Showing posts with label THE STAGE HECKLER. Show all posts
Showing posts with label THE STAGE HECKLER. Show all posts

Friday, November 13, 2009

THE STAGE HECKLER: Gin Blossoms' Greatness Goes Beyond the Music

What you see here is the set list from tonight's live performance, courtesy of the Gin Blossoms. I grabbed it at the end of the gig, much to the amazement of 20 onlookers with the "I didn't know you could do that!" look on their face.

Grabbing the set list is the ultimate souvenir in many ways. It's hand-crafted by the band for just that show (printed from a computer, but you know what I mean), and typically reveals quirks or things they were considering playing that they didn't, such as the "Cajun Song" that you see on the list...and if you're lucky, and it was on the ground, you might get the guitarist's shoe print on it...or someone's spit. Or worse.

I'm always amazed how many other attendees don't think to ask, as tonight I was the only one inquiring to a roadie about it. He nodded, knelt down in front of where guitarist Jesse Valenzuela had been playing on stage right, removed the tape, and handed it over. No problem. I think that's the fourth set list I've been part of grabbing...there was Live in 1994, Matthew Sweet in 1996, Ratt a couple weeks ago, and now the Gin Blossoms.

Now let's talk about the band.

They might be touring the casino circuit these days, and they might be leaning heavily on material from their signature album, 1992's New Miserable Experience, for their live set...but this band from Tempe, Arizona -- now going on 20 years strong -- are survivors.

The sound of the Gin Blossoms is timeless in some ways, but also heavily rooted in the Tempe bar scene of the late 1980s & early 90s around the Arizona State campus. I should know, as I was attending ASU during those exact years that the Blossoms flourished from bars like Long Wong's, which has sadly since been demolished as Mill Avenue literally erased any sign of its history block after block (when Tempe whored out what remained of its soul to development interests in the late 90s -- Long Wong's...Bandersnatch...Cannery Row...the list goes on -- but that's a long story for another day). They'd also play local frat houses until they turned into a worldwide touring act. I had the pleasure of seeing them perform at several parties back in the day.

Seeing them live tonight conjured up many of the influences from back in the day that one might overlook, but are rather obvious if you know their music. The Stones and R.E.M. seemed to be the most obvious...the interplay between the two guitarists, Jesse Valenzuela and Scotty Johnson, echoed elements of the duo of Keith Richards and Ronnie Wood. Lead singer Robin Wilson seemed to have a mic & stage style in the likeness of Michael Stype. He handed his tambourine to someone in the audience to play along, and sang into someone's cell phone on a couple of occasions. It was amazing how much he sounded like Elton John when they played "Rocket Man" in the encore.

The Blossoms are one of those bands born to play live. They shine and thrive in the live setting, and very much have a live sound even in their studio recordings.

In their early days, there were years of hiccups, false starts, and the difficulty of getting known beyond the Tempe scene. Between the long frustration of trying to get on with a major record label, losing their co-founder /guitarist /main songwriter Nicky Hopkins to alcohol and eventually a suicide in 1993 (as the melancholy lyrics and feel of Experience reveals much of his illness), and after surviving a breakup in the late 90s, these guys appear to be back and stronger than ever. A new album is due out in 2010.

The most impressive thing about this band, however, is their character and heroism...which comes from an incident that occurred in 1994. Every August, when students start the fall semester at ASU, a popular activity is to raft down the Salt River. Unfortunately there can be lots of accidents on the river, and to/from the river, caused by drinking or recklessness. That fall, a female student was severely injured in a motorcycle accident enroute to the river and didn't have medical insurance...so while she lay recovering in a local hospital, the band got together to put on a benefit concert at Long Wong's bar in Tempe. The result was thousands of dollars raised through donations to help pay for the girl's medical bills...and remember, this is 1994...interesting context to current times.

If that isn't the mark of greatness, I don't know what is. The music of the Gin Blossoms is timeless and a personal sentiment, as they are part of the soundtrack to some incredible and memorable college years...but I believe it's that single act of thoughtfulness and heroism that defines them.

Tuesday, November 4, 2008

THE STAGE HECKLER: Cecil Taylor = Freeform Genius

When I glanced at the calendar to see who was passing through town for the Earshot Jazz Festival some time back, the one performer that caught my eye as a must-see was the legendary free jazz pianist Cecil Taylor.

Last week presented a rare opportunity to see him perform as a solo pianist at Seattle's Town Hall, and perform the free jazz magic ball of yarn he's spun throughout a career spanning over 50 years...that's right, 50.

I arrived about a half hour prior to show time, and caught myself a second row seat at stage right, so I'd be able to see what he was doing with his hands.
Not long after 8PM, the director of the Earshot Jazz Festival gave his introduction.

To thunderous applause, a shorter man then shuffled onto the stage with a folder of papers, sporting a black button down dress shirt, blue pajama pants, and rainbow colored foot stockings.
He gave a short nod of acknowledgment to the audience as he shuffled through some paperwork, standing over the side of the Steinway grand piano onstage.

He then proceeded to read...and my brain cells started to fry like sausage on a griddle.


Cecil Taylor started shouting what sounded like various numbers, and at first came across as someone with Teret's. He then morphed into a diatribe for about ten minutes about mathematical definitions, Western metaphysics, and other theories that were barely understandable through his machine gun rate of speech...somewhere in there he also spoke of the definition of velocity. This went on for about 10 minutes.

I soon figured out that he was framing the tone for the show, especially for those who weren't familiar with his work...he was explaining to the audience that his theory on the piano involved partly that of mathematics; a concept first brought out by jazz pianist Thelonius Monk in the 1940s, and furthered by Taylor and some of his peers in the avant garde free jazz movement of the 1960s.

One might say he brought all that magic out of the top hat last night.

For more than an hour and a half, Taylor led the audience through the most dynamic and dramatic free form piano improvisation that anyone could ever serve witness to.

It's hard to describe the piano work of this man...but the one concept that keeps coming back to me is this: unadultered freedom.

He did not speak to the audience, nor announce the titles to any of the songs; perhaps because they had no real titles. His work on the keys is all about improvisation; it spanned from blinding fast movements across the piano keyboard to light delicate textures emphasizing the space between notes...then back to dramatic pounding.

Taylor's style features an ebb and flow quality...he binds mayhem together with tonal passages and patterns. One can pick up on the different movements tying it all together...

...but it requires your undivided attention.


In all, Taylor put together a 40 minute passage, flanked with two passages of about 15 minutes apiece. He then came out for two encores spanning about 10 minutes apiece. At the end of the regular set and both encores, he bowed to the audience as they showed him the great appreciation this legend deserved.

Needless to say, my brain felt like mush by the end of all of this. It was -- hands down -- the most exhausting musical exercise on my senses that I've ever experienced.

Wednesday, October 22, 2008

THE STAGE HECKLER: Neil Young inspires the Everett faithful

Neil Young is a GOD. It's that simple.

I don't think I've ever seen a
performer more passionate about his music than Neil Young...and from all accounts, he bestows to his fans the same guts as a man approaching his mid-60s that he did 40 years ago.

This was my second Neil Young concert. I was four rows back from the stage last nigh
t at Comcast Arena in Everett, Washington....about 20 miles north of Seattle, the newer venue serves as a nice alternative for acts that come through town. I'd say it's a much better option than Key Arena in Seattle, which is traffic nightmare central.

Opening the night was a band
called Everest, which I wasn't familiar with, and Death Cab for Cutie, an interesting alternative band from Seattle with a mosaic that echoes bands like U2 and The Stone Roses...however the singer has a unique style that I'm still getting used to...I'm not saying I don't like him, I'm just getting used to him.

Since my favorite band has a falsetto singer with a high-pitched shrill, I figure I'm the last one on the planet to be intolerant of other singers I might need to adapt to.

So back to Neil.

Unlike last year, when he split the show between acoustic and electric sets (see post on that show here), all songs were part of one set. Electric Neil sandwiched Acoustic Neil in the middle portion of the set.

I love how this guy mixes things up.


There was an indication that electric Neil was going to open up the show when his guitar tech Larry Cragg b
rought Old Black onstage...that's his prized guitar that he's used since the 1960s.

When the show began, he launched into "Love and Only Love," one of the classics from
Ragged Glory, his grungy 1990 project and perhaps the best project to date with Crazy Horse.

He soon brought up one of my personal favorites, "Powderfinger," which originally appeared on 1979's Rust Never Sleeps. He was emotionally involves with his music as he sweat and sneered through many of the vocal passages.

One of the amazing qualities of a live Neil Young performance is how he seamlessly transitions from the beautiful electric sludge of tunes like "Hey Hey, My My," where his extended solos careen through the auditorium with sounds like a dinosaur moaning in pain from a leg amputation...to the acoustic grace and sentiments of a song like "Old Man."

He seemed to have a bit more energy onstage tonight than a year ago at WAMU Theater in Seattle...where at times he even seemed a bit disoriented onstage.

Not tonight.


The only ones who were disoriented were the audience, left fending for their lives as they took blows to the head from the dungeon of Neil's grungy extended jams.

How can I explain it...Neil Young's sludgy electric brand of rock & roll is the equivalent of a musical axe being swung at your head...and, elated, you can't wait for that blade to chop into your skull...only the blade hasn't been sharpened in awhile, and it has pits and gouges in it...so it just manages to knock off a chunk of your skull...get it? Sure you do.

Okay, we're getting carried away here...what did he play last night?

The set list:

  1. Love and Only Love
  2. Hey Hey, My My
  3. Everybody Knows this is Nowhere
  4. Powderfinger
  5. Spirit Road
  6. Cinnamon Girl (they goofed the opening and started it over...too funny.)
  7. Oh, Lonesome Me
  8. Mother Earth
  9. The Needle and the Damage Done
  10. Unknown Legend
  11. Heart of Gold
  12. Old Man
  13. Get Back to the Country
  14. Just Singing a Song
  15. Sea Change (or is it "See" change?)
  16. When Worlds Collide
  17. Cowgirl in the Sand
  18. Rockin' in the Free World
  19. [encore 1] A Day in the Life (In his effort to make as much racket as possible at the end, he ends up ripping off the guitar strings from Old Black)
  20. [encore 2] The Sultan (instrumental with a big gong being hit by a guy dressed in swami gear...very odd)
You can follow all the set lists from Neil Young's tour at SugarMountain.org.

So that's it...I'm hoping that Neil's next project involves Crazy Horse again...now THAT'S the show I'm waiting to see!

Monday, October 6, 2008

THE STAGE HECKLER: Phish 2009 tour plans conjure up a brainmelter

The majesty, mastery, magic, and confusion of a Phish concert
For those of you who haven't heard, Phish are planning some shows in 2009...YES!!! This is BIG BIG NEWS, since they've been disbanded for most of this decade.

I only see plans for 3 shows in Hampton, Virginia during March so far...hopefully more will pop up!


This news, of course, reminds me of the last and only time I saw this band...about 10 years ago, when I lived in Tucson, I found myself at a Phish concert on the Pima County Fairgrounds.


It might be helpful to understand where I was coming from going into that show.

For those of you who are familiar with Phish and their shtick, you might be very amused by this:
before that day in 1999, I had never heard a Phish song before in my entire life...NOT KIDDING.

It's the only concert experience I can think of where I went into the show knowing NOTHING about what the band sounded like.

However here's what I DID know:

  1. They were from Vermont.
  2. They were a jam band that echoed elements of the Grateful Dead.
  3. They had a loyal fan following, which comprised a subculture similar to that of Deadheads.
  4. More Deadheads drifted into the Phish camp since Jerry Garcia's passing in 1995.
  5. They built that following on live performance and toured ceaselessly.
  6. Some (if not all) of their song titles were bizarre and made absolutely no sense (to me)...so that didn't help to give the slightest clue on what to expect...other than something "outside the box," let's say.
  7. They had 4 members and I heard they had traded instruments once onstage.
So that was it...needless to say, the experience made my head spin...right off. Literally. Their musicianship, coupled with their silliness, both mystified and left me utterly confused.

It also made me a fan for life.


Since then I've been looking for a live recording of that show, which I've yet to find...here's the set list from that night:


Tuesday, September 21, 1999
Pima County Fairgrounds, Tucson, AZ





Encore:
  • Reba
  • Bold as Love

The set list information is courtesy of the Mockingbird Foundation.

So tickets are on sale right now through the Phish website. Hopefully they'll do a west coast swing next year...stay tuned for more information as it comes out. I'll try to stay on top of this one.

Monday, August 25, 2008

THE STAGE HECKLER: Radiohead live = WOW!!!

I'm still trying to absorb what I saw five nights ago, when I took it upon myself to check out this arty, cutting edge rock band at the White River Amphitheater near Seattle (actually on a rez near the suburb of Auburn).

In uncharacteristic August fashion, the d
ay presented a slew of torrential downpours, making the adventure to get there a little precarious...so, taking advantage of my local knowledge, I avoided the mess by taking a series of backroads to get to the show.

Then the rain stopped just before I arrived...Radiohead's magic had come to town. Birds started to chirp...cat's meowed...uh, yeah.


For starters, the band is pushing new frontiers as an eco-friendly touring act, tabulating their
carbon footprint and utilizing new lighting techniques onstage. Instead of presenting what we know as a typical onstage light show, the band is hauling a series of "draped lights" that hang down from the rafters and illuminate the stage through what I guess was some sort of static electricity that probably didn't require much in the way of power...I counted six rows of about a dozen hanging lights.

Working together the lights illuminated the stage and synchronized patterns in a variety of colors...the stage would be washed in pinks, reds, blues and greens. It was artistically impressive and unlike anything anyone in the audience had ever seen before, I would guess.

Oh yeah, of course there was music too...let me start with the set list for the night...apparently they culled this differently night to night from a rehearsed number of 50 songs. Many selections were from their latest release, In Rainbows, which came out at first last December (online, through a unique pay-what-you-want offer, which cut out the record company middleman) and in January in stores on the standard compact disc:

  • 15 Step
  • Reckoner
  • Optimistic
  • There There
  • All I Need
  • Pyramid Song
  • Talk Show Host (holy crap!! 90s era b-side…)
  • The National Anthem
  • The Gloaming
  • Videotape
  • Lucky
  • Faust Arp [Thom messes up lyrics several times, starts singing Neil Young's "Tell Me Why"; Jonny tries to follow along but can't quite get the chords. Phil comes out and drops an American dollar bill out in front of Thom and Jonny and runs away laughing. Thom and Jonny crack up completely to loud cheers. Thom tries again, says "Fuck it!", but then continues and finishes the song.]
  • Jigsaw Falling Into Place
  • Climbing Up The Walls
  • Dollars and Cents
  • Nude
  • Bodysnatchers
  • Encore 1: How to Disappear Completely
  • Arpeggi/Weird Fishes
  • Idioteque
  • In Limbo [Tambourine accompaniment by Nigel Godrich. Thom, 'This is Nigel', Ed, 'He makes our records.']
  • Street Spirit
  • Encore 2: You And Whose Army? [Thom dedicates to the people who demonstrated against the WTO in Seattle in 1999]
  • No Surprises
  • Everything In Its Right Place
You might notice by looking at the set list that missing in action was quite a bit of material from their two most popular albums of the 1990s, The Bends (1995) and OK Computer (1997). I don't think we had anything from the former, although three offbeat tracks were offered from the latter. That being said, fans of old Radiohead might have felt a bit disappointed.

They can't satisfy everyone, unfortunately...especially if they're fond of presenting their new material. All things considered, with the exception of those two albums the song list was interesting and balanced...and they were at liberty to dive deeper into other material.

It seems that Radiohead is also shooting for some kind of a world record for number of
instruments used during a live performance. These guys just seem to get off on noodling around with everything they can get their hands on.

Despite what could be interpreted as a display of showmanship as multi-instrumentalists, as the night went on it became obvious that this band
is not concerned with showing off talents of musical prowess, but collectively wants to serve their music by using all the electronic goodies available to them in their effort to bring their visions to life.

Needless to say, it was fun to watch them recreate their studio wizardry onstage in the live setting.


Opening the set with "15 Step," from In Rainbows, halfway through the tune guitarist Ed O'Brien could be seen walking around onstage with what I can only describe as a transistor
radio, but it was probably a gadget along the lines of an analog synthesizer...as he triggered these spacey sound effects, his electric guitar dangling around his neck unused for the moment.

Then more drums appeared onstage during "There There" (from 2003's Hail to the Thief) as the two guitarists became a second and third drummer to enhance the effect of the beat...lead singer Thom Yorke then kept the song moving with guitar...but no, wait! Partway through the song I literally saw Jonny Greenwood, the other guitarist, play guitar and drums simultaneously...not kidding.

These instrumental theatrics were typical throughout the night.
Even the bass player, the other Greenwood brother, took up synthesizers at one point.

Many of you might know Radiohead through their lead singer, Thom Yorke. As impressive as he is in his abilities, which range from his beautiful voice to his wonderful guitar work and piano playing, it's the shy lead guitarist Jonny Greenwood who stole the show.

Greenwood must have performed off at least 10 different instruments throughout the night...let's count them.

  1. guitar
  2. drums
  3. keyboard instrument #1 (will find out more about his equipment)
  4. keyboard instrument #2
  5. keyboard instrument #3
  6. transistor radio (obviously modified to bring radio sounds into the performance)
  7. some sort of analog synthesizer
  8. violin bow (for the guitar)
  9. glockenspeil
  10. Kaos Pad (makes those trippy effects, samples and loops during "Everything in its Right Place"... no, that's not Yorke tripping on acid and making funny effects with his voice)
  11. Something resembling a lemon (which I guess makes a percussive sound when it's shaken?)
  12. a wrench (for repairs to a car engine, live onstage...just kidding, but I wouldn't have been shocked)
Maybe I missed something...but that's most of it.

Greenwood gives off a presence that's nothing short of the mad scientist noodling around with gadgets, strings, sticks and knobs all over the room...a multi-tasker who's simply not satisfied with the fact that he's on Rolling Stone's top 100 guitarists of all time list.


He and Radiohead perform what they want in their own way...and they don't care how they look doing it. Rest assured, it was all good.

For any fan of live shows out there, this band is an ESSENTIAL REQUIREMENT to your live stock. Whatever you do, don't miss them...they aren't on tour that often to begin with.
S

Sunday, May 25, 2008

THE STAGE HECKLER: R.E.M. & Friends at the 2008 Sasquatch Festival

I didn't get to bed after the show until 3AM, but I didn't care...the experience was well worth it.

When we arrived in the afternoon at the Sasquatch Music Festival at the Columbia Gorge in the middle of Washington state, a band called The New Pornographers were onstage (despite the imagery of the name, no such activities were taking place). They were followed by M.I.A., and Mighty Mouse... sorry, I think I meant to say Modest Mouse...whose singer sounded like a shouting middle-schooler having a temper tantrum. Yikes!

Let's just say that R.E.M.'s attendance at this musical event was a good thing and upped the notch in quality a bit, to put it politely...but of course not until the weather decided that it wanted to monsoon on everyone and challenge the band for the night.

...but these guys are veterans and have played through it all! What's a little rain?


Scheduled for 10PM, at one point it was questionable on whether or not R.E.M. could even go onstage, as the lights were swaying in the wind and all the equipment was getting completely soaked. There's very little in the way of protection from the elements onstage at the Gorge Amphitheatre. Staff were out there until showtime wiping off the performer's areas.

The band came onstage at about 10:05 --- not very late when you consider what the elements were doing.

It was obvious that safety was on the minds of the performers. On several occasions lead singer Michael Stipe checked in with his bandmates, and mused with the audience about the possibility of slipping and falling onstage --- he directed the audience to heckle him if he slipped.

"If I slip and fall," said Stipe, "You have to yell to me 'I told you so!'" were his instructions. As the night went on he took off his shoes and sang onstage in his socks.

"If I go barefoot, does that make me a hippie?" asked Stipe later on in the set. In which I responded with a yell from the uphill peanut gallery: "But you're already a hippie!"

To my surprise and satisfaction, the choice of tunes was about 75% different from the set list the night before in Vancouver. Very nice.

Here's the R.E.M. set list for May 24 performance at the Sasquatch Festival
  1. Living Well is the Best Revenge
  2. What's the Frequency, Kenneth?
  3. These Days
  4. Drive
  5. Accelerate
  6. Auctioneer (Another Engine)
  7. Man-sized Wreath
  8. Ignoreland
  9. Hollow Man
  10. Life and How to Live It
  11. Houston
  12. Losing My Religion
  13. Harborcoat
  14. The One I Love
  15. The Final Straw
  16. Let Me In
  17. Horse to Water
  18. Bad Day
  19. Walk Unafraid
  20. I'm Gonna DJ
  21. Supernatural Superserious
  22. Orange Crush
  23. Man on the Moon
When compared to the set list from the night before in Vancouver, BC, it's clear that the band is going for a little variety on the tour.

http://remhq.com/blog_detail.php?id=47

So this was the third R.E.M. concert for myself. I caught them at the ASU Activity Center in Tempe, Arizona touring off the Green album in 1989, then again 10 years later off the Up tour at Bumpershoot in Seattle.

They're now touring off the newly released Accelerate, which has an edgier sound and an attitude akin to punk, like much of their material from the 1980s.

As a live act R.E.M. is a well-oiled machine, seasoned and polished. Unlike many bands out there who deteriorate with age and find themselves turning into novelty acts, this band ages like a fine wine.

For those of you who made it and braved the rain and wind, kudos to ya! S

Friday, December 7, 2007

THE STAGE HECKLER: Van Halen's guitar wizardry defies description

I saw Van Halen the other night -- my 3rd concert seeing them, and my first seeing them with their original frontman David Lee Roth.

Also to boot was Eddie's son, Wolfgang Van Halen, replacing the always-in-the-past efficient bass and backing vocalist Michael Anthony... and he did okay for a teenager thrust onto the stage
with his father and uncle, drummer Alex Van Halen.

Despite having cut their hair (therefore doing away with the classic big hair 80s look), DLR and EVH put on a great performance... there were still roundhouse kicks coming occasionally from DLR -- but you could feel everyone in the audience cringing -- hoping nobody onstage was going to "take it too far" and
pull a groin muscle... yikes!

Alex put on a nice mini-drum clinic... and it was obvious he's been watching some of Neil Peart's instructional videos, which is okay... everyone needs to get a few tips from the best...


...but it was Eddie who stole the show. I don't think I can find the words to describe what I was hearing from his guitar... otherworldly? Etheral? I don't even know where to begin...

EVH was all over the map with all his effects, methods, and gear... I've never seen so many foot pedals and gizmos for one guitarist onstage before.

He'd noodle into a bluesy number from Women and Children First, then rock to the pop sentiments of "Dance the Night Away." Then he'd dive into what I've always described as the "dinosaur wreaking
havoc" industrial sounds of "The Cradle will Rock," and then the intense jamming of "Mean Street," the first track off Fair Warning (which my buddy and I agreed is Van Halen's best work).

There were some surprises, such as "Little Guitars" from the band's fifth album Diver Down (1982), and "Little Dreamer" off the eponymous first album
Van Halen (1978), along with "Ice Cream Man" from the same album, featuring DLR on acoustic guitar... holding and playing it Johnny Cash style almost.

The Wolfgang element was a nice touch. All three of the other band members would check in with him regularly, as if to check up on him and offer encouragement... at one point Eddie grabbed his son by the lock of his hair and placed a long fatherly kiss on his face... you could tell throughout the night that EVH was REALLY amped and very very happy to be performing...

I'm sure there was the added kick and rush of performing with his son and only child onstage... I'd imagine it gave a whole new meaning to performing live for him -- now it's a family affair... and Wolfgang's presence will make the other band members behave a little more, I'd imagine.


I was a little skeptical going into the show, but the guitar heroics alone were worth every penny spent.
S

Saturday, November 17, 2007

THE STAGE HECKLER: Neil Young still proving he's one of a kind

I've stalled my reporting on the Neil Young concert I saw last month, primarily because I was so blown away by the guy that I needed some time to digest the whole experience of seeing him live.

I'd been waiting years for a chance to see Neil Young perform live, and since he's one of my top 3 artists, it was especially exciting to see him for the very first time... like I felt as if I was being christened for the first time with something new that I didn't know before... almost like going to my first concert, Rush, back in 1984... close, but not quite the same.

To add, none of us knew what he was going to play that night. I had a notion that we were going to get the split set (acoustic followed by electric) based on his latest CD Chrome Dreams II (which was actually released on the day of the show, but I got it in the mail a few days early as a result of my ticket purchase that night), but Neil tends to do whatever he wants, so we knew nothing going into it... which was how I preferred it. I'd been spoiled with set lists from my other favorite bands before, due mainly to my stupid curiosity.

This time, I wanted to be surprised... and I was, pleasantly.

Here's the set list from the evening:


Acoustic set

  1. From Hank to Hendrix
  2. Ambulance Blues
  3. Sad Movies
  4. A Man Needs a Maid
  5. No One Seems to Know
  6. Harvest
  7. After the Gold Rush
  8. Mellow My Mind
  9. Love Art Blues
  10. Love is a Rose
  11. Heart of Gold
intermission

Electric set

  1. The Loner
  2. Everybody Knows this is Nowhere
  3. Dirty Old Man
  4. Spirit Road
  5. Bad Fog of Loneliness
  6. Winterlong
  7. Oh, Lonesome Me
  8. The Believer
  9. No Hidden Path
Encore
  1. Cinnamon Girl
  2. Like a Hurricane
There were some things that went on at this concert that I've never heard nor seen before.

Just prior to the beginning of the acoustic set, the usher came around to the audience in our section, barking out orders that apparently came from the artist himself, Mr. Young. The requests involved the following, assuming I'm not garbling things a bit:

  1. Please do not use any flash photography, as it disrupts the performer's concentration.
  2. Please refrain from getting up from your seat to use the restroom.
  3. Please refrain from shouting and talking during the performances.
The set lists he chose were especially interesting, in that he played songs from projects that he never released on any of his albums; with "Sad Movies" and "Love Art Blues" being the two culprits... now that's a very artsy fartsy thing to do.

Sure, the guy's aged a bit... and got lost and indecisive on the stage a couple of times... but he still rocks the house and leaves it all out on the stage.

He played a flawless acoustic set, part of which he seemed to be winging. Some research of set lists from other shows reveals that he mixes it up a bit from night to night, which explains some of his indecisiveness on stage... like when he paused to choose a guitar... then picked one up... then set it down... then took a drink of water... then got up to go over to the piano on the far right of the stage, where he sat for a few seconds doing nothing... (Shhh---there's an ar-teest on stage thinking...) Then he got up to go all the way across the stage to the other piano... only to break into "Everybody Knows this is Nowhere"... finally! Yeaaaa!

It was more charming and amusing than anything else. I saw it simply as an artist at work. It was nice to finally witness a performance where the artist was willing to to take a few risks. It was like watching a painter developing their work in progress.

After the intermission, Neil came onstage with an assortment of musicians from his prior bands; Crazy Horse (the drummer) and the Stray Gators (the latter band having accompanied him on his most commercially famous album of the 1970s, Harvest)... so the electric set was suited to play anything from any previous album in his massive cannon.

During most of the songs in the electric set, a roadie would come out onstage to place large paintings on an easel with the name of the song to be played printed on them. For me, the paintings were spoilers. The timing of the sign placement was often a bit off, to the effect that it would go up just before the song began... so I found myself covering my right eye so I couldn't see the sign, as I wanted to be surprised by the music and enjoyed the exercise of recognizing what tune he was playing.

Security seemed to be rather tight that night, but during the electric set, when "Spirit Road" began, some folks in the front got up from their seats to dance. Since security didn't to anything about it, the masses poured onto the floor to occupy the space between the front row and in the aisles. A reserved seats show essentially turned within seconds into one of general admission... so much for that $500 front row seat on eBay (the fella up front, not me).

Electric Neil was impressive too. I can't get enough of the distorted crunch of his harder songs. We were treated to a 20 minute extended freak-out version of "No Hidden Path" from the new album, in which Young WENT OFF noodling around with feedback from his guitar as he crunched and chopped his way through his classically unique soloing style.

We were then treated to a couple classics in the encore; heavy versions of "Cinnamon Girl" and "Like a Hurricane."

I would liked to have heard more, but that would involve a week long Neil Young festival of four hours sets---and we still wouldn't get through the man's catalog. I was happy with the mixed set of this evening.

My group walked out of the venue very impressed, and we all agreed that it was unlike anything we'd ever seen before.
S

Sunday, November 4, 2007

THE STAGE HECKLER: Fleeced by John Zorn & Earshot Jazz

Actually, tonight is a night where i literally WANTED to heckle the stage....so....where do I begin with this one.

Let's see. I've seen over 100 concerts in my lifetime; nearly, if not all of them, being rock, jazz or bluegrass---and through all that I've seem lots of things.

I've seen plenty of equipment failures and things go wrong in the middle of performances. I witnessed Alex Lifeson (guitarist of Rush) run into serious equipment connection/distortion issues, and perform through 2 songs without delaying the show---while noodling with his equipment rack onstage when the tech couldn't figure out what was wrong---and successfully fix the problem. You probably had to be there, but it was beyond amazing---the guy's a total magician, what can I say.

I've also seen bad behavior at concerts; I saw Axle Rose make audiences wait for him while he stalled a show until 1AM in the morning---to the effect that we were watching the sunrise when we got home after the show. I've seen performers get hammered onstage drinking booze, as was the case with Van Halen one time. I've also seen miracles; like the time when Andrew Hill, a jazz pianist fighting cancer and struggling to stay alive, perform and finish his set---all done with professionalism and dignity when he probably should have been resting in bed. After that show he passed less than 6 months later.


I've never, however, purchased a ticket for a concert in which the performer never showed---until tonight. Not only did this guy not show, but he put a surrogate band onstage to fill his absence.

The only time I ever heard of that happening was in the second half of The Wall by Pink Floyd, and in that instance it was obviously intended to be tongue in cheek.

Granted, the performance of what I did see (which I can only describe as a bombastic exorcism being performed live onstage) was mildly interesting, then annoying after 20 minutes. ...but that's okay... as long as it's coming from the person who I came to see---the person whose name is printed on the ticket. If the ticket says "John Zorn" in print, then I reason that John Zorn should appear, most likely playing the saxophone he's known for.

Is that not reasonable? Am I nuts? Was I born yesterday?

According to the head of the Earshot Jazz Festival, I WAS born yesterday.

So after 30 minutes I did something I've never done at a concert event before, in 25 years of attending live shows. I went to find a manager to complain. Assuming I didn't have all the facts, I began by simply asking if the performer printed on the ticket was going to perform. After some discussion the manager mentioned that others had asked the same thing, and it seemed like she was as confused as I was.

Then she caught the "head official" of Earshot Jazz happening to walk by in the lobby, and flagged him down. This is where it got REALLY interesting.

She explained what was happening to him, and then I eventually piped in. It turns out that while John Zorn was "present" for the performance, and while the performance was something he "wrote," he isn't going to be performing in the actual performance. Furthermore, it was explained to me that there was "information in the literature" that explained that. So I held up my ticket and asked: "Do you mean THIS literature?"

So after trying to figure out what literature we were talking about, I tried to shift the conversation to reason with the guy. When I tried to state that I should be seeing John Zorn perform if he's on the ticket, he gave me this line: "Well, there's 800 in the auditorium who seem to know what's going on, and you're the only one out here who doesn't."

I responded with: "Uh, no, I'm not the only one tonight who's confused by this. If I'm so clueless, then maybe you can help me understand what's happening. I look at a ticket that says John Zorn, then I walk into an auditorium---and no John Zorn. ...so what am I failing to understand?"

After more bullshit about fine print in programs and the Earshot website, I gave up on the guy and walked away, and out of the venue... only to run into two more guys who were just as confused as I was.

So there we stood, each of us Just having been fleeced $34. More on this unfortunate situation in the next couple of days. S