wrist bands that served as entry to the box seats. We were shown the way to the top of the venue, led down a little hallway and placed into Box #4. My magic number 🙂 There were only six boxes total as far as our floor was concerned. If they had more, I never knew about them or saw them.

Happy Box Seat Ragers!!

The below picture shows the stage from the left side box view. We were just the mirror image, same spot but our box was situated to the right of the stage. It was a phenomenal view of the show, albeit far away. There would be no front row raging during these performances.

Auditorium Stravinski

The show was slated to begin at 8pm but we all know what that means. Finally around 8:45pm, beginning fashionably late (pun intended and you’ll see why later), Claude “Funky Claude” Nobs, the fonder and general manager of The Festival, and a few staff members came out on stage to press festival merchandise. Claude led the pack, wearing multiple shirts, stripping away a layer at a time then throwing the shirts into the audience. Then came the introductions via Funky Claude.

The Miles Davis Tribute @ The Montreux Jazz Festival (C) Lionel Flusin

Miles Davis Tribute produced by Marcus Miller

Herbie Hancock – Keys
Wayne Shorter – Saxophone
Marcus Miller – Bass
Sean Christopher Rickman – Drums
Sean Christopher Jones – Trumpet

Pianist and composer Herbie Hancock, saxophonist Wayne Shorter and bassist Marcus Miller are all alums of the school of Miles Davis, having all had the pleasure of playing with Davis before he passed. The jazz great, whose statue stands proudly in a park next to Miles Davis Hall, performed 10 times at Montreux, the last time just two months before his death at age 65 in 1991.

Claude welcomes Marcus Miller (C) Lionel Flusin

Marcus Miller was introduced and came out in an all white suit and his signature black hat. Herbie Hancock was introduced and came out rocking a MEGA Cosby Sweater to which Claude commented on how he liked it. Well, of course he did. Claude Nobs only wears Missioni! Yall know the “interesting” $1,000+ designs that looks like ugly sweater patterns? It’s my least favorite store on Madison Avenue and here is this dude who only wears that brand. He rocked every piece 🙂 It was made for Claude and all his fabulousness and, to be honest, I grew to like a few items during my trip. Wayne Shorter was next and in the tradition of Davis, the trio has brought in two young musicians to work with them, trumpeter Sean Jones and the drummer Sean Rickman.

Sean Jones during The Miles Davis Tribute @ The Montreux Jazz Festival

The two-hour concert, which stretched into the early hours of Thursday, was a highlight of the 45th annual Montreux Jazz Festival, “where Davis is still remembered for driving along Lake Geneva in a red Ferrari.”

Set List

Walkin’
Little One
Milestones
All Blues
Directions
It’s About That Time
Water Babies
Someday My Prince Will Come
Footprints
Put Your Little Foot Forward
Jean Pierre
Orbits
Dr Jeckyll

(encore)

Tutu
Time After Time

Marcus Miller (C) Lionel Flusin

The five piece ensemble opened with “Walkin,” the title track of Miles Davis‘s 1954 album. Herbie Hancock started the song out slowly, following through alternating from his piano and keyboards. During his solo, his face made the deepest of connections with the notes and you could see it in the way he contorted his mouth and eyes with feeling. There was gorgeous mournful trumpet and saxophone exchange between Sean Jones and Wayne Shorter respectively and then the “Blah, Blah, Blah” happened through “Little Ones” and “Milestones.”

During the Marcus Miller workshop the following day, a question was asked about the set list and how it was formed. Miller spoke about how they picked the song, (which I will speak of fully in the Marcus Miller Workshop Post to follow this one next week).

He spoke about how they didn’t want to do the songs the same and it was when they began to have fun with the songs that the “Blah, Blah, Blah” would happen. It was the “Blah, Blah, Blah” that made this experience its own and where the beauty in the performance was meant to show itself. So, during each song, the group would go off into “Blah, Blah, Blah” and that was when the magic happened.

Marcus Miller raged an amazing electric bass solo during “All Blues” as he curled his fingers into the strings, creating a gorgeous texture of sound. There was no guitar on stage, yet it was so tight, so jazzy and so full of notes and excitement that it filled the auditorium fully. During the “Blah,Blah, Blah” towards the end, Miller changed to a saxophone-looking instrument that layered a deep tone under the rest of the group.

Sean Jones and Wayne Shorter (C) Lionel Flusin

During a swanky “Directions,” I notice movement in the box to my left. I see Esperanza Spalding being sat down on the second row with a few of her people. At first, I didn’t think it was her but then who else rocks hair like that? It took all my power not to geek out. She is a musical goddess and we would be enjoying her performance only a few hours later for the Quincy Jones’s Global Gumbo, (another post that will be following this one shortly).

“Someday My Prince Will Come,” from the 1961 album recorded with John Coltrane, was beautiful. This is one of my all time favorite songs. A gorgeous song from Disney’s 1937’s Classic Snow White and The Seven Dwarfs, it’s impossible not to feel something as a female while listening to this song. My eyes immediately welled up and I know I was not alone in this emotional stirring of the soul.

Sean Rickman (C) Lionel Flusin

Marcus Miller started off with a slow bass solo then Sean Rickman and Herbie Hancock took over the stage. I had never seen Rickman or so I thought. He is actually the drummer from Garaj Mahal, a group I have not been able to see in a long time. He caught my ear. Most of the time drummers are not the artists who catch my ears in a project like this. He was superb and he looked to be having so much fun up there as his smile never once dropped, nor did his beat.

Then, a nice informative break in the show as Wayne Shorter engaged the audience with how the super group decided to approach this tribute.

Wayne Shorter during The Miles Davis Tribute @ The Montreux Jazz Festival

During their first rehearsal, the five men did nothing but talk about how best to honor Miles’s spirit. They didn’t play a single note during the entire first rehearsal. Miller would later say in his Workshop that during that time of revelation, they would try to outdo each other by seeing who could come up with the most obscure Miles tunes. It was during this time, during this first rehearsal, that Miller said they became a band, before a single note was ever played between them.

“In preparing for these concerts,” Mr. Hancock said, “we had many conversations about the interests of Miles outside of music like boxing and cooking. He was arguably a master chef. It adds more dimensions to him. We’ll embrace his spirit by being in the moment and creating a new perspective, sometimes on known themes.”

While putting together their set list, the one thing the group didn’t want to do was “play in the style in which it was originally done because we figured Miles would hate that.” Miles was a man who always looks forward and so as they looked back at his music to play they knew that Miles would have wanted them to look forward, taking his music to new levels.

Let’s make it like a soundtrack to Miles’s life’!” “It doesn’t feel like 20 years, it feels like 4 or 5. Miles’s music is everywhere. This is dedicated to the spirit of Miles Davis, the most beautiful thing he gave us.” ~ Marcus Miller

They spoke on how they felt Miles had only been dead 4 or 5 years, not the 20 years that we were celebrating tonight. They felt, and I agree, that this was because of the fact that Miles’s music is still so very relevant today and the lingering spirit that resides in all the artists who played with him keep his spirit flowing through the scene and through the music.

Sean Jones (C) Lionel Flusin

Breaking into “Footprints,” Wayne Shorter related to the audience that this portion of the show would represent Miles’s childhood. The songs were playful which made sense and the “Blah, Blah, Blah of this song became funky as the bass and horns led the pack. During the song, Hancock transformed his keyboards into human noises, each key making a different sound consisting of hoots and hollers sound bites from James Brown that said “Come on,” “Groove,” “Yeah,” and cat calls and yelps. The “Blah, Blah, Blah” had taken over.

There was another song thrown in to the mix here that I just couldn’t get the name of. Sean Rickman would later tell me:

“After ‘Footprints’ we play[ed] a swing tune that represented Miles’ “childhood”. I forgot the name of that tune. Then we did Jean Pierre.”

Marcus put down the electric bass and moved to the standup for “Jean Pierre” which changed the entire scenery of the sound in the room, almost big band-y. I knew it was a song from later in Miles’s day. If I could only remember the name. The trumpets led the band during and the “Blah, Blah, Blah” of this song went on for minutes and ended in a standing ovation of the crowd.

Herbie Hancock (C) Lionel Flusin

Being on the big stage for this 5 piece band was perfect. The artists on stage lined up for a bow and it was tearful moment for me. The music had been overwhelmingly different from anything I had expected to hear that night. I don’t think I have experienced such a tight and wonderful jazz performance. The legends on that stage, the fact that it wasn’t being played in America, my appreciation for the moment, my appreciation for Miles; it brought tears to my eyes.

I wasn’t the only one who felt this way. The entire crowd was standing in ovation with respect for the super group who had just played the “Blah, Blah, Blah” out of the music! Taking the music to an entirely new level and doing EXACTLY what they had planned. After the ovation, Hancock strapped on a synthesizer keyboard for the first encore: “TuTu.”

Marcus Miller @ Montreux Jazz Festival

Hancock and Miller had fun during this tune, walking towards each other in the middle of the stage and Hancock bantered musically with each musician. Each one playing a rip and Hancock coming back with his handheld. When it was Shorter’s turn, he blasted out a single note, laughter again erupted into the audience. All Wayne Shorter needs to play is a single note. So amazing.

Once again, they maneuvered to getting off the stage but this time they were stopped by Claude Nops, who requested another song. This time, the song that took us all by surprise, “Time After Time,” a song made famous by Cyndi Lauper in the 80’s, was played.

Marcus Miller was back on his deep saxophone and created a totally wormy sound from the instrument to take “Time after Time” to a different place. Without Hancock playing the melody shortly after, one might not have recognized the song. I recognized it immediately. There was even a Star Wars tease from Shorter on his saxophone in there if you caught it. Completely playful and unique.

Later, during his workshop, Marcus Miller would speak about how Miles Davis could take a super cheesy song or a song that most musicians might view as cheesy and find the beauty in it. This was one of those songs. Miller felt that ending with a song that Miles Davis revamped was a perfect ending to this tribute, showing us how he could be the master of anything.

“Marcus produced a great concert,” said Claude Nobs, founder of the Swiss festival now in its 45th year.

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Musical Musings of a Tiny Rager

So much music, so little time!

Archive for the ‘Show Review’ Category

November 2011 Music Calendar

November 2011 Music Calendar

Return To Forever 4 @ The Beacon Theater ~ 2 Nights (08.12-13.10)

Return To Forever IV – The Return

Paul Simon @ Montreux Jazz Festival (07.14.11)

Paul Simon @ Montreux Jazz Festival

Marcus Miller Workshop, Montreux Jazz Festival, Switzerland (07.14.11)

Marcus Miller Workshop @ Fairmont Le Montreux Palace, Montreux Jazz Festival

Miles Davis Tribute @ Montreux Jazz Festival (07.13.11)

Miles Davis Tribute @ Montreux Jazz Festival

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