Tag Archives: Live Music
Daryl Hall and John Oates provided me with the first pop song I remember hearing in “I Can’t Go For That”. Since their music shaped what I listen for on the radio,it was extremely exciting that these now Rock ‘N Roll Hall Of Famers decided to make a tour stop at Darling’s Waterfront Pavilion,Bangor Maine’s major outdoor concert venue. Attending a Hall & Oates concert with great seats and a price would be amazing in and of itself. But in 2016 they are touring with two of other musical acts that are among the funkiest people at this time: Troy “Trombone Shorty” Andrews and Sharon Jones & The Dap Kings.
Trombone Shorty was the first act in the set. He and his band were amazing showmen. Especially in Andrew’s facility with both the trombone and cornet.
The interplay between Andrew’s and his two sax players was incredible. And one of them provided some amazing solos as well.
Andrew’s conducted his band in the classic jazz/soul tradition of using his body and dancing as a human baton. This really added to the entire showmanship of his show.
Sharon Jones is a true soul survivor. Her entire performance was based around her still being treated for the cancer that nearly took her life several years ago. Her powerful Tina Turner like vocals and fast,joyous physical moves and dances (plus her bright yellow dress) lit up the stage brighter than the sun that had finally set when she began performing.
The Dap Kings come to LIFE when their horn section are blowing,especially when seen on the stage when your hearing them in person.
Of course,no funk band is quite complete with it’s bass/guitar interplay. And the Dap Kings always have that covered!
Hall & Oates game out to an excited house dancing and singing along. One thing the duo and their amazing onstage band did is present their classic 70’s and 80’s hit songs in new and unique ways. But the people attending the show still loved listening to them.
Daryl & John seem to have been in different areas of Maine before,especially with Daryl restoring an house in Kittery Point. The duo’s interplay with each other flowed so smoothly-in the way that musicians who’ve played together professionally for over 45 years tends to do. When it began to rain,Daryl kept the audience into the show by saying “It’s raining,but your tough in Maine right?”
John Oates and the band’s second guitarist really rocked out on solos and lead lines throughout the show-especially between the songs hooks.
One of the very first things I remembered observing about Hall & Oates was the amazing bands they had throughout their career. Between the bassist,drummer/percussionist and a sax player who was almost as much a star of the show as Daryl and John,their musicality shined brightly as a unit as well as with their amazing songs-among them a jazzy funk live instrumental take of “I Can’t Go For That” which went on for over 8 minutes.
Because the audience was applauding so hard when their names were announced,I never did quite hear the names of Hall & Oates terrific band members. But everyone from that band,Sharon Jones and the Dap Kings and Trombone Shorty were amazing! It is the very first funk/soul revue show I’ve ever seen live in my own hometown. And being able to experience the music,sing it and photograph it is something I will never forget for the rest of my life.
Grover Washington Jr. holds a somewhat unique position for my appreciation of instrumental music. He was my introduction to jazz/funk sax with “Just The Two Of Us”. That meant he was a key part of my musical core without me fully realizing it. Reading my close friend and musical blogging colleague Henrique Hopkins most recent overview of the nu funk band The Internet? It inspired me to realize something about my interest in funk. While that interest has evolved into one where I strongly appreciate studio coloring along with my favorite grooves? Learning about the music involved experiencing the strong,bright musical hues created by a straighter live instrumental aspect of the music.
During the summer of 1996? WMEB through the University Of Maine aired their first funk radio show. It was interesting as it always played the song before announcing who the artist was. One such case hit me with a song called “Lock It In The Pocket”. I remember being in the car and dancing in place while on the passenger seat. When the song was over,the DJ announced it was Grover Washington Jr. Learned later this song,recorded in 1977 live at the Bijou in the man’s native Philadelphia, was recorded with his band Locksmith. They made a record of their own around this time. And since I haven’t yet over viewed any of Grover’s music? This is the one I’m most moved to do.
The fun in the funk begins when when the high rhythm guitar keeps a steady groove going along with the enthusiastic hand claps of the audience. The percussion builds right into that-right before the song’s funky drummer Millard Vinson chimes in. Grover himself takes a detour from this a refrain themed around an Afro-Cuban salsa style melody while easing onto the chorus with the band. Grover plays with ever growing improvisational fire along with the steady guitar and percussion that builds exactly as the sax solo does. The melody then goes into minor chords-with keyboardist James Simmons on piano and ARP string accompaniment before Grover’s refrain closes it all out.
As my interest in 70’s jazz/funk has led into it becoming one of my favorite types of music to listen to? This song continues to stick by me all the more. Each time I hear it? There’s something new to learn. Since Grover was primarily known as a soloist? The biggest aspect of this jam is how much it emphasizes the importance of bands in the genre. As in any tributary of jazz,as Henrique has pointed out? A horn player can blow over almost anything. Here-with Grover’s improvisational excitement? Locksmith really allow him to maintain that danceable and rhythmic thickness that would allow Grover (and likely his audience) to keep their bodies,minds and hearts moving to the groove!
This past Saturday I picked up and watched the biopic Get On Up,staring Chadwick Boseman as The Godfather Of Soul himself. My comments on the film itself are something that’ll be dealt with at another time and place. Yet the striking recreations of James Brown’s iconic live performances stood out on another level. It is those performances that made James the icon he became. Everything he did in his music surrounded his dance moves. So much so he took the thinking of many jazz musicians a step further by recording his most powerful funk sides between gigs. That’s also what earned him the nickname,one of many,of The Hardest Working Man In Show Business.
No one in my family,including myself ever had the privilege of beholding James Brown in his onstage domain. Yet my blogging partner and game changing friend Henrique Hopkins did have that opportunity,and in JB’s twilight years as well. The reason I tended to enjoy hearing him repeat the story of how James was still kicking onstage well into his 70’s reminded me of my own significant experiences with live music. While the level of available performances in my own state varies extremely over time? It’s been my honor to see almost a dozen concerts in my lifetime. Note my parents have seen many many more-I simply declined the invitation due to lack of interest in the performing artist(s). These ten performances I’m talking about changed the way I viewed music. So let’s get it started!
The first adult concert that I remember attending was with Bela Fleck & The Flecktones at the University Of Maine in Orono,which has been a hotbed of the local music scene in my neck of the woods for decades. The two most striking members of the gypsy jazz/fusion group was the fluid bass player Victor Wooten and his brother who called himself Futureman. He played an instrument called a drumitar-a customized synthesizer guitar that allowed him to created many different levels of rhythm. There was a meet and greet I had with my mother and the other band members after the show. It was my very first time actually speaking with live musicians. The most exciting part of the concert was when Bela himself asked the audience to shout “Yee haw” during the opening bass line of their song “Flight Of The Cosmic Hippo”. A lot of fun for an 11 year old.
When I was 12 years old OJ Ekemode and his Nigerian Allstars,an Afro-pop band of some note came to the Grand theater in downtown Ellseworth. Thus far this was my first and only exposure to live world music. The colorful,tribal dances and clothes were more educational than anything I ever learned from a school book about Nigerian culture. The most exciting part was the multi part encore-which came off as a hyper percussive eternal dance. Only problem was that everyone had to remain seated as I recall. The best way to march to the beat of your own drummer is to be able to dance to it.
1996’s summer concert of Medeski,Martin & Wood came during a time when I was deeply exploring the funk music genre in the studio sense. My father introduced me to the talented jazz-funk trio and was exciting about going. He really enjoyed it. However at the time,I found their slow jam band music to be deadly dull compared to the exciting funk coming out of my CD player and turntable from Prince,George Clinton,Bootsy,Cameo and The Bar Kays. A small crowd of what my folks and I affectionately referred to as “Charlie Brown Dancers” up near the stage added a comic bent to it. Though the smell of reefer upfront was pretty thick. My first exposure to jam band culture basically.
A family vacation to the Montreal Jazz Festival of 1998 was exciting to me because we were supposed to go see the falsetto singer Jai,whose album Heaven was a family favorite at the time. My father got see a number of jazz acts that year. One night we all went to see a funk band called Rippopodamus. They performed a medley of funk classics including The Time’s “Jungle Love”. Not only did this coincide with my interest in the Minneapolis sound at the time,but was the first full on funk concert I ever had a chance to see.
The most thrilling concert experience I had before turning 21 was in the summer of 2000. My family and I were walking around downtown Portland Maine and came across a concert poster saying Dr.John was performing at the State Theater that night. So we decided to go see the show. It was a nice,intimate little club. And the Night Tripper strutted out to his piano playing a grooving remake of Duke Ellington’s “It Don’t Mean A Thing (If It Ain’t Got That Swing)” from his than current tribute to Duke called Duke Elegant. Hearing “In The Right Place” from the man himself up on the stage is an amazing experience for a great admirer of the funk such as myself.
My parents had already seen Billy Bang and his band,including the late sax player Frank Lowe,when they both convinced me to see him at another show he did in the town of Waterville in 2002. The show was a recreation of Bang’s album Vietnam: The Aftermath which had just come out. “Saigon Phunk” was the song that had me and my family bopping up and down to the jazz violinists music. There was a meet and greet with the band after the show,which led to an interesting encounter with stand in drummer Michael Carvin. In every way,it was quite a show however.
This concert coincided directly with my interest in Miles Davis. My father encouraged me to see Mister Fortune play in Waterville the autumn after seeing Billy Bang with the knowledge he played with Miles during the height of his fusion breakthrough in the mid 1970’s. Fortune played brilliantly. Yet there wasn’t much of a performance involved. More the type of jazz playing that really does lend itself better to audio than the visual element. Still seeing this man was an exciting experience for me in far later hindsight.
Who you see here are (right) bassist Roderick Pinkney and (left) keyboard player Nigel Hall. In 2004,they were key members of the first local funk band in Bangor Maine called Funkizon. The membership at the time also included guitarists Bill Mayo and Anthony Druin as well as drummer Spencer Nelson. How this local group were significant to my experience with live music was that I saw them nearly every weekend during their 2004 residency at the old Waterfront Bar & Grill on the Bangor waterfront.
I became very much acquainted with all the musicians personally thanks to my father introducing me to Nigel personally,and I’d known Roderick as a childhood chum. They played a mixture of James Brown inspired instrumental originals along with Nigel’s take on George Duke songs such as “Don’t Be Shy” and occasionally Rick James’ “Super Freak”. They also gave me my first experience with concert filming-allowing me to record their shows with my used VHS camcorder. My first and only direct involvement with a live funk band,or any band for that matter.
So far this is probably the most profound live experience I ever had a chance to have. So much so that I actually discussed it in detail on my old blog The Rhythmic Nucleus. She ran through the aisles of the auditorium before her opening act .Fun,went on to do some fancy JB style footwork,danced the Charleston with a group of extraterrestrial clad dancer/band members and sat on a stool playing her acoustic guitar in her tuxedo all at random within her 90 minute or so long set. It was like watching the last century of black American music come together through a magical musical world! This eclectic mix of James Brown,P-Funk and Prince in one talented young lady provided the most complete example of the funk I’ve had yet to see.
Reason for this even happening at all was a co-worker of my fathers not being able to attend the concert. And giving two tickets to him. He decided to bring me along. Seeing Dickey Betts and The Allman Brothers Band as the opening act was wonderful as well as some of the other acts. And BB’s band,including an amazing horn section,were loose as a goose funky blues. BB himself was clearly nearing the end of his game in terms of his performance ability. But just being able to see the legend and Lucille said all it needed to say.
While there are many live performances that came this way which I didn’t have a chance to see-in particular Ray Charles and Steely Dan? The ten live shows I saw here gave me a fairly well rounded viewpoint on the concert experiences. Honestly? My preferred method of receiving music is through listening to records,in whatever format they are in. At the same time? It’s still fun to imagine being onstage in front of an audience,a mic in front of you with your interested and offering your art live in person for the ears of many.
Since it would seem that that New Orleans has the reputation of being the birthplace of the concept of funk itself,what with the first acknowledged jazz musician’s Buddy Bolden’s song “The Funky Butt”,it makes perfect sence that an important element of the modern funk revival would emerge with the Crescent City’s own Trombone Shorty. Originally named Troy Andrews,he grew up in the cities Treme’ region-playing in the local marching bands and eventually becoming a featured member of Lenny Kravitz horn section in 2005. Having already entered into rising adulthood having been reared with a musical synergy of the traditional Dixie Land marches of his local area as well as the late 80’s funk revelations such Cameo’s “Word Up” and Prince’s “Housequake” ,Andrew’s had the musical wherewithal to zero in on a somewhat under-explored middle ground between both those divergent funk approaches on Trombone Shorty’s 2013 release Say This To That with a groove entitled “Long Weekend”.
Kicking off with an announcing drum kick,the rather percussive and slow crawling drumming is immediately joined by a cleanly played,melodic funk guitar line with a high electric organ swirl slowly building in the back round. Another drum kick announces the introduction of Andrew’s expressively earnest lead vocals. When singing the chorus of the song,he’s joined by his own multi tracked backup vocals when the songs title is mentioned. The bass line of the song isn’t generally as prominent throughout the song as the guitar and drum/percussion part is. However at the end of each instrumental chorus,especially before a drum kick,the popping jazz/funk bass line comes to the forefront much more heavily. On the bridge and during the outro of the song,the melodic and rhythmic structure of the song totally changes. The bass is lifted to the forefront scaling down to a powerful bass/guitar chord that intensely amplifies the funkiness in the center and end of the song.
While funk is not as widely known as a musical genre as some of its admirers might think that it is, a majority of musicians performing funk are doing so very much in the late 60’s/early 70’s raw live band type James Brown/Tower Of Power style. Considering his music is strongly based in jazz-fusion/blues and psychedelic soul/rock, Trombone Shorty and his bands’ approach to this song emphasizes a trend in contemporary funk music that seemed to have spawned from Pharrell Williams productions for Justin Timberlake,Robin Thicke and Daft Punk. And that is a strong emphasis on the production style of late 70’s Ohio based funk bands such as Heatwave and Slave. This is a style where the bass/guitar/drum interaction is still hard grooving funk. But the sound is more studiocentric than developed mainly for live performance. Of course Andrew’s adds a more jazz oriented electric piano groove on the bridge to give the song his own type of flavor.
Another element of “Long Weekend” that’s very similar to the music of Slave in particular is how close the lyrical and melodic content of the vocals are to that Ohio bands adolescent party funk aestetic. In particular the way Andrew’s is pitching woo to an older woman,once the subject of a high school type unrequited love and is now old enough to appreciate her-particularly on a somewhat scandalous “long weekend” with this lady that even includes “a trip to the liquor store” to ensure a little physical adventure-even though he doesn’t feel able to tell his peers. Of course this attitude lends itself very well to the near perfect balance of studio production and live instrumental production. Judging from what I have seen in a video of Trombone Shorty performing this song live? Today that late 70’s style of recorded danceable funk music is just as viable on stage as it is on record. And “Long Weekend” emphasizes that very strongly.