Showing posts with label john scofield. Show all posts
Showing posts with label john scofield. Show all posts
Tuesday, January 26, 2010
Friday, July 31, 2009
Upcoming: Soulive feat. John Scofield & Christian Scott, Ivan Neville & Dumpstaphunk @ Prospect Park tonight
Celebrate Brooklyn! Presents The Royal Family: Soulive’s 10th Anniversary Celebration
with Special Guests John Scofield and Christian Scott / Ivan Neville & Dumpstaphunk
with Special Guests John Scofield and Christian Scott / Ivan Neville & Dumpstaphunk
Don't miss the ultimate outdoor summer NYC jam.
Friday, July 31, 7 p.m.
The exceptional jazz-funk trio Soulive celebrates ten years of “simmering instrumental funk” (Entertainment Weekly) by bringing out The Royal Family, a conglomeration of various side projects and special guests that will come together for the ultimate outdoor summer NYC jam.
The proceedings will begin with a performance by Ivan Neville’s Dumpstaphunk, which Offbeat describes as “musically hard-nosed and rooted in 1970s inner city funk.”
$3 suggested donation. At the Bandshell.
Tuesday, April 21, 2009
NolaFunk Lagniappe
New Orleans Jazzfest Giveaway
Enter to win 2 tickets to a wonderful day at the 40th Anniversary New Orleans Jazz & Heritage Festival presented by Shell. Visit www.nojazzfest.com for the daily lineup and more information.
Deacon John lived New Orleans history
Deacon John Moore hasn’t just seen five decades of New Orleans music history, he’s lived them. A singer-guitarist, band leader, session musician, solo recording artist and occasional TV star, Moore continues to be a prominent player in his hometown’s music scene. Recent accomplishments include his 2006 election as the first African-American president of the local musicians union and a starring role in the music documentary, Going Back To New Orleans. Three days before the national broadcast of Going Back To New Orleans on Aug. 29, 2007, Hurricane Katrina’s second anniversary, Moore drew news coverage when he and other New Orleans musicians marched in a silent second line from Louis Armstrong Park to the French Quarter.
One Track Mind: Benny Spellman, "Fortune Teller" (1962)
NICK DERISO: Benny Spellman's "Fortune Teller," a witty early-1960s story song, is one of my touchstone party records. Everything about it is perfectly New Orleans, from the pounding piano to this sizzling island-tinged percussion, from a group of yelping, mesmerizingly groovy R&B backup singers to its not one but two gotcha lyrics. Spellman, see, goes to a fortune teller only to be stunned with the news that he's fallen for someone. Problem: Spellman's not seeing anybody. She counters: "When the next sun rises, you'll be looking in her eyes." Morning comes, and nothing. Spellman rushes back to the fortune teller, "mad as I could be. ... Why'd she make a fool of me?" When he gets there, though, the truth blooms before his very eyes: "While looking at the fortune teller, I fell in love!"
John Scofield - Piety Street (2009)
Scofield wanted to make a blues album, but that idea soon evolved into making a gospel record. It evolved further into making a gospel record with a New Orleans flavor. Named after the famed NOLA studio it was recorded in, Piety Street, released last week, marks another surprisingly successful sharp directional change for this most malleable of guitarists.
![[scofield1.jpg]](https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg282P-mAI_2x6S2bU6xS1F5Ln3rmM50B3viXQA4I5Wk8sbJ-Vr516pwffDZqhz9WQVFor27AN21jQLNDwJ61PGQuNtmY4f8M2GPDKy9sC0aK5sDvsXSa9JROXdW6Xe4KfmecFPYmk9E5Q/s1600/scofield1.jpg)
For this project, Steve Swallow and Bill Stewart just weren't going to do, as good as they are. Scofield assembled a whole new band perfectly suited for this kind of music: legendary ex-Meters bassist George Porter, Jr., the British-born Bonnie Raitt keyboardist Jon Cleary, Raitt's longtime drummer Ricky Fataar, New Orleans vocalist John Boutté (vocals), and another New Orleans musician, drummer/percussionist Shannon Powell from Harry Connick, Jr.'s band. Neither gospel nor New Orleans R&B is new to Scofield's repertoire; "Heaven Hill" is a church-inspired number he wrote for Blue Matter way back in 1986, and he did a great cover of the Meters' "Sissy Strut" on Flat Out two years later. For Piety Street, though, the plunge is with both feet in. This ain't no "gospel-tinged" music, folks, it's gospel.
Post-K-Ville
New Orleans could get a proper prime-time spotlight with David Simon's TremÉ, whose pilot shoot wrapped earlier this month. Now all HBO needs to say is 'go.'
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As March in New Orleans was coming to a close, another march in Central City was just getting started. Two children snaked through the ranks of the Treme Brass Band, whose second line trumpeted a horse-drawn hearse. With fans and umbrellas held high, moving to the half-speed strains of "Just a Closer Walk With Thee," the group half-stepped past the Payne Memorial Church on Liberty Street, taking a wide left turn onto Toledano Street. And as the song neared its apex, a cry rang out from behind Uncle Lionel Batiste's thumping bass drum.
"Cut!"
Except they didn't. The parade, now halfway down the block, continued on toward LaSalle Street. "Someone stop them," said director Agnieszka Holland. Slowly, like an old phonograph winding down, the music petered out as the players caught on, gradually reversing course and shuffling back to their original spots for a second take.
It was the final hours of filming for Tremé, the pilot episode of David Simon's prospective HBO drama, and already the show had run up against questions of realism — i.e., it was due to wrap almost on schedule. Despite threats of rain and hail, the planned 17-day shoot finished on April 2 with a scene at The Times-Picayune's Howard Street offices.
"THE JAZZFEST COMPANION" : The Weekend Mix
French Quarter Fest Recap: April 17, 2009
April 17th, 2009 marked the kickoff of the 26th annual French Quarter Fest. As the workweek wound down, I listed along with WWOZ’s live broadcast, anxiously racing down to the French Quarter, hoping to catch the tail end of the Honey Island Swamp Band’s set. That unfortunately didn’t happen, but I did arrive in time to hear the powerhouse wail of Irene Sage rip through a cover of Led Zeppelin’s “Ramble On." It’s always a treat to see Sage, whose presence in the scene has declined over the years. Her husky, unhinged vocals always bring about a good time. She’s the closest thing the Big Easy has to Ann Wilson, and her thunderous closer at FQF, “Soul to Soul,” certainly solidified that comparison.
French Quarter Fest Recap: April 18, 2009
Made to the second day of French Quarter Fest (April 18, 2009) right as Ingrid Lucia began her set at the Esplanade in the Shade stage. Joining the bubbly jazz vocalists were trombonist Mark Mullins (Bonerama), guitarist John Fohl (Dr. John) and drummer Simon Lott – quite the allstar cast! This staggering gang certainly did not disappoint. Mullins’ trombone bellowed along with Lott’s jazzabilly rumble, and Fohl’s dangling guitar rides swept up Lucia’s delicious vocals. Enchanting and indelible, Lucia is one brightest talents in the Big Easy. And nothing compares to spending a sunny day with her sweet croon.
Hot Club of New Orleans lives up to its name at French Quarter FestAbout the only person not moving as the Hot Club of New Orleans swung out Saturday afternoon on a spry set of hot jazz on the steps of the Louisiana Supreme Court building was Chief Justice Edward Douglas White. But he had an excuse: He's a bronze statue.
Wild Magnolias Big Chief Bo Dollis is battling back from serious illness and a bitter dispute
Bo Dollis, leader of the Wild Magnolias, is fighting his way back.
Through grave illness. A rupture with a manager he once trusted. A years-long professional estrangement from Monk Boudreaux, his childhood friend and partner in the Wild Magnolias.
Through it all, his pride remains undiminished, his voice -- one of the most potent in all of New Orleans music -- strong.
Rock 'n Bowl felt like home, even in a shiny new space
All the essential elements were in place when the new Mid-City Lanes Rock 'n Bowl opened for business the evening of Wednesday, April 15.
Live music. Cold beer.
And owner John Blancher atop the bar, gyrating in a hula-hoop alongside his wife Deborah and two bartenders in short skirts.
Congo Squared The New Orleans Jazz & Heritage Festival celebrates its 40th anniversary
Photo by Cheryl Gerber |
I
t's been four decades since the first New Orleans Jazz & Heritage Festival kicked off in Congo Square in Armstrong Park. The festival has grown exponentially since then, now filling 12 stages and two long weekends at the Fair Grounds. Every day features hundreds of musicians, some traveling from faraway spots around the globe.
One of the featured performances this weekend highlights the heritage of New Orleans music. Wynton Marsalis returns to his hometown with the Jazz at Lincoln Center Orchestra and Ghanian musician Yacub Addy and his Odadaa! band to perform Congo Square, a modern jazz suite uniting musicians from two continents to celebrate common musical roots.
JAZZ FEST 2009 1st Weekend Picks
| Walter “Wolfman” Washington Keepin’ It Funky, Keepin’ It Real |
Take a guitar player from the rhythm and blues pinnacle of the 1950s, sprinkle in the styles of a smattering of influential blues guitarists, overlay funk rhythms, and a uniquely soulful vocal style, and the sum total is Walter “Wolfman” Washington – a staple musician of the New Orleans scene for more than a half of a century.
Frenchy: NOLA’s Artist 
If you live in New Orleans, you should probably know Frenchy by now. He’s a performance painter and while most nights he is found at the Maple Leaf, he also paints at Tipitina’s, Saints and Hornets games, most local festivals, and anywhere he can find excitement and inspiration. Most of his paintings are done in bold, vibrant colors and they are so full of energy that they seem to have a life of their own.
Monday, April 6, 2009
In Pictures (& Words): John Scofield's Piety Street Band feat. George Porter Jr., Jon Cleary & Ricky Fataar @ BB King's
photos by Dino Perrucci
John Scofield & The Piety Street Band - BB King's, NYC 4/5/09
John Scofield & The Piety Street Band - BB King's, NYC 4/5/09
John Scofield, George Porter Jr. & Andy Hess - BB King's, NYC 4/5/09
John Scofield & The Piety Street Band - BB King's, NYC 4/5/09
John Scofield & The Piety Street Band - BB King's, NYC 4/5/09
John Scofield, George Porter Jr. & Andy Hess - BB King's, NYC 4/5/09
NY Times: Jazz Guitarist in a Gospel-Soul Catharsis
Groove has always been an essential element for the jazz guitarist John Scofield, expressing itself in ways either subtle or obvious, depending on the setting. “Piety Street” (Emarcy), released last week, falls in the obvious category, with a fortunate twist: it’s Mr. Scofield’s old-time gospel album, recorded in New Orleans with a band drawn mainly from that city’s robust R&B scene. It’s a basic concept, and it makes all kinds of sense.
Scofield Does New Orleans in New York
I caught John Scofield’s show at B.B. King’s in New York last night, in which the vaunted jazz guitarist played in support of his latest CD, Piety Street, which combines New Orleans music, blues, gospel and jazz. Scofield appeared with the band from the CD, which includes multitalented keyboardist/vocalist/guitarist John Cleary, legendary bassist George Porter Jr. (of Meters fame), and drummer Ricky Fataar (Bonnie Raitt, The Beach Boys).
In front of a packed house, Scofield and band came on with little fanfare and no opening act, and played a scintillating hour-and-a-half-plus set. Sco, playing his Ibanez semi-hollowbody into a Vox AC30 (and a ton of pedals) was fluid and skillful throughout, mixing bluesy inflections with his usual jazzy sense of melody and rhythm. He masterly blended in effects such as wah, tremolo, and even a looping pedal to many of his solos and fills.
The band stuck mostly to the material from the new CD, which is mainly reworkings of old gospel standards like “Something’s Got a Hold On Me” (which was a big song for the Reverend James Cleveland) and “Walk with Me.” Lead vocals were provided by the ultra-talented Cleary, whose New Orleans-influenced piano style and organ parts (he used a Nord Electro 73 through a Leslie, which sounded very B3-like) and vocals were stellar throughout.
Porter Jr., and Fataar provided a super-solid foundation as well as background vocals (Porter sang a couple of lead vocals, as well). I wished the drums were a little more prominent in the mix, but the playing was great.
Other highlights included a remake of the Ray Charles number, “I Don’t Need No Doctor” on which Clearly picked up a guitar and showed off his formidable abilities as a lead guitarist; and an old Hank Williams song “Angel of Death,” which Scofield opened with a haunting solo part and later did an amazing solo where he masterly injected counter rhythms. The whole set, which included two encores, was superb, and Scofield and the band appeared to be enjoying themselves immensely.
Throughout his long and prolific career, Scofield has shown no hesitancy to experiment with other musical styles, and he’s done so again here with great success. The band will be touring into May. If you get a chance to go hear them, I highly recommend it. Great songs, great playing, great fun.
Live Review- JOHN SCOFIELD & THE PIETY STREET BAND
John Scofield and His Piety Street Band played to an almost full house last night at NYC's B.B. King's, and the performance was every bit as inspiring as the fantastic new record which was released this past week. (my review is HERE)
The band, New Orleans' keyboard player Jon Cleary, the legendary George Porter Jr. on bass and the criminally underrated Ricky Fataar on drums, along with Scofield, kept the revival mood consistent, with a repertoire that drew mostly from the new record's old time gospel selection.
Songs like "Motherless Child," "His Eye Is On The Sparrow," and "I'll Fly Away" while familiar by title and lyrics, bore little resemblance musically to the tunes we've been hearing for ages. The band's arrangements were almost swinging, yet the gospel groove, thanks to Mr. Porter, was never lost.
Everyone on stage seemed to be having fun with the opportunity to just play, especially Scofield, whose soloing on the record is kept to a minimum. One highlight was the Dorothy Love Coates' classic "99 1/2," where Jon Cleary was given the chance to show just why he has become a New Orleans' legend and a musician who people can comfortably compare to the great Professor Longhair. Another highlight was seeing Cleary pick up a guitar for the only secular tune of the evening, a very funky version of Ashford & Simpson's "I Don't Need No Doctor." I knew he could play, but I had forgotten.
I took some pics and video. Video is "Something's Got A Hold On Me," also from the solid new record. The tour is a short one, and at some point will no longer include George Porter Jr., so I suggest checking this great line-up out early, if they come to your town.
Wednesday, April 1, 2009
Upcoming: John Scofield & Piety Street Band feat. George Porter Jr. & Jon Cleary @ BB King's (4/5)
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