The second night of BOWLIVE III at The Brooklyn Bowl started similarly to the previous evening with Soulive members Eric Krasno and brothers Neal Evans and Alan Evans taking the stage alone for the first two songs. “Shaheed,” from band’s 2001 album Doin’ Something, and “DIG,” from their 2003 self-titled album started the set. With the members of Soulive choosing to open the sets themselves, they took on on the entire responsibility of pumping up their audience. They fully succeeded. By the end of the second song, audience members were whispering that this night was even hotter than the last.
Eric Krasno (Picture by Phrazz)
Luther Dickinson (Photo by Phrazz)
For those who couldn’t make this night due to responsibilities, I understand your pain. This evening would be one that would go down in Soulive history. For those of you who chose to come to the first and not the second, purely on issues related to laziness, I know you feel pissed enough. I won’t rub it in. Seeing how Luther Dickinson and John Scofield didn’t get on stage together with Krazno in the first night, one could logically assume that following day would see our hope delivered. All three guitarists on stage…at the same time!!
Luther and Krasno (Photo by Phrazz)
John Scofield, considered one of the “big three” of America’s current jazz guitarists, joined the stage for a second night with a pink guitar and giant smile. “Nealization,” off their 2003 album Turn It Out, which Scofield performed on the album for this song, was next on the energized set-list. The energy level for a Wednesday night at the Brooklyn Bowl that was two-thirds full was stellar. The players on stage had picked up where they left off the night before and continued to elevate throughout the entire night.
Nigel Hall, the soulful vocalist and keyboardist from The Warren Haynes Band, was a much larger presence last night coming out on the Billy Cobham and George Duke tune, “Stratus.” Hall’s passion for the Fusion genre, especially George Duke, runs DEEP so you can only imagine how tight, invested and amazing he was performing the tune. Absolutely CRUSHING with Scofield distorting his rock-oriented sound! John Lennon’s “Jealous Guy” and Freddie Hubbard’s “Provo” followed.
With Nigel still on stage, delivering a fun Moog solo half way through, they performed the Scofield original, “Hottentot.” Alan Evans was clearly feeling this song as he threw in slight change ups in his beats that altered the style and sound in a great way, if only for a few seconds. His eyes closed and his lips pursed during the intense moments of connection to his instrument, Alan Evans was fully engaging and stood out as a leader on stage that night.
Luther Dickinson (Photo by Phrazz)
Ending the set with Nappy Brown’s 1957 cover made popular by Ray Charles, “The Night Time is the Right Time,” Soulive and guitar god history was made. Luther Dickinson (North Mississippi Allstars), John Scofield and Eric Krasno were all on the stage at the same time, for the first time. This was the moment that the die-hard fans were waiting for. Nigel Hall sang the bluesy love song while the audience witnessed the three guitarists take their turns playing in their own unique and respective styles in a solo.
Luther Dickinson eventually left the stage as the song continued. Then, what I definitely considered one of the most interesting guitar banters of the musical run, took place. Scofield and Krasno played off each other’s rifts in one of the most unusual and gorgeous ways this super fan has ever witnessed. The Evans brothers lightened their presence, tapping a little lighter and recognizing the moment that was taking place. It was almost as if the two guitars were holding a conversation. The audience was silent when the song ended and then they erupted. THIS WAS WHY THESE MEN DO WHAT THEY DO! These rare moments of musical collaborations are what define Bowlive.
During set break audience members engaged in the Brooklyn Bowl’s amazing Blue Ribbon Fried Chicken, played a game of bowling and could be heard comparing the two evenings. Everyone was in agreement that this night kicked the previous night out of the water.
The second set started with Luther Dickinson joining the stage immediately for “Outrage” and stayed on stage for the entire set. “Bubble” and “All Night Long” were simply fantastic. There was no warming up this time, no taking it slow and simple. It was a full speed ahead.
Luther Dickinson and Eric Krasno (Photo by Phrazz)
Nigel Hall (Photo By Phrazz)
Neal Evans was a force to be reckoned with during the second set with his heavy-handed organ play sounding excellent partnered with Dickinson’s slide guitar for “Shake Your Momma.” Nigel Hall came out on stage once again to perform Muddy Water’s “Champagne and Reefer,” which had the audience laughing in agreement to the lyrics.
Alan Evans (Photo by Phrazz)
The encore was spectacular. Leaving the stage for only 120 seconds, Soulive and Luther Dickinson literally ran back on stage to perform “Spanish Castle” by Jimi Hendrix. Their excitement was evident as Dickinson sang the verses and Alan Evans sang the chorus. No one wanted the show to end but the audience accepted the fact that these talented musicians needed their rest.
We had eight more days to go and Soulive’s passion and desire to strive would ensure that the coming nights continue bringing straight fire. Tommorrow’s rage would consume me with the FUNK as Karl Denson, Big Sam and Rahzel continue where Luther Dickinson and John Scofield left off.
I had the pleasure of writing for Royal Family Records website for all ten nights for Bowlive III. So, if you care for the shorter, not so critical and emotional charged recaps, head over to RoyalFamilyRecords.com and read up there as you all know the following post will be full of extra details and a much longer recap. Available videos are linked to the song titles! With that said:
HAPPY BOWLIVE NEW YORK CITY!!
BOWLIVE RAGERS!!! (Photo by Phrazz)
I must start this recap by giving mad love to the Brooklyn Bowl. If you have never been, what are you waiting for? Their food is killer, their big, leather couches lining the bowling lanes and open feel makes it one of the best venues in Brooklyn, if not all of NYC. Owner, Pete Shapiro, is one of the most humble, caring, proprietors of an establishment that I have ever had the pleasure of meeting. His connections and passion to the music scene are evident as he joins the audience when amazing performances are taking place. For an example of his kindness, Josh (My Mega Rager) and I got engaged last week in Mexico and are frequent attendees at Brooklyn Bowl performances. It is our favorite venue in the city and not just because Josh and I met there at a Karl Denson show two years ago.
Josh and I thanked Pete last night for providing us with such a great platform to meet. He bought us a bottle of champagne and we all shared a celebratory “Cheers.” Josh and I are not drinkers but that didn’t stop the toast because when Pete Shapiro buys you a drink, you take it 🙂 I have now only seen Josh take a shot of tequila (a gift from the Brooklyn Bowl on his birthday) and now a glass of champagne. Thanks again Pete and all the staff who run the Brooklyn Bowl for providing us such a wonderful place to engage in our musical passions, to engage with our musical family and friends and for your killer fried chicken. As well, the addition of the hooks under the bar and upper level viewing deck did not go unnoticed and had both male and females singing the praises of having their purses and jackets now off the sticky ground 🙂 Quality upgrade!!! Now, on to the real magic.
Bowlive III – Night 1 Recap
Faithful fans of Soulive descend upon the Brooklyn Bowl, one of Brooklyn’s premier music venues, on February 28, 2012 for the first night of the highly anticipated ten-night residency, BOWLIVE III.
Mike Gibney, The Royal Family’s announcer or HYPE BOY, if you will, came out on stage to announce the band. He is a hilarious, happy, charming, funny man who never fails to pump up the crowd with his wit and humor or hilarious Cosby Sweater-styled outfits. Tonight, pimpin’ a nice suit, he would scream out how proud he was of himself for being “undefeated in Bowlive History!” I had to scream “ME TOO!” as loud as I could as there are literally a handful of fans AND staff who have actually attended all ten nights the previous years. I have gone to 29 out of 30 Bowlive shows.
Straying from the formula of the past two years, Soulive hit the stage early, opting out of an opening band until the weekend performances. The trio stated slow with the appropriate “So Live.” Their energy was calm and they warmed up nicely into the explosive “Hat Trick,” which would set the tone for the rest of the night. Opting out of an opener really placed full responsibility on the trio to ensure the energy was up, to ensure that we stayed engaged, and to ensure that they made the point that they were back!!! Having seen these three musicians grow since 2000, there was nothing standing in their way last night.
Neal Evans (Photo by Phrazz)
You know when you see the same band over and over and it sometimes appears that they are going through the motions? I have seen Soulive and its members in their various projects for over a decade now. I hold them to a very high standard as the point of all of this is growth. Growth as a band and as individual musicians. Bowlive provides a platform for these men to expand their musical catalog by infusing their material with the styles of the special guests that join them. Because of all these collaborations, it could be easy as the hosts to, perhaps, not invest as much power and passion into the solo songs where the trio played alone. Of course, this is something that SHOULDN’T happen, and on this first night, it didn’t. I looked forward to watching this monster of a musical run grow beneath our feet and in front of our eyes and to watch the exposure of stamina and talent of these three musical masters were going to have to project as time goes on.
Eric Krasno (Photo by Phrazz)
The Legendary John Scofield (Photo By Phrazz)
John “Sco” Scofield, one of America’s greatest Jazz guitarists and composers, was the first guest to appear on stage this year. I absolutely adore seeing Sco and Krasno collaborate. Joining the trio on the third song, “Tabasco”, a Sco original, Krazno and Sco immediately engaged in each other. Coming ever so close to each other, face to face on stage, they played off each others rifts with the Evan brothers blasting their rhythms. A Billy Cobham cover, “Red Baron,” followed allowing for each musician on stage to throw down some lightening rod solos. Sco’s time on stage brought a range of psychedelic jamming and jazz infusion to the trio’s sound that only Sco can help create. This was an exciting show simply because of the fact that John Scofield, Eric Krasno and Luther Dickinson would all be performing together in various combinations throughout the night. For guitar loving rockers like me and every other male that was in that audience, this was FIRE!!! What a great way to start it off.
Nigel Hall (Photo by Phrazz)
Nigel Hall joins Neal Evans on Keys (Photo by Phrazz)
Nigel Hall (The Warren Haynes Band, Dr. Klaw) was next to join the stage, initially jumping in on the keyboards with Alan Evan during “What You See Is What You Get.” The Nigel Hall Band actually opened almost every night during the first Bowlive in 2012. This run, however, Hall took to the microphone only once with his band to deliver the sultry, sexy Donny Hathaway cover “More Then You’ll Ever Know.” Hall’s emotional connection to this powerful ballad was evident as he melted the hearts in front of him. I watched men kiss their girls passionately, I watched bros hug it out on the main floor and I felt my own heart melt. Hall left immediately for home after the song and I texted him to let him know that his connection was so clear to those who were paying attention. His response: “Thank you! When you’ve been in love, you can relate.” I hoped that we would get to experience more of him during this run but at the time, nothing was scheduled. We kept those fingers crossed.
John Scofield and Soulive (Photo by Phrazz)
“Boozer,” another Sco original, end the KILLER first set with Sco thanking Soulive for allowing him to join the party and calling Nigel Hall a “genius.” That statement is powerful and honest and to hear it ring from Sco’s lips, I know for a fact that Nigel’s heart swelled. Mine certainly did.
Nigel Hall connecting with John Scofield (Photo by Phrazz)
After a short intermission, the Evans brothers and Krasno were back on stage, alone, performing the beautifully composed “El Ron,” followed by a raging “One in Seven.” No special guests needed to be on stage to ensure that fire was coming off it. The trio was living up to their responsibilities and taking the songs we have seen them play a million times and breathing fresh life and RAGE into them.
Luther and Soulive (Photo by Phrazz)
Luther Dickinson (Photo by Phrazz)
When southern-style slide guitarist Luther Dickinson (North Mississippi AllStars) joined the stage, all hell broke loose. Literally, broke shit up all over our brains and faces. Booker T. and the MG’s cover “Hip Hug Her” started slow and simple, a playing quality that Luther Dickinson has perfected with his understated simplicity and lightening fast fingers. Initially, after the great versions of Soulive’s original songs had just brought the energy up, Dickinson’s simplistic playing and calm warm-up seemed to bring the energy down but only for that first song. The set continued with Dickinson, Krasno and the Evan brothers elevating their quality of playing to the peak of high energy for the evening, downright melting the audience’s faces with solo after solo after solo.
Dickinson and Krasno (Photo by Phrazz)
At one point, the wonderful Alan Evans was left alone the stage for an isolated drum solo lit by a single house light. His serious composure throughout the evening provided the foundation for all this musical majesty to take place. Neal Evans’ organ play was deep, intense, raw and when paired with the slide guitar of Dickinson, brought Soulive’s sound to new heights. It is collaborations like these that make Bowlive so special. How can we watch the same group for ten nights in a row and not get bored? Well, that is their job and they do their job RIGHT!
Luther and Soulive (Photo by Phrazz)
At times when a song is taking off, I like to take a walk through the audience and listen to them, their comments, their critics (if they know what they are talking about) and just engage in the energy around me. When they broke into “Hear My Train” by Jimi Hendrix, the rage that ensued both on stage and in the audience was palpable. “Holy Shit” and “Do you see what is happening on stage?” were common statement that could be heard throughout the sea of heady heads. People hushed those around them talking too loud and eyes were transfixed on the stage ~ (Some might say STFUAD – Shut The F*&K Up And Dance). The foursome encored with another Hendrix song, “Stone Free,” a tight, jamming song that cemented the power of the evening and left the audience screaming with thunderous applause.
WINNING!!!! (Photo by Phrazz)
Bowlive III had begun in New York City!! We only prayed that we could handle it because after the freight train of rage that was released that night; there would be no stopping it. The power that slides off of these performances are unlike any regular 2-set performances you attend. The energy and collaborations that I would enjoy in the coming weeks would far surpass many musical runs I might experience. TEN NIGHTS!!!! That is a superb feat for any musician of ANY age to accomplish. For those of us with day jobs and for those of us expected to process material by the next morning, it’s even more of a feat. One that I have been proud to be a part of for the last two years.
An absolutely historical night of music. A bitter-sweet night of music. A magical combination of guitar-shredding artists who came together for the memory of one man. Allen Woody!
His unexpected passing on August 26, 2000 encouraged his fellow musicians to hold the first benefit called One For Woody in September 2000. Tonight, ten years later, Warren Haynes and an ARSENAL of guitar-wielding friends put together the second benefit for this greatly missed musician: Another One For Woody: “Wish You Were Here!”
This was a man whose musical presence touched the lives of numerous musicians, inspired a genre and who’s musical contribution deserves recognition. Tonight, people paid over $140 a ticket to pay homage to this dearly missed bass player whose tragically early departure from music left a gaping whole in the sound of southern rock. The proceeds from this 10th Anniversary event went to raising money for musical education in schools. For every person we heard complaining about the price, we politely reminded them of this fact. Having just had the privilege of attending T-Bone Burnett’s “Waiting For Superman” Benefit at The Beacon (click for my review) a few weeks earlier, it is safe to say that the quest for keeping music & art in the school system is not going to ever be ignored. We are all soldiers in that fight.
“It’s too loud? Too fuckin’ bad” -Allen Woody 4/4/96
Roseland Ballroom
Arriving at 6:45pm, I had quibbled with my man over arriving to the venue early. He didn’t want to stand around for hours and I wanted to make sure we had ample time to arrive early enough for good viewing locations. Roseland Ballroom is one of those venues, like Terminal 5, that has a sardine-like feeling with horrible site lines due to low ceilings and poor design. Doors were meant to open at 6pm but didn’t open until after 7pm. When we arrived, the line to the venue was wrapped completely around the block. Of course, even being an hour early, we were still slightly late but the first of our friends. Our section of the line starting to bulge as more friends joined our space.
Dino Perucci (Dino Perrucci Photography) and Allison Murphy (Allison Murphy Photography), two of my favorite NY based photographers, were walking the front of the stage. My smile swelled because I knew that I didn’t need my camera tonight. Throughout this article, many of the pictures you will see are shots through their lens. Thanks to both photographers for allowing this Tiny Raging blogger to stand there and take it all in, not having to worry about the pictures. And thank you, not simply for this show, but for the hundreds you do every year. Thank you, from all the people who admire your talent and work, for doing what you do and bringing the music to our eyes.
The show was supposed to start at 7pm and the doors didn’t even open until after 7pm. After a lovely chat with the lovely Allison Murphy while the unusually long sound check and stage set-up it seemed about that time. Those of us in the front were debating which musicians would be standing/sitting/playing where. As long as I could see a full-on shot of Derek Trucks, Warren Haynes and Luther Dickinson, I didn’t care where I was standing.
Out walks Warren Haynes with two other musicians that I am unsure of. It wasn’t until maybe an hour later that I found out that the men were Edwin McCain and Kevin Kinney. This was the acoustic set and it was beautiful.
As soon as Warren Haynes started his strumming into Kevin Kinney‘s Just Outside Of Heaven (A Good Country Mile), I got that religious swell that I sometimes reach when the beauty of the music overwhelms me. This time, it was just as much the energy in the room as the music. I looked behind me and saw the faces of all my friends just beaming with excitement and love. Edwin McCain sang The Lucky One. All three sang on a gorgeous rendition of I Shall Be Released.
Set: Just Outside Of Heaven (A Good Country Mile), The Lucky One, I Shall Be Released
Warren Haynes + Gordie Johnson (Photo by Allison Murphy)
The Brothers Dickinson brought the Memphis blues to our ears with Sitting On Top of the World, a 1930’s standard. The gospel tone came out with Shimmy She Wobble > Station Blues > Preachin’ Blues, all North Mississippi Allstars originals. It was at this time that standing in front of the speakers began to take effect and I had to pop in the ear plugs. It never fails and as usual, I ended up passing out the rest to friends and strangers around me who were clearly in need.
And then it was time for the guests. Gordie Johnson, Big Sugar guitarist and recent Gov’t Mule producer, came out to join the Duo for Po Black Maddie. Initially, it looked as though Gordie was going to sing the song but it almost appeared as if he was unsure of the words. Did anyone else catch this mumbling into the microphone?? Luther ended up singing the song.
Gordie Johnson remained for Straight to Hell. Cody Dickinson‘s smile never left his face the entire set. It almost looked plastered on but we all know he was truly happy. How could anyone not be? There was a stand-alone drum solo by Cody Dickinson while Luther and Gordie Johnson switch sides of the stage for the final song of the set.
The end of their set was FIRE!! The Duo welcomed Artimis Pyle (Lynyrd Skynyrd) on drums, Danny Louis (Gov’t Mule) on keys and Audley Freed (Cry of Love & the Black Crowes) to the stage to perform Whiskey Rock A Rolla! There was now an arsenal of musicians on the stage to sing about whiskey and rock-n-roll! Four guitarists as Cody Dickinson moved from his drums to a guitar, tambourines, keyboards…What a mess of Southern rednecks. Their vests, boots, long stringy hair, cowboy hats…all screaming of their bluesy country background.
Set: Sitting On Top of the World, Shimmy She Wobble > Station Blues > Preachin’ Blues, Glory Glory, Po Black Maddie, Straight To Hell, Whiskey Rockin Rolla
The members of Gov’t Mule take the stage after a few minutes of stage setting. Warren‘s iconic raspy voice heads into Railroad Boy. The screen behind the band was projecting a black background with “GOT MULE?” plastered across in white. Warren ripped a solo and the set just launched into southern goodness at its best.
There was a spacey rip into Blind Man in the Dark, a personal favorite to sing around my apartment. Warren asked us how we were feeling and the place erupted with a happy reply. Danny Louis jumped off the keys and onto guitar for Steppin’ Lightly. At this point, there were old picture of Woody shooting or lingering across the screen behind the band. His face smiling at us, showing his appreciation for the music in front of him.
Sometimes there is nothing better then watching the hands of your favorite guitar player. Personally, my favorite guitar player had not yet hit the stage but here in front of me was Warren. He is simply amazing. Watching Warren, I was in tune with his hands much more then usual. I equate that to the fact that I have never been this close to his hands before. I was so happy to be in the front row. Banks of the Deep End sprang out of his hands and so it went…full on Warren!
And now it was time for some GUESTS!!! Gordie Johnson once again joined the stage, this time followed by Jim Loughlin & Vinnie Amico, the drummers from Moe. They raged I’m A Ram before jamming into Dear Prudence where Chuck Garvey, also of Moe, joined with his guitar. I LOVE Moe.
Warren Haynes + Chuck Garvey (Photo by Allison Murphy)
Dear Prudence with the members of Moe. AWESOME! THIS little addition to the stage made me very VERY happy. Seeing Chuck on stage with Warren was interesting. Their sounds are so different so vibing them together was great even though I silently wished it had been Al who was joining the stage. Chuck lead while Warren sang. There were whimsy art paintings across the screen behind the stage. Chuck gave a great solo and then tagged in Luther.
Warren Haynes + Hook Herrera (Photo by Allsion Murphy)
The 320 Blues saw Hook Herrera join the stage with his mighty harmonica. Oh, the harmonica. I LOOOOOOOOOVE the layer of sound a harmonica add to a musical journey. As well, Luther and Cody Dickinson joined the stage followed by Artemis Pyle (Lynyrd Skynyrd). GOD! It just kept getting better and better! So many musicians had been touched by Allen’s friendship, music and memory. Cody busted out his washboard and I finally heard the North Mississippi Allstars sound that I associate so much to that washboard. The place was on FIRE!! and the music was so loud and vibrant that the musicians drinks were shaking off the amps. As far as energy was concerned, this was the pop-off song of the night, so far.
Audley Freed + Robert Kearns (Photo by Allison Murphy)
Warren then spoke of how Big Sugar used to open for Gov’t Mule and how he and Allen Woody would rage this Al Green song. He welcomed Rich Robinson (Black Crowes) to the stage for Stay With Me, Rick’s slide guitar sound melting everyone’s ears. Danny Louis was back on his keyboard. This song was so pretty. Warren ripped a solo and then they all hugged. The next song saw Rich Robinson staying on stage and being joined by Robert Kearns (Cry of Love) replacing Jorgen Carlsson on bass and Artemis Pyle (Lynyrd Skynyrd) jumping on drums. They flew into Sometimes Salvation, a Black Crowes cover, and the venue cheered.
Simple Man was next. I love this song. It never gets old for me. Matt Abts left the stage this time leaving only Artemis Pyle to play the drums. Audley Freed was back out on guitar and so they went…
Warren Haynes + Savannah Woody (Photo by Allison Murphy)
Wishing Well was next with the same people gracing the stage. And then we were given an emotional surprise. Savannah Woody, Allen Woody’s daughter, came out to the front of the stage to sing Soul Shine. And she sang the line: Now you gotta let your soul Shine / Just like my daddy used to say...the entire place erupted with the longest loudest cheer of the night and Warren’s tears took over the gleam in his eye. It took some time for people to realize who Savannah Woody was but when she sang that line, I knew immediately that it must be SOME kind of close relative to Woody.
During the song, she was standing on stage, arms dangling while solos were being taken. A stage hand brought out a tambourine in the cutest way but she still didn’t move that much.
Warren Haynes + Savannah Woody (Photo by Allison Murphy)
When Allen died, a fund for Savannah’s education was established in his memory. She didn’t look any older then a high school student and it made me sad to know she lost her father so young. But the fact that she was up there, singing in her father’s memory, and not crying…we knew she was a strong. Certainly stronger then me as I teared up once I realized who she was and what she meant to the show. It must feel wonderful to see that your father touched so many lives. It must be wonderful to know that all those amazing guitar legends up on stage were actually men who look after their own and I am sure have taken her under their wing over the years. It was a lovely and touching performance of an otherwise tedious song.
This show was supposed to end at 11:50pm, due to city/venue rules. This set ended at 11:30pm and we KNEW that we were not going anywhere for sometime because now….it was time for The Allman Brothers Band, but not before almost a 40 minute set break.
Set List: Railroad Boy > Blind Man In The Dark, Steppin’ Lightly, Banks Of The Deep End, I’m A Ram (with Gordie Johnson, Jim Loughlin & Vinnie Amico), Dear Prudence (with Chuck Garvey, Jim Loughlin & Vinnie Amico), 32/20 Blues (with Hook Herrera, Luther Dickinson, Cody Dickinson & Artemis Pyle), Stay With Me (with Rich Robinson & Artemis Pyle), Sometimes Salvation (with Rich Robinson, Robert Kearns & Artemis Pyle, without Jorgen Carlsson), Simple Man (with Artemis Pyle, Audley Freed & Robert Kearns, without Matt Abts & Jorgen Carlsson),Wishing Well (with Artemis Pyle & Audley Freed), Soulshine (with Savannah Woody & Artemis Pyle)
The set break must have last over 40 minutes. Sadly, my date for the evening felt the weight of the tiresome day during the obsessively long break and had to leave. A set that was supposed to end at 11:40pm and didn’t even start until at least midnight. This was insane but I only knew good things would come from those of us who had been standing on our feet for over five hours at this point.
When the music final started, my feet were aching, I was missing my date and fighting to hold my place up in the front row. The masses pushed even closer as Derek entered the stage. And for the first time since I was able to meet him on his tour bus during Mountain Jam (click to read), I was back into a super fan. My legs buckled at first site, my smile exploded out the side of my face and I screamed like one of those chicks who faint when seeing the Beatles or Justin Beiber. Derek-Mania was going through my entire body. He is the one musician that makes me completely lose control.
Derek Trucks + Marc Quinones (Photo by Allison Murphy)
At this point, I am afraid I won’t be doing a great job of writing out exactly what went down. Like I said, I get a little more then weak in the knees when I see Derek Trucks and stopping to takes notes or trying to recall everything when all I want to be doing is staring at his fingers, well…..I didn’t write much at all.
First, the overly handsome Oteil Burbridge joins the stage, followed by Warren Haynes and Gregg Allman who wander to their respective instruments. It didn’t take more then 60 seconds for the rest of the members of The Allman Brothers Band, including Marc Quiñones on percussion, to lock into place and blast right into Don’t Want You No More, the first song on the first Allman Brothers album and an instrumental that was originally recorded by The Spencer Davis Group in 1967. All I wrote in my notes is “Ok, I just need to dance now.”
Gregg Allman continued striking the keys and singing into This is Not My Cross to Bear, a song Greg wrote about an old girlfriend. Both Derek and Warren were given ample time to release their talents through solos during this song so be sure to watch. And as you watch Derek smile towards the camera right in the beginning of the following video, you can be sure he is smiling at me. Oh yes! To be sure **wink**
End of the Line was next. Warren changed out his guitars for this one and ripped out an astounding solo. Sometimes I just don’t understand how things can sound so different with every show. Same style but soooo different in sounds. At this point it is still only the members of The Allman Brothers Band gracing the stage and it proceeded that way for the following 5 songs.
Greg Allman + Danny Louis (Photo by Allison Murphy)
So at this point, there is a lull in the sound throughout the audience and I catch myself SCREAMING like one of those Beatles Mania fans again: “DEREK I LOOOOOOOOVE YOU!!!!!!!!!!!!!!!.” No One Left To Run With was next, one of the few songs Dickey Betts wrote for the group but never sang.
Fun fact: This song was included on the 2002 compilation CD Mullets Rock!. For a while, The Allman Brothers were prime offenders of the haircut that was “Business in the front, party in the back.”
There was a gnarly guitar duel between Warren and Derek. I mean it just never ends with these two. Warren was presenting us with such a phenomenal night of music and he was the ONLY musician to play in almost every song and at least in ever set. He was the hardest working man in show buisness that night! The drums in this song were killer.
Black Hearted Woman, also a song written by Gregg Allman about the same woman he wrote This is Not My Cross to Bear about, followed and continued right into Other One Jam, a Grateful Dead cover, until they begin inviting out the guests!!! Greg sang his heart out and the video shows it!
Hook Herrera came out and joined the boys for Who’s Been Talking. That man is an absolutely phenomenal harmonica player. I’ve said it a million times but I LOVE THAT INSTRUMENT. You can’t get a sound from any other instrument the way a sound is produced through a harmonica. It’s just soulful and the epitome of the blues to this southern gal.
Artimus Pyle + Audley Freed (Photo by Allison Murphy)
Midnight Rider, a crowd favorite,followed. Now, the original version of the song was with Duane Allman playing. I believe Gregg Allman re-made it a few years later (correct me if I am wrong). If you listen to older recordings, you can hear and feel Duane and Dickeys’ opposing styles very well. So amazing. Also, in 2005, this was used in the opening credits of Rob Zombie‘s horror flick The Devil’s Rejects. Who doesn’t love that kind of product placement!?
Midnight Rider was followed by One Way Out. This song welcomed out Rich Robinson, Berry Oakley Jr. & Artemis Pyle to the stage. I don’t know why but the videographers apparently must have run out of time or video because the Allman Brothers YouTube videos begin dying off around this point.
Warren Haynes + Berry Oakley Jr (Photo by Allison Murphy)
Statesboro Blues saw all guests leave the stage except for Berry Oakley Jr.. Berry Oakley Jr. is the son of Berry Oakley, a founding member and original bass player for The Allman Brothers Band who sadly passed away in 1972. It was a tribute for many people this evening and I was hoping people recognized the significance. Berry Oakley, Jr. left the stage and was replaced by Audley Freed & Danny Louis on guitar and keys respectively for The Band‘s The Weight.
Chuck Garvey, Jim Loughlin, Jimmy Vanderbogart & Vinnie Amico came out to join The Allmans during one of my all time favorite Grateful Dead songs, Franklin’s Tower. Got to be honest with you and admit I have NO CLUE who Jimmy Vanderbogart is and I can’t find any info online that can give me more insight – If you know, please comment.
Southbound followed with the addition of the Dickenson Brothers joining the crowd on stage along side Hook Herrera and Danny Louis. This was one of my favorite songs of the set simply because it was The Allman Brothers with this North Mississippi Allstars Duo and a freaking harmonica. SOUTHERN GREATNESS!!!
All guests exited the stage and a RAGING Whipping Post closed out the set. Derek Trucks once again showing us he is the king of the slide guitar. Once again showing me that he is the king of kings in my world when it comes to the guitar.
Gordie Johnson (Photo by Allison Murphy)
As my girlfriend and I walked away, we realized it was almost 2am in the morning on a work night. We discussed leaving before the encore and went to the restroom. Coming back up from the basement bathrooms, we smiled at each other as we heard the stage light up again. We couldn’t leave. Not this time. Warren Haynes began strumming the chords to Pink Floyd’s Wish You Were Here. And without uttering a word, the entire venue began singing the lyrics. Warren places his hand behind his ears and the venue sings louder. Berry Oakley, Jr., Gordie Johnson, Danny Louis and Matt Abts joined the stage for the remainder of the song with images of Woody’s face flashing smiles across the screen behind them. And I cried…for the third or fourth time that night.
Set List:Don’t Want You No More, Ain’t My Cross To Bear, End Of The Line, No One Left To Run With, Black Hearted Woman > Other One Jam, Who’s Been Talking, Midnight Rider, One Way Out, Statesboro Blues, The Weight, Franklin’s Tower, Southbound, Whipping Post
Encore: Wish You Were Here
What an amazing night of music!! Simply amazing. The epitome of love and community within southern rock was found on that stage this night. I truly wish I could offer you a free download but alas…..
Show Karma. That is what it is was all about. Show Karma. And by god, we got it!!!
Rebirth Brass Band @ Highline Ballroom (04.10.10)
With $30 left in my music budget until midnight, I spent all day Thursday in an intense internal struggle over seeing Rebirth Brass Band & Ivan Neville’s Dumpstaphunk for $35 or seeing South Memphis String Band for $15. Seriously, it is a beautiful thing not having credit cards but sometimes you’re forced on a budget and have to make choices. I know it would have made for a very mellow evening seeing SMSB vs. the boys from NOLA, but I do love Luther Dickinson, so the struggle ensued. However, after being called out by one of my favorite drummers on Facebook: “dump or a string band..um, hello?” I figured the funky drummer had a point.
Vincent Broussard @ Highline Ballroom (04.01.10)
As I arrived at Highline Ballroom a little before 9pm thinking we were missing the beginning of the show, I see members of the NYC Funk Live group scattered around outside! “Are they playing yet?” “No!” Show Karma 🙂 If that wasn’t good enough, while waiting in line for will call with $30 in my pocket for a $35 show, the gentlemen standing behind me says that he has two tickets for the $30 price. Cash exchange, transaction complete….SHOW KARMAAAA!!!!!! Let the show begin!
Formed in New Orleans in 1983 by the Frazier brothers, The Rebirth Brass Band (RBB) has been a staple on the NY scene for years. More of “an institution,” one friend said, as they had been playing here for over 13 years. Waiting for my beverage, RBB came out singing Ronnie Laws’ “Always There,” as they set themselves up on stage!
As they played Duke Ellington’s “Caravan,” a jazz standard, I made my way through the crowd to my favorite spot up front and took a moment to look around and admire the view. Everyone was smiling, everyone was dancing. New Orleans is an infectious feeling, not just a location on a map. When I got to my magic spot, the rest of the NYC Funk Live crew was already gathered there waiting! “OMG, how did you find us?” shouts Meredith. Show Karma 🙂 Hugs and kisses abound, new friends were introduced and the dance party for me finally commenced. (Did you know Rap musicians Redman and Busta Rhymes sampled “Carvan” song heavily in their 1998 song “Da Goodness?” Now you know!)
Derrick Shezbie @ Highline Ballroom (04.10.10)
Trumpeter, Derrick Shezbie, is a fun one to watch. Or should I say interesting? Or possibly, scary? I am terrified his cheeks are going to pop. As he plays, his cheeks puff up to the size of a grapefruit and he holds down his right cheek with his free hand. Apparently, he is afraid it’s going to pop as well.
Birthday girl w/ The Rebirth Brass Band @ Highline Ballroom (04.10.10)
At this point, Stafford Agee says “Happy Birthday” to someone on the right of the stage. Little did he know he was really talking to me, as this was the beginning of a weekend long celebration of me turning 30 years old!!! As my friends grinned at the irony and hugged away, a group of 4 lovely woman came up on stage and danced as RBB played “Happy Birthday.”
Derrick Tabb @ Highline Ballroom (04.01.10)
The Rebirth Brass Band is as well known for keeping with the ways of a traditional brass band as they are for absorbing modern music into their performances. As they rear into a heavy funky cover of Michael Jackson’s “Don’t Stop,” a dancing neighbor leans over and says, “I bet you never have a problem getting up front do you?” HAHA! The Saxophone solo commences! Filling it with their signature brand of heavy funk, RBB also covered Michael Jackson’s “Billy Jean.” Listening to these song without lyrics being played by horns and drums was awesome.
Rebirth Brass Band @ Highline Ballroom (04.01.10)
Now it was time for a little Drum Line rage. Both drummers, standing on the back line. I LOVED drum lines performances/competitions in high school. My favorite person on stage, the person who my eyes and ears always went back to was Derrick Tabb on the snare drum and cymbals. A massively tall guy, compared to this tiny rager. Standing, with the snare strapped over his shoulder, he beat the hell out of the drum like it was nobody’s business. His face would scrunch up and your insides felt like they should explode when he released his energy on that drum. He slammed away on the cymbals and just enticed me!
Stafford Agee @ Highline Ballroom (04.01.10)
It was time to “Shake Your Booty,” a track off on their “Here To Stay” album, which brought everyone to their feet. I look to my right and Ivan Neville is admiring the band as we all are. It’s fun to remember that musicians are fans just as much as we are! “Shake your booty, Shake your booty…” The ladies from the dance party before return to the stage to shake theirs.
At this point, we had pretty much sucked in those around us into our dance party and had made some new friends. Stevie Wonder’s “Just the Two of Us” begins to unfold. It was perfect timing as Meredith was beginning to hand out her NYC Funk Live cards to our new front row friends! Now, this whole time, the venue feels like it is getting hotter and hotter. Over the course of the night, Stafford Agee had unbuttoned a button here and there until the entire shirt was practically ripped open at one point. It was hot! Or they were on fire…you decide 🙂 Towards the end of “Just the Two of Us,” Stafford turned to his left and it completely looked like he was meditating, haha, and he stays like that for a good minute. Stafford, what was that?
Glen Andrews @ Highline Ballroom (04.01.10)
This is the time in the night I remember being VERY HAPPY!!! I start getting text messages from my friends scattered around the venue: Kraz just walked in with his guitar. Oh, it’s ON!!!! Eric Krasno of Soulive has entered the building!! It would have been pretty rad to hear his guitar amongst the drums and horns on stage that night, but alas…there were other plans in the works which you will have to read in the next post!!
Phil Frazier @ Highline Ballroom (04.01.10)
“All the fine women put your hands up!!!” screams Stafford! “Casanova,” a sexy, seductive song, came blasting out of the horns and pounding out of the drums. I do not think I shall repeat the lyrics! You can look those up yourself! HAHA! Vincent Broussard gave us a solid solo and each horn followed in turn. When Broussard needs to sing, the poor dear has to bend over 2 feet to reach his microphone which is a little lower then most because of his saxophone placement. I can only imagine what his back must feel like after each show! Heating pad please…..
Rebirth Brass Band caped off their night with “Everybody Needs Somebody to Love.” YES!!! A song made for horns to play! A song that forces you to lift your feet and clap your hands. I need YOU…YOU…YOU!!!! It was originally popularized by Solomon Burke but it became a favorite of mine when The Blue Brother’s covered it!! There is a great live version of it on The Rolling Stones’ “Live Licks” album.
I NEED YOU..YOU…YOU……but what I really needed was Ivan Neville’s Dumpstaphunk…and that was coming up after break……STAY TUNED!
Musical Musings of a Tiny Rager 