Categories
Film & Television Series Music SkeletonPete Says

David Byrne: “Ride, Rise, Roar” on Blu-Ray

photo: Copyright Ken Pierce 2009

David Byrne
Ride, Rise, Roar
Eagle Vision Blu-Ray DVD

Byrne, Baby, Byrne

David Byrne has continuously expanded his creative horizons. He has taken turns as film director, author, visual artist, record label head, and even urban cycling advocate since first being introduced to the world as the “Bowery Bowie” front man of the punk-ish boho band Talking Heads. This Blu-Ray DVD finds him back in the musical mix.

What It is…

“Ride, Rise, Roar” is a documentary of the 2008/2009 tour which supported the Byrne and Eno album “Everything That Happens Will Happen Today” and was captured at several shows over its course. For this outing Byrne chose to augment his stage band with a dance troupe. So, while a rock concert on the surface; the show also plays out as a modern dance theater experience. Hiring several choreographers whose work he was familiar with Byrne had them organically build movement into the experience. This film encompasses a broad look at the show from inception to stage.

Fans of Byrne will enjoy a look at the process as tour numbers come together in rehearsal and I’m happy to see the behind-the-scenes work integrated into the film rather than banished to DVD extra features. After-all you can’t work with Brian Eno unless the journey is as important as the destination. Practice segments and interviews with collaborators are presented in black and white to juxtapose them with polished performances and footage is often intercut into a single song piece. It’s fun to see rehearsal room shots of a T-shirted Byrne, the cast and choreographer in montage with the finished number on stage.

Byrne is not shy to perform material going all the way back to his earliest days, including Talking Heads milestones “Life During Wartime” “I Zimbra”, and “Once in a Lifetime”. I think many would agree that the definitive live performances of these songs were captured in Jonathan Demme’s “Stop Making Sense”, but that was a long time ago and the material has evolved enough to make “Ride, Rise and Roar” a worthwhile experience. Byrne and company are the essence of cool in white head to toe, including a white Fender Stratocaster guitar. The “big suit” may be in storage but you haven’t lived until you see David and the band perform “Burning Down the House” in white tutu’s. If some of this sounds like loopy pretense it is saved from art school overload by Byrne’s delivery which lets honesty and good humor triumph over artifice. He’s having a great time, you want to indulge him.

Having seen one of the show’s on this tour I can say that the dance movements were designed to make a statement based on the audience’s view of one edge of the proscenium arch to the other. Unfortunately cinematic deconstruction of the set into one, two and three shots, and particularly side shots, often blunts the show’s kinetic power and circumvents the choreographer’s original intent. Though it is the antithesis of modern quick cut film-making more static shots of the entire stage tableau would have better represented the performances.

SkeletonPete says…

“The hits” will please the general audience but it’s the newer material comes off really special on stage. Being reintroduced to tunes that got by me when the Byrne/Eno album was released (“Life Is Long” and “One Fine Day”), with live interpretations which I prefer, makes the DVD well worth owning.

My personal reservations about how theater is interpreted by film aside I found “Ride, Rise, Roar” to be a very enjoyable and interesting look into David Byrne’s brain and the methodology of his collaborators.

Epilogue

It’s hard to believe it’s been two years since David Bryne’s performance at Brooklyn’s Prospect Park Bandshell on opening night of that year’s Celebrate Brooklyn concert series. It was a great night with a really nice crowd of friendly folks who shared a chat, a love of music, and even some wine (in a box!) Kenny Pierce was there too and his selection of photos from our vantage point is on view at his blog.

Categories
Music SkeletonPete Says

“Boogie 4 Stu”: Sixth Stone Musically Remembered


Ben Waters
Boogie 4 Stu: A Tribute to Ian Stewart
Eagle Records

Who’s Stu?

Ian Stewart, the erstwhile sixth Rolling Stone, may have been relegated to a historical footnote when manager Andrew Oldham decided he did not fit the teenage heart-throb mold in 1963, but – unlike let’s say Pete Best – his influence never ceased to pervade the band. Willingly accepting the duties of road manager and driver “Stu” also took the role of “big brother” to the burgeoning blues band. He continued to record with the group in their early years, playing both piano and organ on tracks of his choosing and notoriously refused to be a part of any tune not in a major key. For the rest of his life he pulled no punches in assessments of the group in the midst of sycophants and hangers on. Stones’ guitarist Keith Richards’ autobiography clearly outlines how Stewart was crucial to their early success. His day job at Imperial Chemical Industries helped pay for rehearsal space and his work phone often served as booking agency for the band. “He put his money where his mouth was, at least where his heart was, because he didn’t talk a lot about it” says Richards. He held a “natural authority” over the group “which never changed”, “…without the leap he made from where he was coming from, to play with this bunch of kids, we’d be nowhere.”

Outside The Stones, Stewart famously pounds the keys on Led Zeppelin’s Little Richard style rave-up “Rock N Roll”, and is named in their “Boogie with Stu” from the “Physical Graffitti” album. He was also part of the stellar studio band during the “Howlin’ Wolf London Sessions”, that’s him on “Sitting On Top of the World”.

What It Is…

“Boogie 4 Stu” is pianist Ben Waters’ tribute to Stewart (who passed away in 1985) and the music he loved to play. Waters was struck with woogie-boogie flu at a young age, not only seeing Stewart play live but witnessing a summit of Ray Charles, Jerry Lee Lewis and Fats Domino at Domino’s 60th birthday gig. “When I decided to make this album for Stu I hadn’t got any big plans. I just wanted to say thanks to him”, says Waters in the liner notes. He was pleasantly surprised when a boatload of Ian’s friends, admirers and fellow musicians offered to be involved, including every member of the The Rolling Stones, Jools Holland and P.J. Harvey.

Waters and company offer a tight little set of boogie and jump based tunes by Albert Ammons, Big Maceo, Big Joe Turner and Amos Milburn. Polly Jean does a moody multi-tracked vocal on Doc Pomus’s “Lonely Avenue”. Keith and Ronnie Wood get in lead vocals on “Worried Life Blues”, and all of the Stones convene on Dylan’s “Watching The River Flow”. Though recorded in various studios around the world and under varying circumstances (Jagger literally emailed his vocal in) veteran producer/engineer Glyn Johns pulls the project together with a mix that does not reveal its pastiche origins. In fact it feels like it was all put together in one room during an afternoon session.

SkeletonPete Says…

With its lovely watercolor cover by artist Peter Blake (Sgt Pepper’s, Face Dances) “Boogie 4 Stu” does Ian Stewart’s memory proud. If it sends you looking for a listen to the music of his influences and mentors it succeeds well beyond its humble beginnings. The final track features the man himself with his stage band Rocket 88 and makes me very curious about what Stewart gems would appear should a Beatles style “anthology” ever emerge from the Rolling Stones’ vaults. A “Jamming with Edward” type compilation of Stu based tracks seems like a no-brainer. In the meantime, we don’t have to pipe dream to enjoy Waters’ fine tribute.

Proceeds from the sale of this disc will go to the British Heart Fund.

Categories
Music SkeletonPete Says

Tedeschi Trucks Band: Fully Brewed Soul Stew


Tedeschi Trucks Band
“Revelator”
Sony Masterworks
Release Date: June 7, 2011

OVERVIEW –

If you’ve been watching Derek Trucks and Susan Tedeschi slow cook the “soul stew” over the last couple of years you might have found yourself wondering “is it soup yet?”. The answer – in the form of the first official Tedeschi Trucks Band album titled “Revelator” – is a resounding YES! The couple having already taken matrimonial vows in 2001 now seals the deal musically as well.

To those following the story from even a periphery view it comes as no real revelation. Derek and Susan have made high profile joint appearances in both Crossroads Festival DVD’s playing a mix of music that included covers of tunes associated with Delaney and Bonnie and Friends (“Coming Home”), its subsequent entourage Joe Cocker’s Mad Dogs and Englishmen (“Space Captain”), as well as Clapton’s Derek and The Dominoes (“Anyday”). Each of those projects featured a loose amalgamation of many of the same musicians (Bobby Whitlock, Carl Radle, Jim Gordon, Leon Russell, Jim Price). They burned bright and hot for a short period of time in the late 1960’s and early 70’s but imploded quickly. In all the best ways The Tedeschi Trucks Band fulfills the promise of those short lived groups by bringing together a pool of talent from both Susan and Derek’s solo groups, along with an expansive group of “friends” that includes John Leventhal, Eric Krasno of Soulive, Doyle Bramhall II, vocalist Ryan Shaw (a personal fave), Gary Louris (Jayhawks), and many others.

WHAT IT IS… A FUNKY AND LOWDOWN BEAT

Though calling a musical amalgamation a “gumbo” has become cliche, TTB has created a sonic menu with no better descriptor where all the influences meld perfectly. There’s a good deal of savory N’Orleans flavor throughout. The album opener “Come See About Me” grabs your attention with a head turning snare snap and deep funk Meters-esque groove. “Love Has Something Else To Say” percolates along on hammond organ chug and choke before evolving into a guitar versus horn duel.

“Until You Remember”, opens with an elegiac “first line” horn section then slips into classic R&B style reminiscent of Bert Berns and Jerry Ragavoy. A song you might expect to find in the late Garnett Mimms’ catalog. It has become a repeated listening favorite of mine. Though reverential in style, authors Susan and Derek along with John Leventhal, avoid slavish adherence to form with a sly and unexpected change of chord work that lifts the choruses and gives Derek a wonderful bed to solo over. I would love to hear what this one sounds like on stage.

The heartfelt “Midnight in Harlem” will be familiar to those who’ve seen the “Crossroads 2010” DVD where it got sneaked peeked live. Co-authored by Truck’s Band vocalist Mike Matisson and Derek, it’s a gem of a tune carried along by a languid chord progression over which Derek lays out some beautiful slide guitar sure to make Allman’s fans smile.

In a musical genre steeped in swagger Susan admirably holds down the vocal spot with strong leads that declaim, exclaim, and sometimes maim with honesty – just “tell the truth”. She’s not shy to get down in “jock rock” territory by wrestling “Learn How To Love’s” monster riff and rusty, primordial, slide guitar. This tune evokes nothing short of Jimmy Page on a ‘gator hunt with the cast of “Swamp People”; something you might expect to hear Paul Rogers or Steve Marriot belt. “Choot ‘em” indeed. The softer side is shown on tunes like album closer “Shelter” which simultaneously channels The Band, Billy Preston era Beatles, and All Things Must Pass era George Harrison. Are those all the same thing?

Sidestepping the pitfall of creating an homage to another time and place Jim Scott’s co-production (with Trucks) keeps the sound solid, up close and personal, and most importantly modern. The only extraneous track is the late album jam called “Shrimp and Grits” which I suppose is meant to serve as an aural palette cleanser. Otherwise this a rock solid – one great song after another – record that proves the confederation of these bands into an 11 piece juggernaut to be a brilliant decision.

What’s missing? Where the hell is a take of “John The Revelator” as teasingly promised by the title.

SKELETONPETE SAYS –

The Tedeschi Trucks Band debut “Revelator” is released June 7, 2011 on the Sony Masterworks imprint. My personal recommendation is buy it immediately. I believe it will it continue to reveal secrets and find its way onto your playlists for years to come just like the classic records these players clearly revere.

Categories
Music Photography

“One More Rory” Tribute: Photo Gallery

Davy Knowles plays some classic Rory licks at The Eagle rock Gallagher Tribute.

Thanks for so much positive feedback on the Gallagher Tribute coverage. Hope you equally enjoy these photographs from the event.

Click any image to launch gallery

Categories
Music SkeletonPete Says

Eagle Rock & Iridium offer “One More Rory” Tribute

Panel Discussion Participants

OVERVIEW –

New York’s City’s famed Iridium Jazz Club was turned into a steaming juke joint on May 23, 2011. Taking a sidestep from the now traditional Monday night Les Paul Tribute the club hosted an homage to another guitar great, the late Rory Gallagher. Attention to Gallagher’s legacy is deservedly on the rise via ongoing CD and DVD releases of both remastered and previously unreleased material from Eagle Rock Entertainment. Gallagher’s brother and former manager Donal is intrinsically involved in the project and lends historical accuracy and context to projects. If you are unfamiliar with Rory’s story a great place to start is the recent biographical DVD called “Ghost Blues”, which is an awesome overview of his career and his influence over the years.

PANEL DISCUSSION –

The evening began with an informal and informative panel session. After introductions by Eagle Rock President of Operations Mike Carden, radio host “UK Bob” (WRFG, Atlanta) led the discussion. Panelists included Billboard columnist Ed Christman; Elliot Mazer, producer of Gallagher’s “lost” album; Rory’s Brother Donal; writer/editor John Swenson (Rolling Stone, Crawdaddy), Larry Yelen (Clapton Visual Anthology) and Lindsay Brown. The topics ranged from Rory’s influence on current Irish musicians during their formative years, his near induction into the Rolling Stones after Mick Taylor’s departure, Polydor’s inability to expand his career, circumstances of the aborted album recordings now released as part of the “Notes From San Francisco” CD package, and even a hint of a proposed bio-pic.

MUSICAL PERFORMANCES –

Following the panel discussion the music began with mini-sets and jam sessions featuring some the best blues and blues rock talent on the current scene. The sold out audience was treated to great renditions of just about every Gallagher classic including “Tattoed Lady”, “Calling Card”, “I Could Have Had Religion”, “I Wonder Who’s Gonna Be Your Sweet Man” and Junior Wells’ “Messin’ with the Kid”; a Gallagher signature tune. Each musician was clearly thrilled to be included in this tribute and rose to the occasion by playing with both finesse and fire worthy of the man himself. Introducing the audience to such a wide range of talented players who are keeping the traditions alive was a fitting honor to Rory’s memory.

The highlights were numerous. Each performer revealed their unique merits in the blues idiom and the audience responded with long rounds of applause and shouts of approval. It was a collective “blues rapture” that made me glad the world did not end the previous week, as predicted.

WHO PLAYED –

Kicking things off, Les Paul Trio’s Lou Pallo joined John Paris for some slide and harp driven tunes. Scott Holt displayed the fruits of his long tenure in the Buddy Guy band with stinging lead lines and forceful stage presence and Innis Sibun’s energetic set found him stalking the audience with a pink stratocaster. Paul McGilloway rendered a beautiful version of “Danny Boy” on resonator guitar. Jimmy Suhler, of George Thorogood’s Destroyers, played great takes on two of my favorite Rory tunes “Mississippi Sheiks” and “Bought and Sold”. Kerry Kearny shot out slide runs that sounded like liquid fire and guest vocalist Alan Merrill, co-author of the anthemic “I Love Rock N Roll”, took the stage for a rollicking version of “BullFrog Blues”.

Headliner Davy Knowles’ set featured the young guitarist on both acoustic slide and electric. The much loved “phenom” – appropriately clad in plaid – was perfect choice of headliner. Drawing on his Isle of Man heritage he can put a Celtic spin on Clapton-esque Brit-Blues much like Rory did. At Iridium he spoke about those connections and spun off some “She Moved Through the Fair” style arpeggios before sliding into a smoldering cover of “A Million Miles Away”.

The rhythm section changed personnel throughout the evening. Foghat’s Roger Earl and Destroyer’s Jeff Simon held down drum duties and – with the exception of Nate Peterson and Kirk Yano working with Holt and Knowles (respectively) – New York music scene stalwart Kenny Aaronson covered the bass guitar. Aaronson’s musical resume deserves an article of its own but no matter how many affiliations he piles up he will always be fondly be thought of by “Brooklynites of a certain age” (like myself) as the Bass player for seminal hard rock band Dust, along with band-mates Marc Bell and Richie Wise.

Rounding out the jams were Dave Cohon’s rocking barrelhouse style piano and Neal Evans of Soulive doling delicious doses of soulful B3 organ. Talk about a double shot of Hammond heaven; the next night I caught a killer set by Booker T. Jones at The Bell House in Brooklyn. Miraculously cleared up my nagging head cold.

More Rory

In depth reviews of Eagle Rock’s recent Rory Gallagher releases by both myself and Ken Pierce can be found here, with more to come.

Official Rory Gallagher Website