Archive for January, 2017

u2 adds june 16 date in louisville to ‘joshua tree tour’

u2: larry mullen jr., adam clayton, the edge and bono. photo by anton corbijn.

Just when it looked like U2’s stadium-only Joshua Tree Tour was going to bypass the region completely this summer, word has been confirmed of a Louisville visit. The framed Irish band has just announced a June 16 date at Papa John’s Cardinal Stadium. OneRepublic will open.

Tickets will go at 10 a.m. Feb. 3 through livenation.com. Prices range from $35 to $280.

The performance marks U2’s first Kentucky performance since a Derby Eve concert at Rupp Arena in 2001. As the tour name suggests, the band’s summer trek will celebrate the 30th anniversary of what remains it best-selling album, “The Joshua Tree.” Over 1.1 million tickets have already been sold for the tour.

“The Joshua Tree” has sold an estimated 25 million copies, yielded several career defining hits including “With or Without You” and “I Still Haven’t Found What I’m Looking For.” A 1987 tour for the album brought U2 to Rupp for the time that October.

While U2 has seldom played the region outside of its Rupp concerts, the band made its Kentucky debut at Louisville Gardens in 1981 as an opening act for the J. Geils Band.

Showtime for the June 12 stadium show will be 6:30. For more information, go to www.u2.com.

butch trucks, 1947-2017

butch trucks.

Take all the stereotypical images of the rock ‘n’ roll drummer instilled through the decades – especially the ones that stressed bravado and Spinal Tap-level theatrics over taste, timing and talent – and then flip them. Among the artists you are likely to find on the other side is Butch Trucks.
For 45 years, Trucks occupied one of the two drum chairs in the Allman Brothers Band. From its inception in 1969 to its final dispersal in 2014, he was a deceptively quiet partner in a tight knit pack of mavericks that meshed Southern blues, rock, swing, country and jazz into a sound that spawned successive generations of imitators. The headlines always went to the figurehead players – namely, singer Gregg Allman or the succession of remarkable guitarists passing through the ranks that included founder Duane Allman, Dickey Betts, Warren Haynes and the drummer’s heralded nephew, Derek Trucks. Aside from brother Gregg, the elder Trucks was the only player to serve in every incarnation of the band.
But listen to the Allmans’ studio or numerous live recordings and what you heard was a remarkable contrast to the machismo beats and grooves that dominated mainstream rock then and now. Trucks’ playing, like that of longtime Allmans co-hort Jaimoe, fell into an easier stride. It seemed more jazz-rooted than anything, pinpointing a shuffle or bit of swing and then leading it more by instinct than technique.
Wonderful cases in point: the light but relentless percussive groove that glides along with “Dreams” on the Allmans’ self-titled 1969 debut album, the subtle acceleration that pumps into action during 1972’s “Les Brer in A Minor” and the seemingly docile rhythm that whips itself into a slide-savvy frenzy during the crescendo of “In Memory of Elizabeth Reed” (especially the 1973 live version, a decidedly jazzy revision with Chuck Leavell on keyboards).
Sure, Trucks got plenty of room to solo during the increasingly long jams that became prevalent throughout the band’s later years. But like all truly great drummers, regardless of genre or generation, he was at his best when others were at the helm. A star he wasn’t. Trucks was instead the engine driver, an unassuming but assertive percussive force within a legendary band and sound.

jason isbell to play eku center on april 21

jason isbell.

Need another reason to think spring during the dead of winter? How about the announcement of a concert by Jason Isbell? The Grammy winning Americana celeb will perform on Friday, April 21 at the EKU Center for the Arts in Richmond.

Isbell’s profile as a songwriter, guitarist, vocalist and bandleader has grown steadily over the past decade. It began after the release of 2006’s “A Blessing and a Curse,” his final recording as a member of the celebrated Georgia rock troupe Drive-By Truckers. Isbell’s solo career has largely been played out in front of Lexington audiences since then.

Following the release of his 2007 debut album, “Sirens of the Ditch,” Isbell played an in-store set at CD Central followed by a headlining show at the now-demolished Dame location on Main. That and the now-defunct Buster’s on Manchester would remain near annual touring stops for Isbell up through the release of 2014’s “Southeastern.”

Isbell moved over the Singletary Center for the Arts in June 2015 for a surprise appearance alongside wife and fellow Americana stylist Amanda Shires, who was opening a sold out performance for John Prine. That set the stage for the summer release of Isbell’s Grammy winning “Something More Than Free” in July and a Rupp Arena appearance as show opener for the Avett Brothers that September.

From my review of the Rupp concert: “As his set headed for home, Isbell stepped out on guitar for extended solos during Never Gonna Change and the uproarious snapshot of past life decadence Super 8. The resulting music possessed the swagger and electricity of vintage Tom Petty but ultimately rocked with a confidence Isbell could clearly call his own.”

Pre-sale tickets for the Friends of the EKU Center begin at 11 a.m. Jan. 24. Public sales start at 11 a.m. Jan. 27. Tickets are $30-$65 through Etix at 800-514-3849 and www.ekucenter.com. Showtime for the April 21 performance will be 7:30 p.m.

in performance: rene marie and experiment in truth

rene marie. photo by john abbott.

After an extended suite-like composition called “Lost” took her from bossa-driven bass to subtle swing to multiple codas of the blues, jazz songstress Rene Marie took a moment at the Norton Center for the Arts’ Weisiger Theatre in Danville last night to collect her thoughts and catch her breath. While regrouping, she encouraged patrons to ask questions of her band.

“Where did you all meet?” was one query.

Marie answered in a deadpan whisper, a marked contrast to the steady exuberance she displayed during the one hour, 45 minute performance. “In a bar.”

The audience, almost expectedly, laughed at the matter of fact reply. Though it turned out to be the truth, the fact such an alliance was struck up so casually seemed to fly in the face of the music that wound up on display. Indeed, among the many extraordinary aspects of the concert was the musical symmetry Marie shared with pianist John Chin, bassist Elias Bailey and drummer Quentin E. Baxter, collectively known as Experiment in Truth. All were accomplished instrumentalists who drove the music’s giddiest extremes, the most buoyant of swing passages and the most intimate levels of phrasing. But it was how all four players clicked together that triggered the biggest and most natural fireworks.

You heard it in the way Chen’s bright, artful solo complimented Marie during “If You Were Mine.” It surfaced regularly in the fat, rubbery bass sound Bailey conjured at the onset of “Stronger Than You Think.” Similarly, such simpatico was apparent in the summery, percussive support Baxter designed for the Italian homage “Certaldo.”

Marie, of course, was always the ringleader. A singer of considerable range, she was not a belter, choosing instead to cater her crisp vocals to the songs’ specific emotive casts. The combustible confessions at the heart of “Go Home,” for instance, took passages of hushed vocal grace to bursts of high register desperation. But for the finale of “Joy of Jazz,” her bright and beautifully clear tone matched the trio’s South African inspired groove.

It should be noted that with the exception of a gorgeous take on Duke Ellington’s “Solitude,” which was included as a eulogy for her mother-in-law who died earlier yesterday, the concert was devoted exclusively to original material from Marie’s 2016 album, “Sound of Red,” which is up for a Grammy Award next month.

To offer a repertoire of largely unfamiliar compositions was an atypically bold move for a singer devoted to straight up jazz. But the resulting performance was so technically and emotively engrossing that Marie’s songs quickly became as accessible as the obvious simpatico the singer shared with her remarkable band.

Not bad for a bunch of artists who met in a bar.

 

in performance: david parmley and cardinal tradition

david parmley performing last night at meadowgreen park music hall in clay city. herald-leader staff photo by rich copley.

The typically inviting environment of Meadowgreen Park Music Hall in Clay City was even more intimate than usual last night. The combination of single digit temps and a televised University of Kentucky basketball game likely kept away many of the faithful that usually devote Saturday nights to live bluegrass music at the venue. All we can say is being homebodies was their loss. Last night offered the return of David Parmley. The veteran guitarist and singer has been off the road since 2008 but returned last year with a ensemble full of sterling singing and scholarly instrumental fire called Cardinal Tradition.
The name references the great Bluegrass Cardinals, the band Parmley toured in beginning at age 17 with his father. Cardinal Tradition built upon the former group’s sterling vocal blend with Parmley’s deep tenor leads coloring the Louvin Brothers’ “Are You Missing Me” (with harmonies provided by bassist Ron Spears and mandolinist Doug Bartlett) and Lefty Frizzell’s “I Never Go Around Mirrors.”
Cardinal Tradition also sported a profoundly clean and confident instrumental charge underneath all the vocal firepower. That was especially impressive given how the band’s fiddler Steve Day was sidelined only days earlier by a back injury. In his place was Steve Douglas, whose credits included tenures with such bluegrass stalwarts as Jim & Jessie and the Osborne Brothers, along with a legion of country music notables. His playing was as robust as it was effortless. But what was most astonishing was when Bartlett switched from mandolin to fiddle, providing Cardinal Tradition with a twin string sound that deftly navigated the treacherous traditional turns of “Monroe’s Hornpipe” and glided crisply through the Texas country lyricism of Bob Wills’ “Faded Love.”
Need more reasons to count Parmley and his band as the great new traditionalists of bluegrass? Then toss in Dale Perry’s deft turns on banjo during “Cripple Creek,” the patiently paced balladry of Randall Hylton’s “32 Acres” and perhaps the cheekiest version of “Long Black Veil” you’ve ever heard, with the verses staying true to song’s dark stoicism and harmonies illuminating a giddy undercurrent that enforced Cardinal Tradition’s resilient band spirit.

in performance: lexington philharmonic with hilary kole.

hilary kole.

hilary kole.

The James Bond mood at last night’s sold out “Casino Royale” performance by the Lexington Philharmonic was placed into action as soon as the lights dimmed at the Opera House. Instead of the usual stoic calls for silenced cell phones, a recorded voice identifying itself as Bond superior “M” informed patrons their “assignment” was to cease all use of “world altering or covert electronic devices.”

Of course, in the fully realized world of 007, the absence of gadgetry would mute the fun factor greatly. But as it was, the concert’s mission of paying tribute to the scores and hit theme songs from the 55 year old spy movie series offered ample intrigue. Aided by New York vocalist Hilary Cole, the program covered music from nearly the entire Bond canon, from 1963’s “From Russia with Love” to 2012’s “Skyfall,” tracing with it a considerable slab of pop history.

First things first. The orchestra sounded splendid. In what may be one of the few exclusively pops oriented concerts since conductor/music director Scott Terrell’s arrival at the Philharmonic, the orchestra revealed an impressive grasp of drama and dynamics. This was most evident in instrumental works that delved far beyond the obvious pop themes of Bond films into the ‘60s, ‘70s and ‘80s scores of John Barry. For instance, “Ski Chase,” which was essentially a variation of the theme to 1970’s “On Her Majesty’s Secret Service,” employed a simple, repetitive melody that steadily brought out deeper shades of colors from the winds and strings as it progressed. Ditto for “Dawn Raid at Fort Knox,” a bolero-like manipulation of the theme music from the 1964 Bond epic “Goldfinger.”

Barry’s music has been so pervasive in Bond culture that it was intriguing last night to hear fragments of it pop up in later themes he didn’t compose, like 1989’s “License to Kill,” which directly lifted the horn line from the “Goldfinger” theme.

Cole proved to be a serviceable, amiable but ultimately unremarkable singing presence. She revealed lovely tonality and phrasing, especially in some of the more formulaic theme songs (“For Your Eyes Only,” “Nobody Does it Better”) but was either under amplified or, more likely, simply not in possession of the kind of vocal firepower needed to sell and bolster “Goldfinger” or the more rock and soul inclined themes to “Live and Let Die” and “Goldeneye.” Also, her between song chat, good natured as it was, was often scattered or, in some cases, inaccurate. For instance, Shirley Bassey didn’t sing two Bond themes, as Cole stated, but three – “Goldfinger,” “Diamonds are Forever” and “Moonraker.”

Still, this was a grand idea for an audience-friendly pops program from the Philharmonic. One hopes this New Year’s Eve tradition, now in its third year, will continue not only as an alternative to the orchestra’s rigorous classical repertoire, but as a reflection of its considerable stylistic breadth.

 


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