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Posts Tagged ‘Dr. John’

(Above: The Night Tripper gets “Qualified” back in the day.)

By Joel Francis

While in Jacksonville, Fla. this past weekend for a wedding, I was able to sneak away from my duties as a groomsman long enough to check out the Jacksonville Jazz Festival. On Friday night I arrived in time to catch the last half of the Dave Brubeck Quartet’s performance witht St. John’s River City Band. The local big band was well-prepared and sounded great, but their charts didn’t add much to the two songs I heard. “Blue Rondo a la Turk” was perfect the way Brubeck, Paul Desmond and company recorded it 50 years ago. It was interesting to hear the arrangement augmented with a battery of brass, but they certainly didn’t add anything new to the number.

The River City Band’s contribution to set closer “Take Five” fared better, if only because the structure of Brubeck’s signature song is more elastic. Brubeck has been required to end every night with this number for decades, yet he keeps finding new ways to interpret this song and keep it fresh.

Brubeck, who was supported by sax man Bobby Militello, drummer Randy Jones and his son Chris Brubeck on electric bass, reportedly played for about an hour, but we were lucky to even get that much. During his set, the conductor of the St. John’s River City Band announced that Brubeck had been hospitalized in March and put extra time in rehab to be in shape by May and fulfill his date in Jacksonville.

Dr. John took the stage after a short break. Backed by a guitar/bass/drums trio dubbed the Lower 911, his set was considerably louder but no less spirited that Brubeck’s. Opening with “Iko Iko,” John strolled through his catalog, treating the audience to “Makin’ Whoopee,” “Tipitina,” “Junco Man,” “Accentuate the Positive,” “Right Place, Wrong Time,” and several songs off his latest album, “The City that Care Forgot,” an angry diatribe against the government’s treatment of his native New Orleans during Hurricane Katrina.

As evidenced in the song listing above, John pulled heavily from his early ‘70s stint on Atlantic. The highlight of these tunes was “Qualified,” a lesser-heard, energetic album cut off “In the Right Place.”

Because of the perpetual heavy rains that have peppered Jacksonville for the better part of May, Friday night’s shows were delayed and pushed indoors to the Times-Union building. The facility has two stages; the auditorium Brubeck and John shared was about the size of Yardley Hall at Johnson County Community College. Although the balcony was closed, the floor was packed, giving Brubeck a slightly larger audience than the one he played to in Kansas City last fall at the Folly Theater. John must have been pleased with the turnout, which was considerably larger than the crowds he usually plays to at the Beaumont Club.

The explanation for the crowd size lies in the Jacksonville Jazz Festival’s dirty little secret: it’s free. Although the festival featured names like Simone, Chris Botti, Stanley Clark, former Miles Davis drummer Jimmy Cobb, Roberta Flack and Bill Frissel scattered on four outdoor stages throughout downtown, the art, beverage and food vendors were the only people asking for money.

Their demographics don’t pefectly align, and Jacksonville’s metro population of 1.3 million makes it about a half a million people smaller than Kansas City. It is frustrating to see Kansas City unable to support and sustain paid events like the Rhythm and Ribs Festival and Spirt Festival while free shows like Jacksonville’s Jazz Festival flourish. What would it take to see a similar event take root and become an annual highlight in Kansas City? Perhaps we should pick some of Jacksonville’s brightest minds to find out.

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(Above: Allman Brothers guitarists (from left) Woody Haynes, Derek Trucks with guest Eric Clapton at the Beacon Theater in New York, March 2009.)

By Joel Francis
The Kansas City Star

The Derek Trucks Band tour started last week, just days after the final show in the Allman Brothers’ 15-night residency at the Beacon Theater in New York City.

Numerous guests, including Dr. John, Chuck Leavell, members of Phish, Sheryl Crow and Kid Rock stopped by to help celebrate 40 years of the Allmans.

“This was the most enjoyable Beacon run I’ve been a part of in the 10 years I’ve been doing it. That first night with Taj Mahal and Levon Helm was great,” Trucks said. “The show on (March) 26th was the band’s actual 40th anniversary. We had no guests and did the first two records in order. That was probably the best show of the run.”

This year was also the 20th anniversary of the band’s first Beacon residency. For nearly as long, it has been rumored Eric Clapton would join the band onstage. This year he finally did, adding extra weight to the run of shows dedicated to founding guitarist and slide legend Duane Allman.

Each night opened with a montage of old photos as guitarists Haynes and Trucks played Allman’s moving acoustic instrumental “Little Martha.” Allman’s daughter was also present for each performance.

“It was a fitting tribute, but especially doing the Derek and the Dominos tunes with Eric and hearing the Allmans’ numbers with Eric was an amazing collision,” Trucks said of the legendary album “Layla and Other Assorted Love Songs” Clapton and Allman recorded together in 1970. “Obviously Duane was the key to that. I don’t think Eric and the band would be playing together otherwise.”

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