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Posts Tagged ‘Sharon Jones’

(Above: Black Joe Lewis and the Honeybears rip up the Riot Room in Kansas City, Mo. on Valentine’s Day, 2013.)

By Joel Francis
The Kansas City Star

Thursday may be the first time Black Joe Lewis and the Honeybears have headlined a show in Kansas City, but it’s far from the bandleader’s first visit.

The soul and roots music front man has lots of family in the area. For several months in the mid-’90s, his family lived with his grandmother off Cleveland Avenue.

“I was only about 15 or 16 at the time,” Lewis said. “I remember hanging out in the neighborhood playing basketball, hearing gunshots, BBQ. We weren’t there long, only about 6 months.”

black_joe_lewis_soundcheckmagazine_03Just a few years later, Lewis was busking on the streets of Austin, Texas. Five years ago, he started assembling the Honeybears, a five-piece horn and rhythm section welded tight after countless shows and miles touring by van.

Lewis has shuffled in and out of town on family visits several times over the years, but his band is in a vastly different place from when it last stopped in the area.

In 2010, when the group played the Bottleneck in Lawrence, it was touring on the back of its first full-length album, “Tell ’Em What Your Name Is!” In the two years since, the Honeybears dropped their sophomore LP and shuffled members. A third album is underway.

“Our set now is mostly new stuff, but we still play the older songs, too,” Lewis said. “It’s a lot of fun for us. We know fans sometimes want to hear stuff off the records, but they get into it. It will be nice when the record comes out and people will know what to expect.”

Right now Lewis’ plan is to get the six-piece combo in the studio once a two-week tour wraps up, then try to set up a distribution deal. Lewis said he hopes to have the album out this summer but doesn’t have a timeline. Regardless of when it’s released, Lewis can’t wait for fans to hear it.

“I feel like with what we’re doing right now, I’m putting out my first record,” Lewis said. “On a lot of it, we sound like a rock and roll power trio with a horn section.”

Sometimes songs start from skeletons worked up by Lewis or bass player Bill Stevenson. Other ideas come out of jams, either during rehearsal, sound check or a show.

“Somebody might record our jam on their phone and we’ll come back to it, but even when we’re playing live, the stuff that sounds cool, I’ll work on lyrics for it,” Lewis said. “For me the structure of the song is the meat of the song, and the lyrics put it over the top.”

Forces that compromised the band’s sound in the past are gone now. The contract is up with label Lost Highway, which commissioned DJs to create a Honeybears mix with an electronic and hip-hop flavor aimed at the dance floor. Band members who pressured Lewis to clean up the band’s sound are gone.

“To me, those first albums sound wimpy,” Lewis said. “Back in the day, different guys wanted to do different stuff, and I went with it because that goes with being in a band. Now that stuff isn’t around. I get to cut loose.”

A fully unleashed Lewis could be dangerous. There’s not a lot of sheen or timidity in the Honeybears’ catalog. Lewis doesn’t have any trouble channeling Wilson Pickett or Howlin’ Wolf. He isn’t as concerned with re-creating a specific sound or era as are contemporaries Sharon Jones, the Daptone family and Raphael Saadiq, but he works in enough similar circles to draw comparisons.

“Honestly, I think we’re doing something completely different,” Lewis said. “I feel like we’re American roots music with our own twist. Once the new record comes out, the differences will be more obvious.”

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(Above: Gil Scott-Heron performs “We Almost Lost Detroit” in concert. His June 20 performance at Blues Alley in Washington, D.C., earns an honorable mention as one of the top shows of the year.)

By Joel Francis
The Daily Record

Jonsi, April 22, Liberty Hall

Sigur Ros concerts have a sustained emotional intensity matched only by Radiohead’s events. On his own, Sigur Ros frontman Jonsi ratcheted the passion even higher. The 80-minute set focused only on Jonsi’s solo release “Go” and a few outtakes. Although the material was original, the textures, delivery and emotions echoed Jonsi’s other band, including a climax that was one of the most sustained and forceful moments in which I’ve ever had the joy of being included. Read more.

Emmylou Harris, July 18, Stiefel Theater, Salina, Kan.

Four days after delivering a short set in the blistering heat to the Lilith Fair crowd at Sandstone Amphitheater, Emmylou Harris took her Red Hot Band to tiny Salina, Kan. For two hours she gave an intimate set in a theater slightly smaller and slightly newer than Kansas City’s Folly Theater. The set reprised many of the songs performed at Lilith – including a beautiful a capella rendition of “Calling My Children Home” and Harris’ hymn “The Pearl” – a lovely tribute to her departed friend Anna McGarrigle, and other gems spanning her entire career. Harris’ enchanting voice captivates in any setting. Removed from the heat and placed in a charming surrounding it shined even brighter. Read a review of Lilith Fair here.

Pearl Jam, May 3, Sprint Center

Nearly all of the 28 songs Pearl Jam performed during its sold-out, two-and-a-half hour concert were sing-alongs. Kansas City fans has waited eight years since the band’s last stop to join in with their heroes, and the crowd let the band know it. Near the end, Eddie Vedder introduced Kansas City Royals legend Willie Wilson by wearing a No. 6 Royals jersey. Vedder later invited onstage wounded Iraqi war vet Tomas Young, who appeared in the documentary “Body of War.” With Young in a wheelchair to his left, Vedder performed “No More,” the song the pair wrote together. During the encore, a member of the gold-medal winning U.S. Olympic bobsledding team, joined the band on bass for “Yellow Ledbetter.” As the song ended it felt like the evening was winding down, but guitarist Mike McCready refused to quit, spraying a spastic version of Jimi Hendrix’ arrangement of “The Star Spangled Banner.”

Sharon Jones and the Dap Kings, Sept. 21, Midland Theater

An ice storm and obscurity kept many fans away from Sharon Jones’ previous show in the area, a January gig at the Granada three years ago. With those obstacles removed, a crowded Midland Theater audience witnessed a soul revue straight out of the early ‘60s. With a band rooted in the Stax sound and a performance indebted to James Brown and Tina Turner, the diminutive Jones never let up. Jones only stopped dancing to chastise over-eager fans who kept climbing onto her stage. The tight, eight-piece horn section provided motivation enough for everyone else to keep moving.

Flaming Lips, Jan. 1, Cox Area, Oklahoma City

The year was less than an hour old when the Flaming Lips provided one of its top moments. After performing their standard 90-minute set, complete with lasers, confetti and sing-along versions of “Yoshimi Battles the Pink Robots” and “She Don’t Use Jelly.” Then more balloons and confetti ushered in the new year. The Lips celebrated by bringing opening act Star Death and White Dwarfs onstage for a joint performance of Pink Floyd’s “Dark Side of the Moon” in its entirety. Read more.

Izmore/Diverse – Like Water for Chocolate Tribute, March 19, Czar Bar

Combining hip hop and jazz became something of a cliché in the 1990s. The results typically only hinted at the union’s potential, and didn’t satisfy fans of either genre. Ten years after Common released his landmark album “Like Water For Chocolate,” a hip hop album that paid tribute to jazz, Afro-beat and gospel with the help of Roy Hargrove, Femi Kuti, Cee-Lo Green, J Dilla and others, some of Kansas City’s finest artists decided to celebrate the anniversary. MC Les Izmore delivered Common’s rhymes while the jazz quartet Diverse provided innovative and imaginative new backdrops. The result was both jazz and hip hop at their finest, with neither form compromising to the other. Read a feature on the event here.

David Gray, March 17, Uptown Theater

After releasing several solid albums in obscurity in the 1990s, David Gray finally broke into the mainstream at the turn of the century. As his tours grew bigger and catalog became richer, a Kansas City date remained elusive. On St. Patrick’s Day, Gray finally satisfied a ravenous capacity crowd with a two-hour set sprinkled with the songs that made him a household name. Songs like “Babylon” and “World To Me” are written well enough to make the show memorable, but the passion and energy Gray and his band invested in the night made this an amazing night for even this casual fan. A strong opening set from Phosphorescent made the evening even better. Read more.

Black Keys, June 4, Crossroads

The Akron, Ohio, garage blues duo opened Crossroads’ summer season with a sold-out night that focused on their latest effort, the spectacular “Brothers.” Drummer Patrick Carney and guitarist Dan Auerbach were augmented with a bass player and keyboardist on several numbers, but their trademark sound remained unaltered. Read more.

Public Image Ltd., April 26, Midland Theater

On paper, fans had a right to be cynical about this tour. After embarrassing himself with a handful of half-assed Sex Pistols reunions, Johnny Rotten recruited two new musicians to reconstitute his Public Image Ltd. project. Although Rotten was PiL’s only consistent member, and his current X-piece band had never played together before, they managed to flawlessly replicate the band’s finest moments. The Midland was embarrassingly empty – the balcony was closed, and the floor was less than half full – but Rotten played like it was the final night of the tour in front of a festival crowd. Read more.

Allen Toussaint, Jan. 8, Folly Theater

Seventy-two-year-old New Orleans pianist Allen Toussaint has been writing, producing and performing hit singles for more than 50 years. His songs include “Working In A Coal Mine,” “Mother In Law,” “A Certain Girl” and “Get Out Of My Life Woman.” Toussaint performed all of these numbers and more in what was remarkably his first concert in Kansas City. His own remarkable catalog aside, the evening’s high point was an amazing solo version of Paul Simon’s “American Tune.” Read more.

Keep reading:

Top 10 Concerts of 2009

Top 10 concerts of 2008

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(Above: It will sound a lot like this at the Record Bar tonight when the Budos Band make their Kansas City debut. The show starts at 10 p.m. and tickets are $10.)

By Joel Francis
The Daily Record

The covers of the three albums released by the ten-piece instrumental ensemble the Budos Band depict a volcano, scorpion and cobra. In other words, objects that are fascinating, even mesmerizing, from afar, but deadly serious up close. Like those totems, the Budos Band’s music can be appreciated, but rarely trifled with.

It is fitting, then, that the ensemble came together at the turn of the century during the Afro-beat revival lead by the New York-based combo Antibalas. Although inspired by – and sharing musicians with – Antibalas, the Budos Band developed a distinct voice.

“After a year or so of playing Afro-beat we refined our sound, brought in funk and soul influences and tightened things up,” said Jared Tankel, baritone saxophone player in the Budos Band. “That Afro-beat influence is still there, but our sound has progressed in different ways.”

While the band’s 2005 self-titled debut was a jumping off point from Afro-Beat to soul, Tankel said their second album – “Budos Band II,” released in 2007 – shows the emergence of Ethiopian jazz influences. That growth continues on this summer’s “Budos Band III.” The album’s darker and heavier undertones hint at the band’s rock and metal influences.

“It’s not explicit, but I think the undercurrent of that influence is there. It might influence our arrangements or approach,” Tankel said. “It’s still heavy funk and soul, but there is a darker influence.”

Although the textures and arrangements vary, Budos Band songs come together in a pretty straightforward process. Guitarist Tom Brenneck or bass player Dan Foder come in with a rhythm bed, or Tankel and trumpet player Andrew Greene develop a melodic horn line.

“Tom and Dan are in lockstep communication at a very high level,” Tankel said. “Whether they are coming up with something or building off it, a lot of ideas come from those guys.”

After the quartet refines the idea, it goes into rehearsal, where drummer Brian Profilio listens to the parts, suggests transitions and helps develop an arrangement. The song is then presented to the other half of the band – the percussion section.

“They really know how to keep in the pocket of the song,” Tankel said. “They’ve been playing together for so long they can really fall in together and give it the texture that makes it a Budos Band song.”

Just don’t expect that process to include a vocalist any time soon.

“That’s something a lot of people ask, but I feel we’re big enough with 10 guys (in the band),” Tankel said. “I feel this third album is our truest voice of what we have going on right now. I’m not sure a vocalist would fit. We’re having too much fun right now visiting all these exciting places musically on our own.”

Like every other album released on the Daptone label, all of the Budos Band’s output was recorded at the label’s House of Soul studio/headquarters in Brooklyn, N.Y. and produced by Gabriel Roth, aka Bosco Mann, leader of the Dap-Kings. As the band behind Amy Winehouse’s “Back to Black” and Daptone flagship artist Sharon Jones, the Dap-Kings have become a hot commodity.

“There is some competition between us and the Dap-Tones, but what we each do is different enough that the competition is somewhat limited,” Tankel said. “They’re on the path to stardom. We kind of enjoy being the scrappy little brother, still playing smaller size clubs and bars.”

The true competitive spirit lies in the band’s roots with Antibalas. The groups’ shared musicians over the years have lead to a healthy level of one-upmanship.

“At this point I don’t know if there are any shared musicians simply because both bands have become busy enough guys have had to decide,” Tankel said. “We’ll definitely hear something great Antibalas or the Dap-Kings come up with and want do it even better.”

Keep reading:

Bettye LaVette – “Interpretations: The British Rock Songbook”

Bring yo booty to the Bottleneck

Review Roundup – Rakim, Dodos, Naomi Shelton, Blakroc and Daptone Gold

Open wide for Mouth

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(Above: The title song from Naomi Shelton’s debut album.)

By Joel Francis
The Daily Record

The first month of 2010 is almost in the history books. Fortunately, there’s still time to take one last look at some overlooked releases from the final quarter of 2009.

The Dodos – “Time to Die”

The Dodos third album isn’t a major departure from 2007’s “Visiter.” Several subtle elements, however, make “Time to Die” an improvement. First off, the San Francisco-based indie duo has added vibraphonist Keaton Snyder to their ranks. His playing adds new textures and new rhythms to the songs. Like Vampire Weekend, the Dodos add elements of African music to their arrangements. Unlike Vampire Weekend, though, the Dodos don’t use world music as a template. They incorporate its ingredient into already solid songs. At times the album recalls a more sophisticated Shins. “Time To Die” is filled with a high sense of melody and smart indie rock songwriting bolstered by intricate arrangements that serve the song.

Blakroc – “Blakroc”

Dan Auerbach and Patrick Carney have been making great garage blues albums for nearly a decade as the Black Keys. After about five albums, however, some staleness started to creep into the formula. After recruiting Danger Mouse to produce their 2008 release, and Auerbach’s early ’09 solo album, the pair dropped their biggest transformation. “Blakroc” pairs the Keys with former Roc-a-fella co-owner Damon Dash and a host of MCs, including Mos Def, Ludacris, Q-Tip, Pharoahe Monch and members of the Wu Tang Clan. The result is the expected mash-up of rap vocals and raw gutbucket rock that exceeds expectations. Auerbach’s dirty, fuzzy guitars and Carney’s drums add an urgency often lacking in the urban world of sampling. In turn, the MCs feed off the vibe, responding with more bounce and personality in their delivery. More, please.

Naomi Shelton and the Gospel Queens – “What Have You Done, My Brother?”

Naomi Shelton’s back story should sound familiar to fans of Bettye LaVette. Shelton palled around with pre-fame Wilson Pickett, Otis Redding and Lou Rawls. Despite their encouragement, success eluded Shelton, who played regular gigs around New York City. Thirty years later, Shelton became part of the “Daptone Super-Soul Revue,” but it took another decade for her debut album to emerge. “What Have You Done, My Brother?” is a classic gospel album that sounds like it could have been cut 50 years ago. Despite its traditional arrangements, the album finds contemporary resonance in the title song, which questions the war in Iraq. Shelton’s cover of Sam Cooke’s “A Change Is Gonna Come” is especially poignant. A survivor of the civil rights movement, Shelton combines the longing of Cooke’s vision with the optimism of the Obama-era.

Various Artists – “Daptone Gold”

Daptone Records found fame with the diminutive dynamite Sharon Jones, but the entire stable should appeal to Jones’ fans. “Daptone Gold” is a 22-track sampler of the Daptone roster. While Jones is appropriately represented (sometimes through non-album tracks), there are no bum cuts. The old school gospel of Naomi Shelton sets nicely next to Antibalas’ political Afrobeat and the instrumental soul of the Budos Band. Other artists include Stax throwbacks Lee Fields and Charles Bradley. Hip hop fans will recognize “Make the Road By Walking,” the Menahan Street Band track Jay-Z smartly sampled for his own “Roc Boys (And the Winner Is).” At 78 minutes, this generous sampler will certainly send newcomers diving into the back catalog for more.

Rakim – “The Seventh Seal”

Rakim made his name as one of rap’s premier MCs with his groundbreaking albums with Eric B in the late ‘80s and early ‘90s. It’s been 10 years since the world has heard anything from Rakim. During that decade he toured sporadically and signed with Dr. Dre’s Aftermath label. The prospect of Dre making beats for Rakim made fans salivate, but unfortunately “The Seventh Seal” is not that long-awaited album. It’s difficult to forget about that hypothetical masterpiece with all the b-list production that plagues “The Seventh Seal.” Rakim sports enough killer flow to justify his reputation, but tracks like “Won’t Be Long” and album opener “How To Emcee” are more stilted and dated than anything on “Paid in Full” or “Follow the Leader.” While there are enough moments on “The Seventh Seal” to make it a must-have for old school fans, casual listeners should probably just ask the devoted to cull a few cuts from this for a killer Rakim mixtape.

(Below: “Holy Are You,” one of the better cuts off Rakim’s “The Seventh Seal.”)

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More album reviews from The Daily Record.

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Above: Watching the Dirtbombs rip through “Ever Lovin’ Man” at The Bottleneck was one of the Top 10 shows of the year.

By Joel Francis

(Note: All concerts in Kansas City, Mo., unless otherwise stated.)

10. Dirtbombs, The Bottleneck, Lawrence, Kan., May 25
The Dirtbombs didn’t get started until midnight, but no one seemed to mind. With barely three dozen fans in the club, just showing up was a sign of devotion.  For the next hour, singer/guitarist Mick Collins and his band plowed through solid cuts like “Ever Lovin’ Man” off their latest album, “We Have You Surrounded,” and soul covers like Sly and the Family Stone’s “Underdog” from their classic album, “Ultraglide in Black.” Collins hails from the Motor City and he embraces its every aspects, combining the soul of Motown with the soiled fuzz of the White Stripes and Stooges.

9. Carbon/Silicon, Record Bar, March 29
It isn’t often a member of the Clash comes to town, and even more rare they’d play a 200-person room like The Record Bar. With barely a nod to his old band, guitarist/songwriter/singer Mick Jones displayed the chops and charm that made him a legend. Read the full review.

8. Bruce Springsteen and the E Street Band, Qwest Center, Omaha, March 14
Bruce Springsteen closed his “Magic” tour with a three-hour performance at the Sprint Center. I didn’t make that one, but I did see his warm-up gig a few months earlier in Omaha. Springsteen and company treated the crowd to most of his latest album and liberally sprinkled classics like “Jungleland,” “She’s the One” “Thunder Road,” which featured a guest appearance from hometown boy Conor Oberst. Read the full review.

7. Rhett Miller, Largo, Los Angeles, April 11
The Old 97s had barely reconvened when Rhett Miller struck out alone for two nights on the tiny stage at Largo, Los Angeles’ legendary artist-friendly club. He dusted off several 97s favorites and debuted songs from the group’s upcoming album “Blame It On Gravity.” Miller also tromped through his solo catalog and treated the intimate crowd to his favorite covers. The appearance of pianist Jon Brion midway through the set was the cherry on the sundae. The two musicians renewed their musical friendship through songs like David Bowie’s “Queen Bitch” and Wilco’s “California Stars” that had the pair grinning like schoolboys. Miller announced he was recording the show for future release. Keep your fingers crossed this pops up.

6. Sharon Jones and the Dap-Kings, Granada Theater, Lawrence, Kan., Jan. 29
It was after 11 p.m. on an icy winter night when the Dap-Kings took the stage. Within minutes it felt like a hot 1966 summer afternoon. Clad in matching suits, their three-piece horn section complementing the three-piece rhythm section, the Dap-Kings – go-to performers for everyone from Amy Winehouse to Seattle’s Saturday Knights – settled into a solid soul groove. Moments later, the diminutive Sharon Jones skittered across the stage as if she were shot from a cannon. Like a perfect hybrid of James Brown and Tina Turner, Jones partied through songs from her three albums and taught the crowd a few new dance moves. The heat from the band must have pushed the overall mercury up, because when it was all over outside didn’t feel as cold.

5. Randy Newman, Folly Theater, Oct. 11
Randy Newman found a break from his day job scoring movies to make a quick run to the heartland and give his first Missouri show in a generation. Working primarily from this year’s “Harps and Angels” album, Newman’s solo set was stocked with more than two dozen catalog favorites peppered with hilarious asides, all performed in front of a sold-out, appreciative audience. Read the full review.

4. Robert Plant/Alison Krauss, Starlight Theater, Sept. 23
Jimmy Page and John Paul Jones may be beating down Robert Plant’s door to reconvene Led Zeppelin, but Plant would be better served sticking with Alison Krauss. With a muse mightier than his former bandmates can imagine, Plant and Krauss delivered two hours of spellbinding music with arguably the greatest backing band of all time. Read the full review.

3. Dave Brubeck, Folly Theater, Oct. 2
Dave Brubeck quit touring Europe a few years ago, so the 88-year-old jazz pianist’s occasional treks to Kansas City are even more prized. Most people know Brubeck from his groundbreaking quartet with Paul Desmond, but his new group is arguably as good. Randy Jones did more with the nine pieces in his drum kit than most drummers can do with triple the amount, while saxophone player Bobby Militello applied sheets of sound and originality to Desmond’s well-worn and much-beloved “Take Five.” The quartet encored with a brief, smirking reading of Braham’s “Lullabye.”

2. Radiohead, Verizon Wireless (formerly Riverfront) Ampitheater, St. Louis, May 14
Radiohead’s last concert in the area was on the “Hail To the Thief” tour and I have been kicking myself for five years for missing them. No longer. The band’s set burned with the intensity of a supernova, climaxing with “Fake Plastic Trees.” Early detours through the “Idiotheque” and all of “In Rainbows” made the evening both invigorating and draining – and just enough to hold me over until the next tour. Read the full review.

1. Tom Waits, Fox Theater, St. Louis, June 26
Hipsters, hippies, bikers and beatniks alike populated the sold-out congregation for Tom Waits first visit to St. Louis in a generation. He made it a night to remember, performing rarities like “Heigh Ho!” (for the only time on the tour), old favorites like “Rain Dogs” and new gems like “Day After Tomorrow.” Oh yeah, and advice on how to bid on eBay. Read the full review.

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