It is of The Who's live show on Thursday May 26th at MSG in NYC.
I went in not knowing setlists or what The Who Two were doing this tour and was simply blown away. RtBE have written about The Who in our Masters series and hold them in super high regard, but seeing them live these days has not been a major priority...this show might have changed that.
Starting with a half hour straight of Tommy and ending with Quadrophenia?! 8,395 person orchestra??! Amazing. Daltrey was in fine voice and Pete was engaged throughout, this was a killer night of wide ranging rock.
In this ongoing Monday Series we will be exploring various artists versions of Bob Dylan song's. Today's tune is a live cover by Slim Stevens featuring Fenton, Monson and Kilby of "The Wicked Messenger"
Thoughts on Dylan Original:
From the first time we tackled a cover of this song: A breezy musical number (only 2 minutes long) with some biblical lyrics which actually foreshadow Dylan's religious musical phase that would arrive in the late 70's/early 80's "The Wicked Messenger" has a cool bass line to match the acoustic guitar. Like most of John Wesley Harding there is a mellow mood that tends to play down the lyrics and even masks the fire and brimstone a bit. The song has seemed to pop up every few tours and can usually be found towards the ends of sets, playing the roll of up-tempo-get-down track. Live versions certainly have improved the tracks standing in my mind from the original.
Cover:
Thoughts on Cover Artist: This is the first time we are hearing Slim Stevens and crew. Thoughts on Cover:
There is a bit of a bland folk vibe to tart this cover, as if the folk mass band decided to get a bit crazy, but the backing ooh's add a bit of a haunting dimension to the song as Stevens sings it fairly straight ahead.
We search the murky back waters of youtube to find full concerts and post them to the site weekly, come back every seven days to help us celebrate Full Show Friday's. These shows are of varying quality and may not be here for long so enjoy them while you can...As always, please support the artist every which way, but especially by seeing them live (if they are still playing)...This week...Tame Impala!
Here is Tame Impala with a fan made video of the outfit's 2022 The Slow Rush Tour captured at the Barclay's Center.
6:04 Aionwell Lab Intro8:22 One More Year13:44 Borderline17:46 Nangs19:38 Mind Mischief (studio version)25:34 Breathe Deeper32:55 Posthumous Forgiveness40:00 Elephant (Intro)40:46 Elephant 45:13 Lost In Yesterday49:35 Apocalypse Dreams57:56 Mutant Gossip1:00:20 Let It Happen (Intro)1:01:22 Let It Happen1:09:33 Feels Like We Only Go Backwards1:13:52 Half Full Glass of Wine1:16:08 Is It True1:18:59 Glimmer1:21:12 Eventually1:29:35 Happy Birthday Jam1:30:19 Runway, Houses, City, Clouds1:36:58 Kevin’s Guitar Solo1:37:55 The Bold Arrow of Time Outro1:39:44 New Person, Same Old Mistakes1:48:09 The Less I Know The Better1:52:50 One More HourBONUS TRACKS2:01:33 The Moment2:05:40 On Track
We are now heading into the new normal with live music during the Covid-19 era. Live shows will need to be flexible and live streaming is a great way to keep music going. Streams have become essential for live music junkies like RtBE. Things are (hopefully) improving on the pandemic front but live streams will be an option for artists during the foreseeable future. We will highlight various shows/streams/virtual events for your viewing and listening pleasure and as a way to help out the artists. You can check out our weekly Full Show Friday series for concerts from the past and as always, please support the artists any which way you can.
Today we highlight: Warren Haynes Acoustic at Suneagles Golf Club
Head on over to Volume.com to check out this pre-recorded solo acoustic set from the great Warren Haynes.
To get in the mood here is a solo acoustic song from him:
The artists performing at the fest are literal living legends as Washboard Chaz, Alabama Slim and Mem Shannon will all be playing along with the Festivals namesake. We have reviewed Slim, seen Mem in Chicago and of course highlightedLittle Freddy a few times on this site.
There will be indoor and outdoor sets, BBQ and tons of blues history on display this weekend, so get on over to BJ's and peep some video below to get pumped for the throw down:
This deluxe two album box set from Craft Recordings contains remastered versions of Ornette Coleman's first two albums as a band leader. Something Else!!!! and Tomorrow is the Question! Complete with exclamation marks, the albums are back in full sonic glory as the label presents the original versions recorded by Ray DuNann and newly mastered by Bernie Grundman. The sound and extensive new liner notes by Grammy Award-winning music historian Ashley Kahnmake make this release a stunner but of course it is the playing of Coleman and his band that is the real highlight.
Starting with Something Else!!!! (which was met with mixed reviews upon it's original release) Coleman's alto sax leads the charge along with Don Cherry – cornet Walter Norris – piano Don Payne – double bass Billy Higgins – drums. The nine Coleman original tracks are dense and moving and signified a breaking of norms at the time, opening up a more freewheeling jazz style. The hard bop tempo of opener "Invisible" pushes forward on bass, pianos and drums but Coleman's alto busts out of melody to zoom all over.
The blues basics with the unique Coleman runs are the backbone of Something Else!!! "The Blessing" is a slower tempo shuffle but swings with ease while Cherry's cornet work is a highlight. The zenith of the whole album is the stretched out "Jayne" which shows where the soon to be famous saxophonist was heading with free jazz blows careening out of his saxophone over organic beats.
"Chippie" uses the hard bop formula with Coleman and Cherry squealing speedily throughout while the brief spurting "The Disguise" keeps things energetic before "Angel Voice" blissfully shines with charismatic brass runs in blues fashion. The frantic lines Coleman delivers on "Alpha" certainly puts him in charge while "When Will The Blues Leave" lightly bounces along, allowing Coleman go anywhere before Cherry's cornet pops. Closer "The Sphinx" is an exhilarating rollercoaster ride of sound that wraps up the album.
Tomorrow is the Question! has one important lineup subtraction as there is no piano on the record, freeing both Coleman and Cherry up to weave their horns melodically even more. The new quartet is manned by Percy Heath/Red Mitchell individually contributing bass on certain tracks and Shelley Manne on skins.
The production and overall tone may be a bit softer, but the intricate horn lines get more angular as the opening title track attests. Coleman and partner in crime Cherry are lighting quick zigzagging around their instruments as they cook into "Tears Inside" which mixes swing and the blues around Heath's strong bass lines.
Not as consistent as the more traditionally based Something Else!!!, Tomorrow is the Question! feels more transitional with a few misses (the brief "Mind in Time") and a few extraordinary hits (such as the hip as all hell "Giggin'"). "Rejoicing" is a classic as Coleman goes on an otherworldly flight of fancy as he riffs up and down scales with glee and no restraint. Closer "Endless" is also a stunning display of Coleman's strengths and playing without a net as he and the quartet bang around with frivolity and musical joy.
These albums were the start of Coleman's movement to 'Free Jazz'. While his next few releases (everything from the classics The Shape of Jazz to Come through the amazing Free Jazz: A Collective Improvisation and beyond) Coleman would turn the jazz world on it's ear with controversial and better albums then the ones showcased in this box set.
However, these albums from the Contemporary label are a vital piece of Colemans blossoming into one of the all-time legends of music; this loving collection does the origins of his career justice.
In this ongoing Monday Series we will be exploring various artists versions of Bob Dylan song's. Today's tune is a live cover by Michael Murray playing "To Ramona"
Thoughts on Original: From the first time we tackled a cover of this tune: "To Ramona" is on the personal quotient of Another Side of Bob Dylan as Dylan balanced political works like "Chimes of Freedom" with more intimate and humorous songs. That album is transitional while possessing some amazing songs and a lot which show the breezy greatness of Dylan. "To Ramona" in particular was recorded in one session as Dylan used a Mexican folk song for inspiration and his personal relationship with Joan Baez apparently as the lyrical topic. While the song seems so easy for Dylan, thousands of songwriters would kill for some of these stanzas, a really dynamite, if understated, tune.
Cover:
Thoughts on Cover Artist: This is our first time coming across Michael Murray. Thoughts on Cover:
A great, semi straight ahead version that floats on the guitar strums and sweet singing from Murray. It's all just a dream babe....
We search the murky back waters of youtube to find full concerts and post them to the site weekly, come back every seven days to help us celebrate Full Show Friday's. These shows are of varying quality and may not be here for long so enjoy them while you can...As always, please support the artist every which way, but especially by seeing them live (if they are still playing)...This week...GZA!
A few weeks back we were lucky enough to catch the GZA at the Blue Note for a great run through of his tunes. We also got to meet the man briefly and hang with his band The Phunky Nomads for a while before their next show (thanks again Ramsey). Now we can re-live the night as we found someone sitting almost directly in front of us who captured the majority of the show and put it on Youtube.
Fan recorded, but sound is pretty solid. You can see if our review was correct. Enjoy:
In years past we have delivered a Sazerwrap to catalog our personal Jazzfest experience, so we will continue this year, even though this trip had the most official reviews we have ever done.
2022 Jazzfest was a dream come true after the last two years were canceled. It was the first festival that RtBE was in town for both weekends in 10 years when we were down for an extended time in 2012. This was also the first festival trip where we also got to stay in our own New Orleans home that was purchased pre-pandemic. Magical on all levels.
We have reviewed many of the shows we caught down there for both Glide Magazine and this site, with even more reviews coming, but there was still a lot of music we didn't review and just enjoyed.
The first ever Factory Fest was a hoot and we got to find some shade and relax to the sounds of New Orleans Nightcrawlers.
The fantastic Little Freddy King also played the free show presented by the Louisiana Music Factory and was held at the New Orleans Jazz Museum in the lower French Quarter.
The city always delivers as we made it over to catch Big Chief Donald Harrison play a set of classics in Congo Square which was a definite highlight of the whole trip.
Other days saw us catching Meschiya Lake and the Little Big Horns at The Spotted Cat, our friends in Obliquestra with special guest scary clowns and so much more that we didn't take pics of.
While we didn't review the Fest itself on the Friday we went, our favorite set was probably from The Stooges Brass Band as they delivered protest party music under the blazing sun. Preservation Hall Jazz Band was excellent as always on the Gentilly Stage and Big Freedia brought tons of ass shaking to Congo Square Stage as well; Friday was a scorcher in more ways than one.
As far as the food front, so many good meals it is hard to pick a best. Gianna was amazing Italian offerings, Le Petite Grocery was divine, Herbsaint was tasty as all hell and the new Miss River was a food overload.
No food pics like past years this time, but trust me that each restaurant delivered A+ offerings. Impossible to pick a favorite and can't wait to go back to all of them.
The town now is officially part of RtBE's life now and we can not wait to return, or for next years fest. Until then, some video from this years fest:
We are now heading into the new normal with live music during the Covid-19 era. Live shows will need to be flexible and live streaming is a great way to keep music going. Streams have become essential for live music junkies like RtBE. Things are (hopefully) improving on the pandemic front but live streams will be an option for artists during the foreseeable future. We will highlight various shows/streams/virtual events for your viewing and listening pleasure and as a way to help out the artists. You can check out our weekly Full Show Friday series for concerts from the past and as always, please support the artists any which way you can.
Today we highlight: Ron Carter Quartet Spring Benefit Concert 2022 "Measures of Hope"
Jazz legend Ron Carter plays with his Foursight Quartet at the 2022 Measures of Hope Benefit tonight. From the source:
Counseling In Schools (CIS) is proud to present our first annual Measures of Hope Spring Benefit. Join us on Thursday May 19, 2022 at the New York Society for Ethical Culture in New York City as we celebrate the power of creative arts therapy programs in our schools. For those unable to attend in-person, tickets to view via livestream are available to purchase. Please note for in person attendees, COVID-19 proof of vaccination will be required.
The evening will feature a student art exhibit, a performance by legendary jazz bassist Ron Carter and his Foursight Quartet, the presentation of the first-ever CIS “Measures of Hope Award,” and a cocktail hour with our honoree, Maestro Carter! Maestro Ron Carter will be presented the Measure of Hope Award for his career as an inspirational educator and there will be a special video appearance from Jon Batiste. The Measures of Hope benefit will also recognize Deutsche Bank Americas Foundation and its Head of Corporate Responsibility and Executive Director, Alessandra Digiusto, with our Vision of Hope Award.
Along with Deutsche Bank’s generous sponsorship of this event, we are thrilled to acknowledge the significant contributions the Foundation and Alessandra have made over many years to our programs that support students living in temporary housing. During the evenings performance Maestro Carter will dedicate “Saguaro,” his composition from 1977’s “Piccolo” to CIS in honor of our work inspiring hope and healing in NYC school communities. For more information about our 35 years of experience supporting the emotional and social wellbeing of New York City public school communities please visit counselinginschools.org.
It is of Warpaint's newest release Radiate Like This.
RtBE have reviewed all of the bands four releases and personally they are ranked in that order, 1 through 4. Not a huge fan of these recent light pop excursions. I will say that the album art fits the ambient nature of the music well.
It is of the Rough Seven's blowout gig at BJ's Lounge in New Orleans on 5/7/2022.
RtBE are huge fans of Scully, Stoo, Rob, Ratty, Mike, Rick and Meschiya. They are one of our favorite bands in the world and the fact we could catch them twice in one weekend (second night review coming soon) contributed to making this our favorite Jazzfest trip in 12 or 13 years.
The first release from The Bogie Band Featuring Joe Russo conjures upan exuberant mix of bold rhythms and melodies as The Prophets In The City is a powerful debut from the talented players. Released on Royal Potato Family records, the nine song instrumental offering percolates with vitality throughout.
Stuart Bogie has assembled some of the finest wind instrument players who interlock and dive around Russo's drumming. The ten piece outfit has players from some of the strongest acts going like Antibalas, The Dap-Kings, Red Barat, Budos Band, as well as musicians who support St. Vincent and David Byrne’s American Utopia. The group is Drums, Timpani, Mallet Percussion: Joe Russo, Percussion: Mauro Refosco, Joe Russo, Korey Richey, Stuart Bogie, Jeff Citron additional commotion: Karyn Starr, Arthur Lee Johnson, Louis Thebeau Starr Johnson, Sousaphone: John Altieri Trumpets: Jordan McLean, Michael Leonhart, Dave Guy, Billy Aukstik, Eric Biondo Trombones: Raymond Mason, Adam Dotson, Dave Smoota Smith Saxes: Cochemea Gastelum (Bari), Matt Bauder (Bari, Alto), Ian Hendrickson-Smith (Alto), Colin Stetson (Soprano), Stuart Bogie (Tenor, Bari) Flutes: Domenica Fossati, Stuart Bogie Choir/Claps: Korey Richey, Jeff Citron, Stuart Bogie, Domenica Fossati, Matt Bauder. The fact that there are no guitars, bass or keyboards makes it a unique outfit as Bogie leads the collection through his original numbers.
Opener "The Prophets In The City (Arrival, Balance, Discipline, Joy)" is a killer beginning and an album highlight as it uses flutes to start before a dynamite sax solo as the tuba and percussion bounce along. There is a mid song downshift in tempo before kicking back up with dancefloor filling energy before ending with chimes and church bells; quite a ride.
"The Witnesses" shakes with a hip hop groove under layers of brass work while "We Met Them By The Water" goes the meditative route with chimes and literal sea recordings to end. The funky but disjointed at times "Walking With Fools" has a distorted grimy beginning before going full on with the horn work and the long "The Struggle" isn't as successful as the other offerings as the energy drags a bit.
Better is the cool quick groove of "Joy (Reprise) and the soothing spiritual closer "God In Us". The center of the album holds some delights as "We Organize" displays a calm groove before building to glory and "Take Them On" is all high energy with super flute work and a touch of Second Line marching energy, rivaling the opener for best track on the album.
The talent of all involved is evident repeatedly as The Bogie Band Featuring Joe Russo's The Prophets In The City is strong from the start and never lets up.
We are now heading into the new normal with live music during the Covid-19 era. Live shows will need to be flexible and live streaming is a great way to keep music going. Streams have become essential for live music junkies like RtBE. Things are (hopefully) improving on the pandemic front but live streams will be an option for artists during the foreseeable future. We will highlight various shows/streams/virtual events for your viewing and listening pleasure and as a way to help out the artists. You can check out our weekly Full Show Friday series for concerts from the past and as always, please support the artists any which way you can.
Today we highlight: Cassandra Jenkins from The Troubadour LA, CA
These days Primus is just one outlet for the freaky frontman/bass maestro Les Claypool as he has everything from Bastard Jazz to wine making to Oysterhead going on, but the brief new EP Conspiranoid is some of the strongest music this trio has put out in some time. It maintains the bands heavier roots while incorporating their fearless leaders more spaced out vibes, which have always been coursing through this groups collective veins.
The opening song, "Conspiranoia" is the longest studio song of Primus' career and it is a winning mix of old school sounds from the band with the tripped out Pink Floyd and prog influences Claypool normally deploys on his Claypool Lennon Delirium outings. Lyrically Les is dealing with modern day conspiracy theories and those who blindly or willingly follow them. Musically the trio deploy deep thumps/freaky bass runs and Larry LaLonde flights of sonic fancy on guitar. The jam which starts around six minutes in is prime Primus as the explosive trio navigate these psychedelia tinged waters before breaking it back down to the heavy groove motif.
The ending goes on long with samples of flat earthers, COVID myths and other lies prominent in society these days as the band begrudgingly chunks along. That vibe of idiocy is continued in the following "Follow The Fool" but the aggression is amped with Tim "Herb" Alexanders percussion hitting hard around Claypool's sticky bass lines latching on to ear cannels.
The short EP closes with an oddly funky "Erin on the Side of Caution", delivering freaky guitar work from LaLonde, around a thundering low end laid down by Herb and Les, slamming to life two minutes in and delivering those classic Primus sounds with a new engaging twist.
The only regret from this release is that there isn't more of it as Les, Ler and Herb seem to be back in the groove that made them one of the most interesting bands while they were at their peak a few decades ago. Hopefully Primus have some more in the tank ready to go in the near future as the Conspiranoid EP is a strong dose.
In this ongoing Monday Series we will be exploring various artists versions of Bob Dylan song's. Today's tune is a live cover by Lockdown International Band of "My Back Pages"
The original has taken upon itself a cultural importance, and the chorus has simply become iconic. I doubt Dylan intended such, but it toes the line of out and out protest and illustrative questions. He puts down everyone from evangelists to girls, but the language snakes and flows so magically that it doesn't seem as harsh as "Positively 4th St" or "Ballad in Plain D". The sense of exhaling desperation or at least the realization that age confuses things even more seems to be what I take from this tune after each listen, but things can change...or can they? Cover:
Thoughts on Cover Artist:
This is our first time coming across Lockdown International Band but it is pretty obvious how they came about.
Thoughts on Cover:
Pretty straight ahead cover with a touch of The Byrds mixed in and a perfect song to pair with Pandemic lockdown. Are we younger than that now? I am not sure? Any way, a good cover with some great guitar solo'ing.