Staff Photographer Bryan Lasky gives us a look at Rock n Roll Resort v4: The Dream Machine in his extensive photo gallery of the weekend. Stay tuned for a full review on Wednesday and Chris DeCotis’ photo gallery on Thursday.
Friday Saturday Sunday Photos
The Paramount Hudson Valley is no stranger to the blues, having hosted one of a handful of NY Blues Hall of Fame induction ceremonies this past fall featuring performances from Commander Cody and Professor Louis and the Crowmatix, among others. The theater itself was even inducted as a great performing arts center in the Blues Hall of Fame. The Paramount lived up to that recognition with an excellent double bill of blues headlined by Robert Cray on March 30th.
The night started off with an opening set by local NY blues artist Nik Rael. Rael, on acoustic guitar, was joined by Joe Plum on electric guitar for an instrumentation that created a well-balanced sound for the blend of blues, soul, rock, and pop that was to follow. As a duo, many of the songs were not too complex but performed with a lot of expression and dynamic, from Rael’s voice to his guitar which carried the set to Plum’s electric riffs and lines that iced the cake. His set included a mix of his original work as well as some covers. One notable cover was of Bob Marley’s “Redemption Song,” where Rael put on an accent to emulate Marley’s voice. Just as Charlie Daniels did with two songs at his show the night before at the Paramount, Rael performed three Dylan tunes that he has on his tribute album Highway 61. Most notable was “All Along The Watchtower,” combining elements of both Dylan’s and Hendrix’s arrangements. Rael’s opening set went beyond the expectations for a warm-up act with an impressive and engaging performance.
After Rael’s opening set, the silhouettes of Robert Cray and his band took to a dimmed stage with much applause. Cray dialed in to the excitement of the crowd to get things going with a solid performance of “Phone Booth.” By the third song, “Right Next Door,” we saw the first of Cray’s rather dynamic, expressive and animated performances of the night, pretending to sing along with his guitar solos and bringing part of his second solo on the song down whisper quiet as fans listened intently.
Unlike some artists that almost seem to make an effort to install a glass wall between themselves and the audience, there was no such barrier that night giving an almost living room like feel at the Paramount. Yes, the cozy quarters of the Paramount with its chest-high stage helped in that regard, but it was really the connection Cray built with the audience that did it. His quick wit led to jokes between songs about the subject of the song – some he would carry on to the next break – and brief exchanges with the audience.
Cray gave a sneak peek, or rather gave us a sneak listen, of several new tracks off his latest album, In My Soul, released on April 1, just two days after the show. He debuted “You Move Me,” “Fine Yesterday,” “What Would You Say,” “Hip Tight Onions,” and a Bobby Blue Bland tune, “Deep In My Soul.” An example of Cray’s humor came when he joked about the new material. “You’ll never know we forgot the songs!” he said citing that no one in the audience would know how the songs were supposed to go. A highlight of the new songs was the band’s first instrumental track, “Hip Tight Onions,” written as a nod to the stylings of Booker T and the MG’s with Cray and bassist Richard Cousins dancing in sync and a more dominant keyboard presence over the other songs.
Throughout the show, it wasn’t hard to miss the chemistry of the band on stage. Whether it was Richard Cousins sharing a moment with drummer Les Falconer (a 2013 addition to the band) as they laid down the groove for a song or Cray connecting ideas with keyboardist Dover Weinberg, the cohesion on stage radiated into the audience.
The combination of Nik Rael and Robert Cray created an unforgettable evening of blues, setting a tone for a theater rebuilding a strong reputation for its musical presence after briefly closing its doors in 2012. It was a truly genuine performance and experience, leaving the crowd eager to hear more from Robert Cray on his next NY appearance, which he will hopefully make on his next tour.
Setlist: Phone Booth, Poor Johnny, Right Next Door, It Doesn’t Show, You Move Me, Won’t Be Comin’ Home, Don’t You Even Care, Fine Yesterday, Chicken In The Kitchen, Bad Influence, What Would You Say, Hip Tight Onions, Forecast Calls For Rain
Encore: A Memo (Nothin’ But Love), Deep In My Soul
Mike Gordon kicked off the final weekend of his tour this past weekend, which has been getting some buzz in the Phish community, with a show at the historic Tarrytown Music Hall. Along with bandmates Scott Murawski, Craig Myers, Tom Cleary and Todd Isler, Gordon has been touring in support of his latest studio album Overstep, performing it extensively on this tour with all but three tracks performed at the Music Hall. With the absence of a parking lot and decent weather to hang outside in before the show, a slight delay in the start (possibly due to some last-minute rehearsals with a special guest) seemed to be welcomed by the crowd who quickly settled down and enjoyed conversations with each other in the theater.
Eager for the show to start, the audience cheered as the stage was dimmed to a purple and the band made their way out with Gordon’s glowing scarf hard to miss. The first set kicked off with the first track off Overstep, “Ether,” an extended noise/sound effect intro recreated live by Gordon playing around with a speed drill near his bass’ pickup. “Yarmouth Road,” one of the two songs on the album with a reggae feel, was played in its studio fashion with the crowd digging the added 90’s ska interlude toward the end. “Yarmouth Road,” by the way, was first debuted with Phish at SPAC July 5, 2013.
There were some hushed mutterings before the show that Trey was backstage and would be sitting in for some portion of the show. This wouldn’t have seemed too far-fetched either as Trey resides somewhat locally in nearby Manhattan. It was obvious though that this was to the crowd at large a big surprise as the theater erupted when Trey was introduced and took his spot between Scott Murawski and Gordon. Murawski started off the Talking Heads tune “Cities” with Trey joining in quite forcefully after resolving a guitar glitch. This one got jammy with Trey and Scott trading solos in a call-and-response and dueling fashion. Trey stuck around to take the lead in the jam section of one of Gordon’s new tracks, “Tiny Little World,” to close out the first set. While some people were chatting during the intermission about what Phish song they’d like to hear if Trey were to come back out in the second set, they would soon find out they would have to wait until July to hear live Phish from the source.
Not only was the music a focal point of the show, but both sets also flaunted a high-tech display of lights and projections that took advantage of the smaller stage setup, different that what would be practical at a large-venue Phish concert. Gordon and Murawski both sported custom-made guitars that would light up with LEDs at times during the show while the stage was dark giving a vague effect that they were being played by ghosts or while cast in front of psychedelic patterns. Gordon also debuted a crowd interactive instrument, the “EEL” as he called it. A MIDI controller that spanned the width of the stage, this strip resembled an oversized keyboard that the lucky front row could tap on when Gordon’s band triggered it on. Its sound sets (i.e., piano or Hammond Keys) were controlled by the band’s audio engineer and changed periodically while the audience was tapping away. One of the times the EEL was active was during “Peel” in the first set and again at the open of the second set – we have a short video excerpt of this in “Peel” later on. Gordon also incorporates something else a little different for a jam band type show: MIDI triggers on his and Murawski’s mic stands which allowed them to play a sound or an effect tapping it with their hand. All of this combined added an interesting twist to the experience of the show.
Gordon’s stop in Tarrytown, and his whole tour for that matter, was a pleasant bridge in the gap between Phish’s NYE show and the start of their summer tour, July 1 at the Xfinity Center and their three night run at SPAC July 3-5. It gave fans a chance to see another side of Phish: one free of large crowds, potentially questionable weather, and ultimately the creativity of Gordon separate from his role in his native band.
Set I: Ether; Cruel World, Yarmouth Road, Different World, Pretty Boy Floyd, Spock’s Brain, Face; Peel, Cities^, Tiny Little World^
Set II: Long Black Line, Crumblin’ Bones, Barton Hollow, Angatta, Spiral, Jumping, Traveled Too Far; She Said She Said>Tomorrow Never Knows>Are You a Hypnotist?>Tomorrow Never Knows>She Said She Said>Traveled Too Far, Say Something
Encore: Soulfood Man>Alphabet Street
^with Trey Anastasio
On March 15, 2014, Jim Brickman celebrated a monumental achievement in his career; 20years to the date, he released his first album, No Words. Twenty years later, Jim Brickman stepped foot on stage for the first time at the Stanley Center for the Arts, bringing along more than 33 best-selling albums, dozens of collaborations with the top artists in the business, numerous awards and achievements, and multiple projects under his belt to share with the audience. Utica was thankfully chosen for his special occasion and the performance shared by all was truly heartfelt.
Opening the evening with “The Promise,” a musical piece from his Simple Things album, his beautiful playing drew in the audience and set the mood for the evening with a light and airy feeling. He shared moments throughout of how the music came to be, joked about things that occurred over the years, and by the end of the evening, it was as though it was a small room filled with friends and family, celebrating a very special anniversary. Below, Jim shares how he came to record his first album, and you see how fate sometimes plays a hand in the avenues taken in life.
[youtube http://www.youtube.com/watch?v=shzUoE359Qk]
Jim was joined throughout the evening by special guests Anne Cochran, a childhood friend from his hometown in Cleveland, Ohio, and George Perris, a young man originally from Greece who has been performing worldwide since the age of 14. Jim shared childhood stories of how he and Cochran became acquainted. His memories and admiration for her still hold true today as they have remained friends and co-workers now for several decades. This was apparent as they bantered back and forth with each other throughout the evening like brother and sister. Cochran has collaborated on several numbers and shows with Jim, of which they performed one of their most popular of the evening, “After All These Years.” Perris was then introduced and impressed the audience with not only his knowledge of music and amazing talent, but his ability to speak multiple languages as well; four in total. Joining Jim onstage for multiple numbers and a “selfie” of the three of them, Perris amused and enchanted the audience.
I have always been a big fan of Jim Brickman over the years as he has written two of my favorite songs of all time: “Valentine” and “The Gift.” I have listened to him on the weekends on his radio show, and it was nice to hear some personal stories on his road to success. His influences from Jim Henson and those from Walt Disney effected his love of music and the styles he would perfect over the years. I have to say that his performances of the Muppets and Disney tunes were my favorites of the evening; perhaps because they were light-hearted and fun, perhaps because I knew the tunes such as “It’s Not Easy Being Green”, “Rainbow Connection”, or “When You Wish Upon a Star”, or perhaps because they were some of my favorite tunes growing up and they brought me back to a time when life was simple. It was nice to connect with a musician on a level of commonality, even if it’s just a love of the same type of music.
For those who may not realize this, Jim has offered his musical talents to numerous shows, commercials, and events. One event he spoke of was the 2014 Sochi Olympics. As he played the numbers he wrote for the Olympics, he joked that some music is often used as background to narrations and sometimes for sad stories even. As humble as he is, he still gets excited though to hear his music when it plays out in public places. One such moment was as he was on hold with a credit card company. Upon calling in to fix a credit card issue, he waited patiently, listening to his music, until the customer service operator came on the line. As impressed as he was with himself, unfortunately the person on the other end didn’t share the same excitement as he joked about listening to himself on hold. A more recent occurrence happened as he was traveling through an airport and heard his music playing while he took a pit stop. Wanting to share his excitement with others, he thought better of it as perhaps that wasn’t the time or place to share that information. It was stories such as these that bring such huge performers and stars into a perspective that is relatable with their audiences. Again, the stories, jokes, and insights are what make Jim Brickman the star he is today and continue to build the relationship he fosters with his followers. His talent and generosity provide opportunity to give back to his audiences worldwide, while his appreciation and gratitude are genuine.
[youtube http://www.youtube.com/watch?v=yaBsczMHKyQ]
As mentioned above, Jim’s career has garnered multiple albums with multiple hits over the years. His musical compositions and songwriting skills have elevated him to a level of expertise as one of the greats of our era. At the same time, it was nice to see such an approachable, easy-going, and humorous individual on stage and in person. He goes out of his way to remain approachable to his fans by sponsoring cruises and parties. This years event, Brickman’s Bash, will be held in Cleveland, Ohio on July 17th-20th.
Although this was the first time Jim Brickman visited The Stanley Center for the Arts, I have a feeling it will become a permanent stop on each tour.
It was a cool and rainy evening on March 29 in Peekskill with the last remnants of snow banks melting away making for a perfect virtual escape from the Northeast with the southern rock and country stylings of The Charlie Daniels Band.
The night started with an acoustic set from Nashville country singer-songwriter Jacob Powell, who is making a handful of stops with the Charlie Daniels Band during his current tour. While his self-titled debut EP features a full band, he was joined on stage with fellow Nashville guitarist Jason Brooks to create a nice, full live acoustic sound. Singing some songs about summer, good times and koozies, Powell eased the crowd’s minds out of the cold northeast weather and warmed folks up for the Charlie Daniels Band.
After a brief set change, the Charlie Daniels Band took the stage, wasting no time in setting the energetic tone for the evening. The band’s slightly short but appropriate length set of 75 minutes featured a number of CDB favorites. “Birmingham Blues” radiated vibes akin to an Allman Brothers Band performance both in song style and in the chemistry on stage. A rather interesting display came to us during a longer instrumental jam, “Black Ice.” Featuring some funky beats and riffs, elements of country and rock and roll and a spotlight on each band member, this fused a conglomeration of sounds and ideas and was a treat for every member of the audience. The set also included “The South’s Gonna Do It,” popular fan request “Long Haired Country Boy” – a tune that turns 40 this year – and of course “The Devil Went Down To Georgia.”
This best-known hit for the Charlie Daniels Band closed the evening with flawless fiddle lines and a few extended segments over the studio version. It’s one thing to get a guitar pick from a band, but one lucky fan in the front row was given by Daniels himself the frayed horse hair fiddle bow in the middle of the song. Another crowd-pleaser came with a raucous cover of “Folsom Prison Blues” with fans having a grand time clapping and cheering along with the Johnny Cash classic.
Throughout the evening, Daniels presented some songs off his latest album, Off the Grid – Doin’ It Dylan. Prior to performing “I’ll Be Your Baby Tonight” about mid-show, Daniels paused from the music for a moment to explain his connection with Bob Dylan which goes back to the late 1960’s when he recorded with Dylan on Self Portrait and New Morning. Aside from that song, Daniels also gave his nod to Dylan with “Tangled Up In Blue” early on in the set with a refreshing up-tempo and fuller arrangement of the tune. Off the Grid – Doin’ It Dylan was released this past Tuesday, April 1st.
One unique element of the show was when Daniels, who holds his band mates in high regard, stepped to the back of the stage to put the limelight on the talent of two of his band members. Lead guitarist Bruce Brown, a 24 year veteran of the band, stepped forward and performed one of his solo works with the rest of the band; guitarist Chris Wormer did the same with his rockin’ version of the “William Tell Overture” on his double neck guitar.
At age 77, Daniels can still perform a powerful show. His frequent quick wit and humor exchanged with band members and the audience between songs, along with a few anecdotes, kept every party at the Paramount engaged with one another. For those who missed the show in Peekskill, the Charlie Daniels Band will be back in Upstate NY at the Times Union Center in Albany May 31 with the Marshall Tucker Band and Bret Michaels (of Poison) and at the Main Street Armory in Rochester on June 1.
This past Friday night, April 4th, The Loft in Poughkeepsie turned into a hardcore madhouse as NYC area headliners Biohazard and Sworn Enemy lead the night along with other hardcore and metal acts from the 845 and 518 area. About 170 people packed the place to unleash their aggression and have a good time.
The doors opened at 7 and local area metal newcomers Pug Box opened the night around 7:15 with their six song set to set the tone for what was to come. Soon after, 518 hardcore outfit Life Sentence played their six song set adding a lot of attitude to the stage. Their style and presence felt very similar to Madball.
The Standard Assault (better known as TSA) then graced their stage with their unique set. They really stood out due to their metalcore and groove metal style. Along with that, their songs were far more lengthy than the other bands on the bill. They were aggressive and thrashy. Guitarist John Reilly played blazing solo’s that were clearly influenced by Slayer and frontman Pete Stott’s vocals were unique with a Randy Blythe-like flair to it. Their songs were clearly about past girl friends and betrayal. It was a nice change of pace for the night.
Albany’s Brick By Brick then took The Loft into hostile territory as they brought a bloody knuckle atmosphere with their eight song set that caused the floor to erupt with slam dancers and borderline dangerous moshing. Despite some sound trouble, they never missed a beat and kept the energy high. Frontman Mike Valente even called out the crowd hanging at the bar to get themselves closer to the stage. They ended their set with “Bro Hymn” with lots of crowd participation that just made everyone on the floor go crazy.
Sworn Enemy stormed the stage around 10PM. They’re out promoting their upcoming album Living On Borrowed Time. Their set consisted of their classics as well as two new songs fused into their set. Opening with “One Way Trip,” the already established pit grew even bigger and caused the floor to go completely chaotic. Luckily, no one was hurt. There was one person in the crowd that stood much bigger and taller than anyone that was dancing in the pit. About mid-way through Sworn Enemy’s set, this guy in the crowd just walked over to frontman Sal LoCoco and picked him up off the stage and swung him around. Luckily the show was not stopped or interrupted and there was no ill-intent. Sworn Enemy ended their set on a high note with “We Hate” and let everyone in their crowd release their aggression.
Biohazard finally took the stage at 11:30 with a setlist that contained hits and album cuts from their first three records. Opening the set with fan favorites “Chamber Spins Three” and “What Makes Us Tick,” Biohazard proved at even their veteran status, they still bring lots of energy on stage and show absolutely no sign of slowing down. From that moment on, it almost seemed that everyone in the crowd was from Brooklyn. Midway through their set, Biohazard unleashed the iconic “Tales From The Hardside.” Things in the pit became hostile, and a huge scuffle broke out in the crowd causing the entire security team to stop it, which ultimately caused the band to stop what they were doing. Even I ran to the corner and hid when this all went down. After a few minutes Biohazard resumed and played a few tracks off their first record. Then lead guitarist Bobby Hambel addressed the crowd on the corruption of news and politics which lead to “Black And White And Red All Over.” Finally, Biohazard wrapped their eighteen song set with their breakout hit “Punishment” and their creed motto “Hold My Own.”
Everyone at The Loft had a blast, and it’s obvious Biohazard still enjoys what they do. I was lucky enough to chat with the band after the show. They all confirmed they are hard at work on a new album and will be touring through Upstate New York again. Biohazard currently finished a brief East coast run and is now doing a month-long European tour but come back to the U.S. in May for the annual “Black N Blue Bowl” at The Well in Brooklyn on May 17th and 18th along with Hatebreed, Agnostic Front, Sworn Enemy, Brick By Brick, and many more.
The Egg Performing Arts Center’s American Roots and Branches series featured two unique acts that celebrated bygone eras of early American music that have since been revisited, to critical acclaim. Carolina Chocolate Drops, along with opening band Birds of Chicago performed in the Swyer Theater to an intimate sold out crowd, sitting quiet and focused during each song and story behind it, but applauded with great aplomb once a selection had completed. Hanging onto every note, the bands on stage were feeding a patient and receptive audience, eager to hear music that has otherwise been forgotten in American musical history.
Birds of Chicago opened the night with a six song set of folk-country that was mellow yet had a steady beat. Performing for the first time in Albany, Allison Russell sang with a June Carter-esque voice and vibe, playing banjo and clarinet on “Wild Horses”. Making jokes about her heritage (Scottish-Grenadian-Canadian) and nodding to her husband JT Nero (who has an incredible range in his voice) who is also Scottish, noted that this only complicates their daughter’s extensive heterogeneous background even more. “Sans Souci”, a pre-zydeco French influenced tune was a highlight of the set, and with the guitarist using his pedal with a gentle touch, he carefully poured each note out carefully, turning what may have been a 45’ speed song to that of a 33’. The finale, “Fever” gave the audience a fake-out, where an initially chill and happy song turned into a foot-stomping rager. A perfect complement to the main act this evening, Birds of Chicago stood out with a sound that was as unique as their band members.
Carolina Chocolate Drops took to the stage and opened up with an Emma Shelton tune “Pretty Little Girl with the Blue Dress on”, where Rhiannon Giddens somehow did not stumble over the complicated Micro-Machines-Guy speed of lyrics, accentuating every word perfectly. “Sandy Boys” encouraged a community sing-along, in an Appalachian/Hackensaw Boys style. A soulful “Country Girl” preceded a brief history lesson, taking the audience back to 1855 and using an 1858-era minstrel-style banjo, which had a light sound due to its hollow back. Along with the Bones, two pieces of wood click-clacked together with precision by Rowan Corbett, these are two of the oldest instruments in the world, brought to America by slaves from Africa and the banjo only brought into the broader musical pantheon in the latter part of the 19th century.
Rhiannon, reserved and soft-spoken but with a stage presence that shows marks of experience and maturity that added to the sound and performance on stage, also played banjo and fiddle in the course of the evening, the latter of which was key to the sound of many songs and underscores Hubby Jenkins’ banjo. A Hank Williams tune suggested by a friend “Please Don’t Let Me Love You” preceded a solo tune from Hubby, who had only a single string holding his guitar around him – no sturdy strap – for this was a band playing ol’ timey music with ol’ timey instruments, down to how they wore them on stage.
Singing Odetta’s “Waterboy”, the peak of the song was the wick of a firecracker, setting off the audience in applause and loudly garnering a ‘God Damn!’ from an audience member, certainly speaking for all. “Goin’ Down the Road Feelin’ Bad” was performed in a more upbeat fashion than the familiar Grateful Dead version while “Ruby”, a bluegrass standard, was played in its original version with dobro, bones and Rhiannon’s sweet voice eliciting the cry for the title woman. “Buck Creek Girls” had cellist Malcolm Parson playing his cello in the style of Edgar Meyer, and later picking it up to play it as the song accelerated, thanks to Corbett’s Bones, a new favorite instrument of all in attendance.
Thanks to Scottish settlers in North Carolina in the 1700s, Scotch-Gaelic mouth music was brought to the region. “Puirt a Beul”, sung by the Chocolate Drops with a beat from the bass drum, it recalled Irish singing but without a full band sound and had a distinct language it, incomparable to any other folk style. These songs could have been an early inspiration for Cajun songs if the Acadians were to have picked something up on their way from Maine to Louisiana.
As the set came to a close, more raucous upbeat songs were performed, closing with storytelling music in “Old Cat Died/Brown’s Dream”. The encore, “Read ‘em John” was a song about how to spread and enrich an idea, a capella style, a perfect Coda for the evening.
Bassist Mike Gordon of Phish tackled an impressive tour, promoting his latest album Overstep all over the country – plus a show in Canada – all within a month before returning to Upstate New York to the Bearsville Theater in Woodstock. Nestled in the Catskills, the venue holds less than 500 people with multiple viewing areas of the stage in what feels like a luxurious half barn, half log cabin. The cold and damp spring evening didn’t keep fans away who know better than to miss a Sunday night show. As the lights dimmed, Mike Gordon took the stage with guitarist Scott Murawksi, keyboardist Tom Cleary, percussionist Craig Myers and drummer Todd Isler.
The lighting effects were ideal in an otherwise intimately dark setting. The lighting changed throughout the night, either synchronized with the music or completely off to focus a dramatic spotlight on Gordon and Murawksi. Everything on stage was used as an instrument, whether it was the actual instrument itself or the microphone stands, they all played a key role in a unique sound for the show. A mind game of shadows questioning your sight and perception, a recurring theme with Phish shows, of which Gordon is a master. Cleary led the way with vocals and strong keys for “Pretty Boy Floyd” that built up rockin’ harmonies along with a stand out, strung out, hi-bred Sitar solo from Myers.
Mike took a moment to encourage the crowd to start a mosh-pit; a “friendly, Ska one [and] not the one resulting in blood everywhere,” he joked.
After a brief intermission, the band was back on to start with a newer Phish song “555” with a recognizable melody that charged the crowd. One of the highlights of the second set was the jammed out versions of “Ether” and “Yarmouth Road” that had Gordon jogging and bouncing in place with a deep bass rhythm and alternating tempo. One of the coolest backgrounds was the scrolling city scape during the encore of “Cities”, clearly a big fan favorite. The entire show felt like a music video for an episode of the Twilight Zone with experimental jams that were unpredictable and forced the crowd’s attention to every detail. There was an eclectic blend of genres covered for everyone’s entertainment, with a variety of bluegrass, cosmic poetry and sci-fi jazz. Mike Gordon’s shows aren’t dance-crazed parties; they are a chance to appreciate the bizarre twist he and his band create on old and new songs alike. Gordon’s tour will end this week with stops at Tarrytown, Mass MoCa and finally, the sold out show at Higher Ground in VT. Try very hard to get tickets to any of these shows.
Mike Gordon, Bearsville Theater, Woodstock, NY – March 30, 2014
Set One: Couch Lady, Face, Peel, Mrs. Peel, Dig Further Down, Pretty Boy Floyd, Spock’s Brain, I’m Deranged > Take Me to The River Jam> Tiny Little World
Set Two: 555, Jones, Sailin’ Shoes> Ether, Yarmouth Road, Barton Hollow, Long Black Line
Encore: I Wish I Could Shimmy Like My Sister Kate, Cities
The Experience Hendrix 2014 Tour stopped in Albany, NY’s Palace Theatre on March 28th, 2o14, for a night of tribute to one of rock and roll’s first gods: Jimi Hendrix.
The annual tour is produced by Janie Hendrix, Jimi’s younger sister, as a tribute to her brother’s life and music. Along with featuring artists who cover his music while showcasing their own talents, the show presented short clips from a biographical documentary. The full house was treated to many different musicians, but highlights certainly included Doyle Bramhall II, Dweezil Zappa, Eric Johnson, Ana Popovic, Billy Cox, and Buddy Guy.
The tour has featured all types of virtuosos and has functioned essentially on the premise that “this is how Jimi would want to be remembered: in a fun, musical way,” to paraphrase Janie Hendrix. In fact, at the beginning of the show, Billy Cox said, “we like a rowdy crowd!” and launched into a high-energy performance of “Stone Free,” just to get the crowd to clap along.
But this was simply a warm up compared to the next part of the show which took the audience to a whole new level of energy. The legendary Eric Johnson (Cliffs of Dover) took the stage and had no fear of imposing his 100-pound violin tone and Texas accent on “Power to Love.” Johnson also threw his own spin onto each song as set-mates Scott Nelson and Chris Layton, as well as Eric Gales at one point, allowed time for duels and improvisation.
When Ana Popovic took the stage alongside Dweezil Zappa, she took full force, never leaving an opportunity to play another note. However, Zappa was not hard-pressed to keep up; he became his own force as they dueled for the audience’s awe. Together, they covered “House Burning Down,” and “Can You See Me?” Besides Zappa and Popovic’s ability to play guitar in an unbelievable fashion, the audience soon learned that Popovic had an uncanny ability to sing Hendrix songs as well.
The standouts of the night, though, included Doyle Bramhall II, Jonny Lang, and Buddy Guy, all of whom impressed the audience with their ability to collaborate with other musicians while mixing in their own style and keeping an overall handle on the music. As the night went on, the crowd became more and more excited, screaming, “excuse me while I kiss the sky,” while Eric Gales powered his way through “Purple Haze.”
Jonny Lang’s ability to cover “All Along the Watchtower” left those watching in awe; his voice was both majestic and practiced. He put on a show with the quality of his cover certainly rivaling both Dylan’s and Hendrix’s versions. Not only this, but Kenny Wayne Shepherd and singer Noah Hunt covered “Gypsy Eyes.” Hunt may have appeared underconfident on stage, but his ability to vocally mimic Shepherd’s solo paved the way for the final act of the night.
Buddy Guy has never really lost it. He can still play guitar as well, if not better, as he did years ago. The tone of his guitar is warm and his charisma and control of the crowd are almost political. There is not much to say about Buddy Guy — especially after his onstage appearance with Billy Cox to play “Hey Joe” — that has not been said throughout the years. This show was truly wonderful and it is not one fans will forget for a long time to come.
Setlist: Stone Free, Message to Love, Freedom, House Burning Down, Can You See Me?, Power to Love, Ezy Rider, May This Be Love, Are You Experienced?, Purple Haze, Foxy Lady, Hear My Train a Comin’, Angel, New Rising Son, All Along the Watchtower, Fire, Spanish Castle Music, Gypsy Eyes, Come On (Let the Good Times Roll), Voodoo Chile, Voodoo Child (Slight Return), Who Knows, Louisiana Blues, Them Changes, Hey Joe, Red House
Enthusiastic fans filed into Albany’s Hart Theatre at The Egg on Sunday, March 30th, to view the ukulele virtuoso, Jake Shimabukuro. Since the age of four, the 38-year-old phenom proved to be very entertaining and a one-of-a-kind musician.
Shimabukuro showcased his lightning-fast and complex finger work at his opening show. Eventually, Shimabukuro was joined by electric bass guitarist Rich Glass for a few original tunes. Crowd favorites included “Gentle Mandolin,” and a stirring melody entitled “Blue Roses Falling.” During the second half of the show, Shimabukuro picked up the tempo a bit with an impressive “electric guitar” jam and the always famous cover of Queen’s “Bohemian Rhapsody.” Jake Shimabukuro offers his audience an experience that is both unique and entertaining.
Watch Jake Shimabukuro’s Ukulele performance right here