Friday, February 17, 2017

Lake Street Dive Back in College

We somehow found out that Lake Street Dive would be the featured band at New England Conservatory's 150th concert and tickets were about to go on sale ... so we got some, first row of the balcony at Jordan Hall!  This show sold out fast.  The band met at NEC and are all grads and, though we knew there might be some amateurism on display in the concert, we suspected it might be fantastic.  We'd seen "amateur" concerts at some fine music schools like Berklee College of Music and Ithaca College, and they'd been vastly entertaining.  As it turned out, this concert was stellar and the number of fine, young musicians we saw (including LSD of course) was enough to make you think that maybe the world is not doomed after all.

Had a fun drive into Boston after work on Thursday 2/16: in Soldiers Field Road to the Bowker Interchange exit, between the great stone pillars at the intersection of Westland and Hemenway (which used to be one of the best places in the city (supposedly) to find prostitutes), right onto Mass Ave in front of one of the most beautiful buildings in Boston, Horticultural Hall, past Symphony Hall (and spewing busses) on my right, and then right onto St. Botolph (whom Boston was named after), past the current Matthews Arena (the old Boston Arena which predates the (original) Boston Garden), and left on Gainsborough into the parking garage.  I hadn't been in this area of the city for a long time.

Sarah and Dave were just getting off the Green Line and we met at the Pizzeria Uno on Huntington.  It was the Day Without Immigrants in Boston, one of the latest Trump protests, but the restaurant was not busy at that time and we got some over-attentive white guys to bring us beer and food.  After a relatively quick meal we stopped at the car and then entered beautiful Jordan Hall, the concert space of the New England Conservatory with practice rooms scattered throughout the building.  Bridget later said, "We first wrote 'Lake Street Dive' on a blackboard in a practice room up there," pointing beyond the balcony.

Oh yeah, we were in the first row of the balcony, a lovely soaring balcony like a standing wave surrounding a huge stage and making what was basically a very intimate space.  This was the quintessence of the saying, "Not a bad seat in the house."  There were carved wood and velvet coverings everywhere.  No beer/concessions but no one cared, we were there for an incredible experience.

The NEC Chamber Singers came out and assembled into a crescent towards the front of the stage, and then we realized that the NEC Trumpet Ensemble had filled the corridors in the orchestra.  The trumpets gave us a fanfare and the singers backed them up.  This was "Franfare for twelve trumpets," written in 1986 by Gunther Schuller.  Each trumpeter was perfect in his own way (all guys I think) and as an ensemble they seemed to be projecting an aural jewel, with each side presenting an aspect of what a trumpet could do.  Just amazing stuff and just the start.

The chamber singers then did a piece called "I Hear," written by current NEC student Andrew Haig in 2016.  Maybe I don't get out to hear enough classical vocal ensembles, but the male voices in this piece just blew me away, they were so emotional but controlled.  And the soprano soloist (Pepita Salim) was jaw-dropping.  This is the piece I'll always think of when I recall this concert.

They then shifted around a bit and the NEC Gospel Ensemble took the stage.  The conductor introduced Rachael Price, who came out as classy as always, wearing a dress that looked like a Kandinsky painting.  They did "What I'm Doing Here" and brought the house down.

The rest of the band came out at that point, MikeO in a checkered suit that John Mayer might have worn, MikeC in a stylish bandanna headband and no shoes, and Bridget in her trademark no-nonsense plain-colored skirt and top.  The Gospel singers disappeared and LSD was on!  This relatively short set showcased some of the best sides of the band, interspersed with funny stories about meeting each other in college.  MikeO was better on trumpet than I've ever heard him and Bridget took a few lengthy solos that had that incredible wood and velvet hall ringing.  In fact, several students accompanied them for some of the songs, including one guy on Jordan Hall's pipe organ!

They concentrated on the last record, doing Side Pony of course, Call Off Your Dogs (smoking Bridget bass solo), Spectacular Failure, How Good It Feels, and Mistakes (which actually wasn't as good in this smaller hall as it had been in the HOB - Boston, though of course Rachael was excellent).  They also did a song that had been in my head all day, Seventeen (which Bridget may have written in college), and a fantastic cover of Prince's When You Were Mine, that I'd never heard them do before.

Most of the people in the crowd were primarily there to see LSD, and we were rocking.  But even the ones who were there just to see an NEC event and weren't used to seeing pop concerts were rocking too.  LSD is so good and that hall was filled so well with great music that anyone would have enjoyed it, let alone be appreciative of the excellence.

That was the end of the first set, but there was much more to come.  Quickly the stage was set up with seats everywhere, and the guys came back on for the second set with a conductor (Ken Schaphorst), the NEC Jazz Orchestra (which was all guys too?!?), and the Philharmonia Strings.  There were only six pieces in that set, but they were all note-perfect.

Rachael soloed on God Bless the Child, which was done in a very traditional style.  Schaphorst had worked up versions of MikeC's I Don't Care About You and MikeO's Godawful Things that were beyond belief.  To hear the lovely string introduction that he had extrapolated from Bridget's intro to Godawful Things was like being in a dream.

But the last piece in the program, Bad Self Portraits, was the most spectacular.  Not only is this a great song, and not only were LSD playing and singing their hearts out, but the jazz orchestra was filling the room with wave after wave of brassy sound, and the string orchestra was swirling through our brains, dancing through the hall with layers and layers of vibrations.  If you count the conductor and the sound engineer, there were 46 amazing musicians on stage, telling us about why they bought that damned camera.

I guess the organizers weren't sure about the level of enthusiasm to expect, but the crowd was on its feet after this and would not stop hooting and hollering until Lake Street came out for an encore.  The stage crew hurriedly set up a large RCA mike, which Rachael, Bridget, and MikeC (with tambourine) huddled around, while MikeO stepped back a bit for another great trumpet solo.  Of course they did Neighbor Song, introduced by Rachael with an anecdote about how when Bridget sent her the first draft of the words and music, she and MikeO were living "upstairs and downstairs" in a triple-decker in Jamaica Plain.  She didn't say who was upstairs and who was down, but I have my theories.

OMG, what an excellent night of music!  Still not late for a Thursday, left Dave at Charles, and then proceeded on home.

Sarah got some excellent pictures (link coming); here are some of my favorites:







Saturday, January 21, 2017

Rubblebucket Packs Paradise

We saw Rubblebucket in the Paradise Rock Club back in 2011 and that was pretty intense to put it mildly.  In the meantime they've been through a lot of life and success, and we've been lucky enough to see them a bunch.  But they announced they were coming back to the Paradise on Friday, 1/20 and ... though we knew it would be a late night again ... we just had to go see them in a small club.

It was s surprisingly quick drive into Brighton, but as soon as I got off Soldiers Field Road I was in the midst of a madhouse of traffic and pedestrians.  BU was in full swing, including hosting a hockey game (vs. Maine), but I was able to crawl up Comm Ave slowly and miraculously got a parking space right in front of the Paradise.

Met Sarah and Dave (who had Green Lined it up from work) at the Sunset Cantina and had a nice dinner and a few beers.  Lucky to get a table in the way back, probably as quiet a table as you could get in that packed and noisy restaurant.  Took our time eating and eventually wandered over to the Paradise at 7:30 or so, where we were about 20th in line.

They opened the doors right at 8 and let us in slowly after thorough searches.  We went right upstairs and got great standing places immediately to the right of the soundboard.  The place was sold out of course, and it was amazing to see the number of (very excited) people they shoehorned in there.  By the time the show started the entire first floor was packed so tightly that we wondered if anyone down there could breath, let alone be able to jump and dance.  Kalmia had been manning the merch table early on, and Alex took a tour upstairs (Sarah smiled at him), probably scoping it out to see if it would be appropriate for their end-of-show parade.

They finally had most of the people in the club and Joe Evian came out for the first set.  Joe was set up behind a massive control panel of mixers, switches, and who knows what else with a tiny keyboard, and had his blonde Strat.  His other guitar player had an identical Strat (also identical black leather shoes) and the bassist had a violin-bodied instrument that sounded great but was at first too loud in the mix.  They also had a drummer with a relatively small kit.

It was a very entertaining set.  Basically blues rock but with a concentration on sounding indie/unique and never too far from psychedelic meltdown.  Joe ripped off a few really good leads and the band was nice and tight.  But it was a short set and soon they had the stage set up for the main attraction.

The guys came out and lined up and we suddenly had cause to wonder about the definition of a band.  Because the only two remaining players from the first time we saw them were Kalmia and Alex!  They're the key ones I guess, to any definition of what Rubblebucket is, but we were shocked and disappointed that Adam Dotson and Ian Hersey were apparently no longer with them.  But the trombone player who replaced Dotson was (I hate to say it) probably an upgrade.  His tone and power were fantastic and his dance moves were every bit as good.  The woman guitarist (Maddie Rice) who replaced Hersey was not as good as him (who could be?) but held her own.

And another definition of Rubblebucket is diversity.  The new trombonist is black, the current drummer is Japanese (I think), and to see a young "girl" with long hair playing the lead blues guitar was great (though a pillar blocked her from my view 90% of the time ... that's what happens when you're upstairs in the Paradise).  And diversity was so important on that day.  January 20th 2017 was Inauguration Day and we should have been celebrating the first woman president of the United States.  Instead we were besieged by the institutionalization of hate.  It was very good to go out to see such a progressive band that night, it was good to hear Kalmia tell us how important it was to listen to each other and know that she was struggling along with us, and it was fantastic the next day to have millions of people march all over the world to protest what was happening in American government.

That day, Rubblebucket had released a new EP ("If U C My Enemies"), and they featured all four songs from it, which are excellent.  And wrapped around them was a setlist of your dreams, including some of the best tracks from their first records, including Shake Me Around, Silly Fathers, Pain From Love, Carousel Ride, etc.  As mentioned, the people on the floor were squished together like you wouldn't believe, but they still managed to jump and groove, though the only way they could do it was if everyone jumped on the same frequency.

Kalmia, in a sparkling leotard and psychedelic blouse, was rolling on the stage, bouncing around, tooting her sax with abandon (some of the new songs have excellent baritone sax textures), and singing like an angel.  One of the last songs of the set was Came Out Of a Lady ("for all the Moms"), which quickly degenerated into a Rubblebucket love fest.  They showered the crowd with confetti, both Alex and Kalmia crowd-surfed (Kalmia singing the chorus while she did so), and they tried a bit of a parade up the steps to the balcony, though this was soon aborted when the crowd was just too thick.

Incredible talent, incredible songs, and a great show!  I have to say again that Kalmia was singing better than I've ever heard her.  There was a short break before everyone came back out for a long encore, including a brilliant Triangular Daisies and finally a successful parade through the crowd, ending with a tribal circle-groove with the entire band in front of the merch table.  That was a lot of fun!

Waited a bit and then were able to push out onto the sidewalk and it was earlier than we expected, just 12:15 or so.  The car was right in front and after dancing through a bevy of Ubers we got out of there and had a quick drive home.

Wednesday, January 11, 2017

Lee, Steve, and Meg at The Armory

Scott got several of us motivated to go hear Lee Ranaldo and Steve Gunn at the Armory in Somerville on Tuesday night, 1/10.  I'd never seen either play, though of course I'd heard of Ranaldo.  Besides being 3 days younger than me, he's always been known as one of the best guitarists around.

And we'd never been to the Armory, though we'd been tempted by other events in their Arts At the Armory series over the past few years.  They were playing that night with Meg Baird opening, and we waffled a bit, but then got tickets.  Why not, this should be great!

And it was great.  I was delayed at work (ho hum, we got acquired by D&B), but finally hit the road and amazingly got to deepest darkest Somerville in time to meet Sarah at Highland Kitchen and have a quick dinner before the show.  It was one of those suddenly warm, rainy, and sloppy early Winter nights in the Boston area where the snow turns to slush and everything is damp or just plain wet.

We made it the few blocks up to the Armory (where I'd parked), and our friends were just then arriving after their walk from Davis!  Hilarity ensued, we got beers and nice seats in the middle, though Meg had already started her set.  Only heard a few songs from Meg, but she was wonderful when I got the chance to sit down and listen to her.  A classical voice, songs featuring subtle intonations, and a lovely sounding guitar (no electric guitars from any of the three last night).

The Armory impressed me right away.  It's a surprisingly big space (with two bars) and could easily seat a lot more people than the two hundred or so who crammed into their shitty plastic chairs that night, especially if they opened the balcony area.  They also could fit three or four youth basketball games if they tried.  If you took away the curtained-off green rooms, it's a very large rectangle a few city houses wide and deep, and is just as high, way up to a complicated ceiling with exposed insulation and ventilation.  The sound in there was fantastic and all three performers rocked it.

Ranaldo was in the back thumbing his phone during Baird's set and came on soon thereafter with a rack of four very similar guitars (one of which was obviously his favorite but had an E-string that went out of tune regularly).  His style involves playing on the drama of the sound he's making and he started off well by shaking a few chimes and getting some droning sounds melding around.  But then his main guitar switch fucked up on him and he had to crawl on all fours to get it right.  Hey, maybe that was part of the drama!?!

But anyway, he rebounded soon, cranked up the volume, and blew our minds.  His technique was fascinating, including playing bar chords with his thumb.  I loved his voice and many of his originals (he's recently put out a new record and concentrated on that) featured neat word puzzles and twists.  But the sonic tapestry he wove was the best part of his set, sometimes getting alarmingly close to runaway feedback or guitar angst, but always veering back into his control.

The funniest thing about the night was the crowd in the Armory.  It was like an early Joan Baez concert in there or something.  Everyone was as quiet as a church mouse during the songs, and there was a loud but short round of polite applause after every number.  When you whispered during a song you were invariably met with "hushes" from the surrounding rows (though most people were on both ends of this).  I let out a "woohoo" after a particularly good song and several others showed some psych too, but it was mostly a coffee-house kind of crowd.

Lee was fantastic and then Steve Gunn came on, another excellent solo guitarist.  As Tristan said after a few songs, it would have helped to have been high for his set.  Not that he was bad at all ... he was excellent.  But his pace was at times a little slow for later in the evening, and you had to stay with his songs for them to develop.  The careful listener was rewarded though and you soon found your consciousness going up and down with his baroque stylings.  Great stuff!

Well, that was it.  No encores for any of the three and little stage chatter.  This was the start of their "tour" and I think it likely the three of them will vary the format of their set as they go along.

Gave our three friends a ride back to Alewife so they didn't have to navigate the sloppy slush and rain, and still made it back home in plenty of time for bed.


Friday, December 16, 2016

Miss Tess at The Burren

The latest record by Miss Tess and the Talkbacks is on my best of 2016 list, and she was finally playing back in the Boston area, at The Burren in Somerville on December 15th.  Met Sarah at Redbones on a very cold and windy almost Winter day, had a couple of beers and then filed into the back room at The Burren where we had a quick dinner.

The room filled up quickly and may have been sold out.  This was a WUMB “Third Thursday” concert and so was hosted by their DJ, Jess Phaneuf, who strangely looked exactly like she sounds.  Most DJs don’t and you’re surprised when you meet them.

Miss Tess was playing with different people than the last time we saw her, which was two and a half years ago, so that’s no surprise.  But it was the same instrumentation: Thomas Bryan Eaton on lead guitarist, a (very tall) bass player, and a drummer with a small but effective kit.  She was not playing the big guitar I’ve always seen her with before and love, but the one she had last night was possibly even better.  Her guitar sound is so rich and chewy it’s phenomenal.  I spent most of the concert just concentrating on her guitar work.

And she’s a great song writer too.  They opened with the whirlwind Ride That Train, the opening track on her 2016 record, and later did a few of the other great songs from that, Little Lola (which she said is about her neighbor’s cat, I should have guessed!), I Can’t Help Myself, Take You Break You Shake You, and Going Downtown.  She also did several brand new songs, including one that could have been written by Hank himself, it’s got the laconic true life blues set to a deadly melody that he specialized in.  I complimented her on that one, and she smiled in her Miss Tess way (we were at the front table of course).

Another thing worth noting is the vocal arrangements were very good.  All of the guys filled in at various points and didn't slow her down at all, they just egged her on.  She's more of a bandleader than she seemed previously and had the whole sound working and pulling in the right direction.

Had a nice conversation with our neighbors at the table before and after the set, and then bundled up and braved the cold Davis Square air.  Luckily the car was not far away and we got home in fine time.

Saturday, December 3, 2016

JRAD ROCK HOB

Well ... in yesterday's post I said that we'd decided to go to just one of the three TTB shows.  And it's a great thing we did because soon after we made that commitment, JRAD announced that they'd be playing the House Of Blues the second night of the TTB stand!  Geez, we would have been in a panic if we'd committed for the second night instead.  But this meant that we were going to see two consecutive nights of some of the best music around at this time in history.  We are very lucky.

And JRAD in the House of Blues instead of the Paradise again?!?  I love the sound at the HOB and was very excited to think of JRAD playing there.  They've been doing acoustic mini-sets at the end of their first sets lately (Bob Weir sat in on a recent one, and John Mayer did a couple of months ago), and I was hoping they'd do that.

Sarah and I were at home for various reasons, but took off for the Fens at the end of the afternoon, making it to the parking lot on Van Ness eventually through thick traffic.  The HOB restaurant was closed for a special event, so we met Dave at Yardhouse and had another excellent Yardhouse dinner and raft of beers.  Headed over to Lansdowne Street (after a detour by the car) and took our places about 20th in line about 45 minutes before the doors opened.  And it's a good thing we were that early, the line was soon around the block!  Needless to say, this show was sold out and almost everyone there was there to see one of the best bands around, not just out for a night at a rock club.

Met some nice people in line and the time flew by, and before we knew it we were filing in.  Dave and I got quite searched and they ended up denying him access temporarily.  I saw he wasn't behind me and so turned around; was able to hand him the keys so he could go back to the car and then try again.  In the meantime, Sarah had secured our spot so everything was ok, except Dave now had to go to the back of that long line and it took him basically a whole hour to get in.

Met some nice people inside and that hour flew by while the hall filled in; it was eventually as packed as it gets.  The guy next to me got in with a whole baggie of stuff and must have smoked it all (discreetly??) by the end of the night.

Dave showed up eventually and we critiqued the stage setup.  Marco did not have his stand-up piano and Joe's drum kit was a little smaller than when we'd seen them before.  And it didn't look like they were geared up for the switch to an acoustic setup that we were hoping for.  Oh well.

Soon the boys came out, tuned up a bit, and launched right into the good stuff.  Dave called the first song from the intro ... here are Costello's notes:

Show #87
House of Blues,
Boston, MA
2016.12.02
(SOLD OUT - THANK YOU!!!)

Set 1 (9:16PM - 10:21PM)
Music Never Stopped @ (SM) ->
China Cat Sunflower (TH) ->
Touch of Grey (TH)
Black Throated Wind # (SM) >
Jack Straw (SM & TH)
Ruben & Cherise $ (TH) ->
I Know You Rider (All)

Set 2 (10:53PM - ~1:00AM)
Althea % (TH) ->
Duo Jam ->
Good Lovin (SM) ->
Terrapin Station Jam ++ ->
My Pet Goat Jam ^ ->
Terrapin Suite & (TH) >
Uncle Johns Band (All) ->
9x9 Jam * ->
Uncle Johns Band Reprise + (All)
He’s Gone (TH/All) ->
Saint Of Circumstance @@ (SM)

E: Ophelia (SM) >
Not Fade Away ## (All) ->
Brown Eyed Women %% ->
Not Fade Away Reprise $$ (All)

@ - With The Eleven Tease (SM), unfinished
# - With a Jack Straw Jam (Band)
$ - With China->Rider Transition Teases (TH) & a “Waltz #1” (Elliot Smith) Tease (MB)
% - With an “All of My Love” (Led Zeppelin) Tease (MB)
++ - First Time Played by Almost Dead (I think?)
^ - First Time Played by Almost Dead, Benevento Russo Duo Original, not the complete song
& - With Ruben & Cherise Teases (Band)
* - First Time Played by Almost Dead, Benevento Russo Duo Original, not the complete song
+ - First Time Played by Almost Dead
@@ - With Ruben & Cherise and Terrapin Station Teases (Band)
## - With GDTRFB Teases (SM) and “Shortnin’ Bread” (James Whitcomb Riley) Teases (Band)
%% - With a “Come On Feel The Noize” (Quiet Riot) Tease (JR)
$$ - First time played since 2015-02-16 Boulder, CO, a gap of 66 shows, With a “Hey Bulldog” Jam (Band) - that may end up being a track, not sure if it was long enough.

  • They were firing on all cylinders right off the line.  Music was big and beefy and featured an excellent outro jam, which sounded like it was going to morph into The Eleven.  Instead they turned a quick corner and bam! ... were playing the China Cat intro ... Dave had called this too.
  • The sing-songy Touch, as you might imagine, was a bit of a weird thing for this band to play, but they aren't afraid to be weird.
  • Black-Throated Wind was awesome; Scott was singing incredibly last night.  And that went into a short and sweet Jack Straw.
  • Then Tommy took over the mike with a crackling Reuben and Cherise, which morphed into a sing-along I Know You Rider to end the set.

Wow!  The were all on fire and, it seems strange to say, but if you had to pick a slightly less then incredible performance it might have been Joe (he cured this in the second set).  He was really singing and playing fantastically and did not turn in a weak performance at all, but everyone else on the stage was beyond the top of his game!  Marco was just spectacular on his organ, Rhodes, and piano ... his piano sounded incredible.  Tom was coming out with aggressive, stand-on-your-head lead after lead, the singing was excellent, and Dave was amazingly amazing.

At times I got the feeling I've mentioned when seeing Phil and Stanley Jordan, that I could see the music.  Dave was laying down a popping bass line and looking at Joe; Joe was slamming his toms and cymbals and looking over at Marco; Marco had one hand on his organ and one hand on his Rhodes and was bouncing the energy from the rhythm guys to the guitarists.  You could see the electricity crackling back and forth among them.

And the room was great for this band.  I think that may have been part of why they were playing so well: the House Of Blues can ring in time with a loud band, the space fills with the sound and reverberates with the beat.  As I say, everyone there was [Almost] Deadicated and when you looked out over the floor, it was a sea of wildly dancing people.

Our place was being threatened of course, but we were able to take turns at the bathrooms and smoke area, and then get back together before the second set started.  Joe had said the break would be short, but it was average length.  It was already getting late, but we were about to see JRAD do a second set ... "late" was not an issue.

What can you say about that second set?  It was a little weird because it basically had only 7 songs.  But these were epic versions filled in with jams that left you drooling.  There is never a down second with these guys, it's rare to find a time when there isn't something unique and remarkable going on on stage, and usually there are many remarkable things happening at once.

I have to say something about the Terrapin, because it was one of the most epic versions ever.  It seemed to go on for a hour with the transitions and the jams and the choruses.  It built and climaxed and built and climaxed over and over.  You would have thought it would have been exhausting but it wasn't, it was exhilarating.

And when they were finally done they fell into a crunchy, rocky UJB that was driven by its beat, and then one of the best He's Gones I've ever heard ... soulful and yearning.  And then they finished the set with another left turn into a rocking Saint, which had the entirety of the Fenway area jumping.  We were going for it for sure.  And to top his excellent vocal night, at the end, right before the last chords, Scott switched into his best falsetto and capped the song with an emphatic, "Going on a feeling!!!"

Again, Wow!!!  The floor was a mess of empty cans and cups, and we were all a satisfied mess as well.  They came back out after a little bit and launched into Ophelia, a drummer's special.  That's so perfect we thought, open the second set with Althea and end the night with Ophelia.  But they were not ending!!  They teased us a bit at the end of it and then before we knew it they were playing the ultimate rocker, Holly's Not Fade Away.  My buddy to my left went nuts, having predicted that they'd close with this (he was about done with his baggie by this point).

But then the music didn't stop!  They burst through another door in unison and whacked us over the heads with Brown-Eyed Women.  Again, a crunchy, rocky version in which they hit all the emotional phrasings but did it fast, with an incredible beat and Joe playing every possible part of it.  And then they were back into NFA!  They stopped while everyone was chanting, waved at us all, and then walked away.  What a night and what a performance!

Actually, the last on the stage was Tom.  He'd taken off his jacket in the middle of a song, but was still as stylish as ever in a long scarf and his ever-present scally cap.  And then someone threw a number of scally caps on stage at him!  He was a little surprised but then realized the story, that a fan wanted him to autograph the caps, so he went over to the side of the stage, sat down and hung out while signing.  Nice music and nice guys.

Got it together and started out pretty soon after that.  It was already just after 1.  Got to the car and it would have been an easy ride home, but the staties had blocked off the entrances to 93 from Storrow Drive and Leverett Circle, so had to wend our way though Charlestown before we could get on the highway.  It was well after 2 by the time I got to bed.





Friday, December 2, 2016

Tedeschi Trucks Band in the Orpheum

Tedeschi Trucks Band is blessing Boston with three consecutive nights, though they're at the stinky old Orpheum.  The first night (12/1) was with Jorma Kaukonen opening, tonight's is with Amy Ray (of Indigo Girls), and the third night is just them doing two sets.  All three shows sold out and TTB is sure indicating that they'll only get better and more popular over the coming years.  We debated for a minute and then decided to go to just one of the shows though, the one with Jorma, even though that was a Thursday night.

In recent interviews, Derek has said that he anticipates a significant number of fans will go to multiple nights, and so they planned to play unique sets each night.  Glad to see they take their music seriously!  And I was astounded to see that when I grabbed tickets for the Thursday show as soon as they went on sale, that I had gotten first row center tickets in the Orpheum!?!  I've been there many times and never sat in good seats.  We were very psyched.

Met Sarah and Dave after work, parked in their building, and then we headed over to the 21st Amendment for a nice bar dinner (noisy and funky as always in there), and then mosied on down to the Common.  What was happening that evening was the unveiling/lighting of Boston's annual Christmas present from Nova Scotia, a huge spruce tree.  For those not familiar with this tradition, please read about it here.

After touring around the Common, the tree with festivities going on around it, and the Frog Pond skating rink, we made our way back uphill on Tremont and slid down Hamilton Place towards the maw of the Orpheum, old Boston all over.  The place has been cleaned up some since when I spent the night in that alley waiting for tickets to Garcia Saunders in 1975, but there are probably still rats lurking in the shadows.

Grabbed a beer and headed to our front row center seats, which we found in as good shape as the rest of the theater.  Not much leg room, a speaker was right in front of us and cut off a bit of our view when we were sitting down, and there were signs of decay everywhere.  But what was I complaining about, we were almost as close to Jorma when he came out as when we'd seen him recently at the Bull Run, and when TTB came out, it was like having our own Tiny Desk Concert in their living room.

Jorma came out in a stylish sport coat, black jeans, and t-shirt, and was as stellar as ever.  Here's his set:

True Religion
Come Back Baby
Hesitation Blues
Watch the North Wind Rise
Sea Child
Death Don't Have No Mercy
San Francisco Bay Blues
How Long Blues
River Of Time
I Am the Light Of This World
Good Shepherd
Keep Your Lamp Trimmed and Burning
Water Song

Wow, long first set!  And this was transcendent stuff.  As stated previously, I feel that listening to Jorma play Come Back Baby is one of the keys to civilization, and his fingering was exceptional.  He's been working on that song for a while and pretty much has it down.

Another very high highlight was Sea Child.  At some times in his set he sounded like a symphony with just his guitar, and you could feel Jack pounding away on the bottom end, though he was just one of the ghosts flying around Jorma on his small metal chair.  San Francisco Bay Blues was another fantastic cover, with Jorma growling out the lines in funky syncopation like some old blues guitarist.  I wonder when he realized that he'd spent his whole life admiring the old blues musicians and now he was one so he'd better start acting like it?

Just ridiculous that there was the standard amount of first-set chatter going on in the theater, but a good number of us there were enthralled even so.  There were shouts of delight from all over the theater at his phrasing and skill, hopefully startling the fuck out of the chattering idiots.  Between sets I actually heard several people ask, "Who was that opening?"

After Good Shepherd we all stood up (those who were listening that is) and applauded, but Jorma apologetically told us, "Two more!"  He could have played a lot longer as far as I was concerned.  As usual, Jorma was out there with two guitars and spent most of the time on his gut-string wonder, but when he picked up the steel-string beauty for the last song, no question but that we were about to be blown away with Water Song.  I think that means he's done Come Back Baby and Water Song every time I've seen him, and that's fine with me.

Ran into famous Jorma fan, PeterP, at the break and we gushed about what we'd just seen.  Talk about playing with the old powers!

As mentioned, the Orpheum is ridiculously dirty, small, and cramped.  The lobby between sets was scary it was so packed.  A guy in the beer line in front of me was freaking out because of the high-strung crowd, and needed a little encouragement from those of us around him, especially when a lazy beer vendor snarled at him that he was in the wrong line.  He was about to explode but we talked him down and he got his beer.  I got mine and made it back to our seats, and soon all 12 of the Tedeschi Trucks Band came out on stage and lined up right in front of me!

Hopefully I can restrict describing this next incident to one paragraph.  Dave and I wanted to stand because a) it was a rock concert, b) the speaker was right in our faces and if we stood up the sound was much better, and c) sitting down we couldn't see Kofi Burbridge, who was as excellent as always that night.  Everyone in the theater was standing except for some people in the row behind us, and they felt they could demand that we sit down.  One person asked Dave with a "please" that he sit down, so he did.  But one guy six seats to my left (that is, I wasn't even in his sight line) poked me firmly in the butt with his cane to get me to sit!  I sure let the people around us know at the next song break that he had done that, and he was later confronted by security.

OK, another paragraph on this topic.  I was heartened to get a lot of support from many people around us who had seen the incident, and who came up to me afterwards and told me they couldn't believe the guy had done that.  "Has he ever BEEN to a rock concert before??" was the sentiment from person after person.  The security guy who'd confronted him actually came up to me also at the end of the concert and said, "I told that senile old guy to stop poking people with his cane and he just glared at me!"  One person told me he had heard him say, "I didn't jab him, I just poked him!"  Oh well, I was steamed up and embarrassed pretty good and I sat for about half the concert, but then I stood up again and loved it.  Everybody in the second row left sometime during the set and now everyone was standing ... good riddance to them.

Anyway ... again, there I was with the whole fucking Tedeschi Trucks Band playing and singing their hearts out right on front of me.  They opened with an incendiary vocal by Mike Mattison, who came down off his riser for that.  Susan took most of the leads from there, though Mark Rivers got one late in the set and one was a duet between Mike and Alecia Chakour.  As mentioned, Kofi Burbridge was just excellent, stamping every song with his powerful organ fills.  I could mention everybody in the band, they were all playing fantastically.

But as you might imagine, this was another transcendent experience in a large part because of Derek Fucking Trucks.  I'd seen him play many times, but this time he was just 20 feet in front of us and his powerful technique and volume were dominating our world.  He's a bit of a stone face when he performs, but on this night we were close enough to see the glances he shot around the stage to keep his band together, everyone on the stage was hanging on his little winks, nods, and quick smiles.

As mentioned before, they were determined to play three nights of non-repeats, and so did a few songs that perhaps could have been rehearsed a bit more.  But we loved it, and Susan was delightfully embarrassed when she forgot some words.  Dave got a setlist from a roadie at the end, and here's what it says:

Get What You Deserve
Laugh About It
Don't Drift Away
Within You Without You
Just As Strange
Bird On a Wire
The Storm
Color Of the Blues
Key To the Highway
I Wish I Knew How It Would Feel To Be Free
Leavin' Trunk
Volunteered Slavery
How Blue Can You Get?
Ali
Let Me Get By

Encore:
It Ain't Easy
Space Captain/Delta Lady

The Beatles song Within You Without You was the surprise of the set, but soon segued into the powerful Just As Strange.  Susan just killed Leonard Cohen's Bird On a Wire, and later did the song she does as a duet with John Prine on his latest album, George Jones' Color Of the Blues.  Jorma came out and joined the band for Key To the Highway, playing a vintage Thunderbird electric.

Here's an excellent review of the show, and I think that's my profile blocking the camera in his pictures.  Good!

Confabbed with people who wanted to tell me what a jerk that guy had been, got the setlist, and finally pushed our way out through the cramped lobby and up Hamilton Place.  Not far back to the garage, and got home and in bed by midnight.

Sunday, November 20, 2016

Del and Dawg In Beverly

Geez it's been a horrible year in several ways, including in the number of fantastic musicians we've lost, most recently Leon Russell, Leonard Cohen, and Mose Allison.  One universe-class musician we still have with us is Del McCoury, and when we heard back in August that he'd be playing at the newly-refurbished Cabot Theater in Beverly on Saturday, November 19th with another incredible (and elderly) musician, David Grisman, we got tickets immediately!  4th row center, that is.

Dave was working downtown but showed up towards the end of the afternoon.  We headed out for the North Shore in plenty of time, but I then realized I'd forgotten the tickets ... though I realized it before we'd even gotten to 128 it still took us 45 minutes or so to go back and get them.  Whatever, we still were in time to grab a table at Gulu-Gulu in Salem and have a fine dinner and couple of beers.

Then headed up over the bridge to Beverly, found the Cabot (we'd never been there before), and found a parking space on a nearby suburban street.  Grabbed another beer from their bar and had a little time to admire the handsome theater before the guys came out and lined up right in front of us, the great Del McCoury with his guitar to the right as we looked at them, and David Dawg Grisman on the left, of course with a beautiful mandolin.  They then proceed to be as fantastic as you might expect.

They opened with Feast Here Tonight, did East Virginia Blues, Toy Heart, and just ripped off fantastic tune after fantastic tune.  Hearing Del McCoury sing is literally incredible ... it's hard to believe that a person can do that.  But to see him do it right in front of you forces you to believe.

Grisman was great on vocals and his touch on the mandolin is unique.  There's a style named after him, for Dawg's sake.  But as wonderful as he is, to see Del sing was the most magical aspect of the night.  They did two relatively short sets, and as I say, pushed the bar higher and higher,  They climaxed with Dark Hollow, which of course Del sang with the loneliness, bravado, and character you'd expect.  His tempo and his precise ability to hit any note ever invented is spectacular.

Great Saturday night, and then Dave drove home.  A car in front of us was cut off and almost turned over by another car swerving for an exit on 128.  We stopped and they were ok; Sarah called 911 and the State Police were soon there, though the guy who did it had driven off.