Feeds:
Posts
Comments

Posts Tagged ‘Bowlive V’

Bowlive V: Night VII – Soulive w/ Marco Benevento, Sonya Kitchell, Roosevelt Collier, Felix Pastorius, Oteil & Kofi Burbridge, and Brandon Niederauer @ The Brooklyn Bowl (03.21.14)

Sonya Kitchell Set
Hurricane
Dust
Broken Heart
Follow Me In
Catapult
Mexico
Family
This Feeling
At First

The seventh night of Bowlive V at the Brooklyn Bowl started off on a more mellow vibe than the previous night openers. Bowlive V has produced rocking sets by The London Souls and Leroy Justice and the wonderful, jazzy Alan Evans Trio but now it was time for a chick flick of musical sorts.

Sonya Kitchell made her Bowlive debut with Jesske Hume on bass, Nate Wood on guitar and the amazing Neal Evans on drums and keyboards. Neal Evans on drums, you say? Yes, drums! When Neal is not playing with Lettuce or Soulive, he holds down the drums for Sonya Kitchell.

“I had a blast rocking the drums last night. Drums were actually my first instrument” ~ Neal Evans

Both Soulive and Sonya Kitchell were signed under Velour Music Group for a while but both have since graduated to new management. This explains their affiliation but there was a larger reason behind choosing Kitchell to open for the last night of Bowlive. Kitchell’s musical resume is filled with gems but she is most noted for touring with Herbie Hancock in 2008 after she helped him on his record River: The Joni Letters.

Neal Evans by Mark Dershowitz

Neal Evans with Sonya Kitchell by Mark Dershowitz

Sonya Kitchell Setlist

Sonya Kitchell Setlist

This set was was a defining characteristic of a Bowlive Residency. Was it what everyone wanted? I don’t think. Was it it as jamming as it could have been for a Friday night opener? Not really. However, Soulive enjoys changing up the game, introducing us to their favorite artists, mixing up the genres and giving exposure to the music world in whatever way they can. And please, do not get me wrong, Sonya Kitchell is a beautiful songstress and writer. I remember hearing Kitchell on Pandora about seven years ago singing “Let Me Go,” off her Words Came Back To Me album which was released on my 26th birthday. I bought it the next day. However, I am a lyric-loving female and the audience was filling up with dude after dude.

Kitchell’s band, was dressed all in white, definitely an artistic expression. White, almost as pure as her sweet, hopeful voice. Her set consisted completely of new tunes, some off the new, yet-to-be-released album, some even newer and some not recorded yet.  There was a nice treat when Marco Benevento came out and played piano for her tune, “Family,” a beautiful melodic tune. “This Feeling” was truly felt with Sonya Kitchell‘s effervescent vocals, Marco’s twinkling keys and Alan Evan’s consistent drumming.

Overall, Sonya Kitchell is a silent but deadly rager. A little grungy, a little edgy, a lot of sex appeal and her high registry and ethereal voice was captivating. She is soft, yet intense and today, she continues to impress the underground music community stretching those high notes and flipping between genres with every song.

Set I
Shaheed
Swamp
Brother Soul
Reverb
Aladdin
3rd Stone From The Sun –> Lenny
Manic Depression
Stratus

The intensely dedicated members of Soulive, drummer Alan Evans, keyboardist Neal Evans and guitarist Eric Krasno, stomped out an audience favorite, “Shaheed,” to open the first set. It was Friday night at the Brooklyn Bowl and if anyone knew what that meant, it was this trio. They brought the fire. The “Swamp” brought out the Shady Horns and there was just some gnarly, funky, connected vibing happening on stage. It got so deep that Alan Evans, for the second time this week, broke his snare drum.

“No snare drum can contain Alan Evans.” ~ G.F

“Brother Soul” showcased saxophonist Ryan Zoidis, who got a jumping ovation because everyone was already standing and as his solo peaked the crowd could be seen jumping in rhythm to his playing. This was a “GROOVER,” as John Scofield would say. Light Technician Victor Cornette supported the music wonderfully with his light work, uplifting the audience that much more. Next on deck was “Reverb” into “Aladdin.” Sonya Kitchell was on vocals in line with the Shady Horns while Neal musically defined the namesake of the song.

“Reverb is created when a sound is produced in an enclosed space causing a large number of echoes to build up and then slowly decay as the sound is absorbed by the walls and air” ~ Dictionary.com

Jimi Hendrix’s “3rd Stone from the Sun” and Stevie Ray Vaughn’s “Lenny” was next and The Shady Horns exited the stage. This is always an epic pairing of tunes but when you add in a child guitar prodigy, who only turned 11 last week, things get nuts. The amazing Brandon “TAZ” Niederauer made a big name for himself on Jam Cruise this year. Here it was now that this virtuoso guitar player I had heard so much about was going to show off his skills next to one of the best guitarists in the world.

“Everyone pulled out the Fire for night 7. Taz. Wow. Alan and Neal said it perfectly. Music starts in schools and our support needs to go there. Taz is a prime example of pure unadulterated raw talent. Was really humbling to hear him play and shed his soul on all of us. Can’t wait to say “I heard him play when he was 11″ to my kids one day.” ~ A.L. 

“My friend Dan said about Taz – “he’s not just playing he is feeling it. He’s just got it” ~ K.G.

“The crowd on the back half of the dance floor all turned to the screen to watch when Taz started playing!” – R. L.

When they broke into Hendrix’s “Manic Depression,” it was slow going but then Taz just took it away. Krasno gestured to the sound guy to turn Taz’s sound up. Measure after measure, Taz just built and built upon himself, delivering his solo so intensely, yet wearing such a stoic expression. Not even a little smile. Totally in his head. Everyone’s jaws were on the ground and there were moments when the audience was just screaming in shock and awe. Taz sounds and acts like a seasoned veteran of the stage and watching him grow up musically is going to be a wonderful experience so keep your eyes peeled.

“This is why we need instruments in school y’all.” ~ Alan Evans passionately spoke into the microphone.

1960's photo of John Scofield working with Jaco Pastorius

1960’s photo of John Scofield working with Jaco Pastorius

Alan Evans called out for “Felix” and shouts, “Where’s Marco?” The unannounced bassist Felix Pastorius was introduced by Alan and special guest Marco Benevento joined the stage. Just when you thought it couldn’t get any better Felix Pastorius shows up to play some cranking bass for us. Felix is a fantastic musician in his own right but it would be foolish not to mention that he is the son of the late virtuoso jazz fusion bass player from Weather Report, Jaco Pastorius. Many members of the audience could be heard talking about the excitement of seeing Jaco’s son play at Bowlive.  Felix did not disappoint adding a groovy jazzy bass sound to the Soulive mix.

The Shady Horns were back. The set-list listed Jaco’s soulful “The Chicken” next but they nixed that and went into Billy Cobham‘s “Stratus” instead.  Both songs are famous jazz fusion standards but only one made the cut for what turned out to be a psychedelic mash-up of musicians, literally the definition of fusion.

“This was my favorite song of the entire run” ~ T.P.S

Set II
Jesus Children of America/Stay
The Dump
The “In Crowd”
Revolution
Benny and the Jets
When My Guitar Gently Weeps
Soulful Strut
The Ocean
She’s S0 Heavy

Alan Evans handled the vocals for the Stevie Wonder cover, “Jesus Children of America,” while his feel-good drumming kept the beat.  “The Dump” is actually a Lettuce tune off their first album, Outta Here, which really brought the crowd up. However, it was when Marco Benevento came out for “The ‘In’ Crowd,” a song composed in 1964 largely for pianos and horns, when the stage might as well have caught on fire from the heat. Marco laid down a beautiful melody of keys while each member of the horn section soloed starting with James Casey, to Ryan Zoidis and then Eric Bloom. Bloom’s trumpet solo was reminiscent of Dizzy Gillespie and Casey brought it all home. At one point, Alan Evans pointed out that Marco was wearing a Soulive shirt and the crowd cheered.

“Marco has a special relationship with his piano and the audience. The bond is not to be taken lightly. His sensitive side is what makes him talk to the piano and relate to the audience.” ~ H.H

Miami’s acclaimed pedal steel guitarist, Roosevelt Collier from The Lee Boys, was the next guest for the evening.  He began by to sitting in on The Beatles’ “Revolution.” It was a special treat for Bowlive fans to see this uniquely talented musician play his equally unique instrument, the lap steel guitar.  The Bowl shrieked with the lovely sounds echoing from Rosie’s instrument. Collier was also in town for an Allman Brothers Band after-party gig at B.B. Kings Blues Club in Times Square the following night.  There was wonderful playfulness between Neal Evans and Collier. Marco was in his own world crushing so hard. It’s quite possible that Marco gets better with every note he plays. Roosevelt added a fantastic layer of sound with his lap steel-guitar as he and Krasno battled it out in a full on jam session for the ages. Pure hot-sauce.

Soulive added another piece of musical history to the Bowlive run when, with Roosevelt Collier and Marco Benevento’s help, they jammed out their first ever Elton John tune in Bowlive history: “Benny and The Jets!” What a crowd pleaser. Sonya Kitchell was back on vocals, in line with the Shady Horns and then Marco got up from his rig and dangled the microphone over the heads of those in the front row. “Just these guys!” said Marco and the audience joined in on the biggest sing-a-long of the run. The funny man continued to swing the microphone around heads before going back to his keyboards to have a duel with Collier.

The magic continued with “My Guitar Gently Weeps” and “Soulful Strut.” What more is there to say that I haven’t already said. Classic after classic, this group of musicians, all seasoned jamming artists, continued to slay the audience with solo after solo. Jam after jam. Collier and Krasno continued to duel it out on the strings while the Evans brothers held down the rhythm so tightly. Audience members had their hands extended towards the sky as if they were worshiping to their gods. Their Gods of Rock!

For the next tune, it was fun to see Marco opened it up with the famous John Bonham count-in, “We’ve done four already but now we’re steady and then they went: One, Two, Three, Four.” BOOM!!!! The audience was immediately washed away by a rousing rendition of Led Zeppelin’s “The Ocean.” It’s particularly nice to hear this tune performed during Bowlive with Marco because Led Zeppelin doesn’t have a keyboardist in their band, making this arrangement unique.

Encore I
I Want You (She’s So Heavy)

The set was supposed to end there but it was Friday night and Soulive was on fire. So, they pulled out Encore #1 with Beatles’ tune, “I Want You (She’s So Heavy).” Ironically, on this day in 1984, part of Central Park in New York was renamed Strawberry Fields in honor of John Lennon.

Encore II
So Live!
Cash’s Dream
Nubian Lady

The stage empties for about 60 seconds. At that point, Alan Evans is back on the microphone stating, “We were going to end the set but we have some more surprises y’all, all the way from the Beacon Theatre, Oteil and Kofi Burbridge.” Eric Krasno leans into the microphone with a huge grin and says, “Burbridge Brothers in the building!” Oteil Burbridge has been the bassist for The Allman Brother’s Band since 1997 and his brother, Kofi, has been playing flute and keys for many bands on the jam scene for years as well.  Hearing Kofi’s flute in the mix of “So Live!,” “Cash’s Dream,” and “Nubian Lady” was stunning. He fluttered through the songs, bouncing back and forth between the piano and his flute, both instruments he dominates.

Photo Courtesy of Mark Dershowitz

Photo Courtesy of Mark Dershowitz

During “Cash’s Dream,” the Shady Horns joined the stage while Oteil Burbridge really let it rip on his bass. Oteil guided the song to a really spacey place. Victor Cornette used the lights to enhance the mood and there it was, the pinnacle of the evening with Ryan Zoidis adding effects to his horn, bringing it that much higher. In the end, it was just one epic extended solo, each musicians playing off each other and feeling the family vibe super hard. People were jumping on their feet with both hands in the air. Just a full on Jam Session between friends and as we danced with our own friends in the audience, it was a great way to end a Friday night.  Thank you Soulive, Roosevelt, Marco, Oteil, Kofi, Sonya and all the amazing musicians that made last night another night for the books.

——————————-

Tonight, the last night of Bowlive V, you will get an array of surprise musicians playing a laundry list of amazing songs. That is just how it goes down on the finale night of a Bowlive run. 

——————————-

List of Special Guests and Openers

THURSDAY, MARCH 13 – Special Guests: NIGEL HALL, EDDIE ROBERTS, more TBA

FRIDAY, MARCH 14 – Special Guests: GEORGE PORTER JR. and SPECIAL GUESTS TBA
Opener: LEROY JUSTICE

SATURDAY, MARCH 15 – Special Guests: GEORGE PORTER JR. feat. a special #LONDONSOULIVE joint set
Opener: THE LONDON SOULS

TUESDAY, MARCH 18 – Special Guest: JOHN SCOFIELD
Opener and Special Guest: JON CLEARY

WEDNESAY, MARCH 19 – Special Guests: JOE RUSSO and SUSAN TEDESCHI
Opener & Special Guest: JON CLEARY

THURSDAY, MARCH 20 – Special Guest: DMC (of RUN DMC)
Opener: ALAN EVANS TRIO

FRIDAY, MARCH 21 – Special Guests: MARCO BENEVENTO, ROOSEVELT COLLIER, OTEIL and KOFI BURBRIDGE, FELIX PASTORIUS, and BRANDON NIEDERAUER
Opener: SONYA KITCHELL

SATURDAY, MARCH 22 – Special Guest: BILL EVANS,
Opener: WOLF! Featuring Scott Metzger

Read Full Post »

Soulive: Photograph Courtesy of Calabro Music

Soulive: Photograph Courtesy of Calabro Music

Bowlive V: Night IV – Soulive feat. Jon Cleary and John Scofield @ The Brooklyn Bowl (03.18.14)

As the members of Soulive settled in over the years, their Brooklyn Bowl based annual residency, Bowlive, has became as institutional as the music itself. During the first week, the audience was privileged enough to enjoy the musical styling of vocalists Nigel Hall and Nicki Bluhm, turntablist DJ Logic, rocking guitarists Warren Haynes and Eddie Roberts, legendary bassist George Porter, Jr., and house band, The Shady Horns. Full band performances and collaborations by Leroy Justice and The London Souls added to the marvel. Every song sailed down the middle of the stage, rolled by the trio with the consistency of a pro bowler. This consistency, of course, has been the key to Soulive’s longevity.

“When Soulive hit the stage, I was surprised at how they constantly matched the energy from the previous nights. I’m always reminded of the 80’s power trio bands that filled a room with just three musicians and am amazed how these guys do it. A modern day jazz/funk power trio like no other.” ~ R.G.

Commencing with their second week of Bowlive V, Neal Evans, Alan Evans and Eric Krasno have put together another long list of talented musicians to keep us satiated for the remaining five nights. Over the next few evenings our musical senses will be overloaded with the likes of Joe Russo, Susan Tedeschi, Jon Cleary, Bill Evans, Alan Evans Trio, DMC (of Run DMC), Marco Benevento, Sonya Kitchell, and WOLF! Featuring Scott Metzger. You can also count on some surprise guests.

For night IV, Soulive made all the right moves, showering the audience in musical genius, making sure no one would regret coming out on a Tuesday night. With Jon Cleary and John Scofield as the special guests last night, it was the perfect kick-off for the second week. And what a kick-off it was. It was truly stimulating. Soulive and their guests performed one long extended set with Jon Cleary opening to a packed house at 8:30pm.

“Notes from the front line, my first encounter with Bowlive! Thank you Soulive and Brooklyn Bowl for making our first Brooklyn Bowl/Bowlive experience a very memorable one. From the moment we arrived, we were welcomed by the staff and had a great pre-show dinner, followed by the acquisition of the highly coveted John Warner Bowlive poster, which are limited to 15 posters per evening. After seeing some fellow Pittsburghers and Jam Cruisers, we secured our spots on the platform area with a killer view of the stage.” ~ M.M & L.M.

Jon Cleary Set
Unknown
I Feel So Damn Good I’ll Be Glad When I Get the Blues
Cheating On You
When You Get Back, We Gonna Cha Cha All Night Long
The Crave (an emotionally complex piece.)
I Get The Blues When It Rains
Unknown (Boogie Woogie Tune)

Phone Capture Courtesy By Rob Mishaan

Phone Capture Courtesy By Rob Mishaan

The venue was packed with devoted music fans. This wasn’t your average audience who was there to drink and chat it up with their friends. Almost every eye was fixated on the stage as Jon Cleary opened the night with a solo piano set showcasing his vested studies in the music of New Orleans. Having moved from Kent, England to study the music of New Orleans, Jon Cleary is arguably the best out there right now. A disciple of Professor Long Hair and James Booker, Cleary’s voice is salty-sweet and he is a master of the piano, organ and guitar. You may know him best as a member of Bonnie Raitt and Taj Mahal‘s bands and his own group, Jon Cleary & the Absolute Monster Gentlemen. With his blend of jazz, blues, soul, gospel, and honky-tonk, Cleary epitomizes New Orleans music. His set was evidence of his extreme caliber of musical knowledge.

Jon Cleary started the night of music off right, as I was immediately intrigued by his silky smooth voice and Deniro-esque looks. His “Big Easy” style was quite a cover for his British heritage. This new musical discovery for me had me Googling his discography this morning to see what else I could find out about this man!” ~ M.M. & L.M.

“Having just booked our trip to Nola for jazziest the night before I could not have asked for a better punctuation. Watching Jon Cleary play keys in such classic New Orleans style blew us away. I could only wonder if Neal Evans was peeking down the stairs to watch this guy.” ~ R.G.

Set I
Shaheed
Come Together
One in 7
For Granted
Cannonball
What You See Is What You Get
Nealization
Something’s Got A Hold on Me
Motherless Child
Walk With Me
Don’t Need No Doctor
Turn It Out
Hottentot

Encore: Get Back

Last night, there wasn’t three sets or even two sets, there was one long extended set which ended promptly at midnight. Soulive, The Shady HornsJon Cleary and John Scofield would command the stage with various genres of blues and jazz, filling every second of the evening with prodigious music. The set started out with the members of Soulive performing “Shaheed,” The Beatles‘ tune, “Come Together,” and “One in 7.” During “Come Together,” the audience sang along with heads bobbing and the stage lights flashing, while “One in 7” was played with a delightful intro. It was also during this time that there was some malfunction with Neal’s keyboards. Times like these can break a musical moment but Alan Evans picked up the slack by drumming his heart out while the chords on his brother’s rig were being fixed. When the audience heard the rejuvenation of the bass keys, it was on!

“Upon completion of Jon Cleary‘s set, Soulive took the stage, embracing me with their soul soothing sounds and reminding me that Neal Evans is a true bad-ass! Watching him lay down those bass lines with his left hand as his right hand plays the Hammond chords was literal music to my ears! The Beatles‘ cover “Come Together” got the crowd singing along, but you could see the anxious anticipation for the arrival of John Scofield, who was the special guest of the evening. Having the pleasure of watching such musical prowess and interplay in such close proximity was truly a treat.” ~ M.M.

“For Granted” and “Cannonball” were both played with the help of The Shady Horns. Ryan Zoidis (baritone/alto saxophone), Eric “Benny” Bloom (trumpet) and James Casey (alto saxophone/percussion) always bring a special vibe to the stage when they join Soulive. As much as they is a respected jazz trio, their vested interest in funk runs deep. The audience is blessed to have a horn ensemble in the mix of some of their favorite jazz tunes. “For Granted” was a wonderful showcase for the widely talented Ryan Zoidis, while James Casey absolutely stole the show with his performance on “Cannonball.” Eric Bloom took his liberties with his pedals and effects during his solo, as well.  These two songs were meant to showcase The Shady Horns and boy, did they deliver.

The Shady Horns were dead on, once again. Eric Bloom‘s effects-enhanced solos and James Casey killed it, as always, while Ryan continues to be the mainstay. Gonna get some more rest today so I can get back there tonight with Tedeschi!!!” ~ R.G.

The eyes say so much, and they speak even louder when a musician closes his eyes and is fully immersed in song. This happened to Krasno throughout the remainder of the set. When Scofield came on the stage, Krasno was in a blissed-out state of being, eyes closed, in total focus. “What You See Is What You Get,” a major hit for the Dramatics in 1971, is Scofield’s interpretation of Detroit soul music.  The beautiful thing about John Scofield is that even though he covers many old tunes, the arrangements are all his own. “Nealization,” obviously composed by Neal Evans, was a fantastic representation of his talent. Scofield played lead guitar while Krasno played rhythm. The entire crew on stage was grinning from ear to ear while the ax-men played off each other, trading delicious licks on their guitars.

“I have been a fan of John Scofield since the first time I saw him at The Bottom Line in NYC in 1980. I always mark this night as a must go. Even having stayed home from work sick, I got the energy up to get there. I was not disappointed!!! It is so obvious that Kraz uses Sco as a mentor and has used him as one of his many inspirations. As it is equally obvious how Sco is impressed with Kraz. There dueling solos blew the entire audience away. Sco has a way of making his guitar sing.” ~ R.G.

“Can someone explain to me how Neal Evans solos on keys with Soulive while also dropping funky bass? Meanwhile, I can’t even rub my tummy and tap my head at the same time…” ~ K.S.

“Neal Evans is the most underrated bass player in music. His right hand gets so funky, we forget his left is leading us to the promise land.” ~ J.S.

The next two songs were songs off John Scofield‘s latest album release, Piety Street. The Rev. James Cleveland cover, “Something’s Got A Hold On Me,” was first but it was “Motherless Child,” a traditional negro spiritual born out of slavery and sung by Cleary with sharp new harmonies, that grabbed the audience’s attention. 

“When I heard “Motherless Child,” I almost didn’t recognize it. I recognized that I was hearing the words of a song I knew but the arrangement was so different from the versions I’d previously heard.  I am aging myself by saying this but I remember the first time I ever heard that song. I was just 15 years old. It is the hidden song within Track 11 off the Cracked Rear View album by Hootie and The Blowfish. Y’all remember that? Darius Rucker sings the song in it’s traditional A-Capella style. It was as beautiful to back then as it was now, hearing it in this new style and arrangement. I adore when modern musicians take classic songs and make them their own.” ~ K.D.

“One of my favorite moments of the evening, was when the stage was packed with everyone on the bill, Soulive, The Shady Horns, Scofield and Clearly as they played a tune that featured three part harmonies of Alan EvansJon Cleary and Eric “Benny” Bloom. I look forward to finding that show on Archive.org to relive that moment and sing along with them!” ~ M.M.

Photo Courtesy of Mark Dershowitz

Photo Courtesy of Mark Dershowitz

Then, the jazz/organ trio pulled a new maneuver out of their Bowlive bag of tricks. Jon Cleary and John Scofield remained on stage, while Soulive and The Shady Horns exited. This would be the first time in Bowlive history where the band allowed the stage to be commanded solely by the guests. It was not a coincidence that Jon Cleary and John Scofield were the two guests playing on the bill last night. Cleary is not only renowned for his ability to play the ivories, but he also composes music and went on to write and join John Scofield on the the road singing and playing with Scofield’s Piety Street Band. Needless to say, the combination of the two artists performing their song, “Walk With Me,” was electrifying and unique. Cleary sat back and watched as Scofield took a few measures for himself before joining in the song.

Through great applause, John Scofield leaned into the microphone. Referring to Cleary, he says, “This guy can play a mean piano but did you know he is an amazing guitarist, as well?” With that, Cleary jumped from the keys and moved to guitar while Krasno picked up the bass for “Don’t Need No Doctor.” Scofield continued, “John Mayer used to sing this song, but you should hear Cleary sing this song.” The audience laughed. The horns had left the stage but James Casey remained playing percussion. Casey is an amazing horn player but his talent by way of understanding sounds in percussion has grown exponentially since we saw him last year at Bowlive IV.  During the song, Scofield could be seen bouncing around, pointing to the next member on stage he wanted to pull a solo.

“I want to say that my highlight was “What You See Is What You Get,” “Nealization” or “Hottentot,” but honestly I had two highlights. (1) Cleary killing it on guitar with Kraz killing it on Bass, and (2) Scofield directing traffic. Maybe it’s an elder statesman thing, but the respect that guy engenders on stage is impressive. He was absolutely in charge and was clearly enjoying going tit for tat with everyone. I especially loved when [John Scofield] made a point to give Alan some play time, because, give the drummer some! Am I right? All in all, just a beast of a show. I fucking love Bowlive.”  ~ B.M.

Jon Cleary‘s turn was up and he retired backstage. The Shady Horns were also held back as Soulive and John Scofield played, “Turn It Out.” This was the time for all the jazz heads to revel in the genre. As much as Soulive likes to give us the funk, jazz is their priority and their growing reputation on this musical path is what has brought them this far. Scofield’s reputation in the Jazz community runs deeper and Krasno’s idolization of Scofield’s style is evident in how Krasno, himself, plays. So you can imagine how equally graceful and intense this part of the set was.

“Seeing two guitar gods trade licks was invigorating, and truly impressive at the same time, as you could see the admiration that Krasno has for Scofield as they both played their hearts out! It was ON, for sure!! “Turn It Out” brought back some great musical memories for me, as I harkened back to a January 2003 Soulive show that took place in an Italian restaurant in the tiny mountain town of Makawao, HI on the island of Maui. It reinforced the fact that we made a great decision to make the trek for our first Bowlive and it’s got me jazzed looking forward to what I’ll get to experience tonight! Thank you Eric, Alan and Neal!! You and your friends bring me musical delight!” ~ M.M.

We love you madly,” said Scofield, “This one is a groover, called ‘Hottentot,’ so let’s keep dancing.” And dance we did. The venue never emptied out like in previous nights and this was a true testament to the musicianship on stage. Like I mentioned previously, this wasn’t your average audience of bar goers. There were super fans in the audience for each of the artists on stage and they were there in full support all night. Alan Evans was featured on a rousing drum solo during “Hottentot.”  He is honestly one of the best jazz drummers around and the audience was overheard speaking on how they were looking forward to the Alan Evans Trio opening for Bowlive on night six.

Everyone was brought back on stage for the single-song encore, “Get Back.” A Beatles‘ tune, it was expertly played by the musicians on stage, having all worshiped the Beatles at some point in their musical careers.  The audience was invested as well and sang along with bodies bouncing. It was a perfect ending to a wonderful collaboration of musicians.

——————————

Tonight, Jon Cleary will return with special guests jazz saxophonist Bill Evans, acclaimed Brooklyn drummer Joe Russo and southern vocalist and guitarist Susan Tedeschi. 

——————————

List of Special Guests and Openers:

THURSDAY MARCH 13 – Special Guest: NIGEL HALL, EDDIE ROBERTS, more TBA

FRIDAY MARCH 14 – Special Guests: GEORGE PORTER JR. & SPECIAL GUESTS TBA
Opener: LEROY JUSTICE

SATURDAY MARCH 15 – Special Guest: GEORGE PORTER JR. feat. a special LONDON SOULIVE joint set
Opener: THE LONDON SOULS

TUESDAY MARCH 18 – Special Guest: JOHN SCOFIELD
Opener & Special Guest: JON CLEARY

WEDNESAY MARCH 19 – Special Guests: JOE RUSSO & SUSAN TEDESCHI
Opener & Special Guest: JON CLEARY

THURSDAY MARCH 20 – Special Guest: DMC (of RUN DMC) and TALIB KWELI
Opener: ALAN EVANS TRIO

FRIDAY MARCH 21 – Special Guest: Marco Benevento, Sonya Kitchell, Roosevelt Collier, Felix Pastorius, Oteil & Kofi Burbridge, and Brandon Niederauer
Opener: SONYA KITCHELL

SATURDAY MARCH 22 – Special Guest: Bill Evans and more TBA
Opener: WOLF! Featuring Scott Metzger

Read Full Post »

%d bloggers like this: