Dumpstaphunk last performed in the Empire State at the 2019 New York State Blues festival in downtown Syracuse. Later that evening, band members Tony Hall and Deven Trusclair kept the groove going at the Funk n Waffles club for a sit in on “Standing on Shaky Ground” by the Temptations that Funkadelic’s Eddie Hazel co wrote. A month later they opened for the Rolling Stones to 40,000 people in their hometown at the New Orleans Superdome.
Dumpstaphunk kicked off 2021 by releasing their first record in seven years, Where Do We Go From Here, which was just nominated in four Grammy categories. The band has been on the road promoting its sound this summer leading them up to a Labor Day Weekend of shows with Dave Matthews Band at Heavens Amphitheatre, The Gorge. All members of Dumpstaphunk sat in with DMB for Sly Stone’s “Thank You (Falletinme be mice elf again) and Peter Gabriel’s “Sledgehammer” to close the night.
Tony Hall sat in with the DMB as part of an alternate format the entire weekend on bass and vocals as well. He was reunited with Dave Matthews and Tim Reynolds on stage for the first time since their infamous Some Devil Tour in 2003. Dumpstaphunk will also be joining Dave Matthews Band at the World’s Most Famous Arena, Madison Square Garden, on November 12 and 13.
Dumpstaphunk @ Brooklyn Bowl, Photo by Russell Mangicaro III
All of this momentum could be felt on stage at Brooklyn Bowl on Saturday, October 23. Rotem Sivan Band opened the show as Dumpstaphunk hit the stage at 9:45 p.m., crushing their entire set for the Williamsburg crowd. Brooklyn Bowl founder, Peter Shapiro, appeared behind the curtain dressed as a pilot while the band took off on stage. Shapiro gave them a quick fist bump of delight after their tune “Itchy Boo.”
Come on lets get at it Brooklyn! Get up, Get down, Keep it stepping, keep it moving. Every band member was fully engaged with the Brooklyn Bowl crowd the whole set. Tim Reynolds told
If there was a clip that examples their on stave vigor, it would be from their performance of “Justice” (that features Trombone Shorty on the new album). Tony Hall took the electric guitar for a ride down the adjacent lanes to end the jam. New Orleans cats Ivan Neville, Ian Neville and Nick Daniels hit hard on Tower of Power’s “Soul Vaccination,” resonating with the New York crowd. I’m talking bout soul (soul vaccination) Everybody get in line (soul vaccination) Horns!
During the final song horn players Alex Wasily and Ashlin Parker made their way through the Brooklyn Bowl crowd for “Street Parade” to close the set like the Saints go marching in.
For the encore, the band paid tribute to legendary drummer and singer Buddy Miles. as his song “United Nation Stomp,” featuring Marcus King was nominated for a Grammy Award for best American roots performance.
In recording a new album, Tony Hall shed some light with NYS Music about the group’s creative process.
We recorded a bunch of these songs and didn’t finish them lyric-wise. Vocal-wise we can always change. It goes kind of like vice versa. We’re all a band that can sing and play too, ya know?
As Ghouls and Goblin Day (Halloween) approaches, Brooklyn punk outfit Surbort has shared a fittingly spooky new track aptly titled, “Happy Happy Halloween.” Released on October 21, the record is accompanied by a music video.
Halloween is our favorite holiday and we celebrate it everyday so we wanted to make an extra spooky song to celebrate the ghouls and ghosts,
front-woman Dani Miller said.
The track, originally imagined as a cover, morphed into a wacky original at manager and album producer Linda Perry’s encouragement.
Linda just started playing spooky Dracula noises on the keys and the rest is history,
Miller said.
The song is also a homage to Surbort’s favorite parts of Halloween. Based around the sinister children’s rhyme from Nightmare on Elm Street, each verse sees Surfbort celebrate pigskins, pumpkins, ghosts, and even “dead Santa Clause.” However, Surfbort also honors the sinister acts that inspire them, name-dropping goth icons like Bauhaus, Siouxsie and the Banshees and Sisters of Mercy.
Perry also directed the video for the track, featuring the band in outlandish, colorful Halloween costumes. With Miller morphing into a Harley-Quinn-meets-Joker character as the band-members appear in a rotation of costumes, with Bassist Nick Arnold as, Bob Ross, serving as a standout lookalike. The video employs every spooky trope in the book in a dramatic, tongue-in-cheek way, from grainy found-footage to severed limbs as drumsticks. Within all of the hooplah, what stands out is how much fun Surfbort is having. It’s not hard to believe Halloween is their favorite holiday.
“Happy Happy Halloween” is Surfbort’s first release since their latest album, Keep on Truckin, earlier this month. Guitarist Alex Kilgore described the album as encompassing
12 songs for a new world, a call to arms to blast love: a panacea to the corporate hellscape we live in.
Surfbort has two upcoming shows in the New York area, both in December. They will play TV Eye in Brooklyn on December 5th, followed by a show at The Mercury Lounge in NYC on December 6th.
Harlem-based rapper Princess Nokia performed a vibrant set at Irving Plaza in New York City on October 24th for one of the last domestic stops on her tour. Known for her high-energy performances and colorful stage design, Princess Nokia lived up to her reputation by giving the crowd exactly that.
As one of the more prominent female rappers in today’s pop landscape, Princess Nokia had no shortage of hits to run through, from old favorites like “Tomboy” off the 2016 project 1992 Deluxe, to the extremely popular “I Like Him” off the 2020 project Everything Sucks. Backed up by some stage dancers, she exemplified why these songs have been popular for so long, moving the crowd to the rapid rhythm and maintaining a breakneck pace.
Princess Nokia oozed charisma and charm on the stage, always interacting with fans between songs and making jokes. Between the rapid-fire rapping, dancing, banter, and screaming crowd, this concert was an absolute spectacle. The spectators were one hundred percent into her the whole time and before the concert even started, she peaked her head out on the balcony and the crowd screamed with delight. There was no shortage of electricity the whole set.
Princess Nokia’s tour has one more stop in Boston at Paradise Rock Club on Wednesday, October 27 before hopping overseas to Europe. You can see the rest of the tour dates here. Be sure to check out the full photo gallery below!
The latest release from Sean Rowe, The Darkness Dressed in Colored Lights, is not just a thrilling listen. From first glance, the project begins its journey with listeners through its arresting album cover. The thought-provoking artwork depicts a smokey, neon, opaque cloud appearing in a mountain crevasse above two travelers. The cloud feels an apt metaphor for the album; The Darkness Dressed in Colored Lights envelops you, taking you to places that are both painfully familiar and entirely enlightening.
Rowe recorded the album alongside producer, friend, and longtime collaborator, Troy Pohl. Working from Bon Iver engineer Brian Joseph’s studio in Eau Claire, Wisconsin, the pair aimed to tell Rowe’s stories. An “artist and nomad,” Rowe grew up in Troy, and first began playing locally in 2003. His long career has left him with a vast collection of tales from all corners of his heart. He shares them with heartbreaking clarity on Darkness.
Sean Rowe. Photo by Joe Navas
Rowe’s deep and husky voice brings to mind the classics of country and Americana, while simultaneously evoking the vulnerable tenor of Matt Berninger, frontman of The National. His spare and purposeful instrumentals absolutely grip you, letting his singular voice stand out. On the opening track “What Are We Now,” Rowe laments a disintegrating relationship. As the first song he recorded for the album, Rowe said he was dealing with a cold while in the studio for the track. He appreciated “ all the little imperfections. I knew my voice would never quite sound like that again…”
The track ends in a symphonic and strange collection of beeping noises and electric guitar whining. Over roughly 45 seconds, Rowe builds an ambient outro ending in a sound reminiscent of a Tibetan singing bowl, used for meditation.
His experimental use of ambient noises remains a theme throughout the album. But unlike some forays into ambient folk or electro-country, Rowe’s delicate production only amp up the emotional gut-punch of his songwriting. A dedicated naturalist and self-described forager, Rowe has often spoken of his deep connection to the forest and living close to the land. His dedication to the world around him is clear in the intuitive touches he adds to his music. Truly creating a world within a song, Rowe brings storytelling to a whole new level.
For its unique timbre, Rowe’s voice has incredible versatility. On “Gabriel,” where Jeremy Boetcher’s deep, reverberating upright bass makes the perfect partner, Rowe is an old-time blues poet. Meanwhile, “Little Death,” would easily get a summer Jones Beach crowd going, you can almost feel the ambient summer nights and the sloshing of Bud Light. Despite his versatility, Rowe seems most at home on his lowest notes, yet his higher ranges can be just as stunning. The mere cracks and vibrato in his voice singing “I know you feel me/When words don’t reveal me” on the outro record “Toast” is enough to bring tears to eyes.
The pattering beat of album centerpiece “Honey in the Morning” begs to be recounted around a campfire, hand-claps and all. Rowe said he was trying to capture something cinematic in the track, “a quality like a Kubrick or David Lynch film.” The ballad evokes the directors’ experimentation with the unknown perfectly. The chorus, “I know you’re a runner but I was hoping that I wasn’t right/ Honey in the morning turn to poison by tomorrow night” evokes a torrid love story while maintaining an air of mystery. The hypnotic instrumental, anchored by drummer Shane Leonard’s impossibly machine-like drumming, only adds to the uncanny quality. Eventually, an instrumental breakdown so good it’s not fair to spoil is the cherry on top.
Photo by Joe Navas
For its complex atmospheres and shifting genres, at the heart of Rowe’s beautiful album is emotionally raw songwriting. His words feel deeply relatable and completely personal. In “What Are We Now,” he sings of a lover that just won’t let him go.
When the apple of your eye/ is an oxidizing core/ You’ll be sighing at the moon/ While you’re pumping in the gas/ And you’re hoping that tomorrow’s gonna save your tired ass.
The scene, so familiar yet specific, is paired perfectly with the pained understanding that you love something that may be harming you. Rowe said a recurring theme in his songwriting is “the duality that I feel is in all of us. All the hidden parts, and all the guts that spill out when we’re faced with tragedy, adversity, or a broken heart.”
Darkness captures this duality with stunning clarity, vulnerability, and catharsis. Rowe’s lived-in stories speak of wreckage, recovery, and redemption. Elevated by the skilled instrumental and production work of friends and admired collaborators, each one is truly a gift.
Key Tracks: What Are We Now, Honey In The Morning, Toast
NEO Project crushed their set at The Upstairs on Friday, October 22 in Ithaca. NEO Project is a professional six piece, high energy dance band rooted in funky R&B grooves, Afro Cuban/Caribbean rhythms & jazzy, bluesy soul music. The members are music professors, a former Motown sideman and soul practitioners with years of experience.
Their eclectic repertoire will get you body movin’ with new arrangements of established hits and irresistible original party grooves. NEO Project reimagines some of the best funk, jazz and soul music out there, always delivering a powerful dose of deep pocket grooves supporting soulful melodies & juicy improvisation.
This band grooves hard as they weave irresistible R&B rhythms around Afro-Cuban & world beat syncopations. And they do it all on their toes as they re-shape their arrangements on the fly, vibing off the energy of their audiences.
Friday at the Upstairs NEO Project laid down the energy of the ’90s New York club culture. They covered “Groove is in the Heart” by Deee-Lite. The song came from a fan letter Deee-Lite sent with a demo to Bootsy Collins. The original track featured Bootsy Collins on bass, Maceo Parker on saxophone, and Fred Wesley on trombone, as well as a young Q Tip on backing vocals. The song made its way to the 1990 scene as a radio hit.
Drummer Adam Deitch from the funk band Lettuce told NYS Music this summer a similar experience with Bootsy Collins. Bootsy’s Instagram story featured a clip of him snapping his fingers whispering “keep that funk alive…keep that funk alive.” This inspired Deitch to sample the message. From here he immediately laid down a drum beat to Bootsy’s vocal tempo. The rest of Lettuce got in on the session and it was sent to Bootsy’s camp. He replied with delight and his signature bass line & vocals to boot that finished the collaboration.
NEO Project stands on the same “Shaky Ground” as many other live New York performances. When Bob Weir of the Grateful Dead played Syracuse Landmark Theater in November 2018, his wolf pack trio covered “Standing on Shaky Ground” by The Temptations which is co written by Eddie Hazel of Funkadelic, “ever since you put me down.”
When Tony Hall of legendary New Orleans band Dumpstaphunk played the 2019 New York State Blues festival he made his way to Funk N Waffles after the performance. Tony and Drummer Deven Trusclair were able to to sit in with the house band for “Shaky Ground” as well. NEO Project brought the same energy with their take on the classic throwing some Stevie Wonder Halloween Superstition spirit at the end.
The NEO Project kept the audience on the same beat, all stopping on the 1 and ending on time to close the show Friday. The Upstairs crowd all fell in line like Thriller.
NEO Project Touring Act: Elly Holiday: Vocals, Jimbo – lead vocals, Prof. John White – keyboards & vocals, Franklin Henry Jr. – 5 string electric bass, Mike McCoy – drums, Dwight Carroll – guitar & vocals,
NEO Project – The Upstairs Venue, Ithaca, NY – October 22, 2021
10:30pm
Gentle Thoughts/Lovely Day 106 G Ji Dw/El Herbie Hancock /Bill Withers
I Was Made To Love Her 076 Db El/Ji Dw Stevie Wonder
Come Together 090 C- Ji/El Dw The Beatles
Tennessee Whiskey 067 A/C Ji/El Chris Stapleton
Stir It Up/3 Lil’ Birds/Bend Low 176 A Dw/Ji El Bob Marley
Make Me Feel 115 E El Ji/Dw Janelle Monae
Fire 124 A Ji/El Bruce Springsteen, Des’ree
Higher Ground 127 E El Stevie Wonder
11:30pm
Brown Eyed Girl 152 Ab Ji Van Morrison
Valerie 106 Eb El Amy Winehouse
Ain’t Too Proud To Beg 115 Bb Ji The Temptations
Crazy In Love 095 F El Ji Beyonce
Seven Nation Army 112 E Ji Jack White
Groove Is In The Heart 121 G El Deee-Lite
I Got You (I Feel Good) JB 144 Bb James Brown
Uptown Funk 115 D- El Ji/Dw Bruno Mars
12:25am
Addams Family Theme 126 Bb Ji All
Killing Me Softly With His Song 093 E- El The Fugees
Shaky Ground/Superstition 094 E Ji/El Temptations/Stevie Wonder
Georgia native TORRES returned to her current city of residence, New York City, on Thursday, October 21st for one of the last stops on the North American leg of her tour. Making an appearance at Bowery Ballroom, TORRES played several songs off her most recent LP Thirstier, in addition to several fan-favorites from her previous projects.
TORRES at Bowery Ballroom, 10/21/21. Photo by Kunal Khunger
With Thirstier having been released back in July of this year, the songs from it were very fresh in the crowd’s minds. They enthusiastically sang along to songs like “Don’t Go Puttin’ Wishes in My Head” and the title track “Thirstier.” The crowd energy was infectious and it was impossible not to move a little bit and lose yourself in the great instrumentation of it all.
TORRES at Bowery Ballroom, 10/21/21. Photo by Kunal Khunger
As it has been a common thread amongst many performers I have watched recently, TORRES was visibly emotional performing for a sold-out crowd in NYC for the first time in so long, due to COVID-19. She said multiple times that she was close to tears and was just astonished by how good it felt to play in her city again. TORRES interacted extensively with the crowd and it was obvious that this was a very devoted fanbase.
TORRES at Bowery Ballroom, 10/21/21. Photo by Kunal Khunger
TORRES’s tour has one more stop in Brooklyn at Baby’s All Right on Thursday, October 28th before hopping overseas to Europe. You can see the rest of the tour dates here. Be sure to check out the full photo gallery below!
Spoon orchestrated a six show, eight-day “min tour” to prepare for their “Back to Life” live stream from Los Angles at the end of October. The tour, isolated to the Northeast, included a stop at The Capitol Theatre in Port Chester, NY.
Spoon’s set began with the somewhat dark “The Beast and Dragon, Adored.” The song afforded the band the opportunity to pull the audience in close before engaging them in a full on rock offensive. Lead singer and founding member Britt Daniel took his position guiding the charge. But at times during the set, Daniel could be seen dropping to his knees or catapulting into full flight as if the songs were giving the commands.
Spoon
Stage right Alex Fischel was no shy puppy. Oscillating between guitar and keyboards (and occasional percussion), Fischel would at times be hidden away in the crux of his set up and then erupting into full on guitar assaults with a maladroit style all his own. Jim Eno, the other founding member of Spoon, set the pulse for the band with his drumming, enabling the band to take music in the direction it wanted to go in.
Since starting in 1993, Spoon has amassed a trove of songs in their gig bag. The set was comprised of fifteen songs including: “Don’t You Evah,” “Do You,” and “I Turn My Camera On.” The encore found Daniel and Fischel alone on stage isolated in spotlights as they harmonized on John Lennon’s “Isolation.” The band joined mid way and performed three additional songs, closing with “Rent I Pay.”
Spoon at The Capitol Theatre
Supporting Spoon on this whiplash of a tour is Nicole Atkins. Her brassy rock and roll swagger makes her a perfect opening act. Sporting a blond wig, Nicole strapped on a guitar for most of her time on stage. Rocking through her catalog she was backed by an ad hock band created for this tour. Currently living in Nashville, Atkins is Jersey born and bred. She cut her teeth in the Asbury music scene and her take no prisoner demeanor confirmed that. Giving acknowledgement to her rock and roll mentors, Nicole and band finished out with Led Zeppelin’s “What is and What Should Never Be.”
Nicole Atkins
Being such a short tour, those that had the opportunity to catch this combination of acts are much the richer. Better yet, being a precursor to the live stream from L.A., Spoon fans have much to look forward to.
Eric Gales brought his incredible five-piece touring band to the Homer Center for the Arts on Monday, October 18, 2021. Gales starts his shows in a similar manner on the microphone by himself discussing the hardships he and all of us have taken on over our lifetime. Eric told the crowd, “If you haven’t cried the blues the past 18 months then god forgot to pass you out a soul.”
Photo by Out Loud Pictures, LaDonna Gales, Eric Gales, Nick Hayes
From this angle, Eric began his performance on the acoustic guitar talking about the same blues that his grandfather had. His grandfather used to play with Howling Wolf and Muddy Waters. Gales said he wanted to spread the spirit and the inspiration his grandfather instilled in him. During the fitting titled “Grandaddy Blues,” the rest of the band appeared behind him on stage following suit to the groove. On percussion and backing vocals was his wife, LaDonna Gales, Nick Hayes on drums, and on bass from Brooklyn, Nil Jones.
Photo by Out Loud Pictures, Eric Gales band
Eric made sure the microphones and sound were on point chuckling at the familiarity of its resonance in an old church. Gales is no stranger to Jimi Hendrix’s electric church. Eric was part of the cast touring with Jimi’s bassist Billy Cox, the jellyfish Buddy Miles on drums, and Stevie Rays’ Chris Layton for the “Experience Hendrix Tour.” Robert Ranndolph was there too,
He even educated the crowd that Jimi played a right handed guitar but strung it left handed. For clarification, Gales and bassist Nil Jones were playing completely upside down and backwards. So naturally as a salute they played Gales original “Southpaw Serenade.”
In between songs, Gales inner tales were serenading the crowd to a wide range of stories. From his funk playing days in Minnesota that caught the eye and ear of the legendary Prince to his overall approach on life. Eric told the crowd “I believe laughter and music are the best forms of communication and medication.” Gales took one four-minute break the whole night, while Jones helped rattle the brick inside Homer for a bass solo.
Gales returned to the stage fired up saying, “I’m getting tuned up I feel a sermon coming on, it’s been far too long.” At the end of a two and half hour performance, Eric treated the crowd to a bouncy funked up version of “Voodoo Child” that led to a blended jam of Led Zeppelin’s “Kashmir” and AC/DC’s “Back in Black” to remind the audience it is still Rocktober. Tony Hall told NYS Music after seeing Gales footage, “Hes a bad mother fucker”
Jimi Hendrix once said “When I get up on stage -well, that’s my whole life. That’s my religion. My music is electric church music.” Robert Cray looked to the ceiling at the Homer Center for the Arts last month during his performance and said “Jimi Can you hear me?” Eric Gales and his band channeled the same energy on a stormy Monday to start the week at the electric church in Homer.
Ana Popovic crushed the European leg of Experience Hendrix and The Center this year. Samantha Fish killed at the center Wednesday November 3rd. Mississippi’s Christone “Kingfish” Ingram took the Delta Roads from Mississippi to Homer, New York the night before Samantha. They are all blues disciples.
NYS Music loved that Eric started the week in Homer to only link up with Gary Clark Jr On “When my Train Pulls in” down the road in Greensboro. Flotations groovy I said a jelly fish will tell ya that. NYS Music agrees with Santana on Gales…its all a piece of the blues disciples history. Tony Hall and Arsenio Hall said it best “Yea he’s bad”
This weekend marks the anniversary of some of the greatest music ever performed by Derek and the Dominos, which happened to take place at the iconic Fillmore East in New York City. Although the band does have one studio album to their credit, Live At The FIllmore East may be their crowning achievement in terms of audio recordings.
This is an incredibly easy to listen to album, one that combines original Dominos songs and Eric Clapton tunes with a splash of cover songs mixed throughout. Derek and the Dominos was a band that, essentially, came together during the recording of George Harrison’s first solo album All Things Must Pass. And while their shelf life may have been short, thanks to this album their legacy will live on forever in a very positive way.
The band wastes no time getting into an immediate early groove for the album-opening “Got To Get Better In A Little While.” A song that was planned for the band’s second studio album that never came to fruition, it features Clapton and Bobby Whitlock going riff for riff on guitar and piano, respectively, in a tasteful jam that stretches out to nearly 14 minutes in length. Whitlock adds some nice vocal harmonies as well as the chorus rounds back into place with the music picking up a collective head of steam.
This first track was pulled from the opening night of music on October 23. Here’s a taste of the October 24 version that didn’t make the album cut.
For the next number, this time drummer Jim Gordon and Whitlock kick things off on “Why Does Love Got To Be So Sad?” Eventually, Clapton gets his guitar’s wah pedal going in full force and a crisp little jam ensues before the first word is ever sung. This is the first of many songs pulled from the group’s epic Layla And Other Assorted Love Songs album that would be released just weeks later. Co-written by Clapton and Whitlock, who again adds some impeccable backup vocals, it’s another one of the longer tracks on the album thanks to a whirlwind jam that never lets off the gas pedal, ably fueled by Carl Radle on bass. After coming a to head, the band shifts the tone into a much quieter, bluesy one for several minutes before the chorus comes back around one last time. The Fillmore crowd demonstrably shows their appreciation to the Dominos after this one.
This helps set the tone for “Key To The Highway,” a cover of an old blues standard that dates back to the 1940s. Clapton takes center stage and shows why he’s considered one of the great blues players of this generation, delivering one stinging guitar lick after another. Another Layla song, this one made it onto the album by pure happenstance. Allegedly Clapton and Duane Allman, who was prominently involved with the album’s studio recording – playing on 11 of the 14 tracks, heard the song being played in a neighboring studio and decided to play along to it. “Blues Power” slides in perfectly behind this, a song that appears on Clapton’s first solo album that Leon Russell helped write. These last two blues-heavy numbers are both taken from the October 24 recording.
The first of this two-disc releases out first with “Have You Ever Loved A Woman,” another blues cover that found its way onto Layla. This one is even slower and “bluesier,” if that’s possible, with the tempo never going past a slow shuffle. Clapton lets both his vocals and guitar do all the singing on this one while Whitlock adds some delicate piano fills throughout. Then “Bottle Of Red Wine” wraps up the first part of the album, another rollicking, blues-infused song that Clapton navigates with ease, with Whitlock jumping on the organ for assistance now.
The second half of this iconic albums begins with “Tell The Truth,” another Clapton-Whitlock collaboration pulled from Layla. The two essentially share lead vocals on this fun little number that ebbs and flows with emotion and soul. Once the vocals are out of the way, Clapton reverts back to rock legend mode and lays down a tremendous solo, spearheading one of the longer jams of the album. Up next is another sterling cover of a blues standard. This time it’s “Nobody Knows You When You’re Down And Out,” originally written by pianist Jimmie Cox in 1923. Clapton’s bluesy drawl is backed perfectly by Whitlock and Gordon on piano and drums, respectively.
The Dominos then return to their own catalog with “Roll It Over.” While it wasn’t on the original Layla release, it did make its way on to the 40th Anniversary Deluxe reissue. It’s a classic rock number the sees Clapton explore a few different tones in his guitar play during a steadily progressive jam. The Fillmore crowd immediately recognizes the next song as “Presence Of The Lord,” made famous by one of Clapton’s former bands, Traffic. It’s the only Traffic tune on the album, but the Dominos do it justice as a mellow, laid back composed section gives way to a rapid, intense sequence of music before reverting back.
The final three tracks of Derek and the Dominos: Live At The Fillmore may be one of the best three-song sequences of the album, and, naturally it contains a pair of incredible covers. The first of these is Jimi Hendrix’s “Little Wing.” Whitlock’s organ fills give this cover more than a soulful feel as both he and Clapton take care of the vocals with ease. Not one to be outdone, Clapton then delivers a few bars of a psychedelic guitar solo that serves a truly fitting homage to the great Hendrix who passed away barely a month before this performance in 1970.
This jaw dropping cover is followed by what very well may be the best track on the album, a scintillating and exploratory “Let It Rain.” It’s the last of three singles from Clapton’s solo album and the Dominos stretch this one out and then some. Clapton and Whitlock go tit-for-tat with each screaming out, “Let It Rain” in succession towards the end of the composed section. Afterwards, all hell breaks lose starting with one more mesmerizing run by Clapton on the fretboard as the rhythm section just tries to keep up. Eventually, Clapton switches from wailing guitar mode to a heavy, funked out “wah” effect, taking the jam to another level. This eventually gives way to a Jim Gordon drum solo that goes on for well more than four minutes before the guitar finally reenters the mix. After a few more minutes of some fun Gordon and Clapton call and response interplay, the band explodes back in the chorus emphatically. It’s by far the longest track on the album, and arguably the most enjoyable as the “beautiful” Fillmore crowd (so labeled by Clapton at song’s end) would surely attest.
The album then closes with the last cover song of the evening made famous by another one of Slowhand’s former bands. This time it’s the great Robert Johnson’s “Crossroads,” although, in fitting with the tone of the album, it’s a much slower and soulful take than the version Cream made famous. It allows for one last great Clapton guitar solo which ends the album in grand fashion and serves as the last reminder of one memorable two-night run by Derek and the Dominos at the Fillmore that took place, truly, at the height of their powers.
This album is available to listen in its entirety on Youtube here. Also, be sure to check out the video below of all the great songs and outtakes that didn’t quite make the final cut.
Derek and the Dominos Live at the Fillmore East – New York, NY October 23 & 24
Renowned jazz musicians Robert Glasper and Terrace Martin began their annual October residency at Blue Note Jazz Club at the beginning of this month. If the other shows have been anything like the one I attended on the night of Wednesday, October 20th- crowds have been in for an absolute treat.
Robert Glasper at Blue Note Jazz Club, 10/20/21. Photo by Kunal Khunger
Glasper and Martin have been two of the most prolific popular jazz musicians working today, having done a range of production work for a range of artists, like Kendrick Lamar, YG, Mac Miller, Anderson Paak, and many more. That doesn’t even include their solo albums or their super-group Dinner Party, which includes other legends Kamasi Washington and 9th Wonder. Their work has reached critical acclaim within the jazz community, leading them to have a wide-reaching influence.
Terrace Martin at Blue Note Jazz Club, 10/20/21. Photo by Kunal Khunger
The chemistry was apparent between the two. Glasper and Martin cracked jokes for much of the night, talking about their upbringing and how they both have been friends since they were teenagers. One particular funny story was how Martin inadvertently got himself replaced on the piano parts of Kendrick Lamar’s To Pimp a Butterfly by Glasper. The vibe of the show was very easygoing. I felt like I was eavesdropping on a bunch of friends just jamming out.
Robert Glasper at Blue Note Jazz Club, 10/20/21. Photo by Kunal Khunger
Glasper and Martin performed a tribute to Herbie Hancock and some material off of their Dinner Party project, but then were shortly joined by a special appearance from Denzel Curry, a prolific rapper from Miami. Denzel joined everyone else in cracking some jokes and performed some songs off of his Unlocked collab project with Kenny Beats. Curry’s music is usually fairly high energy, so it was really interesting to see him perform in a more relaxed environment. He even commented how unusual it was for him to be performing while sitting down.
Denzel Curry at Blue Note Jazz Club, 10/20/21. Photo by Kunal Khunger
Right when the crowd settled down, Denzel Curry introduced another special guest: Brooklyn’s very own Joey Bada$$. The crowd immediately went into a frenzy, while Joey performed a few songs and joined in on all the jokes the whole group was having. One particular highlight was when both Joey and Denzel free-styled off of a lone baseline for fifteen minutes, back and forth.
Joey Bada$$ and Denzel Curry at Blue Note Jazz Club, 10/20/21. Photo by Kunal Khunger
The show was great and if anyone has a chance to go check out a show, please do so. Robert Glasper’s residency continues all October, with more dates listed here. Be sure to take a look at the full photo gallery down below.
