in performance: delvon lamarr organ trio

Delvon Lamarr. Photo by Jan Scheffner Photography.

You sensed early Sunday evening at The Burl that Delvon Lamarr and Jimmy James would have been more than content to spend their two-hour performance trading riffs and melodic fragments from whatever vintage tune popped into their brains and, eventually, fingertips.

That was how much of the show played out for the mainstay members of the Delvon Lamarr Organ Trio. The set was framed by their animated instrumentation and interaction – Lamarr on B3 organ and James on guitar with Steven Sandifer, the latest in a succession of drummers, rounding out the lineup. From there, the music revealed a devotion to a groove owing equally to late ‘60s/early ‘70s era jazz and soul. But the trio’s resulting music was perhaps better viewed as summit of expectation and surprise.

The expectation part was revealed during playful sparring between the two mainstay members that turned the show into something of a groove-centric jukebox. Before launching into the sunny expanse of Curtis Mayfield’s “Move On Up” (a soul staple the Lamarr Trio has essentially made own over the last two years), licks from Creedence Clearwater Revival’s “Bad Moon Rising” and Herbie Hancock’s “Chameleon” were introduced as a sort of multi-genre, cross-generational warm up.

Later, during an update of the vastly more obscure “Top Going Down, Bottom Going Up” (a mid ‘70s single for Georgia R&B star Nathan Bartell), Lamarr and Jones spent a good 20 minutes letting the jukebox rock as the tune receded into the more layered, orchestrated colors of the B3. The two then traded licks from melodies by the Rolling Stones, Frank Zappa, Gnarls Barkley, Survivor, The Temptations, The Beatles, Biz Markie, Bob Marley and, perhaps most improbably, Dolly Parton (by way of a snippet from the chorus to “Jolene,” which the crowd largely unrecognized).

Finally, with a show-closing take on Tyrone Davis’ unjustly unheralded 1968 hit “Can I Change My Mind,” the organ-guitar tradeoff squeezed in riffs from Nirvana, Led Zeppelin and Rush. Fittingly, James was wearing a Rush t-shirt for the show, a likely tribute to the Canadian band’s drummer Neal Peart, who died last week.

Needless to say, this wasn’t the kind of vocabulary one would expect from a band seemingly devoted to the soul-pop grooves generated decades ago by the likes of Lonnie Smith and Brother Jack McDuff. But such tinkering with tradition seemed to be at the heart of the fun, especially onstage, for the trio. Watching Lamarr and James break into smiles as the jams erupted, whether they were through the medley-laden tunes or stand-alone delights like the new Meters-meets-James Brown groove-a-thon “Chicken Leg” or the solid soul shuffle “Fo’ Sho’,” uncorked a level of performance immediacy that rivaled the most fervent of rock shows.

James, however, took all of that a step further. During the greasy-grooved “Buttered Popcorn” and the equally rambunctious “The Dirty,” the guitarist seemingly cut ties with the trio’s soul serenading by turning his amp up and letting a series of brash, electric solos turn the music into blasts of pure psychedelia. Jimi Hendrix was an obvious reference point for this kind of stylistic detour, but the soul foundation still at the heart of James’ playing better brought to mind the great Parliament/Funkadelic guitar giant Eddie Hazel.

“I could do this all night,” James remarked earlier in the concert as the swapping of riffs and melodies with Lamarr began. Given the sparks triggered between the two as the night progressed, few in the audience would have minded if he did.



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