Tag: Eat Sleep Drink Music (Page 16 of 31)

Duran Duran/Arcadia: The Special Editions

May 13, 2010 /

After testing the waters with last year’s super-expansive relaunch of Duran Duran’s seminal 1982 album Rio, Capitol plays the ‘reissue, repackage, repackage’ game with the rest of the big sellers in the band’s catalog, and to their credit, they have been extremely thorough in their archiving. Most modern-day reissues are fond of providing ‘unreleased’ content like crap homemade demos in favor of assembling a comprehensive collection of released but rare material. (The Cure’s The Head on the Door, we’re looking in your direction.) Capitol does not make that mistake here; every remix, B-side and even 7″ edit that Duran ever released is here, along with some unreleased remixes and demo versions that, in one instance, are absolutely mind-blowing.

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Look at those pups. Leather pants! Warhol bed head! Don’t let these old pictures fool you, though; these guys could play. Indeed, they even rocked at one point in time. Time to get in the wayback machine. First stop: 1981…

Duran Duran: Duran Duran

RIYL: New Romantics looking for the TV sound

Rio is largely considered to be the Duran Duran’s watershed moment, but one could make a very strong case for their eponymous debut as the best album they’ve ever done. There isn’t a duff track in the bunch, and the album’s three singles (“Planet Earth,” “Girls on Film,” “Careless Memories”) are pound for pound the best batch of singles from any album in the band’s catalog. The most interesting facet of the album in retrospect is how well balanced it is; everyone gets their chance to shine, from John Taylor’s slinky bass lines to Nick Rhodes’ icy, flanged keyboard treatments to Andy Taylor’s forceful guitar riffs. It is the marginalization of that last one that would prove to be the band’s undoing down the road.

The new remastering job adds the high end that the original recordings lacked, though it feels as though the songs lost a little groove in the process. Still, as iPod-era mix jobs go, it works. And if the remaster job wasn’t enough to get people to pony up for a new copy, the bonus disc surely will. We’ve never found demo versions or unreleased recordings of songs to be particularly interesting (the lone exception: the Beatles’ Anthology collections), but the AIR Studios versions of “Girls on Film” and “Tel Aviv” have to be heard to be believed. Recorded in the summer of 1980, the specter of ’70s rock, both of the classic and art variety, permeates these tracks. “Girls on Film” is filled with gargantuan guitar riffs, and “Tel Aviv,” well, it’s not even the same song that appears on the album. It begins as a wistful ballad in 6/4 time, only to morph into a full-scale Roxy Music freakout at the two-and-a-half-minute mark, and back to the 6/4 stuff 90 seconds later. It’s a jaw-dropper, and one wonders if that version of the band still exists in some parallel dimension. The other demos are not too dissimilar from the final versions, though the version of “Planet Earth” here has a third verse. Who knew?

If you’re enticed by the claim of “unreleased” remixes of “Planet Earth” and “Girls on Film,” relax. They’re nearly identical to the Night Versions that you know and love. The DVD contains all of the videos from the album, all of which are on the “Greatest” DVD, along with a handful of TV appearances, most of which are lip sync jobs. The band’s appearance on “The Old Grey Whistle Test,” though, is a keeper.

Duran Duran: Seven and the Ragged Tiger

RIYL: Using it, bruising it, losing it

Only two years removed from their debut, Duran Duran’s third album completes the transformation from rock band to pop act, and while the band was never more successful than they were here, time has not been kind to Seven and the Ragged Tiger. The backup singers, the percussionist…it all seems a little silly now, doesn’t it? In truth, the band could have released any old piece of junk at this time – and some would argue that they did – and it would have sold like hotcakes, but in their defense, the band did brew up a few truly great tunes. “New Moon on Monday” is arguably the band’s most underrated single, and “Shadows on Your Side” contains that dark edge that made earlier songs like “Night Boat” so haunting. And “The Seventh Stranger,” for all its bombast, is still a hell of a closer.

Ah, but whither Andy Taylor? His presence is seriously downsized here, to the point where repeat listens to “I Take the Dice” – not recommended for the faint of heart – do not reveal a single guitar lick. His power chords were replaced by scratch guitar riffs, and he gets one solo. No wonder he was so eager to form the Power Station. Also, while “Union of the Snake” and “The Reflex” are two of the band’s biggest hits (the latter is one of their two #1 singles), neither has aged well, at all. Nile Rodgers did a great job of giving “The Reflex” some punch for the 12″ single, but the album version, well, is pretty lame.

Why give the album three and a half stars, then? For the bonus bits. Every remix and B-side from the period, including in-between single “Is There Something I Should Know?,” is here, and the DVD includes all of the music videos (and two versions of “New Moon on Monday”), as well as Russell Mulcahy’s film “As the Lights Go Down,” which chronicles the band’s tour supporting this album. The album itself is a three-star affair, but the extras kick it up a notch, as it were.

Arcadia: So Red the Rose

RIYL: Art for art’s sake, money for God’s sake

In stark contrast to Seven and the Ragged Tiger, So Red the Rose, the Duran spinoff group formed by Simon LeBon, Nick Rhodes and Roger Taylor while John and Andy formed the Power Station, has held up remarkably well. Yes, Alex Sadkin’s production leaves much to be desired, namely the lack of a bottom end to these songs. (Once again, Nile Rodgers came to the rescue and remixed third single “The Flame.”) But “Side II” of So Red the Rose remains a fascinating listen. With Andy out of the way, LeBon and Rhodes were allowed to explore their art rock tendencies without resistance, and in the process created three songs that bested half of the album their idol Bryan Ferry released the same year. “Election Day” and “Goodbye Is Forever” were the radio hits, but they’re the least interesting moments here. “Keep Me in the Dark” is the band’s love letter to Roxy Music’s Avalon, and “El Diablo,” which inspired the pen name for “Juno” screenwriter Diablo Cody, is as theatrical a moment as the band’s ever made.

Keeping with their goal to include everything from the era, the 7″ mixes from the album’s singles, even the import singles, are tacked onto the end of Disc I, along with “Say the Word,” which appeared on the soundtrack for “Playing for Keeps.” Disc II is remixes, remixes and more remixes, including the import mixes of “The Promise” and “Rose Arcana.” (On a personal front, we were thrilled to see the Yo Homeboy mix of “The Flame” and Early Rough mix of “Election Day” included.) The DVD contains “The Making of Arcadia,” which features lengthy pre-production footage of making each promo video, and then the video in question. This includes the videos for “The Promise” and “Missing,” which MTV never showed at the time. This is worth watching for two things: the video for “The Flame,” where LeBon plays the Barry Bostwick character in a murder mystery, and the pre-video footage of “Missing,” where director Dean Chamberlain is wearing one of the gaudiest shirts ever made.

Next up: Duran’s next two albums, Notorious (1986) and Big Thing (1988). One has to think they’ll stop there, though they could certainly fill a bonus disc and DVD with material from their 1993 Wedding Album. Either way, we’re guessing that Liberty will not be given the reissue treatment, and to be honest, it’s just as well. (Capitol 2010)

Duran Duran MySpace page
Click to buy Duran Duran: Special Edition from Amazon
Click to buy Seven and the Ragged Tiger: Special Edition from Amazon
Click to buy So Red the Rose: Special Edition from Amazon

Artists, CD Reviews, Pop, Rock

Lettin’ it ride in the Big Easy: Jazzfest 2010 recap, Part V: it’s time to chill

May 13, 2010 /

The last in our five-part series, where the festival puts the ‘jazz’ in Jazzfest.

Delfayo Marsalis & the Uptown Jazz Orchestra, WWOZ Jazz Tent
I was the first one up after obtaining maybe five hours of sleep, and I quickly rushed back off to the fairgrounds. It would have been nice to get more sleep, but I didn’t want to miss Delfayo Marsalis. The skies were still overcast and threatening rain, and it misted throughout the day. But, in a great gift from the music gods, it didn’t actually rain until about 20 minutes after the end of the festival.

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The tent was packed for this 1:35 pm set and rightfully so, as the trombone ace from New Orleans’ first family of jazz led a 15-piece horn section through a set of swinging jazz numbers with a classic and classy vibe. Younger brother Jason Marsalis played drums and the set featured one crowd-pleasing number after another, with round after round of applause. This was the best jazz set of the weekend in this reporter’s view.

Ellis Marsalis, WWOZ Jazz Tent
Pianist Ellis Marsalis followed his son’s group with his own quartet for another great set, again featuring Jason Marsalis on drums. The songs were a little more subdued than Delfayo’s set, but the playing continued to sparkle. Jason delivered a stellar drum solo during one tune that won a huge round of applause, while all the band members soloed with great skill on a superb reading of “My Favorite Things.” It’s too bad that Wynton and Branford couldn’t be summoned for an all-Marsalis family jam, but getting to see Delfayo and Ellis in succession with Jason was another great Jazzfest treat.

The Dead Weather, Gentilly Stage
Jack White led his new group on drums in a hot set before a big crowd in the mist at the Gentilly Stage. White is a snappy drummer and every project he’s involved in oozes the blues, but the Dead Weather mix that old school blues vibe with a heavy indie rock sound that is just plain tantalizing thanks to lead vocalist Allison Mosshart. The former singer of the Kills appeared as some sort of dark, avenging angel, and she captivated the crowd on every tune. The new “Hustle and Cuss” featured a groovy syncopation that went over well. The set peaked with “Treat Me Like Your Mother” from the band’s first album, a flat-out bad-ass rocker that saw the energy soar as Mosshart owned the stage. White also played guitar on one tune, treating fans to some of his bluesy shredding, before he and Mosshart sang a duet on a slow, dark simmering blues to end the set in haunting yet breathtaking fashion.

Los Po-Boy-Citos, Lagniappe Stage
I never would have found this hidden gem of a stage inside the racetrack concourse if a friend hadn’t pointed it out, and I was glad he did. It’s one of the most intimate stages, but easy to miss if you don’t venture into the concourse. It’s got a little courtyard with the stage in the center and Los Po-Boy-Citos were funking it up in a big way. You could take advantage of seats to relax, or dance in the middle of the courtyard as many fans did.

Wayne Shorter Quartet, WWOZ Jazz Tent
This was a highly anticipated set for anyone who is a fan of the sax legend’s seminal work with Art Blakey’s Jazz Messengers and with Miles Davis on several mid-‘60s classic albums like ESP and Miles Smiles. It was a tough call for funk fans since the Neville Brothers were on the main stage at the same time in the festival’s final time slot, but I’d never seen Shorter before so I had to check some of this out. The quartet features Brian Blade, John Patitucci and Danilo Perez, and is surely a great unit. But it seemed liked it was taking them a while to warm up, as the first 20 minutes of the set were of a slow, ambient variety. If this had been in another time slot I probably would have stayed. But I was still feeling energized from the epic Galactic show the night before and felt like some high-energy music was necessary to close out the fest. I also wanted to see Cyrille Neville again, so I made my way over to the main stage.

The Neville Brothers, Acura Stage
The New Orleans legends were funking it up to a big crowd on the classic “Iko-Iko” when I arrived, with Cyril Neville leading the way on vocals and percussion. “Hey Pocky Way” and “Fiyo on the Bayou” kept the funky good times rolling, as the band of brothers did their best to pump up the crowd on what was now becoming a dreary day. The band was rocking, although they definitely were not approaching the energy that Galactic had been putting out. These guys are all over 60, however, and their voices still sound great. But I definitely felt blessed to have caught Cyril Neville doing his thing with a backing band like Galactic the night before.

A friend advised that I catch some of the Wild Magnolias at the smaller stage that had featured brass bands all weekend, saying that the group was a great one to close out the festival with. After a while I decided to take a look.

Big Chief Bo Dollis & the Wild Magnolias, Jazz & Heritage Stage
This band of Mardis Gras Indians was funking it up big time with a high energy sound that had the crowd moving and grooving. With their elaborate costumes and funky sounds, it was plain to see why this group is considered a local classic. It was amazing to think that all this music was going on at the same time – not just Wayne Shorter, the Neville Brothers and Wild Magnolias, but also the Radiators, B.B. King and Richie Havens as well. So much music, so little time.

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I’d been to New Orleans before, but never for Jazzfest, which caused me to fall in love with the Big Easy all over again. There’s no doubt that Jazzfest is one of the greatest music events in the world, at least comparable with any other festival. Many would argue that Jazzfest is the greatest festival of all and it’s definitely something that any serious music fan should make a point to experience. Viva New Orleans!

Alternative, Artists, Blues, Concerts, Funk, Jazz, Jazzfest, Rock

Lettin’ it ride in the Big Easy: Jazzfest 2010 recap, Part IV: Up all night

May 13, 2010 /

Part four in our five-part series, where Greg Schwartz literally pulls a triple shift, finishing the night shortly before the sun came up. Don’t let the number of entires fool you. One of these sets was almost three hours long.

Rebirth Brass Band, Congo Square Stage
A local institution since 1983, the Rebirth Brass Band has become one of the bands that personifies what New Orleans music is all about. Mixing heavy funk with old school second line jazz, the band entertained a huge crowd on another overcast but thankfully dry afternoon. A funky take on “It’s All Over Now” saw the big horn section used to great effect. Later, the band jammed on TLC’s “Waterfalls” for another highlight that had much of the throng dancing. Others sampled the great food and many craft selections that lined the area, including some stunning artwork such as stained wood paintings that retailed for $3,000. The overall crowd was much larger than the previous two days, due to it being Saturday and with Pearl Jam headlining. But a laid back vibe still permeated the air.

Band of Horses, Gentilly Stage
These rising indie rockers from Seattle have an intriguing sound that mixes orchestral pop influences with rock ‘n’ roll flavors that recall groups such as My Morning Jacket, Neil Young & Crazy Horse, the Shins and Pearl Jam’s more melodic side. The band’s new LP Infinite Arms leans to the atmospheric side, but they can rock out too, and they did for much of the set with vocalist/guitarist Ben Bridwell delivering an energetic performance. The laid back sound of “Factory” sounded nice, but it’s songs like “Laredo” that show the band at its most accessible, with an infectious melodic rock that makes it easy to see why Pearl Jam tapped the band to open their current American tour. I would have liked to stay for the whole set, but I had to get over to the main stage for one of the festival’s main events.

Galactic, Acura Stage
If there’s one band that personifies the modern funk rock sound of New Orleans, it has to be Galactic. Heavily rooted in the classic funk of the Meters and the Neville Brothers, the band mixes in a forward-looking acid jazz sound as well as classic rock and hip-hop flavors that have made them one of the planet’s most dependable party bands for over a decade now. But while the band can always be counted on to get the good times rolling, they also throw in an occasional socially conscious vibe that has also become a New Orleans trademark. The band distributed a little pamphlet called “Galactic’s Guide to the Planet of New Orleans – a guide to New Orleans music, food & fun,” filled with great recommendations from each band member. “If you happen to catch any of our shows, you will be seeing the band in our element: the place of Galactic’s formation, in our hometown city during a special occasion,” read the pamphlet. So an extra air of anticipation accompanied the band wherever they went.

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A massive crowd was gathered at the main stage by the time Galactic hit the stage at 3:15 pm for a most festive hour-long set. Irma Thomas joined the band for the bluesy “Heart of Steel,” as she does on the band’s great new album Ya-Ka-May. Her soulful vocals enhanced the band’s funky sound with an old-school flavor that rocked the stage with a triumphant vibe. The band was later joined by local legend Trombone Shorty, in addition to trombonist Cory Henry from the Rebirth Brass Band, who has been touring with the band since last fall. The duo combined with saxman Ben Ellman to deliver extra jazzy flavor on a big jam over a heavy funk groove from ace drummer Stanton Moore, bassist Robert Mercurio, keyboardist Rich Vogel and guitarist Jeff Raines. The band delivered a strong set, but it was only a taste of what would come later with their evening club show, which is their truest element of all.

There was a 45-minute break before Pearl Jam was scheduled to come on and a pal and I talked about how we would have liked to go check out The Allen Toussaint Jazzity Project in the Jazz Tent as well as Cyril Neville & Tribe 13 in the Blues Tent. But such a massive crowd had formed in anticipation of Pearl Jam (some ventured a guess of close to 100,000) that we felt trying to get there and back would be more trouble than it was worth, especially if we wanted to lock down a good spot for Pearl Jam.

Pearl Jam, Acura Stage
Seattle’s finest took the stage five minutes early, which became a factor when their scheduled two-hour set ended about 20 minutes early. But the band delivered as always with a set that combined hits and rarities to please both casual and die-hard fans alike. The massive festival crowd and daylight setting seemed to take some of the band’s usual edge off, as the overall show couldn’t quite match up with the barnburner the band threw down at the Austin City Limits Festival last fall. But they gave it a good go.

Opening with The Byrds’ “So You Want to be a Rock ‘n’ Roll Star” was a unique choice and delightful treat to get the party started. The set featured standards like “Corduroy,” “Given to Fly” and “Evenflow,” all of which thrilled the crowd with that classic ’90s alt-rock power. “Severed Hand” was a smoking choice from the band’s self-titled 2006 album, with Mike McCready and Stone Gossard delivering one of the band’s most scintillating guitar workouts. The rare “Down” from the band’s Lost Dogs collection was an upbeat gem that delivered another dose of positive energy with singer Eddie Vedder declaring “It’s really about being up, but it got stuck somewhere.”

Vedder later took note of current events by taking British Petroleum to task for the massive oil spill that threatens the Gulf Coast, saying that the children of company executives should be sent to Louisiana. “Send your sons and daughters, BP, to clean up your fucking mess,” Vedder suggested as a way of introducing the band’s classic song “Daughter.” New tunes “Got Some,” “Unthought Known” and “Supersonic” all rocked with a vital energy, while classics like “Do the Evolution” and “Why Go” sounded as strong as ever.

“The Fixer,” lead single from the band’s 2009 Backspacer, is getting better and better and starting to sound like another Pearl Jam classic in the making. An incendiary jam on the band’s breakthrough hit “Alive” was the highlight of the set, with McCready and bassist Jeff Ament going for broke. The band topped that off with a cover of the MC5’s “Kick Out the Jams” which was fun, but seemed to end the encore segment of the show abruptly. It wasn’t one of the band’s greatest overall performances in this longtime observer’s view, but they’re such a great band that even a merely average show is still a rocking good time nonetheless.

Galactic, The Howlin’ Wolf
The Rebirth Brass Band hit the stage shortly after 10 pm for their opening set at this hip and spacious club, although there was hardly anyone in the club at the time. Galactic are known as a late night force and it seemed that most ticket-holders for the sold out show were off somewhere saving their energy for the main event. Even the following set from the Funky Meters saw many fans idling in the grassy median outside the club, resting and relaxing. It was around 1:45 am by the time Galactic hit the stage and were they ever worth the wait, throwing down a sizzling two-and-a-half hour show that was pure fire. The acid jazz kings delivered one smoking hot funky jam after another, featuring both old and new material alike. The new “Cineramascope” lit a fuse as the rhythm section of Stanton Moore and Robert Mercurio got everyone going, while the horns and keys added funky layers, which were then topped off by molten hot guitar from Jeff Raines.

But what made this show extra special was the presence of “The Uptown Ruler” himself, Cyril Neville, who has been touring with Galactic throughout the year as their guest vocalist and percussionist. The youngest of the Neville Brothers, yet an elder statesman of the scene at age 62, Cyril Neville brings a dynamic presence that elevates every tune he touches. For anyone who ever felt Galactic’s original singer – Theryl “The Houseman” deClouet – could veer a bit to the cheesy side of things, Cyril Neville is just what the doctor ordered. His ultra-soulful, deeply funky and borderline shamanistic vibe fits Galactic like the proverbial glove. The band introduced Neville early on by playing the first song he ever recorded, 1969’s “Gossip,” a super funky jam that kick started the late night dance party into overdrive.

Neville then also sang on new tunes “You Don’t Know” and “Heart of Steel,” bringing his old school soul to the new school funk for a match made in New Orleans music heaven. Neville went on to sit in for most of the show on both percussion and vocals, elevating the whole evening to a higher level. The band would also feature the “Gossip” B-side, “Tell Me What You Want,” with Neville starring once more. Known as an activist for the downtrodden of both New Orleans and society in general, Neville’s socially conscious vibe came through on several occasions as well, such as on Galactic’s 1998 classic “Something’s Wrong with This Picture,” where he improvised lyrics about how money spent on the war machine should be sent to “the 9th Ward and Haiti.” The conscious vibe was summoned again during the encore on the new “Bacchus,” with Neville’s vocals urging listeners “don’t get caught in a rut, the future’s waiting for you / You can help set the pace, don’t let your talents go to waste.”

An already epic show was then sent over the top when Neville came back out front for the Meters’ classic “No More Okey Doke.” The entire club seemed to slip into one synchronized dance groove with everyone getting down on the good foot as Neville led the band through one of the funkiest and most uplifting songs of all time. It was the type of peak moment that is absolutely transcendent. Neville is scheduled to continue touring with Galactic throughout the summer and this reporter advises fans not to miss this fantastic combo.

It was after 4 am when the show let out, but it left us way too sky high to even think of heading home yet. We hopped a cab over to Frenchman Street where another friend had reported that Toubab Krewe out of Asheville, North Carolina were jamming out at the Blue Nile, with no cover required. The place was indeed still rocking when we arrived to discover that the Blue Nile is another gem in the New Orleans club scene. The band’s set was winding down, but a big psychedelic jam was keeping things going. They followed by ending the show with a big percussion jam that saw every band member getting in on the action while music legend Richie Havens observed from up front. After that, it was down the street to the Dragon’s Den to catch the end of the set from Mike Dillon’s Go-Go Jungle. This was another great little venue, with the stage being upstairs in a very intimate setting. There was also a balcony patio that allowed the first rays of the new dawn to shine in, which had a surreal effect when the band played a supremely psychedelic and ambient rendition of Jane’s Addiction’s “Summertime Rolls.” This reporter doesn’t witness too many sunrises, but this one felt great.

Americana, Artists, Blues, Concerts, Funk, Jam Band, Jazz, Jazzfest, Rock

Lettin’ it ride in the Big Easy: Jazzfest 2010 recap, Part III: Lady Soul bailed out by three of the four elements

May 12, 2010 /

Part three in our five-part series, where a gaggle of Hall of Famers step in to replace another Hall of Famer.

Most of my comrades decided to take this day off, since Friday seemed to present perhaps the least best overall lineup of the weekend. But they missed out on some great stuff. It was an overcast day that threatened rain, but the weather gods were most kind as the precipitation held off until just after the festival ended on Sunday.

Astral Project, WWOZ Jazz Tent
Jazzfest brings in lots of great rock bands to up the fun factor and sell more tickets, but I was definitely of a mindset to catch some jazzy jazz too. The Astral Project’s 1:30 pm set delivered in a big way. In contrast to the main stages, the jazz and blues tents feature rows and rows of seating. It can still be hard to find seats though, and the tent was pretty packed for this performance. But there’s an usher who works to help stragglers find seats, and it was nice to get one after the late night out. Local daily paper The Times-Picayune has called the Astral Project the city’s “premier modern jazz ensemble,” and there were few who would disagree after this great set. Drummer John Vidacovich, saxman Tony Dagradi, guitarist Steve Masakowski and bassist James Singleton form a dynamic quartet. The songs were mostly up-tempo with lots of changes, hot solos and just plain great playing that received numerous rounds of applause from the appreciative audience.

Kermit Ruffins & the Barbecue Swingers, Congo Square Stage
Trumpet ace Kermit Ruffins came up with the Rebirth Brass Band (which he co-founded) and now fronts his own unit. Ruffins and his current band mix the jazzy jazz with elements of funk, pop and hip-hop for a genre-bending unit that has become a New Orleans classic. Some might also recognize Ruffins from a recurring role on HBO’s new show “Treme,” which takes place in New Orleans. A groovy take on “I Can See Clearly Now” was a hit with the crowd in the mid-afternoon time slot. The sky was gray, but with no rain it felt indeed like a “bright, sunshiny day.” The smooth horn lines sounded great over the upbeat groove, while Ruffins’ vocals conjured a nostalgic big band era. Ruffins then stepped up and delivered one of the best trumpet solos of the weekend, exploring the melody with full jazzy flair.

Forgotten Souls Brass Band, Jazz and Heritage Stage
This small stage near the main entrance of the fairgrounds featured a series of great brass bands throughout the weekend. Almost any time you walked by, there was a brass brand making sure things stayed jazzy and funky. The Forgotten Souls had a big lineup and a classic sound that drew in most who walked by.

Allen Toussaint, Acura Stage
Allen Toussaint is one of the patron saints of the New Orleans music scene and as such, drew a huge crowd to the main stage. The man is a legend, having worked with a practical who’s who of music legends. He had a big band that entertained the crowd with a classic sound that mixed jazzy elements with rhythm & blues, led by Toussaint on piano and vocals. Toussaint’s stylishly melodic piano playing had the ladies dancing with some great grooves. I definitely would have liked to see more of this set, but it conflicted with what seemed like another must-see event.

New Orleans Social Club, Blues Tent
I also would have liked to have caught some of the Nicholas Payton Sextet in the Jazz Tent, but this supergroup demanded to be seen. The tent was packed with fans waiting to see the group, which featured bassist George Porter Jr., and guitarist Leo Nocentelli from the Meters with keyboardist Ivan Neville, piano man Henry Butler and drummer Raymond Weber. It was an hour-long funk fest that quickly became the Henry and Leo show. Butler stole the show on multiple occasions with his charged piano solos that energized the crowd time and again, with Nocentelli following most of those with incendiary guitar solos that burned up the fretboard. Musicians know him well, but the general public is behind in recognizing this guy as one of the hottest guitarists on the planet. “Talkin ‘Bout New Orleans” was a super funky highlight, where Neville also laid down a jamming keyboard solo. He followed that with deeply soulful vocals on a way groovy cover of Creedence Clearwater Revival’s “Fortunate Son,” a song that seems tailor made for New Orleans in the wake of Hurricane Katrina.

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The Derek Trucks & Susan Tedeschi Band, Blues Tent
Trucks and Tedeschi followed up their stellar House of Blues show the previous night with another superb 75-minute set to close out the festival on Friday. The tent was jammed with fans who wanted to dance, packing the one aisle that wasn’t cleared, while fans that wanted to sit battled with them over blocking their line of sight. How so many people could stay seated while this incredible band was rocking the stage remains a mystery. The band opened the set with Eric Clapton’s “Coming Home” to get things going, and then ran through many of the same new songs they played the night before. It still felt fresh though, with Trucks throwing down one beautiful slide solo after another. Tedeschi’s compelling vocals impressed again on “Don’t Drift Away” and “Nobody’s Free,” as well as on the smoking cover of the Beatles’ “I’ve Got a Feeling.”

But the highlight of the set came toward the end with “Midnight in Harlem.” The tune had dazzled early in the show on the previous night, but went to an even higher level here at the end of the set, as bassist Oteil Burbridge led the band on a huge jam that was simply transcendent, as it seemed to keep going deeper and deeper into ecstatic groove ecstasy. Everyone in the aisle was moving and grooving to this stellar jam that is sure to become a classic, because there’s never going to be a day when this fantastic melodic groove isn’t going to hit the spot. Trucks’ stellar slide work continued to wow throughout the set and especially on this incredible jam.

Earth, Wind and Fire, Acura Stage
Aretha Franklin was supposed to be headlining the main stage to close the day, but canceled at the last moment, with rumors saying that she had found herself unable to perform after a tour of New Orleans’ blighted 9th ward left her overcome with emotion. Jazzfest moved quickly to pull in the legendary Earth, Wind and Fire to fill the bill, though. They were supposed to end at the same time as Trucks & Tedeschi, but it was pleasing to see that they were still playing so fans could see the end of the set. I’d been wanting to catch this group ever since “Fast Times at Ridgemont High” (“When are those Earth, Wind and Fire tickets coming in? Because I’m going to take my little brother, you know.”) The band was throwing down some funky grooves with great multi-part harmonies, and the crowd was loving it.

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After exiting through the main entrance to the fairgrounds, it was less than two blocks before I came upon a brass band playing on a street corner while some enterprising locals were serving up fresh-made mojitos for $5 – score! Then as I continued down Esplanade, I traveled past a young keyboardist who was putting on a live show in front of his house for family and friends. Soon thereafter, I came upon a Hare Krishna church that was serving up free vegetarian food while what looked like a husband-wife-daughter trio played some ambient Krishna jams. The music was everywhere.

Gov’t Mule + 7 Walkers, The Mahalia Jackson Theater
My accomplice and I were scrambling to get across town to this show after discovering that Bill Kreutzmann’s 7 Walkers were going on at 7:45 pm, an unusually early start for Jazzfest evening shows. But the theater apparently has an actual curfew (as opposed to most venues in the Big Easy.) We were out on the street trying to find a taxi when a local musician by the name of John William picked us up and drove us over there for free! New Orleans hospitality got us there by the set break, but too late for 7 Walkers, unfortunately. I’d been looking forward to seeing them again after their recent Austin show, as Kreutzmann and Louisiana/Austin guitarist Papa Mali conjure a festive mix of Grateful Dead songs with Southern flavor and new material written with longtime GD lyricist Robert Hunter. The sound is a unique mix of West Coast and Gulf Coast. With his gray dreadlocks, rotund figure and melty licks, Papa Mali brings to mind how Jerry Garcia might have turned out if he’d grown up in New Orleans instead of San Francisco.

Gov’t Mule came out and got right back to the hard rocking, bluesy business they’d thrown down at the fairgrounds the day before. A “Third Stone from the Sun” tease was appreciated early on, and Warren Haynes went deep into the blues well on Led Zeppelin’s “Since I’ve Been Loving You.” The first set proceeded in somewhat underwhelming fashion though, as I started to get the same feeling as the past few times I’ve seen the band. This feeling was that the band’s covers are always amazing, but that their own material seems to be stagnating a bit. Haynes is an undisputed guitar master and has been one of the hardest working men in rock ‘n’ roll over the past 20 years, but after witnessing the fresh sounds of the Derek Trucks & Susan Tedeschi Band, I couldn’t help but feel that the Mule is coming up a little short these days. Most of their new material tends to fall into the same hard-edged blues rock territory, with less and less in the way of song diversity, as opposed to the wide range of classic rock the band covers with such aplomb. Of course Trucks is in his prime at age 30 while Haynes is 50, but it just feels like Mule’s bag of tricks has become too small.

Haynes upped the ante when the band opened the second set with an epic cover of Doors classic “When the Music’s Over,” which electrified the assembled. Haynes has become one of rock’s greatest chameleons and you could feel the presence of Mr. Mojo Risin during this spine-tingling rendition of the epic ode to music and revolution. A later jam on the Dead’s “The Other One” recalled the ’60s once more, while “The Shape I’m In” was a rocking homage to the endurance it takes to do Jazzfest right.
Eric Krasno popped up yet again for a hot jam on “Sco-Mule,” followed by Funky Meters guitarist Brian Holtz sitting in next. The encore saw Ivan Neville join Mule and Holtz for “32/20 Blues,” which raged with intensity before the band closed it out with “Broke Down on the Brazos.” Serious Muleheads might beg to differ, but it once again seemed like it was the covers that stood out over the band’s own material. After the show, we retreated to Fritzel’s on nearby Bourbon Street again for more jazz.

Americana, Artists, Blues, Concerts, Funk, Jam Band, Jazz, Jazzfest, Rock

Lettin’ it ride in the Big Easy: Jazzfest 2010 recap, Part II: Bringing the ‘phunk

May 12, 2010 /

The second of our five-part series, Greg Schwartz spends five days in New Orleans, absorbing more music than one thought humanly possible, grinning ear to ear the entire time.

Ivan Neville’s Dumpstaphunk, Acura Stage
Music started at the fairgrounds in the 11 am hour, but I felt like I was doing well to make it there by 1:30 pm for the main stage set by Ivan Neville’s Dumpstaphunk. I’d caught Dumpstaphunk opening for Phil Lesh & Friends at their January 2008 Mardis Gras show in San Francisco, so I knew this was a band not to miss. Ivan is of course the son of one of the legendary Neville Brothers, so the band’s sound is rooted in that classic New Orleans funk style pioneered by the Meters (which featured Art Neville, and later also Cyril Neville.) It was a picture-perfect beautiful, breezy sunny afternoon and hearing these funky sounds kicked things off in high style. Bassist Tony Hall, who some might recognize from his time served with the Trey Anastasio Band, was a star of the show. He laid down a bright punchy low end that made every tune bounce, and also sang with soulful flair on songs like Sly and the Family Stone’s “You Can Make it if You Try.”

Amanda Shaw & the Cute Guys, Gentilly Stage
The Gentilly Stage is the second biggest stage and the furthest walk from the main stage, but it still only takes five to ten minutes to get over there (as opposed to some festivals where certain stages can be much farther apart.) Local lass Amanda Shaw drew a large crowd to hear her high-energy, rootsy country rock sound as she led the band on fiddle. A spunky cover of the Clash’s “Should I Stay or Should I Go” got things rocking as the charismatic Shaw sang with punk energy, but then injected Cajun-rooted fiddle runs for a unique take on the punk classic. Shaw’s instrumental talent shined brightest on an instrumental tune that closed the set with a bluesier flavor. The 19-year-old New Orleans native soloed brilliantly, while also moving and grooving with a dynamic stage presence making her one to watch moving forward.

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Gov’t Mule, Acura Stage
Warren Haynes and his blues rock quartet took the main stage at 2:50 pm and rocked out for the next hour. “Broke Down on the Brazos” from the band’s latest album By a Thread was an early highlight, with Haynes riffing out on the high-octane jam. “Beautifully Broken” slowed things down a bit, but sounded great on such a sunny afternoon. An instrumental jam went in a decidely Allman-ish direction, and even featured a “Blue Skies” tease that unfortunately did not fully materialize (the Allman Brothers Band had however played the festival on the previous weekend.) Haynes then sang a little bit of the Rolling Stones’ “You Can’t Always Get What You Want” before returning to the jam. Mule standard “Thorazine Shuffle” cranked the blues rock back up to peak level, with Haynes throwing in a “Get Up Stand Up” tease on his guitar. The man is a classic rock encyclopedia, which makes every Mule set an adventure since you never know what tune might pop up.

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Soul Rebels, Congo Square Stage
The Soul Rebels brass band was throwing down their groovy sound on the Congo Square Stage, the festival’s third largest. The band blends Mardis Gras-style funk with jazz, rock, reggae and hip-hop flavors for a festive sound that is pure New Orleans. The tuba player provides the bass line while the other horns pump out various melodies and lead lines. The drummer and percussionist also know how to get busy. I was definitely digging it and wanted to see more, but my friends were keen on checking out Steve Martin so I allowed myself to be pulled away. The festival has 11 stages (!), so there are a lot of tough choices to be made.

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Steve Martin w/ the Steep Canyon Rangers, Gentilly Stage
It turns out that actor/comedian Steve Martin is also a lifelong banjo fanatic and the word is apparently getting out, because he and his group drew a massive crowd. One friend who’d been to Jazzfest many times said that it was the largest crowd he’d ever seen at the Gentilly Stage. It looked like somewhere in the vicinity of 10,000. It’s no gimmick either, as Martin was rocking the banjo like a seasoned pro.

Widespread Panic, Acura Stage
The Spreadheads were settling in back at the main stage, where Panic was due to close out the main stage action for the day with a set that started at 4:30 pm. The Georgia jam-rockers decided to pass on a set break and threw down a massive two-and-half-hour show that capped off the day in rocking style. “Space Wrangler” was an early highlight as the song’s classic groove and melodic riffs never fail to energize a crowd. Another tune featured a big jam that saw the band click and open up “the hose,” as Carlos Santana would say, with a captivating jam as bassist Dave Schools and keyboardist JoJo Hermann locked in to a tight groove to generate Panic’s unique sound.

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The set seemed like it was starting to wane a bit halfway through, to the point where I was considering going to check out the Average White Band and/or Blues Traveler. But then the band brought out the MegaBlasters four-piece horn section and launched into “Up All Night,” one of my favorite tunes and easily the anthem of the week for Jazzfest fans. The melodic number took on an extra jazzy sparkle with the horns and the band used it as a launchpad into their classic party anthem “Tall Boy,” which saw strangers dancing with strangers as the crowd came alive once more. The combo reinvigorated the set and the band was off and running again, as the MegaBlasters sat in on the entire second half of the show. Virtuoso lead guitarist Jimmy Herring even seemed to have dialed down his sometimes overly searing tone to a level that was just right.

The Derek Trucks & Susan Tedeschi Band, House of Blues
After a brief respite back at homebase, my accomplice and I were off to the House of Blues for what promised to be one of the week’s top highlights. Slide guitar prodigy Derek Trucks and blues babe Susan Tedeschi have been married since 2001, but only began playing shows together on summer tours in 2007 and 2008 billed as their “Soul Stew Revival.” As I wrote three years ago, these two are like Reese’s Peanut Butter Cups – two great tastes that go even better together. With their young children now a little older, it appears the couple have finally decided the time is right to merge their sensational talents and move ahead together with a full-time band. And what a band it is with Oteil Burbridge (who has been playing with Trucks in the Allman Brothers Band since 2002) joining the team on bass, along with his brother Kofi Burbridge on keyboards and flute (who was already in the Derek Trucks Band), and two drummers for the polyrhythmic jams.

The band played mostly brand new material, and strong material it is. “Nobody’s Free” was an early highlight for Tedeschi, who sang some soulful lyrics about the limitations of modern society. The entire band soared on “Midnight in Harlem,” which Tedeschi said was written by backing vocalist Mike Mattison. Oteil Burbridge’s fluid bass catalyzed a huge melodic jam that had the whole room grooving, with Trucks dropping sweet licks on top. “Don’t Drift Away” was another bluesy gem for Tedeschi’s heartfelt vocals, while a smoking hot cover of Eric Clapton’s “Coming Home” ignited the room. “Butterfly,” from Tedeschi’s strong 2009 album Back to the River, was another rocking highlight, followed by the super funky jam “Serve It Up,” with Soulive’s Eric Krasno sitting in. Krasno and Trucks traded hot licks on the bouncy groove, while the Grateful Dead’s Bill Kreutzmann was seen rocking out sidestage. A cover of the Beatles’ “I’ve Got a Feeling” was another winner, with the crowd eating it up and Tedeschi shining once again. The chemistry between Trucks and the Burbridge brothers is higher level stuff, enabling deep jams on almost any tune. This show was just one highlight after another, capped off with a great “Trenchtown Rock” encore that summed up the festival so well – “One good thing about music, when it hits, you feel no pain.” This band is primed to be one of the best on the planet for the next 20 years.

After the show, we walked up Bourbon Street looking for an old school jazz club to wind down in. We had to walk past a huge number of cheesy neon bars with cliché cover bands, but we finally found just what we were looking for in the form of Fritzel’s, a “European style jazz pub” that bills itself as the oldest operated jazz club in New Orleans (open since 1969.) It’s a small place, but the jazz is great, the vibe is festive and the drink selection exotic. A great spot to wind down an evening.

Coming up next: Friday, where one Hall of Famer is bailed out by another Hall of Famer.

Americana, Artists, Blues, Cajun, Concerts, Funk, Jazz, Jazzfest, R&B, Rock

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