I wrote this the morning of March 20th, upon returning home from the Scotty Hard Benefit that I help put together at Highline Ballroom. I would have published it then, but I was too lazy to set up links at 5 in the morning. So without further ado, here's my thoughts on one of the best musical nights of my life, basically unedited from what I wrote that night.
_____________________________________
I'm too wound up to sleep just yet, still basking in the glow of a nearly perfect night. I don't even know where to start. I mean, what feels better: Putting on a successful show for a beautiful cause, or seeing most of your friends creating that show or enjoying that show, or creating or enjoying that show yourself. I got all of that tonight, and more. I was gonna say something from the stage, but I'm not really an on stage talking kind of guy. Plus, the musical statement was emphatically made, I could add nothing until now.
I need to offer so much gratitude to so many people. My crew, god, I came three people from my ultimate dream team. Liz Penta, Ina Jacobs, Jay Bau, Amy Davidson, Jon Dindas, Randy Taber, Chip Auchencloss, Bobby Haight, Bill Mulvey, Dave Campaniello, Gaby Kerson. Ina & Liz used to book CBs313 back in the 90's, where they met MMW. Ina taught Amy how to tour manage. Amy taught me. I taught Chip & Gaby. Randy taught me to mix. Bill & I have been recording bands for years. They worked their asses off for me today, for Scotty, and the show went off so smoothly because of them. Dave had a gig this morning at 4am. He didn't sleep, but came straight to Highline to work. Bobby & Chip drove nearly 300 miles yesterday to get backline. Bobby & Bill and Jon and I started at 8:30 am today & finished at 4. Chip went to his paid gig at 9am, put in 12 hrs there, then came to Highline and gave me another 7. Dindas is swamped running the show at Greenapple. He took the whole day and gave it to me. Gaby is becoming the female version of another protogige of mine, Bryan Aiello. I think of something, and she's already getting it done. They were all selfless, professional, giving and perfect and I couldn't have done it without them.
The Venue. Adam & Ron & Mike and the Highline gave so much. I've often said that The Highline is a great place to see a show, but a hard place to do a show. The parking sucks, the load in is tough, with one tiny elevator to get gear upstairs, and the size of the dressing rooms makes my apt look like a Malibu estate. However, with that said, they were perfect tonight. I called them 5 minutes after I got the idea to do the show, and 5 minutes later, they were fully on board. They donated staff, the room, 100% of the gross to the cause. They did EVERYTHING I asked of them, got their vendors to donate hospitality, feed us all catering, & packed the room. We sold 801 tickets in a 700 cap venue, and every cent after my minimal expenses went to Scotty. We raised over $30000 tonight. That's amazing!
The Musicians: Again, where to start? In Feb, when I came up with the idea, I just started calling the musicians in my phone. Almost to a man, nearly everyone said yes almost immediately. I had Medeski, Martin, Kraz, Neal, Marco, Joe, Tommy, Kevin, Steven Bernstein, Logic, John Ellis and Vernon within hrs of the idea. They called the musicians in their phones and the line up gelled perfectly. Cats were coming out of the woodwork. Roswell Rudd, Casey Benjamin, DJ Olive, Ben Perowski, guys I hadn't even considered, made surprise appearances. Guys I worked with but haven't seen in years like Leon Gruenbaum, Briggan Krauss, Dennis Diamond, lent an hand. Medeski got Sco & Laswell, and there you have it. Vernon called Nikki Galspie to play drums today, and she didn't hesitate. Everyone on that stage gave selflessly of themselves.
And then there's the show: I thought the performances ranged from great to outstanding to perfect to epic. Vernon sounded better than I've ever heard him, all tone and spaciousness and understatement, with none of the volume that sometimes undermines his work to my ears. The Logic, Sco & Medeski sit in during his set provided my first "wow" moment, and thankfully, it was the first of many. And speaking of Vernon, can anyone think of a more eloquent speaker to open the proceedings? His comments to start the night came from his soul, and his soul is pure and true and passionate and heartfelt. I thought he delivered brilliantly. I wanted to open poignantly, and Vernon provided the perfect vehicle.
Medeski, Sco, Martin & Rivard continued the trend, with Medeski percolating and Sco burning. Billy always sounds great, with perfect touch and control driving his playing, and while Rivard is no Chris Wood, he came prepared, and filled some big shoes with grace and talent. MOD went from being a bit of a pain in my ass to the perfect choice for act three as soon as they took the stage. Dark and psychedelic, I really dug their set, especially with Bernie funking it up. Ben Perowsky swung his ass off during the Ellington tunes that followed, and I loved that they played Scotty's arrangements. To have Brian Harding, Scotty's brother follow the music with his comments added even more urgency to the specialness of the moment.
I thought the Big Yes mini set also came off well, especially with the charts that Kevin wrote for Bernstein & the horns. Vijay's trio came to me as an unknown quantity, and left me a fan. I though Liberty Ellman on guitar gave Sco a run for his money. And then the maestro, Bernstein & Sex Mob. Flat out, I think the guy's a genius. He hears things that I can't comprehend, but once they get played, it makes perfect sense. While we're on the subject of perfect sense, let's consider Tommy's decision to have Jonathan Goldberger play pedal steel with him and Joe. I love the American Babies tunes already, but the stripped down setting and poignant steel weeping underneath kept me extra engaged.
Prior to Russo & Hamilton's Indigo Boys rendition, we played Scotty's message. At first I wasn't sure where the video was going, but once he spoke, I'm so glad we worked it in as an interlude. I can't imagine what his experience feels like, to have gone through what he's gone through, and I hope I don't ever learn. Andy from Ropeadope went and saw him today, and he couldn't express how much the events of tonight raised his spirits. I didn't know the extent of it until I heard him speak on that dvd tonight. Can you fathom what its like to be in his position and find hope and honor? It means so much to me that I got to play a role in providing him with those feelings, but I can guarantee you that what happened at Highline tonight meant a million times more to him than to anyone. "Beauty is not truth. Truth is not knowledge. Knowledge is not wisdom. Wisdom is not love. Love is not music. Music is the best."
Maybe by that point I felt like fate allowed me a little self indulgence. Whether it did or didn't, I got it. (And even if I didn't, the next few paragraphs are self indulgent enough.) Most everyone knows my history with Soulive and the Duo, and I'm not saying I planned exactly what went down, but I'm not saying I didn't either. Kraz & Marco & Neal sort of set it up, and I just sort of nudged it along. Neal had expressed to me that he wanted to play with Marco again in January, and Kraz has a gig with the Duo at Jazzfest. Who am I not to encourage such collaborations? Obviously, Aaron & Jake deserve full credit for creating Bustle, but I'll take full credit for Soulive's affinity for the Zep. Back in February '06, we had just come off the Dave Matthews cruise, and were touring in Florida. I had been trying to to get Soulive to play some Zeppelin for a while, but Neal wasn't into it. Knowing what I know, that the music that musicians listen to during the course of a day influences their playing that night, I just started playing a lot of Zeppelin around them.
We found ourselves at Freebird Cafe in Jacksonville, and as usual, Neal started sound check on Alan's drums. Our guitar tech Mikey was on stage getting Kraz's gear ready, and he started fooling around with the riff to The Ocean. Rather than vibing him out of it, Neal joined in, naturally demonstrating the near universal love we all share for Bonham. Sensing my in, I literally ran backstage and printed the lyrics for Reggie Watts. Kraz was always down for Led Zep, having already covered Out on the Tiles with his solo band in December & January just passed. Somehow, fate took my side: we got in early, and set up early, giving us enough time to turn a sound check into a rehearsal. With a little encouragement, and a little prodding, they began to tackle The Ocean. We played the tune through the stage monitors via Ipod, and the band worked at learning the song. It went from rough sketch to refined show stopper that day, and they played it live as their encore that night.
While Reggie never embraced the tune enough to learn the lyrics, instead relying on a cheat sheet taped to the stage, Soulive continued to play the shit out of it. When we were in FL, I knew that the Duo was slated to open for Soulive at UPenn in March. I rejoiced in the knowledge that I could get the bands together via Led Zeppelin, and we pulled it off twice. In Philly, Marco sat in with Soulive on Wurli for the Ocean, and a month later, in Northampton, the Duo played their own show downstairs at Pearl Street, presenting me with another opportunity. This time Alan started the tune, again with Marco on Wurli, and then yielded his kit to Joe to finish it. At that point, I knew I wanted to find a night that allowed all of them to play it. Tonight, we had enough backline to do just that.
Getting Deitch and Russo together at once again demonstrates how lucky I am, and I think tonight's results justify that notion. Alan couldn't make the benefit, although he was generous enough to donate his drums. Deitch was unavailable until Monday, when his schedule suddenly freed him up to play. The way it all happened at the Highline ended up giving me everything I wanted, and in a way that I feel like I might not even deserve. So many things linked to those two songs, and so much went just exactly perfectly to set it up. Russo wanted to do a Duo tune before the collaboration, and when Deitch became available, Kraz started thinking the same thing about him and Neal with Deitch. For me, it all added up to perfect. And perfect in this case was epic.
In my own head space, the set up is brilliant. Here we have two bands that I love, two bands that I identified at different times as my favorite bands playing. Not only did I get to work for both of them, but they became my friends. I plan Russo's birthdays, I cooked a sick dinner at Neal's last week (Proscuitto wrapped home made potato chips as an appetizer style), they're my boys. Sometimes we work together, sometimes we don't, but nothing changes who we are to one another. That alone feels beyond special. Tonight, everything played into my hands. We got Soulive (SoulDeitch anyway,) playing a Soulive tune. Then we got the Duo, augmented by Tommy as a mirror image, playing a Duo tune. And then, as if it was first a street fight, with both bands seeking supremacy, the two entities realized that they could not defeat each other. Instead, by joining forces, they could exceed the sum of their parts, and become a super band, melded into existence by the power of the mighty Zeppelin.
At that moment, with all of my hyperbole aside, I felt perfect. Standing in the middle of that power, watching my friends light up a room filled with my friends, all gathered to help a person in need, I felt blessed. Not just self aware blessed, as in "I'm so lucky to be here NOW," but ultra blessed, like "I'll never forget this event as LONG AS I LIVE!" I walked out into the room and shared it with Nicole, and then I went back up on stage and watched Deitch and Russo dig in, two of my favorite drummers, passing perfection back and forth. As far as I know, nothing on earth compares to that feeling. That moment required all 800+ people that filled that room, it required every occurrence in the preceding paragraphs to go exactly right. It required my crew, and that venue, and all of those musicians and all my friends. It even, worst of all, required Scotty's accident to happen. And if something so terrible must occur, I can only take solace in my own journey through life because I know for sure that sometimes tragedy can create magic. Maybe, just maybe, that magic is so powerful that it can overcome that tragedy, even just for a moment. Because of tonight, no matter what happens to any of us, I know in my heart that it can.
Post Script:
We all live and we all die. We bury our family and we bear our children. We grow, and we fail, we take pride and we feel regret. And every once in a while, we get a night like my higher power granted me tonight. I started with a cause, and it grew as skill and determination nurtured its seed. Poking through the earth, consoled with heartfelt words and compassion, maybe it decided to make a go at it. Rarely, those times actually flourish, and even rarer still, maybe that moment bears fruit. Tonight on that stage, I bit into the most succulent fruit life has to offer. Thank you all for helping me grow a tiny fragile seed into that magnificent experience. To taste it was both a humbling and deserved experience. To taste it required so many of us to give, and rest assured, I can only hold it in my heart as one of the greatest gifts I've ever received. Thank you.
Wednesday, May 14, 2008
Updating Some More From the Road
gets more difficult, apparently, because of all the time I've been spending on the road. But I'm home now, for a quick 3 week minute, & I've got some stories saved up for you. Hope you've been staying gold.
Wednesday, December 12, 2007
My response to: Finally, A Year-End List That Everyone Can Agree On…And Everyone Will Agree It Eats Shit
My way-too-in-depth response to a post on Hidden Track.
Sure, what I'm about to write lacks sophistication, but so too does the tale told by the lists in question.
The best-selling albums of the year, according to Apple:
1. Maroon 5 - Didn't hear it. Remembered that they opened for RANA at Wetlands once. Maroon 5's bass player cried that night. (NOT writer's embellishment.) Metzger punched him in the face. (Writer's embellishment.)
2. Amy Winehouse - Heard it, like it, like Sharon Jones better. Kinda bummed that a google image search of "coke whore" doesn't bring Amy up until page 3. We're all pulling for you Amy... You can do it!
3. Kanye West - Like him, didn't hear it. Probably won't try to hear it, in silent tribute to Evel Kinevel.
4. Daughtry - Who? I checked out their website and saw they played the Landmark Theater in Syracuse last - sure, a beautiful venue, but still, in Syracuse. As a Salt City native, I refuse to believe they're worth a shit. (Carrier Dome artists (Prince, GD, Stones & Springsteen among them,) are, of course, exempted from that opinion. Also, Central New York, Syracuse & especially Utica, is Phish Country, so they're exempt too, as are every band that I've worked for that played in Syracuse.
5. Colbie Caillat - Who x 2? One wasted trip to an unknown artist's website is enough.
6. Linkin Park - Didn't hear it. They have a DJ right? No offense to the DJ's I love & respect, but I gotta quote Supagroup: "You guys gotta DJ right? That's kinda like being good at the toaster. You know what? You... and your band... you FUCKIN' suck!"
7. Various Artists High School Musical - Didn't hear it. No further comment.
8. Timbaland - Didn't hear it. I really like JT though. Does that mean I'm still down?
9. John Mayer - Like him, didn't hear it. Little known fact [and the perfect tie in to my blog's stated purpose]: John Mayer LOVES Charlie Hunter. Remember when CH started playing Strat? Mayer sent him that Strat, for ser. I keep telling Charlie, "you should co-write some tunes with Mayer" But it hasn't happened yet. Tragic, really. I really think they'd come up with some tight shit. But what do I know?
10. Various Artists Hairspray - Didn't hear it. (No further comment.)
The best-selling songs of the year, according to Apple:
1. Fergie - “Big Girls Don’t Cry (Personal)” - Didn't hear it. But I'm not gonna hate. Everyone's all "butter face" (talk about lack of sophistication!) with Fergie - lighten up! I gotta say, I've hung with those guys and I know a few folks that have worked with them. Sure they got huge, but the egos are mostly in check. They're nice people, and as an employee of bands, that means something to me. Of course, this one time, their guitarist pretended to be another guitarist (also not writer's embellishment) to get laid, but hey...
2. Gwen Stefani - “The Sweet Escape” - Really like her, didn't hear it. Will try to seek it out, and with these lists, that says it all.
3. Plain White T’s - “Hey There Delilah” - Didn't hear it. Also: Who x 3?
4. Avril Lavigne - “Girlfriend” - Didn't hear it. This one time, RANA opened for Avril and since they were RANA, they were setting up their own gear. All the teenage girls up front started chanting "TAKE YOUR SHIRT OFF" to Ryan (I think) and once he did, they all went crazy. To paraphrase Steve Earl "I'll stand on Jimmy Page's coffee table in my boots, and tell him to his face that RANA is as ROCK N ROLL as it gets. And if Angus Young has a coffee table, I'll tell him the same fucking thing."
5. Fergie - “Glamorous” - Didn't hear it. See above.
6. Kanye West - “Stronger” - Didn't hear it. See further above. Viva Evel!!!
7. Maroon 5 - “Makes Me Wonder” - Didn't hear it. Did I ever tell you the story about the time that Metzger kicked their bass player's ass?
8. Akon - “Don’t Matter” - Didn't hear it. Also, who x 4?
9. Timbaland (featuring Keri Hilson & D.O.E.) - “The Way I Are” - Didn't hear it. Still like JT, though.
10. Shop Boyz - “Party Like a Rock Star” - Did the Pet Shop Boys shorten their name? Didn't hear it.
So what have we learned?
1. I'm completely out of touch with the taste of the American music buying public. (Another life goal accomplished.)
2. The music industry has finally eaten itself.
3. The model, as they have sought to preserve it, is dead. (Long live Radiohead.)
4. Maroon 5 is probably rich, but their bass player is a pussy and anyone from RANA can still kick all their asses.
I can live with that.
Sure, what I'm about to write lacks sophistication, but so too does the tale told by the lists in question.
The best-selling albums of the year, according to Apple:
1. Maroon 5 - Didn't hear it. Remembered that they opened for RANA at Wetlands once. Maroon 5's bass player cried that night. (NOT writer's embellishment.) Metzger punched him in the face. (Writer's embellishment.)
2. Amy Winehouse - Heard it, like it, like Sharon Jones better. Kinda bummed that a google image search of "coke whore" doesn't bring Amy up until page 3. We're all pulling for you Amy... You can do it!
3. Kanye West - Like him, didn't hear it. Probably won't try to hear it, in silent tribute to Evel Kinevel.
4. Daughtry - Who? I checked out their website and saw they played the Landmark Theater in Syracuse last - sure, a beautiful venue, but still, in Syracuse. As a Salt City native, I refuse to believe they're worth a shit. (Carrier Dome artists (Prince, GD, Stones & Springsteen among them,) are, of course, exempted from that opinion. Also, Central New York, Syracuse & especially Utica, is Phish Country, so they're exempt too, as are every band that I've worked for that played in Syracuse.
5. Colbie Caillat - Who x 2? One wasted trip to an unknown artist's website is enough.
6. Linkin Park - Didn't hear it. They have a DJ right? No offense to the DJ's I love & respect, but I gotta quote Supagroup: "You guys gotta DJ right? That's kinda like being good at the toaster. You know what? You... and your band... you FUCKIN' suck!"
7. Various Artists High School Musical - Didn't hear it. No further comment.
8. Timbaland - Didn't hear it. I really like JT though. Does that mean I'm still down?
9. John Mayer - Like him, didn't hear it. Little known fact [and the perfect tie in to my blog's stated purpose]: John Mayer LOVES Charlie Hunter. Remember when CH started playing Strat? Mayer sent him that Strat, for ser. I keep telling Charlie, "you should co-write some tunes with Mayer" But it hasn't happened yet. Tragic, really. I really think they'd come up with some tight shit. But what do I know?
10. Various Artists Hairspray - Didn't hear it. (No further comment.)
The best-selling songs of the year, according to Apple:
1. Fergie - “Big Girls Don’t Cry (Personal)” - Didn't hear it. But I'm not gonna hate. Everyone's all "butter face" (talk about lack of sophistication!) with Fergie - lighten up! I gotta say, I've hung with those guys and I know a few folks that have worked with them. Sure they got huge, but the egos are mostly in check. They're nice people, and as an employee of bands, that means something to me. Of course, this one time, their guitarist pretended to be another guitarist (also not writer's embellishment) to get laid, but hey...
2. Gwen Stefani - “The Sweet Escape” - Really like her, didn't hear it. Will try to seek it out, and with these lists, that says it all.
3. Plain White T’s - “Hey There Delilah” - Didn't hear it. Also: Who x 3?
4. Avril Lavigne - “Girlfriend” - Didn't hear it. This one time, RANA opened for Avril and since they were RANA, they were setting up their own gear. All the teenage girls up front started chanting "TAKE YOUR SHIRT OFF" to Ryan (I think) and once he did, they all went crazy. To paraphrase Steve Earl "I'll stand on Jimmy Page's coffee table in my boots, and tell him to his face that RANA is as ROCK N ROLL as it gets. And if Angus Young has a coffee table, I'll tell him the same fucking thing."
5. Fergie - “Glamorous” - Didn't hear it. See above.
6. Kanye West - “Stronger” - Didn't hear it. See further above. Viva Evel!!!
7. Maroon 5 - “Makes Me Wonder” - Didn't hear it. Did I ever tell you the story about the time that Metzger kicked their bass player's ass?
8. Akon - “Don’t Matter” - Didn't hear it. Also, who x 4?
9. Timbaland (featuring Keri Hilson & D.O.E.) - “The Way I Are” - Didn't hear it. Still like JT, though.
10. Shop Boyz - “Party Like a Rock Star” - Did the Pet Shop Boys shorten their name? Didn't hear it.
So what have we learned?
1. I'm completely out of touch with the taste of the American music buying public. (Another life goal accomplished.)
2. The music industry has finally eaten itself.
3. The model, as they have sought to preserve it, is dead. (Long live Radiohead.)
4. Maroon 5 is probably rich, but their bass player is a pussy and anyone from RANA can still kick all their asses.
I can live with that.
Monday, August 20, 2007
SOTW
Sitting in for Neddy....
Monday:
* Bouncing Souls @ Cha Cha's (Coney Island)
Les Paul @ Iridium Jazz Club
New Pornographers @ Bowery Ballroom
Permanent Me / Bedlight For Blue Eyes @ Knitting Factory
Tuesday:
Agent Double E @ Lion's Den
* Allman Brothers Band @ Jones Beach (Wantagh, LI)
Burnt Sugar / Trio S @ Zebulon
Dave Holland Sextet @ Blue Note
General Miggs / The Section Quartet @ Mercury Lounge
Jose Gonzalez @ Spiegeltent
Lucy Gallant @ Bitter End
Mocean Worker @ Nublu
Piebald / The Format / Reuben's Accomplice/Steel Train @ Webster Hall
Riverboat Gamblers / Valient Thorr @ Knitting Factory
* The Comas, Sam Champion @ Luna Lounge (Brooklyn)
Wednesday:
Allman Brothers Band @ PNC Bank Arts Center (Holmdel, NJ)
Dappled Cities / Via Audio @ Union Hall
Dave Holland Sextet @ Blue Note
Gabriella Caspi @ Rose Live Music
* Garage A Benevento @ Lion’s Den
Hopewell et al @ Maxwell's (Hoboken)
Indigo Girls @ Planting Fields Arboretum (Oyster Bay, LI)
Josh Ritter @ The Box
Meta And The Cornerstones @ Lava Gina Nellie McKay @ Joe's Pub
Pharoah Daughter / Pitom @ Zebulon
Rebirth Brass Band @ Highline Ballroom
* Sierra Leone’s Refugee All Stars @ BB King’s
The Aquabats @ Club Atlantis, Boardwalk @ Stillwell Ave (Coney Island)
Thursday:
* Codetalkers @ Rocks Off Concert Cruise Aboard the Half Moon
Dave Holland Sextet @ Blue Note
Death Of Fashion / Exitmusic / NYC Smoke @ Southpaw
Herbie Hancock @ Planting Fields Arboretum (Oyster Bay, LI)
Hopewell / Adam Franklin @ Cakeshop
Martin Sexton @ Rockin' the River Cruise
Monogold @ Galapagos Art Space
The Real Live Show @ Nublu
The Aquabats / MC Lars @ BB King Blues Club
Friday:
Baye Kouyate Et Les Tougaranke @ Zebulon
Beach House / The Papercuts / Tiny Vipers @ Union Hall
Camera Obscura @ South Street Seaport
Dave Holland Sextet @ Blue Note
Kind Monitor / Double Fantasy @ Pete's Candy Store
Lee "Scratch" Perry @ Rocks Off Concert Cruise
Los Straightjackets / Big Sandy @ Southpaw
Meta And The Cornerstones @ Knitting Factory
Michael Wolff @ Knickerbocker
Murphy's Law / Electric Frankenstein @ Luna Lounge
Squirrel Nut Zippers @ Highline Ballroom
* Sound of Urchin @ Rocks Off Concert Cruise Aboard the Half Moon
White Rabbits @ Sound Fix:
Saturday:
Asiko / Sublimator @ Zebulon
Dave Holland Sextet @ Blue Note
DJ Dara / Mousky @ Club Midway
DJ Liondub @ Cafe Noir: 2-6 pm
DJ Rekha @ Governors Island (located in Manhattan Harbor)
Kumabear @ The Tank
Laws Of Gravity / Deep In Vein @ Europa
Michael Wolff @ Knickerbocker
Reggae Carifest / Bounty Killer / Yellow Man / Mavado @ Randall's Island
* Sound of Urchin / Tragedy / Girls Girls Girls @ Cha Cha’s (Coney Island)
The Bicycats / Kelli Rae Powell / Pagoda @ Pete's Candy Store
The Mugs / Condo @ Union Hall
The Octagon / Nice Jenkins / Goodnight Gunfight @ Pianos
The Randy Bandits @ Banjo Jim’s
Sunday:
25 Ta Life / Memories Past / Caught In A Trap @ Club Atlantis (Coney Island)
AC Newman, Feist, Jim James et al @ Beacon Theater (benefit)
Beres Hammond / Luciano / Richie Spice / Morgan Heritage @ The Aviator, Floyd Bennet Field
* Clutch @ The Crazy Donkey (Farmingdale, LI)
Dave Holland Sextet @ Blue Note
FREE Fiery Furnaces @ Socrates Sculpture Park (Queens)
La Strada @ Zebulon
O'Death @ Spiegeltent
Talib Kweli / Mos Def / Dead Prez / DJ Evil Dee @ Nokia Theatre
* Pete’s Picks
Monday:
* Bouncing Souls @ Cha Cha's (Coney Island)
Les Paul @ Iridium Jazz Club
New Pornographers @ Bowery Ballroom
Permanent Me / Bedlight For Blue Eyes @ Knitting Factory
Tuesday:
Agent Double E @ Lion's Den
* Allman Brothers Band @ Jones Beach (Wantagh, LI)
Burnt Sugar / Trio S @ Zebulon
Dave Holland Sextet @ Blue Note
General Miggs / The Section Quartet @ Mercury Lounge
Jose Gonzalez @ Spiegeltent
Lucy Gallant @ Bitter End
Mocean Worker @ Nublu
Piebald / The Format / Reuben's Accomplice/Steel Train @ Webster Hall
Riverboat Gamblers / Valient Thorr @ Knitting Factory
* The Comas, Sam Champion @ Luna Lounge (Brooklyn)
Wednesday:
Allman Brothers Band @ PNC Bank Arts Center (Holmdel, NJ)
Dappled Cities / Via Audio @ Union Hall
Dave Holland Sextet @ Blue Note
Gabriella Caspi @ Rose Live Music
* Garage A Benevento @ Lion’s Den
Hopewell et al @ Maxwell's (Hoboken)
Indigo Girls @ Planting Fields Arboretum (Oyster Bay, LI)
Josh Ritter @ The Box
Meta And The Cornerstones @ Lava Gina Nellie McKay @ Joe's Pub
Pharoah Daughter / Pitom @ Zebulon
Rebirth Brass Band @ Highline Ballroom
* Sierra Leone’s Refugee All Stars @ BB King’s
The Aquabats @ Club Atlantis, Boardwalk @ Stillwell Ave (Coney Island)
Thursday:
* Codetalkers @ Rocks Off Concert Cruise Aboard the Half Moon
Dave Holland Sextet @ Blue Note
Death Of Fashion / Exitmusic / NYC Smoke @ Southpaw
Herbie Hancock @ Planting Fields Arboretum (Oyster Bay, LI)
Hopewell / Adam Franklin @ Cakeshop
Martin Sexton @ Rockin' the River Cruise
Monogold @ Galapagos Art Space
The Real Live Show @ Nublu
The Aquabats / MC Lars @ BB King Blues Club
Friday:
Baye Kouyate Et Les Tougaranke @ Zebulon
Beach House / The Papercuts / Tiny Vipers @ Union Hall
Camera Obscura @ South Street Seaport
Dave Holland Sextet @ Blue Note
Kind Monitor / Double Fantasy @ Pete's Candy Store
Lee "Scratch" Perry @ Rocks Off Concert Cruise
Los Straightjackets / Big Sandy @ Southpaw
Meta And The Cornerstones @ Knitting Factory
Michael Wolff @ Knickerbocker
Murphy's Law / Electric Frankenstein @ Luna Lounge
Squirrel Nut Zippers @ Highline Ballroom
* Sound of Urchin @ Rocks Off Concert Cruise Aboard the Half Moon
White Rabbits @ Sound Fix:
Saturday:
Asiko / Sublimator @ Zebulon
Dave Holland Sextet @ Blue Note
DJ Dara / Mousky @ Club Midway
DJ Liondub @ Cafe Noir: 2-6 pm
DJ Rekha @ Governors Island (located in Manhattan Harbor)
Kumabear @ The Tank
Laws Of Gravity / Deep In Vein @ Europa
Michael Wolff @ Knickerbocker
Reggae Carifest / Bounty Killer / Yellow Man / Mavado @ Randall's Island
* Sound of Urchin / Tragedy / Girls Girls Girls @ Cha Cha’s (Coney Island)
The Bicycats / Kelli Rae Powell / Pagoda @ Pete's Candy Store
The Mugs / Condo @ Union Hall
The Octagon / Nice Jenkins / Goodnight Gunfight @ Pianos
The Randy Bandits @ Banjo Jim’s
Sunday:
25 Ta Life / Memories Past / Caught In A Trap @ Club Atlantis (Coney Island)
AC Newman, Feist, Jim James et al @ Beacon Theater (benefit)
Beres Hammond / Luciano / Richie Spice / Morgan Heritage @ The Aviator, Floyd Bennet Field
* Clutch @ The Crazy Donkey (Farmingdale, LI)
Dave Holland Sextet @ Blue Note
FREE Fiery Furnaces @ Socrates Sculpture Park (Queens)
La Strada @ Zebulon
O'Death @ Spiegeltent
Talib Kweli / Mos Def / Dead Prez / DJ Evil Dee @ Nokia Theatre
* Pete’s Picks
Thursday, July 19, 2007
Ryan Adams + Neal Casal = Better Ryan Adams
This entry started out as a post on a message board that people actually read. However, as I composed my response, I realized that I wanted to address a topic that I held much closer to my heart than a shoot-from-the-hip response to a message board could convey. That message board's loss becomes your gain dear reader...
I spent some time on the road with Neal Casel years ago when he was playing with Shannon McNally. In short, my experience identifies him as a super individual and top notch musician; a player always at his best when he was most tired FWIW (which is a trait that I, though experience, associate with most incredible musical talents). It makes me very happy to see the role he's playing on stage and on record with Ryan Adams. Seems like Mr. Adams is pulling it all together on Easy Tiger, good for him. Looks like I'm gonna need to buy that one too.
Neal's quote re: playing on the record: "i mean really, after all these fuckin' years, to be on a top 10 record, it's like some insane cosmic joke. whatever, my mom is stoked, she told all the ladies at the bingo hall..." That kinda sums it all up, in the most perfect way possible. When we worked together, Neal always struck me a someone who could walk a seemingly impossible line of balance. Equally the disarming, self-effacing charmer that could utter the aforementioned quote with complete believability, Neal also, as I grew to know him well, became the rock star ideal that any of us in music, whether musician, fan, employee or groupie, come to idealize, maybe even idolize. He was the ring leader of a trio of leaders, equal parts friend, talent, counselor, teacher, student, trouble-maker & mediator. That time becomes even more amazing as I look back, because (bassist) Jeff Hill and (drummer) Dan Fadel also moved smoothly and authoritatively between those roles. As I became more experienced as a tour manager, I came to understand that such a band was an anomaly at best, and, in truth, a miracle. Surrounded by those guys and looking out for their needs evolved into much less of a job and much more of an honor. Each man taught me so much, shaped me more than they may ever know, and left me spoiled in a way that even the best of my subsequent positions struggles to match.
A favorite story from the road: When we toured with Shannon, we travelled with a record player on the bus, listening to the perfect analog captures of some amazing artists: Stevie, The Band, The Stones, ZZ Top, The Meters. Shannon's band, Neal among them, displayed the deepest reverence for real, well-crafted, quality music that I've ever come across. That attitude continues to exist as one I respect and learn from to this day. I, myself, went back far enough with The Band, at least nearly as far back as someone who just started to understand the nuances of 6 years of age around Thanksgiving '76 and The Last Waltz could go. Robbie left in '76, Richard died in '81, but I still saw Rick, Garth & Levon from the front row at SPAC in '93 (a story for another entry). I still ran listening to the great live version of "Get Up, Jake" from Rock of Ages in college.
I knew them well, or so I thought, until I spent time with Neal and Jeff Hill and Dan Fadel. Those records they played, and more importantly, the respect and love that they approached those records with, opened my ears and eyes to something I didn't realize existed. Shannon used to end many of her shows with a dedication to Levon Helm, singing "When I Paint My Masterpiece" in his honor, because at the time, Levon's throat cancer prevented him from singing anything. Those moments, that respect, that willingness to listen and learn and study to this day impress me about Shannon and her band. They took me to see the Last Waltz on the big screen in LA. They shaped my passing knowledge of Tom Waits into my current passion. They schooled me with ZZ Top's Tres Hombres, years before the talented Charlie Hunter ever allowed Billy Gibbons' raunch to creep into his bag of tricks. I learned about Jamerson and Motown's Funk Brothers and the legacy of Papa Funk and the Meters. They gave me Graham Parsons. (Check this low quality video of Neal & Ryan covering Hickory Wind.)
Even as I absorbed this flood of knowledge and appreciation, my own foundations grew stronger. I already loved Garcia's tone, but Neal taught me about the role played by Jerry's Gibson SG in shaping it. I knew of musicians' devotion to vintage instruments, but Jeff Hill handed me the 1st pre CBS Fender bass I ever touched. I learned enough about vintage drums from Dan Fadel to fight production managers over the preposterous statement that "Our backline DWs sound as good as his '67 Ludwigs". Were it not for Dan, I'd never know about the sweet sounds of Rogers kits, or what the hell a "Gretsch Round Badge" was. Finally, and its a fact that's definitely less pertinent to my (very few) readers, but they taught me the difference between thrift store fare, and vintage clothing. That might not strike you as important at all, until you realize that so many of my (and your) favorite bands, from local heros Sam Champion, to regional darlings The Slip and Apollo Sunshine, to national powerhouses such as the White Stripes / Rancantours, Wilco, Bright Eyes & Broken Social Scene draw their wardrobes from this same pool. To me, that fact alone simply illustrates a homage to the brilliance that preceded them. For all of those musicians working in the ream of real music, attempting to survive on their devotion to that art, that subtle difference plays a significant role in the vibe they want to create.
You can call it respect for the past, or maybe more optimistically, hope for the future. My point remains: without the time I spent with Jeff, Dan and Neal, I don't know where I would have found the passion, respect, knowledge, understanding and devotion I now hold for the incredible art, vision, expression and vibe that they helped introduce to me. For that fact alone, and for the friendships that continue to blossom whenever I get lucky enough to again cross paths with those 3, I remain eternally grateful. BTW, if such knowledge, respect and willingness to learn sounds like something that appeals to you, do yourself a favor and check out their band. If we lived in a different time (and its sad, at least musically, that we don't), you might dream about spending a Thanksgiving with them as they presented their own version of the Last Waltz, not as a final bow, but as a celebration of all that this writer, and I know many of you, love.
Its people like this that help me stay gold.
I spent some time on the road with Neal Casel years ago when he was playing with Shannon McNally. In short, my experience identifies him as a super individual and top notch musician; a player always at his best when he was most tired FWIW (which is a trait that I, though experience, associate with most incredible musical talents). It makes me very happy to see the role he's playing on stage and on record with Ryan Adams. Seems like Mr. Adams is pulling it all together on Easy Tiger, good for him. Looks like I'm gonna need to buy that one too.
Neal's quote re: playing on the record: "i mean really, after all these fuckin' years, to be on a top 10 record, it's like some insane cosmic joke. whatever, my mom is stoked, she told all the ladies at the bingo hall..." That kinda sums it all up, in the most perfect way possible. When we worked together, Neal always struck me a someone who could walk a seemingly impossible line of balance. Equally the disarming, self-effacing charmer that could utter the aforementioned quote with complete believability, Neal also, as I grew to know him well, became the rock star ideal that any of us in music, whether musician, fan, employee or groupie, come to idealize, maybe even idolize. He was the ring leader of a trio of leaders, equal parts friend, talent, counselor, teacher, student, trouble-maker & mediator. That time becomes even more amazing as I look back, because (bassist) Jeff Hill and (drummer) Dan Fadel also moved smoothly and authoritatively between those roles. As I became more experienced as a tour manager, I came to understand that such a band was an anomaly at best, and, in truth, a miracle. Surrounded by those guys and looking out for their needs evolved into much less of a job and much more of an honor. Each man taught me so much, shaped me more than they may ever know, and left me spoiled in a way that even the best of my subsequent positions struggles to match.
A favorite story from the road: When we toured with Shannon, we travelled with a record player on the bus, listening to the perfect analog captures of some amazing artists: Stevie, The Band, The Stones, ZZ Top, The Meters. Shannon's band, Neal among them, displayed the deepest reverence for real, well-crafted, quality music that I've ever come across. That attitude continues to exist as one I respect and learn from to this day. I, myself, went back far enough with The Band, at least nearly as far back as someone who just started to understand the nuances of 6 years of age around Thanksgiving '76 and The Last Waltz could go. Robbie left in '76, Richard died in '81, but I still saw Rick, Garth & Levon from the front row at SPAC in '93 (a story for another entry). I still ran listening to the great live version of "Get Up, Jake" from Rock of Ages in college.
I knew them well, or so I thought, until I spent time with Neal and Jeff Hill and Dan Fadel. Those records they played, and more importantly, the respect and love that they approached those records with, opened my ears and eyes to something I didn't realize existed. Shannon used to end many of her shows with a dedication to Levon Helm, singing "When I Paint My Masterpiece" in his honor, because at the time, Levon's throat cancer prevented him from singing anything. Those moments, that respect, that willingness to listen and learn and study to this day impress me about Shannon and her band. They took me to see the Last Waltz on the big screen in LA. They shaped my passing knowledge of Tom Waits into my current passion. They schooled me with ZZ Top's Tres Hombres, years before the talented Charlie Hunter ever allowed Billy Gibbons' raunch to creep into his bag of tricks. I learned about Jamerson and Motown's Funk Brothers and the legacy of Papa Funk and the Meters. They gave me Graham Parsons. (Check this low quality video of Neal & Ryan covering Hickory Wind.)
Even as I absorbed this flood of knowledge and appreciation, my own foundations grew stronger. I already loved Garcia's tone, but Neal taught me about the role played by Jerry's Gibson SG in shaping it. I knew of musicians' devotion to vintage instruments, but Jeff Hill handed me the 1st pre CBS Fender bass I ever touched. I learned enough about vintage drums from Dan Fadel to fight production managers over the preposterous statement that "Our backline DWs sound as good as his '67 Ludwigs". Were it not for Dan, I'd never know about the sweet sounds of Rogers kits, or what the hell a "Gretsch Round Badge" was. Finally, and its a fact that's definitely less pertinent to my (very few) readers, but they taught me the difference between thrift store fare, and vintage clothing. That might not strike you as important at all, until you realize that so many of my (and your) favorite bands, from local heros Sam Champion, to regional darlings The Slip and Apollo Sunshine, to national powerhouses such as the White Stripes / Rancantours, Wilco, Bright Eyes & Broken Social Scene draw their wardrobes from this same pool. To me, that fact alone simply illustrates a homage to the brilliance that preceded them. For all of those musicians working in the ream of real music, attempting to survive on their devotion to that art, that subtle difference plays a significant role in the vibe they want to create.
You can call it respect for the past, or maybe more optimistically, hope for the future. My point remains: without the time I spent with Jeff, Dan and Neal, I don't know where I would have found the passion, respect, knowledge, understanding and devotion I now hold for the incredible art, vision, expression and vibe that they helped introduce to me. For that fact alone, and for the friendships that continue to blossom whenever I get lucky enough to again cross paths with those 3, I remain eternally grateful. BTW, if such knowledge, respect and willingness to learn sounds like something that appeals to you, do yourself a favor and check out their band. If we lived in a different time (and its sad, at least musically, that we don't), you might dream about spending a Thanksgiving with them as they presented their own version of the Last Waltz, not as a final bow, but as a celebration of all that this writer, and I know many of you, love.
Its people like this that help me stay gold.
Saturday, May 26, 2007
John Morgan Kimock Rules Face
So I'm finally off the road after 5 weeks with Greyboy Allstars, a tour that was bisected by my 7th straight appearance at Jazz Fest. As such, I've got a second to breath and take a vacation (to Sasquatch and Hawaii!!!) before I jump back into to my next gig, Bonnaroo.
Scott Bernstein's piece over on Hidden Track about second generation rockers reminded me of this great John Morgan Kimock story from Jam Cruise earlier this year.
The Greyboys were my main gig on the boat, but Karl Denson also served as host of a super jam, and unlike most of the funk themed cluster fucks that pass for epic these days, Karl actually put some thought into this performance. Like the true professional he is, he worked on this slot, and I was right there at his side. He wrote charts, and I downloaded & printed lyrics. He made CDs and I tracked down the artists involved to distribute. He called meetings, and I made sure everyone made it on time. By the time we hit the stage post GBA on Saturday, I was convinced this would be no sad rehash of Chameleon and Cissy Strut. The song selection was brilliant, the musicians were prepared, (to the point that some had even taken the CDs to their rooms and shedded the tunes for hrs before the performance) and the line ups solidified. I mean we're looking at Stanton Moore, Raymond Webber & Yonrico Scott on drums, George Porter, Jr., & Tony Hall on Bass, Kraz, Fuzz & Ian Neville on Guitars, Ivan Neville and Robert Walter on Keys, Nick Daniels, Allison Lewis, Ivan, and Karl on Vocals, Mike D on Vibes and Percussion, The Dozen Horns (Kevin, ET & Roger) and the YMBFBBand Horns, etc, etc. It's pretty sick on paper, even if they did rehash Chameleon & Cissy Strut.
But the songs were as good. Obscure Roy Ayers tracks, Sly & The Family Stone classics and on and on. The set gets going and it's epic for real, straight out the gate. I'm helping sub people in and out, KD's got audience members holding up the charts, everything's proceeding according to plan.
And then, my favorite moment unfolds behind the musicians: John Morgan comes up on stage and he wants to play. Raymond, Stanton and 'Rico aren't convinced by the skinny 17 year old. He finally takes the stage left kit for the Roy Ayers song Everybody Loves the Sunshine. Raymond gives John some good natured shit, then finally pointedly asks, "Do you know the tune?" When John responds negatively, Stanton, 'Rico and Raymond kick him off the kit. Raymond and Stanton handle the cover, and Mike D kills the vibes solo adding another level to the set's success.
Kimock, refusing to be denied, continues to perp the sit in. The musicians in question finally relent, and he retakes drum throne stage left. Ring the bell, school's in session. I wish I could remember the tune, maybe Sly's Simple Song, but it doesn't even matter. Bottom line, it's John Morgan & Stanton on drums, immediately locked and laying down the groove. Raymond and 'Rico are standing behind John, flippin' out at his talent. Tony Hall turns around to see who's responsible for the nastiness, sees the kid, blinks and doubles his intensity. Shit's now cooking. I've been watching John play all week, and I knew his ability well. Even I must admit though that my prior knowledge didn't quite prepare me for the ease with which he took command.
And that my friends is the story of how John Morgan Kimock taught the old guard that he too, can rule your face.
The Kid's Gold:
Stay Gold Yourselves.
Scott Bernstein's piece over on Hidden Track about second generation rockers reminded me of this great John Morgan Kimock story from Jam Cruise earlier this year.
The Greyboys were my main gig on the boat, but Karl Denson also served as host of a super jam, and unlike most of the funk themed cluster fucks that pass for epic these days, Karl actually put some thought into this performance. Like the true professional he is, he worked on this slot, and I was right there at his side. He wrote charts, and I downloaded & printed lyrics. He made CDs and I tracked down the artists involved to distribute. He called meetings, and I made sure everyone made it on time. By the time we hit the stage post GBA on Saturday, I was convinced this would be no sad rehash of Chameleon and Cissy Strut. The song selection was brilliant, the musicians were prepared, (to the point that some had even taken the CDs to their rooms and shedded the tunes for hrs before the performance) and the line ups solidified. I mean we're looking at Stanton Moore, Raymond Webber & Yonrico Scott on drums, George Porter, Jr., & Tony Hall on Bass, Kraz, Fuzz & Ian Neville on Guitars, Ivan Neville and Robert Walter on Keys, Nick Daniels, Allison Lewis, Ivan, and Karl on Vocals, Mike D on Vibes and Percussion, The Dozen Horns (Kevin, ET & Roger) and the YMBFBBand Horns, etc, etc. It's pretty sick on paper, even if they did rehash Chameleon & Cissy Strut.
But the songs were as good. Obscure Roy Ayers tracks, Sly & The Family Stone classics and on and on. The set gets going and it's epic for real, straight out the gate. I'm helping sub people in and out, KD's got audience members holding up the charts, everything's proceeding according to plan.
And then, my favorite moment unfolds behind the musicians: John Morgan comes up on stage and he wants to play. Raymond, Stanton and 'Rico aren't convinced by the skinny 17 year old. He finally takes the stage left kit for the Roy Ayers song Everybody Loves the Sunshine. Raymond gives John some good natured shit, then finally pointedly asks, "Do you know the tune?" When John responds negatively, Stanton, 'Rico and Raymond kick him off the kit. Raymond and Stanton handle the cover, and Mike D kills the vibes solo adding another level to the set's success.
Kimock, refusing to be denied, continues to perp the sit in. The musicians in question finally relent, and he retakes drum throne stage left. Ring the bell, school's in session. I wish I could remember the tune, maybe Sly's Simple Song, but it doesn't even matter. Bottom line, it's John Morgan & Stanton on drums, immediately locked and laying down the groove. Raymond and 'Rico are standing behind John, flippin' out at his talent. Tony Hall turns around to see who's responsible for the nastiness, sees the kid, blinks and doubles his intensity. Shit's now cooking. I've been watching John play all week, and I knew his ability well. Even I must admit though that my prior knowledge didn't quite prepare me for the ease with which he took command.
And that my friends is the story of how John Morgan Kimock taught the old guard that he too, can rule your face.
The Kid's Gold:
Stay Gold Yourselves.
Wednesday, May 9, 2007
magic
I'm not sure exactly what's at work today, but there's something about it. Sometimes its snow in May, sometimes it makes me makeithappen77, sometimes its conversations on the beach overlooking the ocean about home buying and babies, sometimes its sitting on the bus playing Cornell, and tonight it was almost all of the above. Tonight it was hearing that someone somewhere thought Mike Andrews and Trey were the best possible replacements for Garcia. Tonight it was Karl dedicating a spacey, effects laden Check Out Your Mind "On the 30th anniversary...(to) the Grateful Dead, the masters of the freak out."
Sure, Cornell suffers under the microscope of over analyzing. But my friend Dros, Greyboy's FOH engineer, just postulated the perfect rebuttal to the nay sayers. As an engineer, he realizes, as I do, that the magic in music blooms from the fingers of the musicians in question. The haters cite the perfect mix of the 5.8.77 Betty Board as the reason behind it's popularity. But, as live sound engineers, we realize that we can only work with what the band provides. The magic of Barton Hall comes straight from the fingers and hands and talent of the musicians. The reason that so many revere the show is simply because the show should be revered by so many. It's perfection arises from it's perfection.
Really it doesn't matter to me. What I learned before and relearned again today is that May 8th brings magic. Happy 30th Boys.
Way to Stay Gold.
Sure, Cornell suffers under the microscope of over analyzing. But my friend Dros, Greyboy's FOH engineer, just postulated the perfect rebuttal to the nay sayers. As an engineer, he realizes, as I do, that the magic in music blooms from the fingers of the musicians in question. The haters cite the perfect mix of the 5.8.77 Betty Board as the reason behind it's popularity. But, as live sound engineers, we realize that we can only work with what the band provides. The magic of Barton Hall comes straight from the fingers and hands and talent of the musicians. The reason that so many revere the show is simply because the show should be revered by so many. It's perfection arises from it's perfection.
Really it doesn't matter to me. What I learned before and relearned again today is that May 8th brings magic. Happy 30th Boys.
Way to Stay Gold.
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